MARIO AUGUSTO, o twist é bom 1962

Mario Augusto does the twist with a neighbourhood kid... 

Mario Augusto Santos was a Black youth from Jundiaí-SP who liked to sing since he was a child. He worked as an office boy at a local bank and his parents would love to see him graduate from school and become an accountant. But Mario wanted to become a professional singer so he up took a train to São Paulo and started doing the radio stations round. After singing at gong-shows he finally landed a contract with Radio America.

Soon Mario was led by the capable hands of Denis Brean and Lupe Ferreira who took him to Odeon where he recorded his first single. He was lucky when he covered Roy Orbison's 'Claudette' which actually charted well. Mario was signed by Radio Tupi, being one of the attractions on Julio Rosemberg's show.

In 1960, Mario moved over to Copacabana Records and had a mild hit with "Adão e Eva' which he translated from Paul Anka's 'Adam and Eve' but had to compete with Carlos Gonzaga's Fred Jorge translation of the same tune. Mario was signed by Radio & TV Record appearing at Cesar de Alencar's 'Cast dos Novos' and charted well during 1961 Carnaval with 'Desfolhei a Margarida'.

Mario Augusto's big break came with 'O amor de Terezinha' a C&W-tinged fox-trot penned by himself Oiram Santos (Mario spelt backwards) and Rubinho. The single was released in October 1961 and played a lot on the radio.

With the twist-craze at full throttle in mid-1962, Mario Augusto recorded Baby Santiago's 'O twist é bom' which did excellent business too.

Mario Augusto, DJ Lupe Ferreira, Caco Velho & DJ Alfredo Gramanne in 1958; Radiolandia 242 

Mario Augusto at Radiolandia, November 1960. 

Mario Augusto at Revista do Radio while 'O amor de Terezinha' was #1 in 1962; on the right Mario in 1961 when he toured Uruguay. 

Mario Augusto sings & swings at a Carnaval ball.

Radiolandia #310, February 1960; Mario Augusto was signed by Radio Record for some time and took part in programmes like 'Alegria dos bairros' presented by Geraldo Blota. This particular one was at the height of 1960 Carnaval festivities.

sheet music for 'Plantei amor' a samba recorded by Mario Augusto in 1961.

Mario Augusto talks to Radiolandia's journalist Arnaldo Câmara Leitão about his stint at Uruguay's resort town of Punta del Este in the first 20 days of February 1961. Mario was the next Brazilian attraction after a successful stint by Maysa at Vogue, the night-club of posh Casino San Raphael which sessions were all broadcast live by CX-22, Radio Universal de Montevideo. Mario Augusto says he was really glad when he realized Brazilian music was really popular in Uruguay.

'I had already heard people saying Brazilian music was really popular in Uruguay but it was a surprise to realize Uruguayans play more Brazilian music on their radio than over here. That's the sad truth. Agostinho dos Santos, João Gilberto, Elza Laranjeira and Maysa are the most popular Brazilian acts there now. Trio Pagão's Gaguinho, Lozá & Benê are kings there. Salomé Parisio is queen. The most popular song at the moment is Dolores Duran's 'A noite do meu bem' sung by Elza Laranjeira'. 

Radiolandia #352, March 1961; Mario Augusto, Uruguayan crooner Mario Ponce de Leon & Brazilian enfant-terrible João Gilberto in Punta del Este, Uruguay.

Revista do Radio hails the new faces of 1960: Celly Campello, George Freedman, Agnaldo Rayol, Ronnie Cord, Franquito, Mario Augusto, Bobby de Carlo e Roberto Vidal.

Before getting into show business, Mario Augusto dos Santos used to be an accountant. He was born in Jundiaí-SP and became a singer through competing in gong-shows.

By early 1962, Mario August had a whole album released called 'Conflitos emocionais'; by May 1962, Mario Augusto hit with 'O twist é bom'.

E.P. 3326 containing 'O amor de Terezinha', Mario Augusto's greatest hit plus 'Cidinha', 'Sempre no meu coração' and 'Julia'.

E.P. made in Portugal: 'O amor de Teresinha' / 'Viajando com meu amor' (Wheels) / 'Conflitos emocionais' / 'Porque'. 

