REVISTA DO ROCK - Rio de Janeiro 1960

Brazilian rock had its first mouthpiece in 'Revista do Rock', a monthly magazine devised by  journalist and song-writer Jeanette Adib. It was composed and printed in Rio de Janeiro. Its first issue released in August 1960 had Elvis Presley on the cover.

Miss Adib had been in the music-reporting-business since the early 1950s, having worked for women's rag 'Jornal das Moças', then moved on to illustrated weekly magazine 'Revista da Semana' where she wrote leading articles about show business people like Elvira Pagã who claimed Elvis Presley had 'copied her style'; Chico Alves and the aftermath of his death; Noël Rosa's former partners' lack of inspiration after his death; Cauby Peixoto and the campaign of innuendos about his sexuality promoted by certain reactionary quarters around the nation; Leny Eversong's triumph in Las Vegas, USA; Angela Maria's desire to become a nun and Maysa's estrangement from her ex-husband. 

Jeanette also worked for 'Club dos ritmos' a lyrics-only magazine in 1956 and a did a column 'Vendo e ouvindo' (Seeing and listening) at 'Rio Magazine'. 

Circa 1957, Miss Adib landed a job with powerhouse 'Revista do Radio'. She was to manage one of their off-shoot 'Vamos Cantar', the leading lyrics-only magazine in the country. 

In that same year, owner-director Anselmo Domingos asked Miss Adib to do a special issue of 'Vamos Cantar' featuring rock'n'roll lyrics. They were surprised how quickly it sold out at news-stands all over Brazil. Adib immediately realized there was a strong market for a teenager-oriented publication which had been completely overlooked by the experts in the field. 

Jeanette Adib saw a pot of gold sitting at the end of the rock'n'roll rainbow and started working on the idea of herself launching a lyrics-magazine in which rock'n'roll would have a prominent place. First, though Miss Adib had to prove she could manage a magazine of her own so she made up 'Eu Canto', a lyrics-only magazine. 'Eu canto' became the new-kid-in-the-block by late 1958, competing with the likes of 'Vamos Cantar', 'Canta Moçada', 'A modinha popular', 'Melodias' etc.

'Eu canto' was such a smash hit that Miss Adib launched a second magazine in August 1960: 'Revista do Rock' catered for teen-agers & teeny-boppers and would last for more than a decade. 

In the late 1950s, Brazil had two main cultural nodes represented in the cities of Rio de Janeiro and São Paulo. Rio had been Brazil's capital for 200 years until 21st April 1960, when it was abandoned in favour of Brasilia. But Rio still kept a superior cultural infrastracture throughout the 1950s.

Rio and Sao Paulo had different radio stations, different hit parades and sometimes what played in one city didn't necessarily play in the other. Sergio Murilo, had been a child performer and still as a teen ager he covered an Argentine rock tune for Columbia called 'Marcianita' which went up to #1 in 1960. He followed it up with 'Broto legal', a cover of Arlene Fontana's 1959 hit 'I'm in love' and soon was considered Rio de Janeiro's 'King of rock'. Rio's 'queen of rock' could be either Sonia Delfino or Celia Vilela. 

São Paulo was a different milieu... Carlos Gonzaga, who was Black and older than the average heart-throb was actually the best-selling rock'n'roll singer making him a natural 'King of rock'. But that never really happened due to his being Black. Gonzaga was never crowned as King of Rock, full stop.

Celly Campello & Sergio Murilo as the Queen and King of Brazilian Rock, on the cover of Revista do Rock # 19, February 1962.

It took Revista do Rock more than a year to find out who the Queen & King of Rock'n'Roll were. The campaign started in late 1960, ran through 1961 and the final results were shown to the public in January 1962. This list was published by Revista do Rock in February 1961, when Celly Campello was already the most popular among female rockers. Among the male rockers, Celly's older brother Tony Campello took the lead, with Sergio Murilo coming right behind him. 

 Celly Campello on the cover of Revista do Rock  # 9 - April 1961.

Now, in São Paulo or Rio for that matter, there was no doubt who the real rock queen was: Celly Campello, the one and only Celly hailed from a white middle-class family of Italian descent who lived in Taubaté-SP. She had a perfect pitch and could swing to boot. Celly was a natural and there would never be anyone like her. She retired at the 'mature' age of 20 years in April 1962, and married an engineer who worked for Petrobras, the Brazilian national petrol company. 

from left to right.: Lucio Alves, Armando Louzada, Célia Villela, Jeanette Adib and Ademilde Fonseca. 'Jornal das Moças', 5 April 1956.

