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A NIGHT IN 67

Did you have a favorite?

I didn't have a favorite.
I wanted everything to work out.

I was scared to death
that something would happen.

There was one problem. Sometimes
you went to find a performer...

"Where's Chico? Where's Chico?
Go find him!"

He's at the bar next door.

When we were doing all that, the
goal was to make a good TV show.

The festival was nothing more
than a TV show.

But suddenly,
due to a series of circumstances...

it even acquired an importance
which was historical, political...

sociological, musical,
transcendental etc.

But at the time, we didn't
know that would happen.

It happened over time.

The show had to go on
error-free...

live.

We were live, with a tense
audience, tense judges.

The performers nervous as well.

There was a chance
that one of them...

would become a star, overnight.

Let me tell you, I'd like to know
something that maybe you can explain.

Some composers tell me
"No, the music is pretty...

but it's not festival music."
Just what is festival music?

Little by little
with the sequence of festivals...

year after year,
a kind of formula was created...

which people liked, certain
rhythms that people liked more.

Just like carnival music
from a while back.

They said carnival music had to
be short and blah blah blah.

There were some
which broke the rules.

And as the festivals went on,
they created a sort of model...

so that the music was almost
festivalesque.

Which is good, given that the
festival composer...

is also a composer all year round,
to keep the movement going.

Chico, I'm going to let you
go have some water so you can...

get prepared
for the grand finale.

Good luck, Chico Buarque.

One of the young men who is leading
an enormous transformation...

in our Brazilian popular music.
And we owe you a lot for that.

Congratulations.

I always thought that the festivals
could be organized...

DIRECTOR OF TV RECORD
like wrestling matches.

You may say,
"Like wrestling matches?".

Of course, you have to have the
good guy, the bad guy...

the heroine's father.
You have to have everything!

That was basically the
philosophy in my head:

organize a show...

and choose
the performers based on this.

So Chico was the cute one,
someone else was whatever.

That was the idea.
We thought we could organize...

the show this way so that it was...

more interesting for the audience.

Ladies and Gentlemen,
good evening.

Welcome to the grand finale...

of the Third Festival
of Brazilian Popular Music.

A team of hundreds of people,
including technicians, musicians...

performers, orchestrators,
journalists, conductors.

The entire TV Record team
has put in their best effort...

to wrap up the festival tonight.

The greatest popular music
event in the country.

At all times throughout this work,
our main goal...

has been to earn your
attention and applause.

Today we will pit against each other
the 12 songs which advanced...

through the festival's
13 elimination rounds.

I remember an egg
which went right by my nose.

It went by and exploded right there.

I remember Chico Anysio,
Ferreira Gullar...

over there and it exploded, boom!

People threw eggs,
in the elimination rounds.

The audience was a hotbed.

I even had a technique
for exiting after the Record festivals.

When it was over, I would grab
my wife who was in the audience...

and the two of us
would start to go out.

The audience was jam-packed.
We'd go out through the crowd...

and I'd say to my wife,
"It's absurd. It's absurd!"...

all the way out.
"It's absurd. It's absurd!"

They'd say, "Sérgio Cabral
is really angry about something!"

I felt a need to transmit
the public's reaction...

SOUND TECHNICIAN
to the home viewer.

That's why I decided to hang the
microphone from the ceiling.

I asked the technical director
to see if it was possible.

There was no problem.

We did this so that the
viewers...

at home...

could have the most similar
experience possible...

to those who were in the theatre.

The booing even had a muse.
It was Telé Cardim...

JOURNALIST
who was the muse of the boo.

She dressed as a boo
in a dress with a U on it like this...

which was the boo dress.

The booing was very fun because
generally...

it was the student crowd
who would boo.

The older crowd weren't
the booing types.

It was at this festival that booing
really became...

the most profound of responses.

The card for song number 8
tells me to ask...

for a minute of special attention
from the audience.

The song will be presented with an
entirely modified arrangement.

Under these conditions, the author...

composer Sérgio Ricardo...

asks the public to really listen
to this arrangement...

in order to properly judge it.
Sérgio Ricardo.

One minute.

One minute, one minute, one minute.
One minute please.

Calm down. Calm down.

