Adoniran Barbosa may be the main author of the samba from the condition and town of São Paulo. His compositions portray the life span in that town, evidencing the ethnic mixture of the Italian immigration as well as the hillbilly upstate accents within a samba design which is incredibly singularized from that applied in Rio de Janeiro. Barbosa got many successes that are celebrated as all-time classics of Brazilian well-known music, like “Saudosa Maloca,” “O Samba perform Arnesto,” “Tiro ao Álvaro” (with Osvaldo Moles), and “Trem das Onze,” most of them having been constantly included in great artists of most periods. The child of Italian immigrants, he worked well several small careers throughout his child years and early adult existence. It was just in 1933 that he became a normal radio singer around the Rádio Cruzeiro perform Sul of São Paulo (actually after that he couldn’t earn a living on that). In 1935, Barbosa added lyrics to J. Aimberê’s marcha “Dona Boa.” The track received the annual carnival competition promoted from the mayoralty of the town and was his first someone to become documented (by Raul Torres, for Columbia). Employed in the Rádio Record after 1941, Barbosa became familiar with Osvaldo Moles, who produced several comic character types for his radio takes on that depicted the metropolitan sociology of this town for the reason that period, becoming highly important in Barbosa’s long term compositions. After 1943, Barbosa performed frequently using the Demônios da Garoa. In 1945, he worked well in the movie theater for the very first time, focusing on the film Pif-Paf, accompanied by Caídos perform Céu (1946) as well as the essential O Cangaceiro (1953). In 1951, his “Malvina” earned the carnival competition and within the next season, “Joga a Chave” (with Osvaldo França) earned it once again. His peculiar design, which may be the musical chronicle of the favorite characters of the town of São Paulo, became completely developed following the documenting of “Saudosa Maloca” and “O Samba perform Arnesto” (with Alocim) in 1955 with the Demônios da Garoa. Barbosa got many other strikes that continued to be as all-time classics of Brazilian well-known music, like “Tiro ao Álvaro” (with Osvaldo Moles) and “Trem das Onze” (which earned the carnival competition of the 4th centennial of the building blocks of the town of Rio de Janeiro), but his initial individual record as singer emerged just in 1974, accompanied by another three, the last mentioned which was a posthumous discharge.