Biography Wikipedia
Wikipedia:
Wilson Simonal Castro (Rio de Janeiro, February 23, 1938 - June 25, 2000) was a Brazilian singer very successful in the 1960s and 1970s, coming to lead a program on TV Tupi, Spotlight, and two programs on TV Record, "Show em Si...Monal .." and "Vamos S'imbora" and sign what was considered at the time the largest advertising contract for a Brazilian artist, with the British company Shell. Simonal saw his career go into decline after an episode in which his name was associated with DOPS, (The Department of Political and Social Order, a secret police agency in Brazil), involving the torture of accountant Raphael Viviani. [2] The singer was eventually prosecuted and convicted of extortion through kidnapping [1]. In the course of this process he drafted a document saying he was an informant, which eventually led to ostracism and pariah status of his popular music. [1] His main achievements are Balanço Zona Sul, Lobo Bobo, Mamãe Passou Açúcar em Mim, Nem Vem Que Não Tem, which was used in an IKEA TV commercial in the US, Tributo a Martin Luther King, Sá Marina (which came to be rewritten by Stevie Wonder, as Pretty World), País Tropical, Jorge Ben, who would be his greatest commercial success, and Life Is Just to sing. Simonal had a daughter, Patricia, and two sons, also musicians: Simoninha Wilson and Max de Castro.
Biography
From infancy through the first set Son of Mary de Castro Silva, a cook and housekeeper mining, and mining also Lucio Pereira de Castro, a radio that had moved with his wife to Rio de Janeiro, Simonal was named in honor of the doctor who performed the delivery. [1] But, by her own father, which should have been Simonard Roberto Castro eventually became Simonal Castro. [1] He studied at Catholic school with some even take classes in choral singing to the choir join the changing after for a public school. in the square Antero de Quental, where young people gathered to spend the weekend, came to cause some commotion singing hits of the time in English. [1] There he met Edson Bastos, son of the pianist Anil Pinto Bastos, who taught him to play guitar and piano and who wanted to form a musical group. But plans to form a musical group were stopped when Simonal was called to serve in the 8th Group of the Coast Artillery Motorized (8 GACOSM) and in this quarter, which was famous for its football team and his band, Simonal learned to command audiences since he was head of the cheerleading team's headquarters, and has participated in various dances as a singer: I realized I could master the public. Like, not really explain it. I discovered the value of intonation and learned that there is a secret in the manner of speaking, in the way they look, the way to go. When not shouting, I imposed with the look, of course. - Simonal in an interview with Folha de São Paulo, July 17, 1967 In 1960, Simonal was discharged from the army as a sergeant and, joining his brother Ze Roberto and his friends Mark Moran, Edson Bastos and Joe Ary, five have adopted the name of Dry Boys. The set lasted until the early months of 1961 when they presented themselves in the "Rock Club" by Carlos Imperial TV show. [1] After the presentation attempted a contract with a record label through Imperial, but were refused. This led the group to finish, with Simonal following a solo career under the protection of Imperial, and has become a crooner Set Guaraní.
Start of solo career
With the end of Dry Boys, Simonal was no place to live, since they live in his mother's home in White Sand and work in the south was not possible. Carlos Imperial hired him as his secretary, along with Erasmo Carlos, and a way of arranged Simonal live in the house of Eduardo Araújo, who as a teenager living in a studio apartment rented by his father, in Catete. At this time came to replace Simonal Cauby Peixoto in a presentation at Old National Radio Rio, getting a contract. However, the stay in the house of Eduardo Araujo Simonal is short and moves into an apartment in Imperial. In the presentations of the Rock Club meets Tereza Pugliesi, who would become his wife, and begins dating her. Later that year becomes the nightclub crooner Drink, by which comes even to record two tracks for an LP that only come out in 1962. His presentation at the club earns him a recording contract with Odeon in which launch in December 1961 with their first single "Terezinha," a tea-tea-tea in honor of Imperial Simonal girlfriend, and "Biquínis e Borboletas ". In the same month by swapping Drink club Top Club. In the years 1962 and 1963, his record company would release three more compact in order to test their responsiveness to Simonal in different musical styles before releasing his first album in November 1963, Wilson Simonal Tem "Algo Mais". This disc is the Balanço Zona Sul, his first radio hit. Shortly before the album's release, marry Teresa Pugliesi, already pregnant Wilson Simoninha on October 24, 1963. The album and the music give you more exposure, causing a double invitation of Miele & Boscoli for him to leave the Top Club and passed to the performances they organized, known as "pocket shows", in Beco das Garrafas. Simonal supports and participates in various presentations between early 1964 and mid 1965.
