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Vatapá

Vatapá [vataˈpa] is a Brazilian dish made from bread, shrimp, coconut milk, finely ground peanuts and palm oil mashed into a creamy paste. This food is very popular in the North and Northeast, but it is more typical in the northeastern state of Bahia where it is commonly eaten with acarajé, although Vatapá is often eaten with white rice in other regions of Brazil.

Alternatively, the shrimp can be replaced with ground tuna, chicken, or turkey, among other options.

See also[link]

• List of Brazilian dishes

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v t e Shrimps and prawns True shrimps Alpheoidea Atyoidea Bresilioidea Campylonotoidea Crangonoidea Galatheacaridoidea Nematocarcinoidea Oplophoroidea Palaemonoidea Pandaloidea Pasiphaeoidea Physetocaridoidea Procaridoidea Processoidea Psalidopodoidea Stylodactyloidea Other shrimps Anomalous shrimp Boxer shrimp Cleaner shrimp Euphausiid shrimp (krill) Horseshoe shrimp Mantis shrimp Snapping shrimp True prawns Penaeoidea Aciculopodidae Aegeridae Aristeidae Benthesicymidae Carpopenaeidae Penaeidae Sicyoniidae Solenoceridae Sergestoidea Luciferidae Sergestidae Other prawns Dublin Bay prawn (scampi) Commercial species Akiami paste shrimp Fleshy prawn Giant tiger prawn Banana prawn Northern prawn Southern rough shrimp Whiteleg shrimp Fishing industry Aquaculture of brine shrimp Freshwater prawn farm Shrimp and prawn fishery Shrimp baiting Shrimp farm Shrimp marketing Shrimp trawling As food Shrimp and prawn (food) Bagoong Balchão Cahuamanta Camaron rebosado Char kway teow Cincalok Dancing shrimp Dobin mushi Dried shrimp Drunken shrimp Dynamite roll Eating live shrimp Fried prawn Gumbo Hae mee Har gow Kaeng som Krupuk Longjing prawns Potted shrimps Prawn ball Prawn cocktail Prawn roll Saeujeot Sesame shrimp Shrimp ball Shrimp cocktail Shrimp Creole Shrimp DeJonghe Shrimp mix Shrimp on the barbie Shrimp paste Shrimp roe noodles Shrimp toast Vatapá White boiled shrimp Related topics Caridoid escape reaction Mobile Bay jubilee Shrimp fork Shrimp tie Shrimp-Turtle Case Sea-Monkeys Big Shrimpin' Ebirah The Shrimp Girl

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Gal Costa (born Maria da Graça Costa Penna Burgos on September 26, 1945, in Salvador, Bahia) is a Brazilian singer of popular music.

Early life[link]

Gal Costa was born on September 26, 1945, in the city of Salvador, the state capital of the state of Bahia, Brazil. Her mother, Mariah Costa Penna (deceased 1993) spent hours listening to classical music during her pregnancy in hopes that Gal would be interested in music. Gal's father, Arnaldo Burgos (deceased 1960), died when Gal was 15 years old and the two would never meet.

At the age of 10, Gal befriended sisters, Sandra and Andréia Gadelha, the future spouses of singer-songwriters Gilberto Gil and Caetano Veloso, respectively. At 14, she first listened to João Gilberto's "Chega de Saudade" on the radio and became interested in Bossa Nova. She then went on to work as a clerk on Salvador's main record store to get closer to music. At 18, she was introduced to Caetano Veloso by Andréa Gadelha, engaging with him in a deep friendship that still lasts.

Career[link]

Costa debuted her professional career on the night of August 22, 1964 on the concert Nós, por exemplo, where she performed alongside Veloso, Gil, Maria Bethânia and Tom Zé, among others. The concert inaugurated the Vila Velha Theatre in her hometown. During the same year, she also performed in Nova Bossa Velha, Velha Bossa Nova, at the same place and with the same singing partners. She then left Salvador to live in the house of her cousin Nívea in Rio de Janeiro, following the footsteps of Bethânia, whose concert, Opinião, had become a huge hit on the town.