EP 3425 released in early 1964 shows Mario Augusto turned his attention to the music made in Italy which was the flavour of the moment: Mario sat down and translated 'Stessa spiaggia, stesso mare'  (Quando chegar o verão) made popular by Mina in 1963 but also recorded by Piero Focaccia for CGD. 

2 years later in 1966 Mario rode on the French music invasion with (544) 'Vai ser bom', a cover of Richard Anthony's 'Ça serait beau' which gave a boost to a sagging career. Mario was accompanied by The Jordans.

In 1968 (730) Mario records 'Cala meu amor' written by Osmar Navarro b/w 'Botãozinho de rosa'.

by 1973, Mario Augusto had left Copacabana Discos and recorded 'É amor' (Mario Augusto-Marco Antonio) b/w 'Vem comigo' (Luis Eduardo-Célio Sanches) for Fermata under a new numbering system: 301.1050.

Torero / Eu sou culpado - Odeon (1958)

Não sei / Claudette - Odeon (1958)

Eu sem você / Trem do amor - Odeon (1959)

Piove / Il sono, il vento - Odeon (1959)

Canção do hula-pula / Grande amor (Mario Vieira-Armando Castro) - Odeon (1959)

Adão e Eva (Adam and Eve) Paul Anka; v.:Oiram Santos) / Sou de pouca fala - Copa (1960)

Dia triste (Don Gibson; v.: Oiram Santos) / Nana nenê (Oiram Santos-Marlo)  Copacabana (1960)

Tenha pena de mim / Desfolhei a margarida - Copacabana (1961 Carnaval)

História de amor / Pedra no caminho - Copacabana (1961)

O amor de Terezinha (Rubinho-Oiram S.) / Viajando com meu amor (Wheels) Norman Petty (1961)

Calcutá (Culcutta) Heino Gaze- v.: Romeu Nunes / Plantei amor - Copacabana (1961)

Sempre no meu coração (Lecuona; v.:Mario Mendes) / Porque (calypso de Rubinho-Paulo Valério) (1961)

Cidinha / Andeio - Copacabana (1962)

O twist é bom (Baby Santiago- ) / Tu me desprezas - Copacabana (1962)

Conflitos emocionais / É você quem pensa - Copacabana (1963)

Caraboo / Vendaval do amor - Copacabana (1963)

Adão sem Eva (Oiram Santos-Jose Saccomani) / O cravo e a rosa - 1963 Carnaval

Tô gamado (Oiram S.-J.Saccomani) / Pedrinha de gelo (Oiram S.-Ézio Augusto) - Copa (1964)

'Sou de pouca fala' (I don't talk too much) was the flip-side of 'Adão e Eva', Mario Augusto's own translation of Paul Anka's 'Adam and Eve'.

ANA LÚCIA, a estrela de 1959 & 1963

Ana Lucia & Paraguayan harp-player Luis Bordón recorded for independent label Chantecler; Radiolandia #313, 2nd April 1960.

Ana Lúcia Büchele da Silva e Souza was born on 28 October 1937, in São Francisco do Sul in the Southern state of Santa Catarina and came to prominence circa 1959, when she was 21 years old.

Ana Lucia came from a family of German Catholics related to Lauro Müller whose name is a city in Santa Catarina today. She lived in Santos-SP for 9 years and was educated mainly in Catholic boarding schools.

Ana Lucia declared to Radiolandia in 1960, her favourite authors were John Steinbeck, Jean Paul Sartre and Jorge Amado. She really liked Frank Sinatra and Johnny Mathis and among Brazilian acts she preferred Maria Helena Toledo and Johnny Alf.

31st March 1960 - Correio da Manhã's Nicodemus introduces Ana Lúcia to his readers. 

Here, Ana Lúcia talks to 'Revista do Radio' (13 February 1960) and tells a few things about herself.

German blood in the Brazilian samba... Ana Lucia was of German extraction but an enthusiast of Black Brazilian rhythms...

ANA LUCIA, o novo cartaz paulista.

Católica praticante e nascida em São Franciso do Sul-SC, a loira Ana Lúcia Büchele da Silva e Souza residiu em Santos-SP durante 9 anos, sendo educada em colégio de freiras! Diante desses fatos, ela faz questão de ressaltar:

- Jamais senti qualquer vocação religiosa... Bem cedo percebi que deveria dedicar-me à vida artística. E assim, longe de inclinar-me à pintura, arte predileta de toda minha família, preferi as danças clássicas. No entanto, de uma hora para outra troquei o ballet pelo microfone!