Jeanette Adib at Radio Nacional (left); Miss Adb inserts her ballot for the Revista do Radio's Best of 1957 competition.

Elvis # 1, August 1960; Sonia Delfino, Sedaka, Cauby & Celly # 2, September 1960.

 Connie Francis # 3, October 1960; Johnny Restivo # 4, November 1960.

Paul Anka Christmas issue # 5, December 1960; Brenda Lee # 6, January 1961; with a heavily touched photo of Brenda Lee on the cover. 

Frankie Avalon # 7, February 1961; Elvis & Juliet Prowse # 8, March 1961.

Celly Campello # 9, April 1961; Fabian # 10, May 1961.

Cliff Richard, Bill Halley & his Comets, Cleyde Alves & Ronnie Cord plus Celly's brother, Tony Campello #11, June 1961; Neil Sedaka # 12, July 1961. 

Connie Francis is the cover girl for the 2nd time at # 13, August 1961, when RR celebrates its 1st year; Sergio Murilo # 14, September 1961.

Cliff Richard # 15, October 1961; Brenda Lee 2nd time on the cover # 16, November 1961.

Elvis on the cover for the 3rd time, # 17, December 1961; Ricky Nelson # 18, January 1962. 

Celly Campello & Sergio Murio # 19, February 1962; Paul Anka # 20, March 1962.

Connie, Frankie Avalon & Tony Campello # 21, April 1962; Brenda Lee, Brian Hyland & Pat Boone # 22, May 1962.

Neil Sedaka, Demétrius & Cleyde Alves # 23 June 1962; Bill Haley # 23, back-cover.

Restivo, Celly & Ronnie # 24 July 1962; Paul Anka (2nd time) # 25, August 1962 (2nd Anniversary);

Elvis (4th time) # 26, September 1962; Chubby Checker, King of Twist # 27, October 1962.

Fabian (2nd time) # 28, November 1962; Brenda Lee & Elvis # 29, December 1962.

Neil Sedaka (3rd time) # 30, January 1963; Tony Campello on the back cover. 

Celly Campello # 31, February 1963 (1st fortnight) 1963;  even 9 months after Celly got married she was still on RR cover. Bobby Darin # 32 February 1963 (2nd fortnight);

Connie Francis # 33, March 1963; Bobby Rydell on the back-cover # 33.

Chubby Checker again # 34, April 1963; Paul Anka # 35, May 1963.

Elvis (6th time) # 36, June 1963; Brenda Lee (5th time) # 37, July 1963.

 Rydell, Cleyde & Joey Dee (Starlighters) # 38, August 1963; Elvis (7th) # 39 September 1963.

Rita Pavone, Paul Anka & Dion (who's been cut out) # 40, 1964. 

Elvis, Sergio Murilo e Johnny Restivo, constantes personagens do Revista do Rock # 5.

Revista do Rock # 10, May 1961; even though Philadelphia rock teen-idols never quite made it in Brazil, Miss Adib's 'Revista do Rock' championed Mr Dick Clark's rookies especially  Fabian because of his good looks. 

Carlos Imperial, Neil Sedaka & RCA man Ramalho Neto.

Fernando Costa, Rio's local rock sensation;  Maureen O'Cannon's 'Oh, Johnny'.

Issue # 10 showing The Platters singing at TV Tupi in Rio de Janeiro in 1957; plus Sergio Murilo & Sônia Delfino - the King & Queen of Rock of Rio de Janeiro. São Paulo had different royalties.

Frankie Avalon # 7, February 1961.

Sergio Murilo as seen by 'Revista do Rock' # 7.

RR deves into Italian rock.

Celly Campello # 9,  April 1961.

Carlos Gonzaga holds his Chico Viola award... Elvis, the Pelvis in blue... 

Célia Vilela wears a blonde wig alongside her sister Marlene; Sergio Murilo's smiling face...

Sergio Murillo & Ronnie Cord at Teatro Record in March 1961. 

Paul Anka's at his parents' Sunday dinner...