Costa's first professional recording happened on Bethânia's debut album, released in 1965. It was the duet "Sol Negro", written by Bethânia's brother, Caetano Veloso. She then released her first singles through RCA Records, "Eu vim da Bahia", written by Gil, and "Sim, foi você", written by Veloso. On the following year, Costa met Gilberto personally and participated on TV Rio's 1st International Music Festival performing "Minha Senhora", written by Gil and Torquato Neto. It failed to captivate the Festival's audience.

Costa's first album Domingo was released on 1967 through Philips Records. It was also Veloso's debut. Costa stayed on the label, which later became Polygram, until 1983. One song released from this album, "Coração Vagabundo", became a huge hit. On the same year, Costa also performed two songs on the 2nd International Music Festival, which was then hosted by Rede Globo. They were "Bom Dia", written by Gil and Nana Caymmi and "Dadá Maria", written by Renato Teixeira. The latter was performed with Sílvio César on the Festival and with Teixeira on the recording.

In 1968, Costa became a part of the Tropicalismo movement. She recorded four songs on Tropicália: ou Panis et Circenses. They were "Mamãe coragem", written by Veloso and Torquato Neto, "Parque industrial", by Tom Zé, "Enquanto seu lobo não vem", by Veloso, and "Baby", also by Veloso. The latter became Costa's first nationwide solo hit, becoming a classic of Brazilian popular music. On the same year, she participated on the 3rd International Music Festival, performing "Gabriela Mais Bela", written by Roberto and Erasmo Carlos. In November, she participated on Rede Record's 4th Music Festival, performing the song "Divino Maravilhoso", by Gil and Veloso. The song also became a nationwide hit and a classic song of popular music.

On 1969, Costa released her eponymous solo debut album, which included "Baby" and "Divino Maravilhoso". The album is considered a Tropicalismo classic, balanced between Brazilian stylizations and North American psychedelic influences. It also featured Costa's third and fourth solo hits, Jorge Ben Jor's "Que pena (Ele já não gosta mais de mim)" and Veloso's "Não identificado", respectively. On the same year, she recorded her second solo album, titled Gal, and featuring the hits "Meu nome é Gal", by Roberto and Erasmo Carlos, and "Cinema Olympia", by Veloso. The album served as the basis for the repertoire of the concert Gal!.

Her next album, Legal, was not as far from the mainstream as its predecessor, and a live album the following year again balanced smooth Brazilian sounds with heavy rock. In 1973, the cover of Costa's album Índia was censored—it focuses on her camel toe red bikini bottom. Costa has recorded songs composed by a number of Brazil's most popular songwriters such as Tom Jobim, Ben, and Erasmo Carlos. In 1982 the single "Festa Do Interior" from the double album Fantasia became her biggest ever hit, going multi-platinum by the end of the year. Costa appeared in the 1995 film The Mandarin (O Mandarim) as the singer Carmen Miranda. She has recorded songs in Portuguese, Spanish and English.

Discography[link]

Studio albums[link]

• 1965: Maria da Graça (EP)
• 1967: Domingo
• 1969: Gal Costa
• 1969: Gal
• 1970: Legal
• 1973: Índia
• 1974: Cantar
• 1975: Gal Canta Caymmi
• 1977: Caras e Bocas
• 1978: Água Viva
• 1979: Gal Tropical
• 1980: Aquarela do Brasil
• 1981: Fantasia
• 1982: Minha Voz
• 1983: Baby Gal
• 1983: Trilha Sonora do Filme 'Gabriela'
• 1984: Profana
• 1985: Bem Bom
• 1987: Lua de Mel Como o Diabo Gosta
• 1990: Plural
• 1992: Gal
• 1994: O Sorriso do Gato de Alice
• 1995: Mina D'Água do Meu Canto
• 1998: Aquele Frevo Axé
• 2001: Gal de Tantos Amores
• 2002: Gal Bossa Tropical
• 2004: Todas as Coisas e Eu
• 2005: Hoje
• 2011: Recanto

