MARCIA SEDAKA

Marcia & Gabriel Gonzaga in bookshop in Rio de Janeiro. 

Marcia Sedaka is a Brazilian music researcher, record collector, writer, and frequent collaborator within the music blogging community, specializing in the history of early Brazilian rock, international mid-century pop, and radio history. Rather than running her own standalone blog, she is best known for her deep-dive contributions, historical commentary, and shared archival media across several prominent Brazilian music history blogs.

She has written detailed analyses on the origins of national rock, including insights on how record labels like RGE utilized mystery and marketing tactics to launch iconic 1960s artists like Prini Lorez on Brazilian Rock 1957-1964.

Mid-Century Radio & Pop Culture: Sedaka acts as an archival source and commentator on historical radio programming from the 1940s through the 1960s, documenting how European and American artists impacted the São Paulo music scene. 

Her insights and media archives are frequently featured on niche music history platforms like the São Paulo in the 40s, 50s & 60s Blog.

Note: She should not be confused with Ronnie Marcia Sedaka Grossman, the late sister and occasional songwriting alias of American pop artist Neil Sedaka.

Ritmos para a Juventude, TV Paulista, 1960, 1961 & 1962

After TV Record started a weekly rock show commanded by Celly Campello and her brother Tony which opened on Saturday, 10 October 1959, the O.V.C. management knew there was a new teen-age market out there which demanded to be reckoned with.

So in early 1960, Organização Victor Costa signed Moreira Júnior, a young radio man from Santos-SP to lead their own rock show called 'Rítmos para a Juventude' (Rhythms for the Young Set) which was broadcast daily at 4:30 pm by Radio Nacional Paulista and on Sundays at 2:00 pm by TV Paulista, Channel 5. 

MC Moreira Júnior & his partner Lyria Marçal talk to Basilio Alves during 'Ritmos para a Juventude', a rock show TV Paulista started in early 1960. 

'Correio Paulistano', Saturday, 12 March 1960, announces 'Rítmos para a Juventude', broadcast by TV Paulista, Channel 5, on Sunday, 13 March 1960. 

'Ritmos para a Juventude' in its first inception in March 1960. Moreira Junior, Lyria Marçal and Yeda Maria are in the centre, in the back row. 

'Radiomelodias' magazine, April 1960, reports on the poularity of the newest rock show on TV Paulista: The meteoric career of the up-and-coming Moreira Junior, who leads the ratings on Radio Nacional and TV Paulista with his 'Ritmos para a Juventude'. The program is a meeting point for modern youth. Lyria Marçal is his partner and actress Maximira Figueiredo, always dressed in a gown of a professor completes the picture. 

Daily at 4:30 pm on Radio Nacional, and on Sundays at 2:00 pm on TV Paulista, Moreira Junior produces and hosts his show 'Ritmos para a Juventude', bringing together countless enthusiasts of rock, samba, bossa nova, etc. Knowing the large audience of the aforementioned program, we went to its producer to learn more about its success.

Moreira Junior was born in Santos-SP and began his career at Radio Atlântica, as a children's entertainer. He then worked at other coastal radio stations such as Rádio Clube de Santos, Cultura, Guarujá, and Cacique, as a commercial announcer, radio actor, and reporter.

Afterwards, he went into theatre, working with the Rosemary-Mauricy Company, directed by Julio Massari. He earned some money, went to Rio de Janeiro-DF, and after 3 months of hard work, managed to get a job at Radio Nacional, PRE-8, through an audition, as a radio news announcer, sometimes replacing the Esso Reporter.

In 1959, he won numerous awards such as 'Male Revelation', 'Golden Microphone', 'Gold Medal', and two diplomas.

Sometime in late 1960, 'Ritmos para a Juventude', was taken from Moreira Júnior and given to Antonio Aguillar, who had been working for Radio Nacional Paulista and TV Paulista for a few months. Aguillar was the right man at the right place. The radio show proved to be a sucess and soon it was televised by TV Paulista on Saturday afternoons. 

