CHORANDO SE FOI LETRAS FULL

In 1932 Mangueira was the champion with the samba 'Pudesse meu Ideal,' by Cartola and Carlos CachaГ§a.

At the same time, though, he continued to perform functions of Mangueira's master of harmony and to compose Sambas of Carnival and middle-year. Cartola had to live by his wits, working as a fish, ice-cream, and cheese peddler, cambono de macumba (assistant for black magic rituals), and a mason. Even with the acknowledgment of critics and audience, money was always short. He continued to sell the rights of his songs for the same price, creating for Alves the successes 'NГЈo Faz, Amor,' 'Tenho um Novo Amor,' 'Divina Dama,' and 'Diz Que Foi o Mal Que te Fiz.'nnIn 1932, he began a partnership with Noel Rosa with the Samba 'NГЈo Faz, Amor.' Noel began to frequent the Buraco Quente (Hot Hole), giving preference to Cartola. Because Francisco Alves was a major, popular success as part of the permanent cast of RГЎdio Nacional, then the biggest mass-communication vehicle in Brazil, Cartola became known to a larger audience. But Cartola never admitted to his authorship of the music and lyrics. Sold for 300 mil-rГ©is, the samba 'Que Infeliz Sorte' was at last recorded by Francisco Alves, as MГЎrio Reis couldn't sing it.

CHORANDO SE FOI LETRAS FULL

Mangueira presented 'Beijos,' Cartola's second samba, and 'Eu Quero Nota,' by Arturzinho.nnIn 1931, singer MГЎrio Reis went to the hill of Mangueira to buy songs, the custom of those times not limited to the acquisition of full rights, but which involved the exclusion of the composers' names as well.

It included the participation of the two Samba schools already existing, Mangueira and Portela, whose samba 'NГЈo Adianta Chorar,' by Heitor dos Prazeres, won. The first contest of samba of the city of Rio de Janeiro took place on January 20, 1929. JoГЈo he read completely, taking his literary studies as completed.nnAt this point, percussive instruments used in samba already included the surdo, the tamborim, the pandeiro, and the cuГca. Until then, the urban samba still hadn't absorbed influences of middle-class culture, which would only begin with Noel Rosa (1910-1937), a native sambista of Vila Isabel (one of Rio's traditional neighborhoods), of small bourgeoisie status and university culture Orestes Barbosa (1893-1966), journalist, writer and popular composer and Cartola, confessed reader of a few lines of Castro Alves, GonГ§alves Dias, Olavo Bilac, LuГs de CamГµes and his preferred, Guerra Junqueiro, whose A Velhice do Padre Eterno and A Morte de D. People at the EstГЎcio hill were already active as sambistas, composers and interpreters, but hadn't constituted the EstГЎcio Samba school yet. The school's first parade, still in 1928, opened with the first samba composed by Cartola, 'Chega de Demanda' ('Enough Fighting,' an appeal to the cessation of violence amongst rival sambistas and malandrosof the hills).nnThe school of Portela already existed at that time, but the other schools only began to constitute themselves from 1932 on.

In April 28, 1928, he helped found the Samba School of Mangueira (a carioca hill over which the poor people established themselves) and was charged with being the school's master of harmony. Cartola abandoned school after completing junior high school, left home, and dedicated himself to Bohemianism and various part-time jobs. At 15 years old, his mother died and he lost the link between himself and his tyrannical father. Son of an amateur acoustic guitar player, Cartola learned to play the guitar by himself and by watching his father (he learned the cavaquinho, similar to the ukelele, as well). He was the partner of legendary Noel Rosa, he had his compositions recorded by virtually all acknowledged Brazilian interpreters, and he was a founder of Escola de Samba EstГЎcio Primeira de Mangueira, (Samba School of Mangueira), one of the most famed samba schools of carioca Carnival (and the first Carnival association to employ the samba as a musical vehicle).nnUntil then, the groups (blocos) of participants (folios), were used to play and dance to marcha-rancho. The history of Cartola is intertwined with the history of urban carioca samba, from the 1920s through the end of the century.

Chorando se foi letras