when the singer appeared in the Lane, Simonal was the maximum for your time: great voice, a sense of division equal to the best American singers and an ability to make cat and shoe rhythm without departing from the melody or appeal to scats easy. - The journalist Ruy Castro's appearance on Simonal in the Lane [3]
On April 6, 1964 his first born son, Wilson Simoninha Pugliesi Castro. In July 1964, launched a more compact with Nana and Bobo Lobo, getting good reception on the radio and making room for the recording of their second album, A Nova Dimensão do Samba, still considered by many as the best album of career Simonal. [4] In late 1964, gets 40 days to tour with dancer Marly Tavares and the set Bossa Tres, the pianist Luis Carlos Vines, Colombia with the show Who's going to Bossa Rosa, the first of Miele & Boscoli that had been thought to a real theater, that is, outside the circuit of the Lane. The success of the Alley and the recorded songs bring the interest of TV Tupi to produce a program presented by Simonal. Thus, in January 1965 signed a contract to present the program Spotlight, which was an attempt to play music in a more "sophisticated" and arranged closer to the American jazz of the era of Miles Davis and Gil Evans. Therefore, all their releases this year following that line. So are the self-titled album in March 1965, the compact of the same month, the compact double-July 1965 - accompanied by Bossa Tres and one of the first compositions by Caetano Veloso, De Manhã - and his fourth album, S'imbora . Examples are arrangements of, among others, Eumir Deodato and JT Meirelles. Success From 1966 to 1967, presented the TV Show em Si ... Monal, the Record TV - Channel 7 in São Paulo. The director was Carlos Imperial. Proved to be a showman, a big hit with País Tropical music (Jorge Ben), Mamãe Passou Açúcar em Mim (Carlos Imperial) Meu Limão, Meu Limoeiro (José Carlos Burle) and Sá Marina (Antonio Adolfo and Gaspar Tiberius) a swing created by Cesar Camargo Mariano, who was part of the Som 3, along with Sabá and Tom, and was called malfeasance (a mixture of samba and soul) movement also conceived and spearheaded by Carlos Imperial. [5] In 1970, accompanied the Brazilian soccer team in the World Cup, held in Mexico, where he had friends like football players Pele, Carlos Alberto and Jairzinho, also known as Maestro Erlon Chaves. [6] At that time, Simonal was one of the most popular artists in Brazil and well paid, fairly mobbed by reporters and fans. He lived the peak of his career. It was the first black to make yourself a TV program in the country - the Show em Si...Monal, directed by Carlos Imperial - which was accompanied by Cesar Camargo Mariano, Sabá and Tom, who formed the Som 3. [7]
Episode counter
In the early 1970s, Simonal would have been a victim of embezzlement and fired her accountant, Raphael Viviani, the alleged offender. This Labor filed a lawsuit against the singer. In August 1971, Simonal recruited two friends (one of his security) military to start a "confession" of the counter, who was tortured on the premises of DOPS. [2] This, after all, eventually signed a confession of guilt in embezzlement. Simonal DOPS agents knew two years ago, when he had deposed, as I suspect, about the presence of a Soviet flag on the scene of one of his shows. What he lacked was the wife of Viviani would complain of the beating, and when newspapers reported the fact, those involved were forced to explain himself. [2] Prosecuted on charges of extortion through kidnapping counter, Simonal led as a witness that same officer of the Department of Political and Social Order of the then State of Guanabara, Mario Borges, who appointed him on trial as an informant for DOPS. Another defense witness, an officer of the First Army (now the Eastern Military Command), said that the defendant cooperated with the unit. Simonal was found guilty of kidnapping and in 1972, when he was about to launch its "disk recovery", sentenced to five years and four months, according to the judge, due to its "highly dangerous". But to fulfill the penalty free. In autos, Simonal was mentioned as a collaborator of the military and DOPS informant. In 1976, in the judgment of the Court of Rio de Janeiro, is also referred to his condition DOPS employee. [8] "In his closing argument, the illustrious claims that Your Honor has no way of judging the agents of DOPS, since we were living in a state of emergency and therefore he had no jurisdiction to prosecute acts that could be national security, but Simonal , who was a civilian, did not have that kind of "cover" so sorry for five years and four months for him (...) If it was proved in 1971 that he was a collaborator, he would not be tried for it, would be awarded, "writes comedian Claudio Manoel, producer and director of the documentary" Simonal - Ninguém Sabe o Duro que Dei ". [9]
Ostracism and death
Simonal fell into absolute oblivion from the 1980s. According to his second wife, Sandra Cerqueira, "He said to me: 'I do not exist in the history of Brazilian music." He became depressed and alcoholic, and died of liver cirrhosis due to alcoholism.
Fame snitch
The composer Paul Vanzolini, however, said in an interview with Book 2 of the ESP, which Simonal was indeed "stiff toe" of the military regime and adds: "This recovery of Simonal they are doing is wrong. He was finger-really hard. he boasted of being a snitch dictatorship '(...) in front of many friends he said,' I gave a lot of good people, '"he concludes. [10] However, there was never anyone to declare record have been exposed by Simonal. Even the Globo Network, which Simonal swore that he had a document prohibiting their entry into the station's programs, notes that there are documents vetoing the singer. On this, the superintendent of production and programming of the Globe at the time, Jose Bonifacio de Oliveira Sobrinho, reaffirms that never left the direction of the station is no prohibition in the presence of Simonal its attractions. Boni claims that its absence in the Globe was given to be considered by the directors of music programs a person difficult working relationship. Raphael Viviani, in testimony to the film, reports that in DOPS and Simonal would have attended his torture and would not have had pity. [11] The humorist Chico Anysio and journalist Nelson Motta, among other personalities, say that to date did not show even a victim of the so-called vigilantism Simonal. The newspaper O Pasquim, battle front against the military dictatorship, through people like Henfil and Jaguar, held yourself to spread accusations that destroyed the career of Simonal.