1 9 6 2 

Radiolândia, in 1962, tells all about the popularity of 'Rítmos para a Juventude', which suddenly went viral and became the most popular rock show in São Paulo. 

Ritmos para a Juventude', Radiolândia, 1962. 

Funky Funny Four, studio band in 1971

 

The Funky Funny Four, was a rock studio-band formed randomly in the first semester of 1971, to record this album of mostly covers of US hits. It was a project of formerly independent label Young, which now belonged to Fermata do Brasil, called 'The Funky Funny Four play & sing 16 World's Top Hits, for your dance party', USLP 6260.

The sessions for this album were recorded at the Philips studio in São Paulo, at a time when there were enough Brazilian musicians who grew up learning English and playing rock'n'roll. 

Suely Chagas, who were part of O'Seis in 1965, which eventually morphed into progressive rock Os Mutantes in 1966, and 2 years later had a minor hit with 'Que bacana', which won the First Festival Universitario held by TV Tupi in 1968, tells how the whole business started. Even though Suely won the College Festival accompanied by her band, when it came to record 'Que bacana' for Philips she was accompanied by Os Kantikus. 

Suely tells us that 3 years later, in early 1971, she was approached by Liminha (Arnolpho Lima Filho, former Mutantes bass-player) who told her Philips wanted to record an album of recent US hits covers and he was forming a band and producing the record himself. The band remained nameless up to the release date when someone made sure to include  the word 'funk' or 'funky' to cash in on Rio de Janeiro's latest craze which was the proliferation of dancing venues which supposedly played 'funk music' to its patrons. I think the word 'funny' has been misplaced here; the band should have been named the Funky Four; it makes more sense.

Here is the line-up of the Funky Funny Four, besides Suely & Liminha: Lanny Gordin (virtuoso guitarrist who was the darling of stars who wanted to have a rock-sound in their recordings), Dinho Leme (drums, played with Mutantes too), Pedrinho (singer for a band called Codigo 90), Rafael Vilardi, Roberto Loyola, Regis Moreira (piano),Tobéu ; Fernanda, Lineu & Tomás were background singers.   

Most songs were hits in the USA in the previous 12 months (1970-1971). Some are European hits which never entered the Billboard charts. Here are the songs covered by them:

'It don't come easy' (Ringo Starr); 'Here comes that rainy day feeling again' (Fortunes); 'Pickin' up sticks' (not charted on Billboard); 'Put your hand in the hand' (Ocean); 'Sweet Mary' (Wadworth Mansion); 'Chirpy Chirpy Cheep Cheep' (Middle of the road); 'Rosianna' (Manhattan Transfer); 'Country Sam' (Christie); 'Where are we going?' (Sir Lord Baltimore); 'Never can say goodbye' (Jackson Five); 'Lotti, Lotti' (Blizzard); 'Jodie' (Canadian); 'Sweet and inocent' (Donny Osmond) / 'All you'll ever get from me' (1969 tune by British band The Sweet); 'Cathy, I love you' (Napoleon); 'Treat her like a lady' (Cornelius Brothers & Sister Rose); 'What is life?' (George Harrison); 'When you see Jerusalem'. 

Pickin' up sticks - Kasnat & Katz Fighter Squadron (AZ)

Where are we going? Sir Lord Baltimore (a Brooklyn, NY band)

Jodie - Joey Gregorash (Canadian act)

Cathy, I love you - Napoleon's real name: Herbert Clarence Victor Wong;  born in British Guiana; settled in Brazil in the 1950s as a member of the "Calypso Steel Band";

'When you see Jerusalem' (?)

Lanny Gordin (centre) with Paulo Miklos (right). 

clockwise from the left-back: Arnaldo Baptista, Rita Lee, Mogy, ?, Sergio Baptista &.

Suely & the Kanticus in 1968; Lanny Gordin played the guitar and Raphael Villard the...

Luiz Calanca & Helio Costa Manso, on 1st December 2016.

Luiz Carlos Calanca & Chrissy Hynde at his record shop Baratos Afins. 

