Käyttäjä:Armadillopteryx/Hiekkalaatikko

Caymmi syntyi Bahian Salvadorissa Durval Henrique Caymmille ja Aurelina Soares Caymmille. Hänellä oli kaksi pikkusiskoa, Dinahir ja Dinah, ja yksi pikkuveli, Deraldo.^[6] Durval Henrique Caymmi, ammatiltaan virkamies, oli italialaisen maahanmuuttajan pojanpojanpoika, ja hän soitti usein pianoa, kitaraa ja mandoliinia kotona.^[1][6] Tämän vaimo oli syntyperäinen bahialainen, joka vietti päivänsä kotiäitinä ja lauloi usein lapsilleen.^[1][6] Caymmi itse lauloi hänen kirkkonsa kuorossa suurimman osan hänen lapsuudensa ajasta.^[1] Hän jätti koulun 13-vuotiaana, jolloin hän aloitti bahialaisen sanomalehden O Imparcialin toimittajana.^[1][3][4] Kun O Imparcial lakkautti toimintansa kahden vuoden jälkeen, hän alkoi työskennellä katukauppiaana.^[1]

Vaikka Caymmi ei opiskellut musiikkia muodollisesti, hän opetteli kitaraa yksin 1920-luvulla ja alkoi säveltää, laulaa ja soittaa omia laulujaan bahialaisilla radio-ohjelmoilla noin 1930.^[1] Hän nousi julkiseen huomioon ensimmäistä kertaa vuonna 1933, kun hän sävelsi laulun "O Que É Que a Baiana Tem?" ("Mitä bahialaisilla naisilla on?") laulajalle Carmen Mirandalle.^[2][3] Vuonna 1936, 22-vuotias Caymmi voitti lauluntekokilpailun Salvadorin karnevaalijuhlissa. Palkinnoksi hän sai vaaleanpunaisen, satiinista tehdyn lampunvarjostimen.^[1] Varhaisesta musikaalisesta menestyksestään huolimatta, hän muutti Rio de Janeiroon vuonna 1938 opiskelemaan lakia ja palaamaan töihin toimittajaksi.^[2][3] Diários Associados -sanomalehdessä työskennellessään, Caymmi vietti vapaa-aikaansa säveltämällä musiikkia ja laulamalla radio-ohjelmassa nimeltä Dragão da Rua Larga. Hänen suosio lähti nousuun ohjelman yleisön avulla.^[1]

Iso osa Caymmin sanoituksistaan ylistää bahialaisia elämäntapoja, rantoja, kalastajia ja naisia.^[3] Hänen tyyliinsä vaikuttivat koillis-Brasilian perinteiset musiikin tyylilajit, varsinkin afrobrasilialainen musiikki ja samba.^[4] Viittä vuosikymmentä pitkin Caymmi teki noin 20 albumia, toisissa laulamalla ja soittamalla kitaraa solistina ja toisissa yhtyeen tai orkesterin säestämänä.^[2] Vaikka aktiivisena suurimman osan 1900-luvusta, Caymmi sävelsi vain noin 100 laulua elämässään.^[4] Tästä huolimatta, häntä kehuttiin elämänsä ajan teostensa poikkeuksellisesta laadusta. Silloin tällöin hän teki yhteistyötä Antônio Carlos Jobimin kanssa. Tämä kutsui Caymmia yleiseksi neroksi ja Brasilian valtavimmaksi säveltäjäksi.^[4] Monet nykyajan brasilialaiset artistit, mukaan lukien Caetano Veloso, Beth Carvalho ja Gilberto Gil kertovat, että Caymmilla on ollut suuri vaikutus heidän omaan lauluntekoonsa.^[4]

"O Que É Que a Baiana Tem?" herätti lisää huomiota, kun Miranda esitti sen vuonna 1939 ilmestyneessä elokuvassa Banana da Terra. Tämän esityksen ansiosta Mirandaa kehuttiin kansainvälisesti, ja hänen uransa lähti nousuun. Tämän menestyksen jälkeen, Caymmi rupesi panostamaan enemmän musiikin tekemiseen, ja hän kirjoitti lisää lauluja brasilialaisiin elokuviin.^[2][4] Vuoden 1939 loppupuolella hän sai levytyssopimuksen Odeon Records -yhtiöltä, jolla hän äänitti ensimmäiset kolme kappalettansa, "Rainha do Mar"/"Promessa de Pescador" ("Meren kuningatar"/"Kalastajan lupaus"), "Roda Pião" ("Pyörivä pyörä") ja "O Que É Que a Baiana Tem?"/"A Preta do Acarajé" ("Mitä bahialaisilla naisilla on?"/"Tummaihoinen nainen Acarajé'sta").^[8] 1940-luvulla hänen julkisuuskuva kasvoi työskennellessään säännöllisenä esiintyjänä Rádio Nacional -radioverkossa. Hän äänitti laulun "Samba da Minha Terra" ("Kotimaani samba") vuonna 1940 ja laulun "A Jangada Voltou Só" ("Vain lautta palasi") seuraavana vuonna.^[1] Sen jälkeen, vuonna 1944, Caymmi esitti laulunsa "Acontece Que Eu Sou Baiano" ("Olenhan bahialainen") elokuvassa Abacaxi Azul (Sininen ananas).^[4] 1940-luvun loppupuolella, hän osallistui säveltäjän Ary Barroson samba-canção -liikkeeseen. Muut aikakauden kuuluisat muusikot alkoivat tehdä lainakappaleita Caymmin lauluista, kuten Dick Farney, joka äänitti oman version Caymmin "Marina"-laulusta vuonna 1947.^[1]

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]

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]

In 1968, to thank Caymmi for bringing international attention to Brazilian music and culture, 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] In 2015, his tribute album Centenário Caymmi (Caymmi Centennial) was nominated for Best MPB Album at the 16th Annual Latin Grammy Awards.^[9]

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]

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]

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]

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][11] 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."^[12]

Brazilian singer and composer Carlos Lyra praised Caymmi's style for its "suave and romantic colloquialism".^[13] 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."^[12] 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.^[8][14]

Ennen vuotta 1988, kaikki Caymmin albumit lanseerattiin LP-levyinä. Hänen viimeiset neljä albumiaan lanseerattiin CD-levyinä.^[8]

Kaikki Caymmin kappaleet lanseerattiin 78 kierrosta minuutissa pyörivinä gramofonilevyinä.^[8]

Wikimedia Commonsissa on kuvia tai muita tiedostoja aiheesta Armadillopteryx/Hiekkalaatikko.

• Dorival Caymmi Internet Movie Databasessa. (englanniksi)
• Caymmin muistokirjoitus The New York Timesissa (englanniksi)