Haroldo Barbosa

Having performed many roles in radio, Haroldo Barbosa also experienced success like a author of popular music. His strikes had been the marchinha “Barnabé,” “De Conversa em Conversa” (documented by Isaura Garcia in 1947), “Adeus, América” (documented from the Operating-system Cariocas and later on by João Gilberto, who also documented “European union Quero um Samba” and “Pra Que Discutir com Madame?”); “Tintim por Tintim” (also documented from the Operating-system Cariocas); “Joãozinho Boa Pinta” (documented by Fafá Lemos); “Palhaçada” (documented by Miltinho, who also documented “Meu Nome é Ninguém,” “Devagar com a Louça,” and “Só Vou de Mulher); “Tudo é Magnífico,” “Nossos Momentos” (documented by Elizeth Cardoso), “Fiz o Bobão” (documented by Dóris Monteiro), and “Não se Aprende na Escola” (documented by Araci de Almeida). Barbosa debuted on the air in 1933 for Philips in the Programa Casé display. He followed the display in its proceed to Rádio Sociedade, also operating in the Transmissora and Nacional. For the second option, Barbosa wrote the storyline of César Ladeira’s O Grande Teatro, probably one of the most well-known shows of the time. Also on Nacional he structured a 68-number orchestra and in 1945, he produced the A Canção Romântica display, focused on support Francisco Alves, representing a turning stage in the profession of this incredibly successful vocalist and composer. He was the movie director of the display Um Milhão de Melodias. In 1957, he became a Television professional as the author of a few of the most essential comedy shows, just like the Chico Anísio Present, O Riso É o Limite, and O Planeta dos Homens, generally along with his longtime partner Potential Nunes.