Calanca writes for weekly 'Veja' on 23rd February 1993.

Revista do Rock from 1964 until the end

 

I became a fan of Italian singer Rita Pavone when the teenage rocker toured Brazil in June 1964, and I saw her show on TV. It was a small revolution in my life, for since 1963, I had been more interested in movies than pop music which had been my passion since 1959. After Rita I reverted to pop music again. 

I bought everything ever printed about Rita and 'Revista do Rock' was quick in catching up with the trend. RR was the first to make a comparison between the Italian volcano and Brenda Lee. I thought the comparison was fair; after all, being compared with the best it is a compliment.

In January or February 1965, Revista do Rock managed to publish the lyrics of 9 of Rita's songs in English she had recorded in New York and became part of her first US album called 'The International Teen-Age Sensation', released in Brazil in late November 1964. I was ecstatic with joy for withouth them lyrics I would never be able to understand them. 

To this day I don't know how the magazine got hold of those lyrics. Only 3 lyrics were missing: 'Big deal', 'I can't hold back the tears' and 'Too many'! So I spent the next 20 years hunting down those 3 missing lyrics. Rita's English was atrocious and it was almost impossible to understand some of the words she mangled. In the slow songs, Rita did an competent  job, but in the uptempo numbers she was a disaster.

After listening to 'I can't hold back the tears' for 2 decades I finally realised that 'I'm gonna cry till I bring him back to me' which Rita pronounced 'braing' really meant 'bring'. 

In 'Big deal', Rita butchered the lyrics in such a way that it was impossible to get the meaning. But, even so, I managed to understand it, perhaps by inference, for after all, pop music is generally predictable, except when it uses a lot of proper names like in 'Kissin' Time'; but I managed to get that one through Bobby Rydell's recording.

You see, 'Revista do Rock' offered a highly specialized product for the teens who idolized Elvis Presley, Paul Anka, Neil Sedaka, Brenda Lee, Bobby Rydell and others.

I'd like to thank journalist Jeanette Adib from the bottom of my heart for having provided us teenagers with stuff that made our dreams come true. How happy was I reading, re-reading, cutting and pasting material published by 'Revista do Rock'.

Bobby Darin, Brenda Lee & Roberto Carlos # 41, January 1964;  Johnny Restivo on # 41 back-cover. 

Ricky Nelson, Doris Day & Ronnie Cord # 42, 1964.

Jeanette Adib, the editor of Revista do Rock welcomes Connie Francis, who had flown from Rome to Rio de Janeiro in early February 1965. Miss Francis had performed 'Ho bisogno di vederti' at the competition Festival di San Remo 1965; Brazilian impresario Abraão Medina. is seen on the right of Miss Francis. 

Revista do Rock # 48, June, with Connie Francis in Rio at the cover; 1965.

# 50, August 1965; On the cover, a composite made by Revista do Rock's art department showing a Rita Pavone cut out from the cover of her 1st album released in 1963, and Paul Anka in a photo from 1962. Anka was a 'has-been' by 1965, in Brazil, but Jeanette Adib was loyal to the Arab-Canadian till the end. Actually, Anka & Pavone recorded a 45 rpm single in the German language at the RCA studios in Berlin in late 1964, which made them fast friends. They had first met in Paris in late 1963, when Pavone and Anka happened to sing at the Olympia in the same night. Revista do Rock's main topics were: Beatles & Elvis didn't fight; Rita Pavone fell in love with Elvis; The Animals' fans went on strike; Elis Regina's Bossa is colourless; and carried the lyrics of 'Historia de um homem mau' (Ole Man Mose) and 'Os sete cabeludos' by Roberto Carlos; 'L'amore mio' (Remember me) and 'San Francesco' by Rita Pavone; 'Ringo's Theme' by The Beatles etc. 

Revista do Rock # 56 with Trio Esperança, Sergio Murilo & Shawn Elliott in 1966. 