One minute.
Let me say something.

Let me say something to you.

One minute.

One minute!

I can't go on like this.

One minute, please.

One minute, please.

I just wanted to tell you that
after the festival...

I'm changing the song's name

from Beto's Good with a Ball to
Beto's Good with a Boo.

So you can boo
as much as you like.

Ok, fine. Please. Please.
Listen up, one minute.

Here in the audience, you are all
intelligent people, as I can see.

I mean, you're booing yourselves!

You're booing yourselves!

No, I won't sing with this booing.

Just a minute.

Thank you. Thank you
to those who applauded.

I would like to ask
those who are clapping...

and those who are booing...

for a bit of lucidity now...

to understand what
I'm going to sing.

I can't hear the music.

You win!
You win!

Are you hurt? No?

You're not hurt?

I can't understand,
as a professional...

the attitude of a professional like
Sérgio Ricardo.

I think that he completely
flew off the handle.

And as director of TV Record,
we didn't have any other choice...

but to disqualify him. Now, if he
had reasons for doing so or not...

that's an issue which
we'll debate in the future.

Our stance can only be one:

Humbly put up with the audience's
booing, with our head down.

This same audience cannot be
disrespected, in any way...

by festival participants.

I don't know. It was purely
extemporaneous and uncontrolled.

I read later... because a lot of
commentaries were written about it...

in favor even.
I never heard anything against it.

I don't know if there were people
who repudiated it... my gesture.

Within the explanations
which were given later...

because I also wanted to know
what came over me...

It's really simple. A psychoanalyst,
a psychologist, told me:

You were like an animal
driven into a corner.

You corner a cat and threaten him...

to see what the cat will do.

He'll attack, even if he knows that
there's a lion in front of him.

Why boo?
What's the point?

Is it just for sensationalism?

The public all of a sudden became
part of the show, you know?

Because at the previous festivals
booing was like an institution.

So the audience at
that particular festival in 67...

was like a character
within the story of that festival.

I think it was pretty natural
within that context...

to have that kind of response.

There was a kind of resistance
in the head of every Brazilian...

because putting up with
a dictatorship is tough.

You may not even consciously
understand...

but unconsciously you manifest this

by going beyond your limits...

when you feel this oppression
on you.

- You don't regret it then?
- No, not at all!

I wouldn't do that today because I'd
have to throw a cavaquinho, right?

I was young then.

I wouldn't throw anything
at anyone today.

Firstly because I'm playing piano
and it would be impossible to throw.

Roberto, today is the third time
that I'm speaking to you...

from Jovem Pan Radio,
but it's the first time from TV Record.

- How are you? Are you all right?
- Just fine.

Roberto, I saw you in a most
particular way...

that I'd like to describe:
Sitting with that discreet shirt...

in the dressing room, fanning
yourself with a leaf from the set.

- It was really hot as hell!
- It's hot?

- It was. It was.
- But why, Roberto?

- Besides the temperature.
- Besides the temperature...

the warmth of the public.
It is warm, you know.

Were you a bit scared to go on stage?

You know, today I was
much calmer coming on.

Yeah, I was calm today.
Last week I was slightly nervous.

But today I was much calmer.

- You were calm?
- I was.

The song you sang was the festival
song which sold the most records.

How will you face
the jury's decision?

I'll...

- With that Roberto Carlos honesty!
- I'll be a good sport about it...

like I am in general about everything.

Naturally if the jury thinks that my
music should place...

great. I'll be happy.

If not, they've got authority
and capacity, naturally...

to judge if it should or not.

But I really hope it will place.
Of course!

- I also really hope so!
- Thanks.

Did you know there was a group
organized to boo you?

No, I didn't know that.
If I'd known, I wouldn't have gone.

If I'd known, I wouldn't have gone...

or I would have organized
a group there to applaud me.

I'd need to do something!

And you found out about this later?

No, I'm hearing about it from you now!

What made you choose a samba
to sing at this festival?

Well, I actually didn't choose it.

They sent me the music and said:
either accept it or not.

Actually, all the songs
I sung at the festival...

were more or less like that.
"Look there's this music here...

that we think you can sing at the
festival. We think it's your style.

See what you think."
So...

