Author of unforgettable webpages in the annals of Brazilian music like “Nega Maluca,” “Ninguém Me personally Ama,” “Saudade,” and “Zum-Zum,” Fernando Lobo (Edu Lobo’s dad) also still left a fundamental history in the countless TV special offers about Brazilian music artists he produced and presented. Having began his musical research with Capiba’s dad, in Campina Grande (Em virtude deíba), he also got violin classes in Recife, where he performed like a crooner and violinist in the Jazz Music group Acadêmica de Pernambuco. In 1936, Lobo had written the frevo-canção “Alegria,” documented by Nuno Roland in 1940. In the same yr, he documented a music as an interpreter, the only person in his biography, the frevo-canção “Pare, Olhe, Escute e Goste,” (Nelson Ferreira). In 1939, Lobo shifted to Rio, where he proved helpful at several papers and was the movie director of Rádio Tamoio. In 1945, he visited the U.S., where he proved helpful at CBS and NBC. 2 yrs afterwards, his samba “Saudade” (created with Dorival Caymmi) acquired achievement in Orlando Silva’s documenting. Time for Brazil in 1949, Lobo acquired his structure “Chuvas de Verão” documented by Francisco Alves (and re-recorded by Caetano Veloso twenty years afterwards), and Araci de Almeida acquired success along with his edition from the rhumba “Nasci Em fun??o de Bailar” (re-recorded in the ’80s by Nara Leão). In the Carnaval of 1950, Linda Batista documented his “Nega Maluca” (created with Evaldo Rui), which became an all-time traditional and won particular prizes in the mayoralty as well as the A Noite paper. In 1951, Dalva de Oliveira acquired achievement with “Zum-Zum” (created with Paulo Soledade), in storage of his friend Carlos Eduardo de Oliveira. In the same calendar year, Lobo became a article writer at Rádio Nacional, and in 1957 he began to compose for TV. Through the ’70s until his loss of life, he created and provided many TV special deals documenting and protecting Brazilian well-known music at Television Educativa in Rio de Janeiro. Among his successes from the ’50s, he previously several baiõsera like “A Primeira Umbigada,” (created with Manezinho Araújo) as well as the countrywide strike and samba-canção traditional “Ninguém Me Ama” (created with Antônio Maria), documented with a still beginner Nora Ney, who consolidated her profession with it.