Luiz de Carvalho & Ronnie Cord; Neil Sedaka & a Brazilian fan...

George Freedman reads RR and plays the guitar; Sonia Delfino's glossy...

Cliff Richard, Bill Haley, Cleide Alves & Ronnie Cord, Tony Campello # 11, June 1961.

Neil Sedaka # 12, July 1961.

 Sergio Murilo # 14, September 1961.

Cliff Richard # 15, October 1961; Cleide Alves between Roberto Carlos (referred to only as 'a friend') & George Freedman; Sergio Murilo is mobbed by eager fans in São Paulo. 

Neil Sedaka Suplemento December 1961;   Sergio Murilo, Suplemento February 1962.

Celly Campello & Sergio Murilo, February 1962. Renato & seus Blue Caps would have to wait another 3 years until the advent of The Beatles to get noticed by the public.

Chubby Checker # 27,  October 1962.

Revista do Rock Suplemento  # 8, May 1962.

Miss & Mister Rock do Brazil competition. Here are the names and photos of 19 hopeful youngester who wanted to become Mr. or Miss Brazilian Rock: 1. Waldemar Ferreira da Costa; 2. Gelson Assis Dutra (alfaiate); 3. Roberto Alves da Silva; 4. Lucia Marcia Ribeiro dos Santos (Colégio Santa Teresa); 5. Ellen Farinazo; 6. Peter Fricke (estudante de contabilidade); 7. Renato Purchel (Niteroi); 8. Jose Fernando Barroca (torneiro); 9. Delcio Meirelles; 10. Accacio Paulino (tintureiro); 11. Marcio Tadeu Pires Afonso (auxiliar-de-justiça); 12. Silas Marques Peres; 13. Jorge Ney Lepesten; 14. Carmelina Ruz; 15. Idicéia Rodrigues Barbosa (estudante contabilidade); 16. Robson Ananias (dactilografo); 17. Sonia Regina Fonseca; 18. Mairanka (?); 19. João Alfredo Neto (Sorocaba).

Neil Sedaka # 30, January 1963.

Connie Francis # 32, March 1963; Celly Campello on the back cover. 

Bobby Rydell, Cleide Alves & Joey Dee # 38, September 1963.

Histórico da  Revista do Rock

O número 1 da Revista do Rock é de Agosto de 1960 com Elvis Presley na capa. Sendo mensal , a RR foi publicada de Agosto de 1960 a Novembro de 1965.

A partir do número 52 já aparecem na capa Agnaldo Rayol e Rosemary. A fase inicial é a mais interessante, pois as fotos que saiam dos cantores brasileiros eram da fase inicial do rock.

Publicação Mensal da Editora Rio Branco Ltda.

Diretora: Jeanette Adib

Redação: José Adib – (chefe) – Saldanha Marinho – Carlota – Van Gold – Carlos de Souza - Tesourinha

Redação: Avenida Rio Branco, 185/5º.andar – grupo 520 – Rio – Tel: 42-0319

Distribuidor exclusivo para todo o Brasil: Fernando Chinaglia – Rua Teodoro da Silva, 907 – Rio de Janeiro

Venda avulsa: Cr$ 20,00; Assinaturas: Semestral – Cr$ 180,00 – Anual – Cr$ 360,00

Tony Campello, Demétrius, Cleide Alves, Ronnie Cord, Carlos Gonzaga  nunca mereceram uma capa somente deles. Talvez tenha saído em alguma RR que eu não tenha. Mas como teclei acima, as que me faltam são já da época da JG. A fase inicial alguns cantores brasileiros apareceram na capa com outros cantores brasileiros e estrangeiros. Já Roberto Carlos merece uma capa, mas aí já está na época da JG.

Concordo que a coleção é um tesouro e eu também cortei vários retratos para fazer um álbum. É uma revista muito difícil de se encontrar em sebos.  A Revista do Rock era uma revista carioca, com distribuição para todo o Brasil, haja vista seu irmão comprou alguns números.

A Revista do Rock pegou a parte do rock que nós, da 2a. geração do rock, mais gostamos.

Eu considero meu irmão Fernando, nascido em 1946 como da 1a. geração do rock, e nós, que nascemos no finalzinho dos anos 40 (eu em 1949) ou até 1952, como da 2a. geração do rock.