I said all right.
I think I can do it.

At least I proved that I didn't
just sing what I sung...

with the Jovem Guarda.
That I sung other songs.

Because my school of crooning...

taught me so much.
I sung everything in the club!

I sung boleros, I sung samba.

And I liked to sing Chet Baker.

"There will never be another you."

Fifth place at the Third Festival
of Brazilian Popular Music...

Maria Carnaval e Cinzas
with Roberto Carlos.

There was a rivalry which was really
stimulated by TV Record, as well.

They practically had a monopoly over
the musical shows at the time.

There were no soap operas on TV.
TV's strength was musical.

And Record had 90% of
Brazilian music under contract.

There was a musical show
every day.

And Record's interest was that
the TV shows...

were talked about in the paper,
on the radio, in people's lives.

It was funny because at the time
they said that MPB...

was Brazilian music, and Jovem
Guarda was music for the young.

People asked themselves
"My God why can't there be...

music for young people
which is also Brazilian?"

It was an obvious question
but which was pertinent at the time...

to the point of people organizing
a march...

at the height of the military
dictatorship...

with so many other things to protest.

Organizing a march with three,
four hundred people...

[July 17, 1969]
[3 months before the Festival]
with signs and banners yelling:

"Down with the electric guitar!"
"Down with the electric guitar!"

The electric guitar was the symbol
of Yankee imperialism...

those clichés of good old communism
which were so active at the time.

I marched against the electric guitar

next to Gilberto Gil.

Gil here and me right here.
"Down with electric guitars!"

We didn't want electric guitars
I knew very well why I didn't.

I knew that behind the sound
of the electric guitar...

was all that American rock garbage...

ready to land in Brazil.

It wasn't Zappa.

Or Zeppelin.

It was something else...

Today I can make a self-criticism.

I was in favor of the march.

Today I see it as kind of ridiculous.

Of course, a bit later I saw,
when I became a record producer...

that of course it's silly to fight
against the electric guitar.

It's stupid, right? Foolish.

But us nationalists,
leftists and such...

we already knew that Brazilian music
couldn't be invaded...

by what was coming from abroad.
And the electric guitar...

was the symbol of that invasion.

I went because of Elis,
because she asked.

And obviously there were also...

a lot of interesting people there...

each one with their vision
their own way of seeing things.

This is how I saw it: It was
a healthy debate to the degree...

that it stimulated debate,
benign competition and such.

But I didn't believe in it.

I wasn't an ideological defender
of the division of territories.

I was against it. Nara and I
stayed at the Danúbio Hotel...

saying that this was a strange,
terrible thing...

which shouldn't be happening.

The march went by on the street
and Nara said, "I'm depressed...

this looks like a fascist march
from the Integralist party."

And it really did, you know?

Was putting electric guitar
in a song a political decision?

Yes, for me it was a political
decision...

to put electric guitar in a song.
For me and for Gil.

To sing with rock bands
and electric guitars.

It too was a political attitude,
diametrically opposite...

to the attitude of the march
against electric guitars.

And here he comes with his
Alegria, Alegria, Caetano Veloso.

Look at the situation:
I'm watching the festival...

in a triple condition...

as a journalist, as a friend
of Caetano Veloso's...

and as a competitor,
as my song was also there.

When Caetano came on
with those Argentine Beat Boys...

all rock and roll,
there was tons of booing.

And just to show you
how we humans are worthless...

I thought
"Oh well, one less." I didn't boo.

But it didn't bother me
that they were booing.

Then the music started.

Caetano Veloso standing up on stage
smiling with that charisma of his.

He won over the audience.
The boos started to dissipate.

The applause started, and then more
applause, and more and more.

The public changed their tune.
Before I knew it...

which just shows that we
humans are worth something...

even I was applauding a standing
ovation for my festival competitor.

That was one of the greatest thrills
that I had in show business.

Seeing a performer up on stage...

completely turn an angry audience
around without saying a word.

Just by singing.
It was beautiful.

One, tow three, four.

[Fourth Place]

I still hear it today. People still
ask me to sing it at my shows.

Once in a while I sing it.

About every five shows
I've sung it over the years.

But...

I wish I could have freed myself
of it a bit more.