Ana Lúcia, a nova sensação do radio e TV, pertence ao elenco das Emissoras Associadas de São Paulo e tem um programa só seu na TV Tupi às 22:10 às sextas-feiras. Seus olhos castanhos claros as vezes parecem mudar de cor; seu nariz arrebitado dá-lhe um 'it' todo especial. E sobre o nariz fizemos a pergunta:

- Dizem que o nariz arrebitado mostra o gênio temperamental da mulher. É verdade?

- Acho que em mim, pelo menos, não é mentira...!

- Você não gostaria de ser sempre uma pessoa calma?

- Mudar o meu gênio? P'ra que? Sinto-me feliz em ser como nasci. Nem sequer pretendo operação plástica para mudar a linha do nariz. Ele, arrebitado, como é, serve até de defesa. Mostra pra muita gente que não sou lá de brincadeiras...

A cantora sorriu - um sorriso tão maravilhoso que tornaria a repetir-se outras vezes. E continuou:

- Sou de descendência alemã, mas prefiro sempre os ritmos brasileiros. Gosto das musicas tristes, porque nelas sinto-me mais à vontade. E para desfazer a tristeza, nada melhor que um gostoso samba teleco-teco. 

- Qual o seu maior desejo?

- Viajar pela Europa, não como cantora. Eu gosto é de ser turista. A melhor coisa do mundo é ver o mar em muitos países.

- Está satisfeita com o que já conseguiu?

- Em apenas um ano como cantora obtive o suficiente para encorajar-me e continuar lutando. Todavia, estou disposta a abandonar o radio no dia em que me casar. Mesmo que o meu marido insista para que eu continue!

- Por que essa disposição? 

- Nasci para ser dona de casa e não cantora. Toda a minha inclinação para a arte desaparecerá com o casamento. Nenhuma cantora pode ser uma perfeita dona de casa.

Ana Lucia, com apenas um ano diante das câmeras e microfones, ganhou o pomposo 'slogan' de 'a estrela de 1959'. Sua primeira gravação, 'Chicote' (Aloysio Figueiredo-Nelson Figueiredo) lançada em 78 rpm em Dezembro 1958, pela Chantecler, entrou nas paradas de sucessos. Porém, muita gente estranha que ela, tendo sido uma das mais promissoras alunas de ballet, cante sem um mínimo de gesto ou movimentação. A própria Ana Lucia explica:

- Quando canto fico inibida de qualquer gesticulação! Acho que diante do microfone eu tenho de cantar, apenas cantar.

Os leitores podem ficar intrigados com o desejo de Ana Lucia de abandonar o radio, logo que surgir o seu 'príncipe encantado'. Uma coisa pode trazer consolação: a loura continua solteirinha da Silva. Qualquer notícia em contrário é intriga da oposição. 

US singer-song-writer Neil Sedaka paid a visit to Brazil in November 1959, just before 'Oh Carol' reached #9 at the Billboard charts... Sedaka had become popular in Brazil through his 'Stupid cupid' which was covered by teen-idol Celly Campello and taken to #1 for 9 weeks. Sedaka made a recital for TV Tupi at Cine Marachá on Rua Augusta. Ana Lucia who could speak English was comissioned by TV Tupi to chaperone Sedaka during the promotion of his album and they became quite friendly. 'Revista do Radio' #548 (13 March 1960) said: 'Em São Paulo, o cantor Neil Sedaka fez logo amizade com a cantora Ana Lucia. Amor porém nem em pensamento... Neil não pode falar em casamento'. 

Ana Lucia was honoured with a Roquette Pinto award as 'best new female singer' for 1959.

Ana Lucia had a TV show of her own on TV Tupi, on Fridays at 10:10 PM all through 1959 and 1960.

Wilson Miranda was into rock'n'roll & Ana Lúcia into adult music; both recorded for Chantecler.

Revista do Radio no. 538 (1960) had a penchant to find romance where there was none... and label Chantecler went along for the ride promoting a fake love affair with two of their young recording stars: Wilson Miranda & Ana Lucia.