Live albums[link]

• 1971: Fa-Tal - Gal a Todo Vapor
• 1976: Doces Bárbaros (with Caetano Veloso, Gilberto Gil, and Maria Bethânia)
• 1986: Jazzvisions: Rio Revisited (with Antonio Carlos Jobim)
• 1997: Acústico MTV
• 1999: Gal Costa Canta Tom Jobim Ao Vivo
• 2006: Gal Costa Live at the Blue Note
• 2006: Gal Costa Ao Vivo

Filmography[link]

• 1995: O Mandarim as Carmen Miranda

References[link]

External links[link]

• (Portuguese) Official website
• Gal Costa at Allmusic
• Gal Costa at the Internet Movie Database
• Gal Costa-Site Argentine- Spanish/Portuguese Argentine-website
• Slipcue.com - English-language discography with reviews

Dorival Caymmi
Caymmi at Rádio Nacional in 1938
Background information
Birth name	Dorival Caymmi
Born	(1914-04-30)April 30, 1914 Salvador, Bahia, Brazil
Origin	Salvador, Bahia, Brazil
Died	August 16, 2008(2008-08-16) (aged 94) Copacabana, Rio de Janeiro, Brazil
Genres	Samba, bossa nova
Occupations	Singer, songwriter
Instruments	Vocals, guitar
Years active	1933–2008
Labels	Odeon Columbia Continental RCA Victor Elenco Phonogram Funarte Som Livre Universal EMI
Associated acts	Tom Jobim João Gilberto Nana Caymmi Dori Caymmi Danilo Caymmi

Dorival Caymmi (April 30, 1914 – August 16, 2008) was a Brazilian singer, songwriter, actor, and painter active for more than 70 years beginning in 1933. He contributed to the birth of Brazil's bossa nova movement, and several of his samba pieces, such as "Samba da Minha Terra" and "Saudade da Bahia", have become staples of Música Popular Brasileira.^[1] Equally notable are his ballads celebrating the fishermen and women of Bahia, including "Promessa de Pescador", "O Que É Que a Baiana Tem?", and "Milagre". Caymmi composed about 100 songs in his lifetime, and many of his works are now considered to be Brazilian classics. Both Brazilian and non-Brazilian musicians have covered his songs.

Ben Ratliff of The New York Times wrote that Caymmi was "perhaps second only to Antônio Carlos Jobim in 'establishing a songbook of [the 20th] century’s Brazilian identity.'"^[2] Throughout his career, his music about the people and culture of Bahia influenced Brazil's image in the eyes of both Brazilians and foreigners.^[3] Caymmi was married to Brazilian singer Stella Maris for 68 years, and the couple's children, Dori Caymmi, Danilo Caymmi, and Nana Caymmi, are also prominent musicians. Each debuted professionally by accompanying their father onstage and in recordings.^[4]

Early life[link]

Caymmi was born in Salvador, Bahia, to Durval Henrique Caymmi, the great-grandson of an Italian immigrant, and Aurelina Soares Caymmi, a native Bahian. He had two younger sisters, Dinahir and Dinah, and a younger brother, Deraldo.^[5] His father, a civil servant, often played the piano, guitar, and mandolin at home, and his mother, a housewife, sang regularly. He participated in his church's choir for much of his childhood.^[1] At age 13, he left school to work as a journalist at Bahian newspaper O Imparcial.^[1][3][4] When O Imparcial went out of business two years later, he took up work as a street vendor.^[1]