Like Chico freed himself of
the song A Banda.

Everyone remembers A Banda.
But he never sung it again.

No one thinks A Banda is
"Chico's song".

But a lot of people think
Alegria, Alegria is "my song".

I didn't think that song, that music,
was really beautiful, really good.

But it has a certain beauty.
But I really never thought...

Alegria, Alegria, was all that.

But the fact that it was liked by
people who had previously reacted...

against the attitude before made me
happy that I had the strength...

to communicate my ideas.

And I thought I really needed
to affirm the group.

Gil, Gal and even Bethânia who
wasn't in the group, but...

Rogério Duprat, Os Mutantes,
Tom Zé...

who I later invited
to come to São Paulo.

That was what interested me.

It seemed that I was really
organizing a movement.

And that I could do that.
I did do it, to a degree.

It's much prettier on the guitar,
but then you see...

how difficult the song is.
Well it's a false simplicity.

I never played it again
and it's like this.

Hard to play. Is it like this?

You need to have quick hands.

"Amor, eu vou."
This is it.

This is cool.

And with the electric guitar playing
it ended up being...

really modern for the time
and really in tune with...

what the British were doing
with rock and roll at the time.

But it was also an old-fashioned
march from Lisbon...

from Alfama.

I'm happy with my place because,
Oh I'd be happy with anything.

It was so cool,
I sung it twice.

The audience was really singing
my song, liking it.

- Really cool.
- Veloso...

I'm also happy with
the other classifications,

Ponteio, Domingo no Parque
and Roda Viva...

I think they're great, really.

Veloso, what made you write a
really modern song about Coca-Cola...

guerrilla, Brigitte Bardot...
How did you come up with this idea...

and when did you start
to write the song?

I wrote about Coca-Cola,
Brigitte Bardot, Cardinale...

because of Coca-Cola,
Brigitte Bardot and Cardinale.

Bombs, guerrilla,
things that are there, right?

But when you said you were going
to write a song like that...

didn't people say, "mixing
Cardinale and Coca-Cola?".

- Didn't they think it was odd?
- No, because I didn't tell anyone.

- You just wrote it and that was that?
- Yeah.

No, after it was finished I showed
it to some friends...

and they thought it was great, cool.
Especially the gang from Bahia.

I went to Salvador before the
festival I showed it...

to my friends there. They thought
it'd be cool even doing it...

with a bunch of electric guitars.
I was really happy...

because in Rio they wrote:
"Caetano's going to use...

an electric guitar but when he gets
to Bahia...

he'll get a berimbau beating!"

They didn't know that people from
Bahia are beyond...

Beyond imagination?
Beyond imagination.

Thanks so much, Caetano.
I'll go get someone for you.

Come on Cidinha, let's move along
together with the singers...

and composers of the Third Festival
of Brazilian Popular Music.

Festival of Brazilian Music
and Photographers, too.

So many photographers.

When I saw Caetano at the rehearsal
getting ready to sing...

Alegria, Alegria,
with just a turtleneck shirt...

I thought, "that won't do".

Because you need to be
properly dressed...

or else you can't go on stage.

So Caetano did so, he even
bought a checkered blazer...

which became famous and
he used for a long time.

So he sung with the turtleneck
shirt but also the checkered blazer.

Later, at the same festival...

Gilberto Gil was ready to sing
in a tuxedo.

But Os Mutantes came in
their own style...

which as you can see from the
videos, was totally different.

Rita Lee had a crown on her head...

And I thought things were
kind of uncontrollable.

I had a tuxedo. I had to buy it...

because before I had
just been renting.

It was really comfortable. There
was a show which was called...

The Seventh Day Show.

And there was another show called...
There were shows...

where you had to
sing in a tuxedo.

And in 67, nobody told me
that wasn't the case.

So I went and sung in my tuxedo.

And everyone was there
in their costumes and such.

So obviously I looked like a...

a guy in a tuxedo.

Beside Caetano and Gil
with all that hair...

We are here with Cidinha Campos...

Who you can see
in a beautiful gown.

I don't know how to describe
the color, which is it?

- It's...
- Firstly, good evening.

Good evening. Now everyone names
colors after vegetables...

