Dircinha Batista was an enormously successful singer. In over 40 years of career, she recorded more than 300 78 rpm albums, with many big hits, especially with marchinhas for Carnival. She was also the first Queen of Radio and worked in 16 films. A child prodigy, Dircinha Batista began to perform in festivals at age six. The daughter of the ventriloquist and humorist Batista Júnior, Dircinha participated in his shows in Rio and São Paulo since that year. In 1930, at eight, she recorded her first album, for Columbia, with compositions by Batista Júnior, "Borboleta Azul" and "Dircinha." In 1931, she recorded "Órfã" and "Anjo Enfêrmo" (Cândido das Neves), accompanied by the composer. In the same year, she participated in a homage to the restorer of the Historic Museum of Buenos Aires, and was decorated by the National Museum. Also in that year, she became a member of Francisco Alves's show at Rádio Cajuti, where she worked until she was ten, then moved to Rádio Clube. In 1935, at 13, she participated in the film Alô, Alô, Brasil and, in the next year, in Alô, Alô, Carnaval (both by Wallace Downey). In 1936, she recorded two albums through Victor. In 1937, Benedito Lacerda invited her to record his samba "Não Chora" with him, as a soloist (with Darci de Oliveira). After the recording, not knowing what to use on the other side, she asked Nássara (who was at the studio) to give her one of his songs. Nássara had only the A-part of a new song, but finished it at once and Batista recorded her first hit, "Periquitinho Verde," which was a success in the Carnival of 1938. In 1938, Batista worked in the films Futebol Em Família (J. Rui), Bombonzinho, and Banana da Terra, and was decorated by Minas Gerais's governor Benedito Valadares. In the same year, she recorded "Tirolesa" (Osvaldo Santiago/Paulo Barbosa), one of the big hits of the Carnival of 1939. In the same year, Batista had several other hits: "Moleque Teimoso" (Roberto Martins/Jorge Faraj), "Era Só o Que Faltava" (Oscar Lavado/Zé Pretinho/Raul Longras), "Mamãe Eu Vi Um Touro" (Oswaldo Santiago/Jorge Murad), and "Barba Azul" (Oswaldo Santiago). In 1940, she had success in the Carnival with "Katucha" (Osvaldo Santiago/Georges Moran) and participated in the film Laranja da China. Batitsa also had hits with "Upa, Upa," "Nunca Mais" (both by Ary Barroso), "Acredite Quem Quiser" (Nássara/Frazão), and "Inimigo Do Batente" (Wilson Batista/Germano Augusto). In the same year, she won a contest promoted by O Globo newspaper and was hired by Rádio Ipanema with the biggest radio contract until then. Also in 1940, she had her first international tour (Argentina). In 1941, she participated in the film Entra Na Farra and, three years later, in Abacaxi Azul. In 1945, Batista had success with "Eu Quero é Sambar" (Peterpan/Alberto Ribeiro). In 1947, she participated in the film Fogo Na Canjica. In 1948, she was the first elected Queen of Radio of an illustrious lineage, by the Brazilian Radio Association. In 1952, working in the Rádio Nacional and Rádio Clube, she hosted the show Recepção for Rádio Clube, which was dedicated to Brazilian popular composers. Her performance before this show granted her a silver plate at SBACEM and a statue by UBC. In 1953, she performed in the theater for the second and last time (the first had been in 1952) and had one of her biggest hits, "Se Eu Morresse Amanhã" (Antônio Maria). In 1954, she performed in the film Carnaval em Caxias, followed by Guerra ao Samba (1955), Tira a Mão daí and Depois eu Conto (1956), Metido a Bacana (1957), É de Chuá (1958), and Mulheres à Vista (1959). In the Carnival of 1958, she had success with "Mamãe, Eu Levei Bomba" (J. Júnior/Oldemar Magalhães). In 1961, she was hired by TV Tupi to host shows. She still had a hit in 1964 with "A Índia Vai Ter Neném" (Haroldo Lobo/Milton de Oliveira). ~ Alvaro Neder, Rovi