Meu irmão Osvaldo, que nasceu em 1953, eu já considero da 3a. geração do rock, pois ele já foi fã da Jovem Guarda, ao passo que nós, da 1a. e 2a. geração não fomos fãs da JG.

Que tal essa minha 'definição'?  Tirei agora da minha cabeça, mas faz todo sentido do mundo.

Conversava eu com um amiga sobre meu relacionamento com os fãs de várias correntes musicais. Eu disse a ela:  'Eu percebo que um cara é mais jovem do que eu quando ele gosta de Jovem Guarda!'  Se fulano/fulana gosta de JG é porque tinha menos de 14 anos em 1965.

Apesar da Revista do Rock ter terminado em Novembro de 1965, justamente quando a chamada Jovem Guarda começava seu 'reinado', ela foi 'ressuscitada' em meados da década de 70. O tamanho diminuiu e ficou como se fosse uma Vigu (Violão & Guitarra) ou uma revista Intervalo.

Montagem feita pela seção de Arte da 'Revista do Rock' em 1964, mostrando Rita Pavone, recortada da capa de seu 1o. album de 1963 e Paul Anka numa foto de 1962. Por incrível que pareça, Anka & Pavone acabaram gravando dois duetos nos estúdios da RCA em Berlin em 1964. 'Revista do Radio' não era apenas uma revista, mas adivinhava o futuro também.

Letra de 'Hey mama' e foto dos irmãos Tony & Celly Campello em azul; Fã-clubes aproveitavam as páginas da Revista do Rock para anunciarem de graça seus endereços.

Lyrics-magazine 'Eu canto' # 22 had this special rock'n'roll-lyrics-only edition in 1959 and it sold completely out just like 'Vamos Cantar' had done in 1957. Actually, Cauby Peixoto's photo came from Jeanette Adib's archives as she had written an article for 'Jornal das Moças' - a 1950s women's magazine that Miss Adib used to work for.

1959's Rock-special-edition of 'Eu canto' had the same lay-out 'Revista do Rock' would incarnate 6 months later. Jeanette Adib didn't have to do much thinking about the lay-out of the new magazine she planned to launch in August 1960: a lot of lyrics, a lot of pictures even if they were not the best quality around... and a few biographies of heart-throbs and cool dudes.

'Eu canto' # 4, 1960.

Celly Campello, Tony Campello, Neil Sedaka, Elvis Presley, Brenda Lee, Paul Anka, Sergio Murilo, Connie Francis, Frankie Lymon, Frankie Avalon & Fabian. Where is Carlos Gonzaga? 

Brazilian rock had many phases. First came those old acts like Nora Ney, Cauby Peixoto, Agostinho dos Santos that eventually sang fox-trots. When Bill Haley & His Comets went to #1 in Brazil, multinational labels like RCA Victor, Columbia, Odeon (EMI) drummed up their staff to sing anything related to the new craze so Nora Ney was told to record 'Rock around the clock' in English but it could not compete with the original product. Agostinho dos Santos went a step further and covered Bill Haley's 'See you later alligator' as 'Até lógo, jacaré'... then Cauby Peixoto recorded 'Rock em Copacabana' written by publicity man Miguel Gustavo which is considered the first Brazian rock'n'roll.

In 1958, guarania-singer Carlos Gonzaga covered Paul Anka's 'Diana', which went to Number One all over the country. By mid-1959, an unknown teenager from Taubaté-SP covered Neil Sedaka's 'Stupid cupid' which was the best selling single of the year. 

Three years later, in 1962, an instrumental guitar-band called The Jet Blacks took a cover of The Shadows' 'Apache' to #1 and changed the landscape... every young man wanted to buy a guitar and become a rock'n'roller.

Jeanette Adib as a song-writer 

'Dê o fora' (Roberto Carlos-Jeanette Adib) recorded by Wanderlea in her 1964 EP for CBS 56154.

'Ouvindo o ring-a-ding' (Hey Ring-a-ding) (Eddie Curtis) originally recorded by Connie Francis on 9 January 1962 - adapted in Portuguese by Jeanette Adib - included in Meire Pavão's 1965 album 'A Rainha da Juventude' released by Chantecler CMG-2333.