Although he never formally studied music, Caymmi taught himself to play guitar in the late 1920s and began to compose, sing, and play his own songs on Bahian radio programs around 1930.^[1] He first achieved widespread recognition in 1933, when at age 16, he composed the song "O Que É Que a Baiana Tem?" ("What Is It About Bahian Women?") for singer Carmen Miranda.^[2][3] In 1936, at age 22, he won a songwriting contest at Salvador's annual Carnaval celebration. His prize was a pink satin lampshade.^[1] Despite his early musical success, he moved to Rio de Janeiro in 1938 with intentions to pursue a law degree and to return to working as a journalist.^[2][3] While employed there by the newspaper Diários Associados, he spent his spare time composing and singing songs on the radio show Dragão da Rua Larga. His popularity began to grow with the show's audience.^[1]

Career[link]

Overview[link]

Many of Caymmi's lyrics pay homage to the lifestyle, beaches, fishermen, and women of his native Bahia.^[3] He drew much of his inspiration from music indigenous to northeastern Brazil, especially Afro-Brazilian music and samba.^[4] He recorded for more than five decades and released about 20 albums, sometimes singing and playing guitar as a soloist and at other times accompanied by bands and orchestras.^[2] Although active for the better part of the 20th century, Caymmi wrote only about 100 songs.^[4] Despite having a relatively small body of work, Caymmi held a reputation of composing songs of exceptional quality. He occasionally collaborated with Jobim, who called him a "universal genius" and Brazil's greatest composer.^[4] Many contemporary Brazilian artists, including Caetano Veloso, Gilberto Gil, and Beth Carvalho cite Caymmi as a significant influence on their music.^[4]

Chronology[link]

	"Samba da Minha Terra" (1940) noicon Chorus of "Samba da Minha Terra"
Problems listening to this file? See media help.

"O Que É Que a Baiana Tem?" gained even more fame in Brazil when Miranda performed it in the 1939 film Banana-da-Terra, and it was this song that garnered her international attention and helped launch her career. After this success, Caymmi began to focus more on making music, and he wrote songs that appeared in other Brazilian films.^[2][4] In late 1939, he signed with Odeon Records and recorded his first three singles, "Rainha do Mar/Promessa de Pescador" ("Queen of the Sea/Promise of the Fisherman"), "Roda Pião" ("Top Wheel"), and "O Que É Que a Baiana Tem?/A Preta do Acarajé" ("What Is It About Bahian Women?/The Dark Woman from Acarajé").^[7] He came to more attention in the early 1940s when he performed as a regular on the Brazilian radio network Rádio Nacional. He recorded "Samba da Minha Terra" ("Samba of My Homeland") in 1940 and "A Jangada Voltou Só" ("The Raft Returned Alone") in the following year.^[1] In 1944, he performed his own "Acontece Que Eu Sou Baiano" ("It Just So Happens That I'm Bahian") in the movie Abacaxi Azul (Blue Pineapple).^[4] In the late 1940s, he was a member of the samba-canção movement largely founded by his sometime creative rival, composer Ary Barroso. Other prominent Brazilian musicians of the day covered several of his songs, including Dick Farney, who famously recorded Caymmi's "Marina" (1944) in 1947.^[1] In 1957 Caymmi wrote "Suíte do Pescador", which appeared in the film The Sandpit Generals.

In the 1950s and 1960s, Jobim, João Gilberto, and others who contributed to the birth of the bossa nova style collaborated with Caymmi and often referenced his work when composing their own pieces. During this era, Gilberto covered several of Caymmi's songs, including "Rosa Morena" ("Dark-skinned Rose") and "Saudade da Bahia" ("Longing for Bahia"). Jobim was particularly enamored of Caymmi's music, and the two grew to be close friends.^[1] American lyricist Ray Gilbert translated Caymmi's "Das Rosas" into English in 1965, and it was released in the United States as "And Roses and Roses".^[1][2] The song was recorded by Brazilian vocalist Astrud Gilberto and by American singers Andy Williams and Perry Como.^[2] Williams's version became a hit, and as a result, Caymmi was invited to spend four months in Los Angeles, where he performed, filmed a television show, and recorded an LP record.^[1]

