With more than 300 compositions, Marino Pinto left his mark in Brazilian popular music through hits recorded by many of the best interpreters of his period. At 11, Pinto wrote his first song, "Ilka." At 13, he became a frequenter of the Rádio Philips. Making acquaintance with his idol Sílvio Caldas, who was a member of the cast, his later decision of becoming a composer was deeply influenced by this relation. From 1934 to 1938, he was a journalist and worked in several newspapers. In 1938, Pinto became a composer (only a lyricist at first). With music by Ataulfo Alves, he wrote "Fale Mal... Mas Fale de Mim," which was a hit in Araci de Almeida's recording, still in that year. In 1939, still with music by Alves, Pinto had "Positivamente Não" and "Continua" recorded by DeAlmeida. His partner was Wilson Batista from 1939 to 1942. The duo produced many classics like "Deus No Céu E Ela Na Terra," recorded by Carlos Galhardo in 1940; "N-a-o-til, Não" by Newton Teixeira in 1941; "A Morena Que Eu Gosto," by Deo in 1942. In this same year, he wrote with Zé da Zilda "Aos Pés da Cruz," a big hit in the Orlando Silva recording, later also recorded by João Gilberto, among others. In 1943, Pinto wrote "50%" with Sílvio Caldas, recorded by Araci de Almeida and Regional Odeon. With Arlindo Marques Júnior he wrote "O Samba Não Morre," recorded by Quatro Ases e Um Coringa. In 1945, he composed "Ele Disse Adeus" with Claudionor Cruz, recorded by Araci de Almeida, accompanied by Luís Americano e Seu Conjunto. He was part of the group that founded SBACEM in 1946. In that year, he wrote "Eu, Ele e Você" with Luís Bittencourt, recorded by Orlando Silva. Pinto started to write music in 1947, having Herivelto Martins and Mário Rossi as regular partners. With the latter he wrote one of his masterpieces, "Cidade do Interior," recorded by Araci de Almeida in 1947. With Herivelto he wrote "Segredo" and "Cabelos Brancos," the latter recorded by the Quatro Ases e Um Coringa. The hit of the carnival of 1949, "Jacarepaguá," was written with Paquito and Romeu Gentil. In 1950, he composed the bolero "Que Será?" (lyrics by Mário Rossi), a national hit in Dalva de Oliveira's recording. In the same year, the Vocalistas Tropicais recorded another of his compositions, "Diamante Negro" (lyrics by David Nasser). His song "Rei do Circo" (with José Roy and Mário Rossi) launched Getúlio Vargas' candidacy to the presidency of the republic. After Vargas' election, Francisco Alves had a hit in the carnival of 1951 with "O Retrato do Velho" (Marino Pinto/Haroldo Lobo). Pinto was then invited by the old dictator for the functions of censor in the national range. In the same year, Pinto also had success with "Se o Tempo Entendesse de Amor," recorded by Lúcio Alves. On August 23, 1954, the eve of Vargas' suicide, Pinto was at the Palácio do Catete. He was there at the very moment of the suicide and was one of the first to reach the room after the shot. In 1958, Pinto wrote another of his masterpieces, "Prece" (with Vadico), recorded by Helena de Lima. In 1960, Elizeth Cardoso recorded an LP with several partners dedicated to Pinto's compositions, Magnífica. His last composition is from 1965, the valse "Minha Cidade" (with Mário Rossi). ~ Alvaro Neder, Rovi