'Eu não ligo, baby' (Ain't that better, baby?) (Cathy Lynn-Phil Medley) originally recorded by Connie Francis on 4 January 1962 - adapted in Portuguese by Jeanette Adib - included in Meire Pavão's 1965 album 'A Rainha da Juventude' released by Chantecler CMG-2333.

'A loucura das garotas' (Paulo Sette-Jeanette Adib) by Cyro Aguiar in 1966 for Continental Discos (CS-33-405)

'Receita para me conquistar' (Jeanette Adib-Aluizio) by Cyro Aguiar in his 1967 LP 'Inspiração' - Continental PPL-12.312. 

Hamilton di Giorgio - Os Vikings

Amilton Di Giorgio was born on 22nd September 1942, and died on 29 May 2023. 

Hamilton Di Giorgio at the height of his singing career. He had a wistful look... the opposite of your usual rock idol.

'My heart is an open book' (originally done by Carl Dobkin Jr.) b/w 'I'm gonna get married' (originally done by    ) was Hamilton Di Giorgio's 1st single for Young Records. Hamilton was arguably the best singer in the label. 

Sam Cooke's 'Teenage sonata' b/w Bobby Rydell's 'We got love' was Hamilton's 2nd single for Young. 

'Anjo triste' (Blue angel) 78 rpm - Hamilton Di Giorgio covers Roy Orbison hit b/w 'Vão, bidú, que vão' (Come go with me) (C.E.Quick-Portuguese words by H.Di Giorgio) released by Chantecler in 1962.

In 1965, Hamilton covers Umberto Bindi's 'Il mio mondo' (U.Bindi-Gino Paoli-E.G.) as 'O meu mundo' b/w 'Video tape' for Fermata.

Hamilton di Giorgio as he appeared at a 2-page article written by Josino Teodoro for monthly music rag 'Melodias' in March 1967 at the time RCA Victor released 'O bolha' b/w 'O mar'.which turned out to be his last foray at show business. 

Soon later, Hamilton would started working in a bank and a few years later in computing where he could mathematics which was his second passion after music. 

Ele confessa que gosta muito de brincar com números, adora matemática e seguiria, com prazer, a carreira de físico nuclear ou matemático, se não fôsse cantor.

Josino Teodoro got mixed up when it came to biographical notes. Hamilton started his professional career at Young Records in 1959, not part of a group with that name but as a solo artist. Hamilton actually recorded 4 songs at Young, in 1959; 4 songs at Chantecler in 1961, all sung in English which were part of an Extended Play; 2 additional songs (this time sung in Portuguese) at Chantecler as a 78 rpm single; then a single at Fermata in 1965, and finally 2 sides at RCA Victor in 1967, which amount to 14 songs, not 6 as Josino wrote. 

In late 1966, Hamilton sat down with his brother Eduardo Alberto Di Giorgio and they wrote the 2 sides of what would be his last effort at show business: 'O mar' (The sea) b/w 'O bolha' (The nerd). Producer Ramalho Neto was trying hard to get a foot at the lucrative Jovem Guarda (teeny-bopper) market but to no avail. 

Os Vikings (irmãos Diógenes e Olavo) em reportagem da revista Intervalo.

Os Vikings foram celebres e destemidos guerreiros nórdicos. Hoje são apenas uma legenda histórica. Mas seu nome continua nos dias atuais e bastante ativo. Principalmente na musica, onde é representado por 2 irmãos brasileiros, que agora buscam horizontes mais amplos.

OS VIKINGS invadem os Estados Unidos

Dentro de alguns mêses o terrritório norte-americano será invadido pelos 'Vikings', que aportarão nos Estados Unidos, para, à semelhança dos seus ancestrais combater intrépidamente os 'inimigos'. Os modernos Vikings irão à luta munidos de violão e guitarra. Os invasores se compõem de 2 soldados apenas: Diógenes Budney, de 21 anos, e seu irmão Olavo, de 17 anos. Diógenes possue um dos timbres vocais mais graves do Brasil, e Olavo alcança elevados tons agudos. Quando descobriram que suas vozes se casavam perfeitamente, reuniram-se em dupla e começaram a cantar. Primeiro em Londrina, logo depois em São Paulo, onde gravaram um compacto-simples bom. Esperavam encontrar mais apoio entre o público. Mas desiludiram-se com as muitas promessas e poucas realizações. Tomaram, então a decisão de invadir os Estados Unidos. Para lá eles irão. Não só para cantar, mas também para estudar. Diógenes vai ser engenheiro eletrônico e Olavo, fisico nuclear. E serão os engenheiros mais afinados do Brasil, sem dúvida. Os livros só substituirão as guitarras se os americanos não gostarem deles.

banjo e violão, os instrumentos dos Vikings... irmãos Budney de Londrina-PR.

