In the dawn of Brazilian rock, Odeon found in Celly Campelo their first young muse. With Nora Ney as a precursor because of her isolated recording of "Rock Around the Clock" (Max Freeman/Jimmy DeKnight) in 1955 when she was already 33, Campelo recorded her first single, "Handsome Boy," at 15 in 1958. With her national hit "Estúpido Cupido" in 1959, she became, with her brother, Tony Campelo, the co-hostess of her own TV show on São Paulo's TV Record, Crush Em Hi-Fi, that was fundamental in divulging nascent Brazilian rock. "Banho de Lua" was another hit that became an all-time classic and symbol of a generation. At 12 she already had her own show on Taubaté's local radio station. In 1957, she and her brother, Tony Campelo, were signed by Odeon, and in the next year, they recorded their first single, with Cella Campelo interpreting "Handsome Boy" and Tony interpreting "Forgive Me" (both by Odeon's director Mário Gennari Filho and Celeste Novais). In 1958, she debuted on the TV Tupi station in São Paulo. With the failure of the recording in English, Campelo recorded her classics in Portuguese: "Banho de Lua" (P. de Fillipi/F. Migliacci, version by Fred Jorge), "Lacinhos Cor-de-Rosa" (Michie Grant, version by Fred Jorge), and her biggest hit, "Estúpido Cupido" (by Neil Sedaka/H. Greenfield, version by Fred Jorge), recorded in March 1959. With the national success, she became, along with Tony, the co-hostess of her own TV show at São Paulo's TV Record, called Crush Em Hi-Fi, for two years. On her first LP, Broto Certinho, released in April 1960, she launched the hit "Banho de Lua" together with a re-recording of "Over the Rainbow." Evidencing a natural talent for singing, she was praised by Tom Jobim, her colleague at Odeon. Her extreme popularity anticipated the Beatlemania in Brazil three years later, with the releasing of dolls and other merchandising. In 1961, she launched another hit, "Broto Legal" (H. Earnhart, version by Renato Corte Real), and was elected Queen of Rock in Brazil by the readers of Revista do Rock magazine. She also won the following prizes: Tupiniquim (1959), Chico Viola (1959, 1960, 1961, and 1962), and Roquette Pinto (1959, 1960, and 1961). She also had hits with "Billy" (Kendis/Pauley/Joey Goodwin, version by Fred Jorge), "Túnel do Amor" (Patty Fischer/Bob Roberts, version by Fred Jorge), and "Hei Mama" (Paul Anka, version by Fred Jorge). She starred in the films Jeca Tatu and Zé Periquito, having interrupted her career after her marriage in 1962. She returned in 1972, and since then has been performing low profile. ~ Alvaro Neder