 Revista do Rock # 57, with Meire Pavão & Jerry Adriani in 1966.

teenage heart-throb Wanderley Cardoso at RR # 58, 1966. 

Wanderlea # 59, 1966; Jerry Adriani at # 59 back-cover. 

Roberto Carlos at his peak # 60, 1966.

Wanderley Cardoso on the cover again; # 62, 1966; Leno & Lilian on # 62 back-cover.

Wanderley Cardoso at the cover for the 3rd time, # 64, 1967.

Brazilian rock had many phases. First came older acts like Nora Ney, Cauby Peixoto, Agostinho dos Santos who usually sang fox-trots. When Bill Haley & His Comets went to #1 in Brazil, RCA Victor, Columbia, Odeon (EMI) drummed up their older staff to sing anything related to the new craze so Nora Ney was told to cover 'Rock around the clock' in English. 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 to be the very first Brazilian rock'n'roll.

In 1958, guarania-singer Carlos Gonzaga covered Paul Anka's 'Diana', which went to # 1 all over the country. By March 1959, Celly Campello, an unknown teenager singer from Taubaté-SP covered Neil Sedaka's 'Stupid cupid' which became the best selling single of the year. 

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 & his dog wanted to buy a guitar and become a rock'n'roller.

'Revista do Rock' special issue with the Beatles, in 1967. 

re-born 'Revista do Rock' # 8, 1975. 

Elton John on the cover of a Revista do Rock # 6, 1975.  After a long period of being out of circulation, RR was suddenly resurrected. The back cover was still blue and featured old-time Bill Haley, who at that time was no longer in good health, dying of a heart attack on 9 February 1981, at his home in Harlingen, Texas.

The articles inside are about a whole new crop of R'n'R: Black Sabbath; song lyrics by George Harrison (Ding dong), 'Forbidden Fruit' (Rita Lee), 'Soldier Boy' (Elvis) etc. There are 4 pages of Janis Joplin alone. In the center-fold a great photo of Elton John with 2 more pages with him too.

On the inside cover there is a photo of a special issue with The Beatles, all in blue, like in the old days.

Revista do Rock - no. 6 - Rio, 1975

edited by Jeanette Adib

colaboradores: Luiz Pôrto, Márcia Santos, Fernando Mota, M.S. Mussa, Roberto Gouveia, Heraldo Costa.

correspondência geral: Caixa Postal 15014 - Lapa ZC-06

Rio de Janeiro-RJ 20.000.

Cizinha Moura's 'Brotinho Lili'

Cizinha Moura was one of the many young singers who came into prominence in the mid-to-late 1950s. After singing as crooner of bands or orchestras in night clubs, radio & TV, Miss Moura finally got to record a 78 rpm single for Chantecler in late 1958: 'Fim de ano', a lively waltz to celebrate the end of the year b/w 'Meu barquinho' which was none other that 'My bonnie lies over the ocean' translated by the guitar player Paulo Barreiros.

In 1959, with rock'n'roll already firmly established in the whole country  by the likes of Celly Campello and Carlos Gonzaga, Cizinha recorded her second and last 78 rpm for Chantecler which ended up being a valuable collector's item: 'Viver a sonhar', a rock-ballad b/w 'Brotinho Lili' which is seen in retrospect as her greatest hit.

In the latter part of 1959, Cizinha managed to associate herself with The Beverlys, the very first Black Brazilian do-wop group who had just recorded two singles for the Young label. Cizinha would sing on TV Paulista and other stations accompanied by The Beverlys during this period.

Revista do Radio, 22nd March 1958, publishes a 2-page article about Cizinha Moura and her musical career. Cizinha was born on 15 September 1933, in São Paulo. Started singing professionally at night-club Lido. Next she moved to Campos de Jordão-SP where she was signed by Radio Emissora Campos de Jordão. After a long stint there Cizinha became the crooner of Nancy Montez Orchestra having toured São Paulo state and Northern Paraná stopping at Curitiba-PR.