Diógenes & Olavo Budney at revista 'Melodias' (May 1966) with the list of best selling records of March 1966. 

FRIENDS's photo-gallery

Here are some friends of mine who are somehow connected with the music business. Record collectors, musicians, bloggers, writers etc. Some, unfortunately, have already passed away leaving the dream to be taken by us the living...

Gabriel Gonzaga e Marcia Espíndola aka Marcia Sedaka, na tarde de autógrafos do lançamento do livro 'A musica popular no Radio Paulista' de Thais Matarazzo, realizada em 27 Abril 2013, na Livraria Folha Seca na rua do Ouvidor, no Rio de Janeiro.

Carlus Maximus, blogger.

Maximus & Jaime Moura, num domingo de manhã, esperando para entrar na feira de vinil do Tangerino, na Galeria Trianon, na Avenida Paulista.

Manoel, Maximus, Jaime & Recruta Zero na Av. Paulista em 2012.

Carlus escuta Jaime atentamente...

Rubens Stone, Carlus Maximus, Manoel, Jaime Moura & Recruta Zero (Osvaldo).

Jaime Moura & Benê no Tangerino em Novembro 2008 (Benê faleceu em Julho 2012).

Maximus & Jaime Moura no lançamento do livro de Albert Pavão em 2012.

Jaime Moura & Hugo Giovanelli na homenagem à Roberto Martins em 2009.

Jaime Moura mostra os CDs da obra de Roberto Martins na festa dos 100 anos de seu nascimento realizada no salão de festas da DoCarmo, na Rua Oscar Freire. 

Turma do Pateo do Collegio na homenagem à Roberto Martins.

Paulo Iabutti, Norma Hauer (fã de Carlos Galhardo), Jaime Moura, Vander Loureiro, Carlus Maximus, Denise Duran, Gabriel Gonzaga, Cristina Costa, Fabio Siqueira, Claudio, Milton Baumgarten, Hugo Giovanelli, seu Nenê, Diego Nunes & Bibi; sentadas: Mara, Sirlei, Thais Matarazzo e Antonio Marmo. 

Jaime Moura  faleceu na madrugada de 24 Outubro 2012

Penso que sou um Marujo que está atravessando o Cabo da Boa Esperança, sabendo que, provavelmente, terá que enfrentar o Cabo das Tormentas.  Jaime Moura.

Mensagem que Jaime Moura escreveu em 21 Setembro 2012 para a comunidade MC & JG (Musica Cafona & Jovem Guarda) do Orkut, da qual ele participara ativamente por muitos anos:

Caríssimos amigos dessa sempre maravilhosa comunidade. Nesta oportunidade quero expressar toda a minha gratidão por terem se lembrado de mim. Há muito tempo não venho participando da comunidade por motivos de saúde. Como minha saúde vem se agravando e temendo perder a lucidez, quero aproveitar esse momento para externar a todos o meu mais profundo e sincero agradecimento pelas alegrias e amizades aqui encontradas. Deixo a cada um de vocês um forte abraço e meu ADEUS.  Jaime Moura.

É muito triste ler essa mensagem, mas ao mesmo tempo é legal, pois mostra como o Jaime se preocupava com os amigos, não deixando nada ao acaso. um forte abraço a você, Jaime...Carlus Maximus.

É com grande tristeza que após alguns anos de luta contra o câncer, a guerra finalmente acabou. Uma guerra em que não existe vencedores nem perdedores, pois é tão natural quanto nosso nascimento. A única certeza dessa vida.

