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Milton De Oliveira

The name of Milton de Oliveira is from the creation of immortal classics from the Brazilian song, especially carnival marches. He had written his first tune at 16, “Já Mandei, Meu Bem.” In 1934, “És Louca” (with Djalma Esteves), that was documented by Jaime Vogeler. With Utmost Bulhõha sido, he had written the traditional “Não Tenho Lágrimas” and “Sabiá Larangeira” (both in 1937), both documented by Patrício Teixeira. The previous was documented over 50 moments, including renditions by Nat “Ruler” Cole and Xavier Cugat. In 1938, he earned the first host to the mayoralty of Rio competition with “Juro,” performed by J. B. de Carvalho. He produced “Já Mandei Você Embora” with Sílvio Pinto. With Haroldo Lobo, he started a collaboration in 1937 that could create many Carnival strikes, like “Porteiro, Suba E Veja!,” “Caiu O Pano da Cuíca,” “Néris de Tristeza,” “Pele Vermelha,” “O Bonde perform Horário Já Passou” (1940’s strike, interpreted by Patrício Teixeira), “Quebrei a Jura,” “Miau… Miau…,” “Passarinho perform Relógio” (strike from the Carnival of 1940 with Araci de Almeida’s interpretation), “Miserê,” “Passo perform Canguru” (1941 strike, interpreted by Araci de Almeida), “A Marcha dos Índios,” “A Mulher perform Leiteiro” (Araci de Almeida, 1941), “Tem Galinha no Bonde,” etc. One particular tunes was censored, “European union Quero É Rosetar,” and was documented in 1947 by Jorge Veiga with great achievement. In 1945, Linda Batista experienced a hit using the valse “Baile na Roça,” and Jorge Veiga experienced another within the next 12 months with “Vou Sambar em Madureira.” In 1948, he received the second host to the mayoralty competition with “Não Vou Morrer” (with Haroldo Lobo), sung by Jorge Veiga. In 1949, that they had another two strikes, with “Quem Chorou Fui European union” (documented by Jorge Veiga) and “O Passo da Girafa” (sung by Arcai de Almeida). “Pra Seu Governo” was the duo’s strike of 1941, reaching the first host to the Carioca Carnival competition in the interpretation of Gilberto Milfont. In 1944, Jorge Veiga experienced another hit having a duo’s structure, this time using the march “A História da Maçã.” “A Maria Tá” (documented by Walter Levita, 1960) and “Índio Quer Apito” (same vocalist, 1961) had been also created with Haroldo Lobo. In 1964, Ari Cordovil experienced popular with “Pistoleira,” also with Lobo. Many state, though, that he by no means published a verse or a musical notice, being known as partner because he was a hit-maker or caititu, a good person who understood how exactly to promote the tunes on the air.

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