(Espírito Santo do Pinhal / SP, November 19, 1919 - Rio de Janeiro, February 9, 1983)

            Son of former slaves, at the age of six (orphan father and mother), Otávio Henrique de Oliveira followed with his older brothers to the capital of São Paulo, where he was shoemaker, newspaper salesman, mechanic apprentice, having studied until the 4th Primary year. He liked to samba and hummed his favorites like Taste That I Wrap (Sinhô), Arrasta A Sandália (Osvaldo Vasques, Aurélio Gomes).

After performing in several freshman programs, while acting as a professional, he was baptized by the announcer Captain Furtado on the Radio Diffuser with the black-out name (an allusion to the blackouts of the time), which brought him popularity and prestige. In the early 1940s, he moved to Rio de Janeiro, where he started to perform in the suburbs, amusement parks and in the trendy Dudu Pavilion circus in Praça da Bandeira. He began recording in 1944, through Braguinha (João de Barro), who was artistic director of Continental, with the sambas My Teresa (Raul Marques, Roberto Roberti, Mário Rodrigues) and Eu Ahora Sou Casado (Alcebíades Nogueira, Cristóvão de Alencar ). In 1947, he was hired by Rádio Nacional, when he lived his golden age, and stayed there until 1973. Before his first LP was released (late), he recorded expressive sambas and marches in 78 rpm (Continental label), such as: Carioca In the following year: Que Samba Bom (Geraldo Pereira, Arnaldo Passos), Pedreiro Waldemar (Wilson Batista, Roberto Martins), Moreninha Moreninha (Bonita), The Beautiful One (Geraldo Pereira, José Batista) Pedro Caetano, Antônio Almeida). In 1950: King Zulu (Pedro Caetano, Antônio Almeida), General da Banda (Sátiro de Melo, Tancredo Silva, José Alcides), Joãozinho Boa Pinta (Haroldo Barbosa, Geraldo Jacques). Still in the 50's, it is worth mentioning the extraordinary carnival successes achieved with Armando Cavalcanti, Klécius Caldas: Papai Adão (1951), Maria Candelária (1952), Dona Cegonha (1953), Piada de Salão (1954), Maria Escandalosa 1955), and others. In 1956, the Copacabana label released the LP Black-Out, a compilation of several rhythms: Agarradinho's Xótis (with Vicente Amar), Sada Dona (author), Samba-Maxixe Nunes, Zeca do Pandeiro), samba Use A Cabeça (Nelson Cavaquinho, Ermínio do Vale).

Finally, in 1959, the label Odeon edited its long-awaited and historic LP solo É Pra Todo Mundo Cantar, whose cover features him dressed in uniform as regent of the traditional bands of the interior. When they obeyed his call, the people applauded carefully chosen pot-pourris, in addition to the parade of other pearls, such as: The Jardineira (Benedito Lacerda, Humberto Porto), Is With That I Will (Pedro Caetano), Corkscrew And Zilda, Waldir Machado), Chiquita Bacana (João de Barro, Alberto Ribeiro), Alá-Lá-Ô (Haroldo Lobo, Nássara). The following year, another notable release: Blackout: At the Boca do Povo (Polydor label), repetition of the previous formula and new repertoire with interpretations always to the taste of revelers, presented: Lata d'Água (Luiz Antônio, Jota Júnior), Rosa Maria (Aníbal Silva, Eden Silva), I Brinco (Pedro Caetano, Claudionor Cruz), What King Are I? (Herivelto Martins, Waldemar Resurrection), Pirata da Perna de Pau (João de Barro), Marvelous City (André Filho).

In 1961, still on the Polydor label, he recorded Don Octavio Henrique de los Boleros, a fruit of his trip to Mexico, surprised with his velvety voice and perfect diction, singing Latin classics: Amor (Gabriel Ruiz, Ricardo Lopez), Hypocrite (Carlos Crespo) , Luna Lunera (Tony Fergo), A Little Bit of Your Love (Julio Gutiérrez), Maria Bonita (Agustin Lara). That same year he participated as an actor in the film I Want to Die in Carnival, shot in Rio de Janeiro and in Mexico City, directed by Fernando Cortez.

In 1968, the writer Eneida de Moraes (a profound connoisseur of momesque festivities) promoted in the Casa Grande Theater, in Leblon, the memorable spectacle Carnavália, starring Blecaute alongside Marlene and Nuno Roland, perpetuated in two volumes edited by the Museum of Image and Do Som / RJ: Carnavália: Eneida It tells the history of the Carnival, shown in thematic blocks, that synthesize musically our biggest popular party. In the cinema, he also appeared in the classic musical Carnaval Atlântida (by José Carlos Burle, 1952), where he exhibited the already mentioned march Dona Cegonha (Armando Cavalcanti, Klécius Caldas) alongside the actress and dancer Maria Antonieta Pons. Champion of so many carnivals, a refined interpreter and versatile repertoire, always elegant, with many smiles, transmitted charm and sympathy, he was not given the right value.

Upon his death, the composer and writer Hermínio Bello de Carvalho defined the importance of Blancaute, with the following sentence: He was Garrincha of samba. A cheerful person, who distributed joy to others and forgot to save a little for himself.


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