Recentemente a doença que minava seu fígado e outras partes do corpo, acabou por tomar todas as forças e diminuir, dia após dia, sua consciência. Seu pedido para Deus era apenas de não ficar em um hospital em estado vegetativo. Mantivemos meu 'eterno amigo' em casa, e cuidamos para que tivesse uma morte digna, junto à familia, como havia pedido. Porém na noite do dia 23 Outubro 2012, após não responder a nenhum estímulo e apresentar falta de ar constante, tivemos que chamar a ambulância que prontamente nos atendeu. A única escolha foi levá-lo ao Pronto Socorro, onde veio a falecer as 3:30 da madrugada do dia 24 de Outubro de 2012. 

Há alguns dias, com grande dificuldade para se comunicar, passou horas tentando me fazer um pedido, este foi uns dos seus últimos momentos de lucidez: 'Agradeça meus amigos pessoais e das comunidades no Orkut, que me apoiaram e ajudaram tanto musicalmente, quanto relacionado à minha doença nesses últimos anos.'

Emerson William Moura.

Jaime & Carlus Maximus giving a big hug when meeting at Tangerino's Vinyl Fair.

MC & JG (Musica Cafona & Jovem Guarda) 1st Meeting - 2007 - from left to right: Ohm, Jaime Moura, Recruta Zero, Mauricio Ignácio, Luiz (Carlus Maximus), Camila (Bene's daughter), RubenStone, Walter Teruo & Benê.

Everyone looking for his Holy Grail. Manoel, Carlus Maximus, Jaime Moura, Recruta Zero, João Paulo, Ruben Stone & João Paulo JG.

Walter Teruo Tsutsui, Carlus Maximus, Doris Castro & Luiz Gonzaga Castro. N.B.: Walter Tsutsui died on 16 April 2021, victim of Covid 19. R.I.P. dear friend. 

Walter (behind someone's back), Maximus, Doris Castro & Luiz Gonzaga. 

Tatah Rocker in his only visit to Tangerino's fair...

see Doris Castro talking with Sergio Gonzaga at the back. 

Albert Pavão & Jaime Moura.

Carlus Maximus & Jaime Moura at Ed Carlos' Restaurant in Cambuci when Albert Pavão had an autograph session for his 2nd edition of Rock'n'roll history.

Some time circa 2012; from left to right: Vander Loureiro (former Beverlys), Carlus Maximus, Thadeu Alves (photographer), Samuel Waiswol, Mirian Maria Motta, João Paulo de Oliveira, Non-Identified tall fellow wearing a striped shirt, Tania Avelar & Roberto (record collector & The Jet Blacks' manager).

Album & EP covers

Tony Campello's 1960 album.

Demétrius was the first Young roster member to break out on his own when he moved to Continental Discos in 1961, a year after Young folded in. He had a major hit with 'Corinna, Corinna', sung in Portuguese, that made all the difference. 'Ídolos da Juventude', released in 1962 was his first album ever.

Demétrius at first intended to record 'Corinna, Corinna' in English but he was advised against it by Diogo Mulero aka Palmeira, Continental A&P man. Palmeira was right, after all.

Demétrius on the cover of 'Revista do Radio' n. 771.

Prini Lorez's 1964 blockbuster album. It is not much of an album sleeve but considering it had to hide Prini's face from the public... it is not that bad. Prini Lorez was a gimmick Jose Scatena, the owner of RGE concocted to rip off Trini Lopez's persona. Reprise was late in releasing Trini's album in Brazil, so Scatena recorded José Gagliardi Junior as if he were Trini... he changed Zezinho's name to PRINI LOREZ and  the singles 'America' and 'La bamba' went straight to number One at the Brazilian charts. What a con artist Scatena was!

Celly Campello's 3rd album for Odeon-EMI.

The Rebels, with 13 year-old Nenê at the drums in an album released in 1963, even though the sleeve was shot in 1962 for their EP 'Rua Augusta Zero Hora' for independent (tiny) label VS.

The Rebels' EP for VS Records.

Demétrius & Roberto Carlos no programa de José Messias - RR 15 June 1963.

EP (compacto-duplo) by RCA's biggest teen-age heart-throbs circa 1964: Sergio Murilo, Ronnie Cord, José Ricardo & Adilson Ramos who started as a rock singer but had a major detour into Brazilian easy-listening aka 'bolero singer'.

Bobby di Carlo on the cover of 'Intervalo', 12 March 1967; by the time he hit again with Michel Polnareff's 'A boneca que diz não' (La poupée qui fait non).

Yeda Maria's EP for RCA Victor