In Curitiba she performed at night-club Blue Sky where she met composer Ataulpho Alves who invited her to become part of his group of 'cabrochas' (young Black ladies who sang and dance as part of Ataulpho's act) when they would next perform at Hotel Comodoro's night-club in São Paulo and Radio & TV Record. She ended up learning a lot about her trade with Ataulpho and his group. She stayed with them for 3 months - from December 1956 to February 1957. 

Cizinha then decided it was time for her to resume her solo career and signed with night-club Caprice and at the same time appeared at 'Variedades Orniex' on TV Tupi, channel 3. Cizinha took part in the competition to elect the Queen of the Musicians (Rainha dos Músicos) in São Paulo which was won by Luely Figueiró but with Cizinha having got herself a good position. 

Now, as of March 1958, Cizinha sings at night-club African which is one of the best in São Paulo and sings at Radio Record's 'Alegria dos Bairros' and 'Programa Blota Júnior'. 

As 1958 was approaching its end Cizinha's fate took a turn to the bright side when she was signed by Chantecler Records, an independent Brazilian label located in São Paulo which was growing at a breakneck pace being in fierce competition with established multinacionals such as RCA, Columbia, EMI-Odeon. In November 1958, Cizinha recorded two sides of a 78 rpm single. A side contained 'Fim de ano' (Valter Melo) b/w 'Meu barquinho' (My bonnie lies over the ocean) an English traditional tune translated by guitar-player Paulo Barreiros. Both songs had a fair amount of air-play even though it didn't get to be a Top 10. 

Revista do Radio, 22nd March 1958, says former Ataulpho Alves' pupil has almost been crowned a queen concerning her Rainha dos Músicos de São Paulo contest.  

Cizinha shows her legs...

Discography of Cizinha Moura at Chantecler

074 - Fim de ano (Valter Melo) / Meu barquinho (My bonnie lies over the ocean) translated by Paulo Barreiros - December 1958

132 - Cinzas do passado / Meu primeiro beijo  -  Claudio de Barros  -  June 1959

134 - Viver a sonhar (José Nomonio Santos-Venâncio) / Brotinho Lili (Alberto Roy-Domingos Paulo Mamoni) .

23 October 1960 - Adults-only Cine Aurea premieres 'Sexo e vida', according to OESP (Estadão) is only a sensacionalist 'local production' looking for a fast-buck. Cizinha Moura a young rock singer who had a mid-sized hit called 'Brotinho Lili' appears as 'who knows what' in this pre-pornography flick.

from Carlus Maximus to Ricardo Santos: Imagina que encontrei anúncio de filme nacional chamado 'Sexo e vida', e tendo Cizinha Moura no elenco. Fiquei cabreiro! Haveria duas Cizinhas nesse mundo? Depois achei outra citação assim: Cizinha Moura (Brotinho Lili)... Agora, eu não sei o que a 'brotinho Lili' estava fazendo nessa espécie de filme!

from Ricardo Santos to Carlus Maximus: Ihhh, não acho estranho, não. A Cizinha era lindona. E aí nesse filme ela só aparece cantando 'Brotinho Lili' numa cena de baile. As outras 'atrizes' é que são suspeitas, tudo vedetinha, ops, coristas... rs. Outra coisa: pelas suas pesquisas dos anos 1959 a 1962, você deve estar vendo muita coisa com 'strip-tease', não é? Eu e Gabriel Gonzaga até já conversamos sobre a quantidade de shows e filmes que tinham a ver com esse tema. Foi uma onda de uns 2 anos e passou. Hoje (2014) seriam classificados de burlescos. O Brasil entrou tarde nisso, coisa lá dos anos 1910-1920 em Paris ou Berlin.

from Carlus Maximus to Ricardo Santos: Nossa, só Você teria sabido de todas essas coisas. Então, você, de certa maneira, salvou a reputação da Cizinha Moura... rs. 

Olha o que eu achei no Estadão de 1 Janeiro 1961:

Cizinha Moura sings accompanied by The Beverlys 

Cizinha Moura & The Beverlys, a do-wop vocal group.