Collaboration with Jorge Amado[link]

Caymmi was a lifelong friend of Bahian author Jorge Amado, and in 1945, he set one of Amado's politically-driven poems to music to aid the senatorial campaign of Luís Carlos Prestes.^[1][4] In the late 1970s, Caymmi again took inspiration from Amado when he composed "Modinha para a Gabriela" ("A Little Song for Gabriela"), a musical adaptation of Amado's novel Gabriela, Cravo e Canela (Gabriela, Cloves and Cinnamon). Perhaps the best-known product of Caymmi and Amado's collaboration is the song "É Doce Morrer no Mar" ("It's Sweet to Die in the Sea"), which the two wrote over dinner one night at Amado's home. Other songs they co-wrote include "Beijos pela Noite" ("Kisses Through the Night"), "Modinha para Teresa Batista" ("A Little Song for Teresa Batista"), "Retirantes" ("Migrants"), and "Essa Nega Fulô" ("This Feisty Dark Lady").^[1]

Awards and honors[link]

To thank Caymmi for bringing international attention to Brazilian music and culture, in 1968, the governor of Bahia presented Caymmi with a house in Salvador, and so he returned to live in his hometown for a short period of time. In 1972, Caymmi was awarded the Order of Merit of the State of Bahia, an order given to Bahian residents for excellent service to the state. In Caymmi's case, the service was bringing pride and honor to Bahian people through the widespread dissemination of his music about life there. On Caymmi's 70th birthday, in 1984, French Minister of Culture Jack Lang presented him with the Ordre des Arts et des Lettres, a French order that recognizes significant contributors to the fields of art and literature, in Paris. The following year, a new street named Avenida Dorival Caymmi (Dorival Caymmi Avenue) opened in Salvador. In 1986, Rio de Janeiro's famed Mangueira samba school based its Carnaval performance on Caymmi's life and work, and the school won the annual parade-style samba competition.^[1]

Personal life[link]

Although Caymmi earned his fame through music, he was also known to a lesser degree for his paintings. From 1943 to 1945, he regularly attended a drawing and painting class at the Escola de Belas Artes, a fine arts school in Rio de Janeiro. Even after discontinuing his formal study, he painted for the rest of his life. He practiced Candomblé, an Afro-Brazilian religion characterized by belief in spirit-gods and ritualistic practices involving mediumship. Candomblé was his father's religion, and Caymmi gradually involved himself more with it as an adult, when his friends invited him to accompany them to religious ceremonies and parties. Caymmi was also a naturist, and when he was in Bahia, he liked to bathe nude in the Lagoa do Abaeté (Abaeté Lagoon) with a group of friends.^[1] He stated to the newspaper Valor Econômico: "We rolled around in palm leaves and slipped through the mountains of sand. Some people didn't like this, but most understood that we weren't naked for unclean reasons."^[1]

Marriage[link]

	"Milagre" (1977) noicon Caymmi sings a duet with his daughter, Nana, in "Milagre".
Problems listening to this file? See media help.

While working at Rádio Nacional in 1939, he met Brazilian vocalist Adelaide Tostes, who is better known by her stage name Stella Maris, and the two married in 1940.^[3][4] Tostes responded to a 1994 press query about Caymmi's habit of frequenting bars with a short story: "One night I went to look for him in a bar ... He was surrounded by women. I went in and slammed a table. A glass broke. The bouncer came, and I punched Caymmi's face. Then I left cussing. I thought he was involved with drugs, but it wasn't the case. He was with the tramps."^[4] Despite such incidents, however, they remained together for 68 years, until his death in 2008.^[2] The couple had three children, Nana, Danilo, and Dori, all of whom followed their father into musical careers.^[4]

Politics[link]