'Revista do Radio' 27 August 1960 - Ana Lucia asks: Stop comparing me with Maysa!

Não me comparem a Maysa!

Ana Lucia estava zangada. E bonita, narizinho arrebitado, inquieta na cadeira. Foi dizendo, logo, que estava ficando enjoada ‘dessa história de me compararem com a Maysa’. E antes que alguém argumentasse, ajuntou:

- Cismaram, por ai, que eu quero cantar igual a Maysa. Eu, que não suporto imitações. Acho que tenho personalidade e se a minha voz não é maravilhosa, prefiro-a assim mesmo, a ter que imitar alguém!

A cantora catarinense, que foi contratada pela gravadora Philips e aparece com um novo LP, gosta de ser o que é, frisa. Por isso tem se zangado, e, amargamente, quando lhe dizem que sua voz lembra algo da outra cantora.

- Falou-se num romance de você com o Wilson Miranda... 

- Tudo brincadeira – atalha a estrelinha – porque, afinal, sou amiga de todos os meus bons colegas. Romance, não!

E mais não disse Ana Lucia. Ou disse: que adora o Rio de Janeiro. Tanto que vem à Belacap todos os meses só para matar as saudades de Copacabana.

Ana Lucia first album released by Chantecler in 1959.

'O encanto e a voz de Anna Lúcia' released by Philips in 1961.

'Ana Lucia canta triste' released in Argentina by Fermata in 1964.

'Ana Lucia canta triste' - the original RGE album.

'Ana Lucia canta triste' Brazilian back-cover.

'O encanto e a voz de Anna Lucia' (now spelt with double N) her 2nd album that Philips released  in late 1960; Silvana holds Anna Lucia's album 'O encanto e a voz de Anna Lucia' at TV show 'Discoteca do Chacrinha' in 1961.

'Cheiro de saudade' b/w 'Amar não é brinquedo' - Ana Lucia's 2nd 78rpm single for Chantecler.

Vinicius de Moraes & Baden Powell's 'Samba em prelúdio' was recorded in November 1962 by Geraldo Vandré & Ana Lúcia a few days before she flew on a Varig flight to New York where she would sing at the legendary Bossa Nova recital at Carnegie Hall on 21st November 1962, a rainy Wednesday. Audio-Fidelity released the 78rpm single AF-78-091 in February 1963 just as soon as Carnaval was over and done... and there you were the single shot to #1 in a few weeks.

'Samba em prelúdio' b/w 'Você que não vem' - #1 in 1963.

Ana Lúcia is introduced to the readers of 'Radiolandia' in 1959.

Celly Campello, Henrique Lobo & Ana Lucia at Roquette Pinto gala on 30 January 1960. 

early in 1961, Ana Lucia was signed by Philips.

double-page at 1960 Radiolandia issue.

Ana Lúcia sings at Juão Sebastião Bar on Rua Major Sertório, in São Paulo in mid-1960, part of an article published at 'O Cruzeiro', 5 September 1964. 

In 1964, Ana Lúcia was featured in 'O Fino da Bossa', an RGE album produced by DJ & promoter Walter Silva from tapes he recorded live at São Paulo's Theatro Paramount. Ana sang 'Tem dó' (Baden Powell-Vinícius de Moraes) accompanied by the Oscar Castro Neves Combo. It was one of the highlights of the album. 

Ana Lucia Büchele da Silva e Souza died on 24 July 2011, in Santa Catarina, her birth place. She had become a private citizen and avoided media exposure. Ana Lucia has left at least one off-spring: a son called Carlos Büchele. 

P.S.: I'd like to thank Nino Cesar Dourado for having find out Ana Lucia's Date-of-Birth which had been an unsolved mystery ever since I posted this page on 28 May 2016. My gratitude to Nino's effort to go after and unveil the mystery.

TV Guide 'Intervalo' July 1968 brought one of the last items about Ana Lúcia before she went utterly private. She introduces her husband Théo Pereira de Souza to the press. Théo was an sculptor who worked closely with a face-lift surgeon. He himself drew a new chin for Ana Lúcia for she apparently complained she had a 'weak chin' that didn't show well on TV. The couple lived in Higienópolis a well-to-do inner suburb in São Paulo.