Rehabilitation
In 2002, the family's request, the National Human Rights Commission of the Bar Association of Brazil (OAB) has filed a lawsuit to determine the veracity of the singer suspected of collaboration with the media's military regime. The Committee considered documents of the time, kept in touch with people through the arts, as the comedian Chico Anysio and singers Ronnie Von and Jair Rodrigues, and analyzed reports published in newspapers. In the story published in 1992 by the Jornal da Tarde, for example, Gilberto Gil and Caetano Veloso, officially persecuted by the military regime, said they had not had problems coping with Simonal, and Veloso also praised the qualities of Simonal as an artist. In addition to testimonials from artists and material sent by relatives and friends, the process consisted of a document in January 1999, signed by the then National Secretary of Human Rights, Jose Gregori, which testified that, after research in the archives of federal, as the SNI and the Information Center of the Army (CIEX), there are no records that had been Simonal employee, server or service of those organizations. In 2003, following the completion, Simonal was morally rehabilitated by the National Human Rights Commission of the Bar Association of Brazil (OAB) in symbolic judgment. [12] [13] In 2009, the biography was released Nem Vem que Não Tem - A Vida e o Veneno de Wilson Simonal. Here, according to Marcus White, a reporter for the newspaper Folha de São Paulo, its author, journalist Richard Alexander presents facts that try to take the reader to believe in the innocence of alleged Simonal. [2] The narrative developed in the book argues that to innocentarem, DOPS agents who tortured the counter would have improvised a farce: Viviani was terminated by a possible terrorist Simonal. To give an air of credibility to the story, the singer signed document that took accustomed to "cooperate with information that led this section of the [DOPS] several times to thwart subversive movements in the arts". [2] In 2011 it launched the book "Simonal: who does not swing die with his mouth full of ants," the historian Gustavo Alonso, by Editora Record. In it he shows a complex panel of the 60/70, making it clear that Simonal was not the only one who flirted with the regime, and discusses the recent rehabilitation of the singer. Alonso points out an intriguing question: Simonal being victim or perpetrator, the company continues to see how tough the dictatorial regime, which the historian seeks to question. He shows how several MPB artists flirted with the dictatorship, including Elis Regina and Jair Rodrigues, Tom Jobim, João Nogueira, the group The Originals Samba, artists like Tonic and Tinoco, tropicalistas, Jorge Ben, Chico Buarque and even, among many others. The author denies that racism has been instrumental in the ostracism of Simonal, which, with the vast majority of the population, was a defender of the vulgate idea of "racial democracy". The conception that Simonal suffered "racism" by the company contributes, according to Alonso for the victimization of the singer, who also finally able to enter the pantheon of "victims" of the regime, i.e., beside the company also "victimized" who finds it difficult to recognize the role of executioner. For the historian, the way of remembering Simonal victimized today does not problematize the support of society and the regime is silent on the main reason for the exclusion of the singer: the incessant flirting with the mass culture through Pilantragem and competition with Tropicalismo cannibalistic modernization of Brazilian music. Before Tropicalismo, Simonal already mixed the guitars in Brazilian music, also flirted with the mass culture and embodied the pop world and left the mock folk and protest music. Alonso shows how, in the '60s, and Tropicalismo Pilantragem were even confused, such is the similarity between the projects that ultimately took different paths, especially after the exile of Bahia. While a project managed to put in a tropicalist Ministry of Culture, Gilberto Gil in office Lula (2002–2010), the Pilantragem has been erased. Perhaps because, according to Alonso, the Pilantragem was the version of "trickery" in the years 60/70, ambiguous and paradoxical, and that despite popular unable to incorporate the intelligentsia, whether of left or right. 'Given the many questions it poses, the book "Simonal:quem não tem swing morre com a boca cheia de formiga ", was considered by Arthur Xexéo in column 3 August 2011 in the newspaper O Globo as "flammable". Second Xexéo, the book by Gustavo Alonso is able to cause "an explosion and both in the bowels of MPB". [14] In 2009, the documentary was released Simonal - Ninguém Sabe o Duro que Dei, directed by Claudio Manoel (the troupe Casseta & Planeta), Michael Langer and Calvito Leal, who paints a picture sympathetic to the singer, although it aired a long statement from Raphael Viviani. According to Manuel, Simonal "paid a penalty too harsh, disproportionate to what he did because his conviction was until the end of life. He had no amnesty". [15] [16]
