The segment then ends as we see the Brazilian landscape at night, ending the film. Gal CostaAquarela Do Brasil 1980 Universal Music LtdaReleased on: Producer: Guilh. ![]() ![]() 10 11 Jimmy Dorsey was the first to record the song on July 14, 1942, and release it with the English lyrics by Bob Russell sung by Bob Eberly and Helen O'Connell. With Donald used to the samba, the artist draws musicians playing samba music as we see silhouettes of Donald dancing with a beautiful woman at Copacabana. Provided to YouTube by Universal Music GroupAquarela Do Brasil In 2009, the Recording Academy added the 1942 recording of 'Brazil (Aquarela do Brasil)' by Jimmy Dorsey & His Orchestra, released as Decca 18460B, to the Grammy Hall of Fame. ![]() Donald tastes the cachaça and José tells him that he is now used to doing the samba. Sylvio FrancescoOlé Caterina 2011 Smith & CoReleased on: Mus.Arriving at a café, Donald then grabs a drink whom he thinks it is soda pop, but José tells him that the drink he is using is cachaça. Provided to YouTube by The Orchard EnterprisesAquarelo Do Brasil José then takes Donald to the town to show him the rhythm of samba. Tom Jobim Oficial 96.8K subscribers 7. He constantly asks him in Portuguese but Donald gives him a translation book. The artist then draws José Carioca, a green parrot who greets Donald. After the artist draws a bee and then gets eaten by a flower, it transforms into Donald Duck who ends up in the Brazilian landscape. This short helped introduce North Americans to the songs " Aquarela do Brasil" and " Tico-Tico no Fubá".Īn artist draws a landscape of Brazil and adds color to match the music. Keywords Marino Pinto Radio Era Samba-Canção Brazilian Popular Music Au-thors’ Rights.A short impressionistic view of Brazil turns into Donald Duck getting dance lessons from José Carioca. Terra de Nosso Senhor Brasil Brasil Pr mim. This work gathers rare recordings, little known images and unpublished interviews with musical artists, researchers and others linked to the songwriter. ![]() Without being able to play any instrument but a matchbox, sometimes writing the lyrics and sometimes the melody, Marino Pinto created songs with diverse collaborators. The Radio Era, the relationship musical partners that met constantly in places like Café Nice, the professionalization of the phonographic market, the fight for authors’ rights, musical production for Carnival and the middle of the year, Copacabana’s ni-ghtclubs and the rise of bossa nova are some of the topics examined. With his lyrics being constantly re-corded by different singers, the topicality of his songs was discussed. This study intends to highlight the works of songwriter Marino Pinto, in the scenery of Brazilian popular music, focusing on some aspects of cultural life in Rio de Janeiro between the 1930s and the 1960s.
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