Although Caymmi rarely incorporated political messages into his music, he often spoke bitterly about the government's corruption. Jorge Amado, his close friend, was sent into exile for several years after he publicly criticized the country's rulers during the period of military dictatorship. In 1994, Caymmi said, "I have concluded that to act as a citizen in Brazil today is to live a joke. It's the same as playing the lotto, dreaming about nonsense, trying to get rich when you are 80."^[4]

Death[link]

Dorival Caymmi died at age 94 of kidney cancer and multiple organ failure on August 16, 2008, at his home in Copacabana, Rio de Janeiro.^[4][9] His granddaughter, Stella, who wrote a biography about him in 2001, said, "He did not know that he had cancer, and he did not want to know. He did not ask much about this. He was first hospitalized in 1999. My grandfather went through with treatment, but he did not want to know anything about the illness. He acted with serenity every day, and because of that, we respected this wish."^[10]

Reception and legacy[link]

Brazilian singer and composer Carlos Lyra praised Caymmi's style for its "suave and romantic colloquialism."^[11] In a 1994 anthology of Caymmi's work, Antônio Carlos Jobim wrote in the introduction, “Dorival is a universal genius. He picked up the guitar and orchestrated the world.”^[2] In 2001, New York Times journalist Ben Ratliff wrote that Caymmi was "perhaps second only to Antônio Carlos Jobim in 'establishing a songbook of this century’s Brazilian identity.'"^[2] On the day of Caymmi's death in 2008, Brazilian composer and musician Tom Zé said, "It's difficult to comprehend just how valuable a CD of Caymmi's beach songs from the 1940s is."^[10] Also around the time of Caymmi's death, President of Brazil Luis Inácio Lula da Silva called him "one of the founders of Brazilian popular music."^[2] Several of Caymmi's contemporaries, including Gal Costa and Olivia Hime, have recorded tributes to him.^[7][12]

Discography[link]

Albums[link]

Prior to 1988, all of Caymmi's albums were released as LP records. His last four albums were released as CDs.^[7]

^[7]

Singles[link]

All of Caymmi's singles were released as 78 rpm gramophone records.^[7]

^[7]

Tributes[link]

^[7][12]

Note

• A.^ Reissued under new label.^[7]

References[link]

External links[link]

• Dorival Caymmi at the Internet Movie Database
• Caymmi's obituary in The New York Times

Mariana Aydar is a Brazilian singer of MPB (Brazilian popular music).^[1] She was born in São Paulo in 1980. She is married to band player Duani.

Discography[link]

Albums[link]

• 2006 - Kavita 1
• 2009 - Peixes, Pássaros e Pessoa
• 2011 - Cavaleiro Selvagem Aqui Te Sigo

Singles[link]

References[link]

João Nogueira (November 12, 1941 - June 5, 2000) was a Brazilian singer and composer, famous for his samba compositions. He was born in Rio de Janeiro.

His first composition, "Espera ó Nega" was recorded in 1968, however it was in 1970 that he gained notoriety when Elizeth Cardoso recorded his song "Corrente de Aço". His music has been recorded by some of Brazil's most well known singers such as Elis Regina, Clara Nunes, Emílio Santiago, Beth Carvalho and Alcione. He is also the father of singer and composer Diogo Nogueira.

Discography[link]

• 1972 João Nogueira
• 1974 E Lá Vou Eu
• 1975 Vem Quem Tem
• 1977 Espelho
• 1978 Vida Bohêmia
• 1979 Clube Do Samba
• 1980 Boca Do Povo
• 1981 Homem aos 40
• 1981 Wilson, Geraldo & Noel
• 1983 Bem Transado
• 1984 Pelas Terras Do Pau-Brasil
• 1985 De Amor É Bom
• 1986 Boteco Do Arlindo
• 1988 João
• 1992 Programa Ensaio
• 1994 Parceria
• 1996 Letra & Música
• 1998 De Todos Os Sambas
• 2000 Através Do Espelho

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