So I'd say it's shocking pink
with chuchu.

And your matching earrings are also
shocking pink with chuchu.

And here with us is
Chico Buarque de Holanda.

A lad who is well loved
by us hosts...

because we don't even have to say
what we were planning to say.

We just go up and say:
"Chico Buarque, I'm a host"...

and it's easy as pie. Chico say good
evening to the folks at home...

because you didn't say
good evening on stage.

Good evening.
Oh, to the viewers at home?

Viewers at home,
a good evening to you.

This is a very happy night.
Very happy despite all the confusion.

You feel like people are really
participating.

And that's very important.

Chico, you are confident, I don't
even need to ask, that your music...

from the audience's reaction,
will be chosen...

as one of the winners of the Third
Festival of Brazilian Popular Music.

I'll leave Cidinha
to ask the next question.

Chico, you were a bit nervous
before you came on stage.

Do you think that the task now,
of defending your song in the finals...

if you make it, is any easier?

I don't know, really.

I was bowled over by the audience's
reaction...

because I wasn't expecting it.
I just read it in the paper...

I wasn't really following the festival.

I'm finding it a bit hard to talk now.

Paulinho just said something
really interesting:

"I saw the festivals like a kind
of wrestling match...

I organized them like
a kind of wrestling match."

There was the good guy,
the bad guy, the heroine etc.

Do you know what role
he saved for you?

The heroine, right?
I've no idea!

The festival didn't have that.
He said that?

That sounds like the show
that you mentioned:

Our night of improvising
looked like Telecats, that thing...

from Carlos Imperial, vulgar...

One is the good guy,
the other is whatever.

I don't think I really fit into that.

I was the good guy...

He thought I was the good guy.

The general also wanted me
to be the good guy.

He didn't admit it.
"How can you write such trash?

How can you march
beside a black guy?"

Life is tough.

A good guy's life is really hard.

On the guitar, I don't know
because I stopped playing it.

Who knows when
I last played that song.

I wrote the music in 1967.

40 years ago, I don't have a clue.
I remember,

"Tem dias que a gente se sente,
como quem partiu ou morreu,

...de repente... cresceu
A gente quer ter voz ativa

e no nosso destino mandar,
mas eis que chega a roda viva..."

I don't remember the other verses.
I don't remember...

"Mas eis que chega a roda viva
e carrega a viola pra lá"

Now without the voice.

This is what we sung in the
background when Chico...

would solo the verse.
Roda mundo, roda-gigante, etc., etc...

And the ending,
which was beautiful.

That's where I really created...

the melodies which interlaced...

with the lyrics themselves.

You did voice?
You sung together with Chico, right?

That's right.
Let's go.

I don't know. Me neither.

The first is
"roda mundo, roda-gigante".

I just got the beat.

"Roda moinho, roda pião,

o tempo rodou num instante,

nas voltas do meu coração."

Later I looked at this arrangement
again and I saw...

that there were some voices
which weren't quite right.

But I stopped toying
and left it like that.

- 40 years?
- 40 years later.

The ending of Roda Viva had
that accelerated thing going for it.

I don't know if it was written
that way...

or if the vocal arrangement that
Magro did worked that element...

to make an impact.
It ended all of a sudden:

"...do meu coração!"

And the sound of the applause was
also part of the arrangement.

Applause right there!

It has that impact.
You had to create.

You had to conquer.

Festival songs had that element.

You had to win over the audience
at the first audition...

to make it to the...

because up until then
no one had heard the songs.

None of them.

So at the first audition
you had to WHAM!

We are now going to call
the author of the song Roda Viva...

Chico Buarque de Holanda.

[Third Place]

I had gatherings here in Leblon.

The folks who wanted
a renaissance of Bossa Nova...

because Bossa Nova
was discredited.

There was a gathering of
traditional samba players.

There were those who were pro
electric guitar...

anti electric guitar. And then there
was just a regular get together...

I think it was at Sergio Ricardo's
place, and Caetano says I went...

but I was...

So if I was...
then I probably don't remember.

I don't remember a thing.
I did go to some gatherings.

And Caetano said
"You were..."

So it must have been at one of
those gatherings that they decided...

to start Tropicalism. When they
showed up dressed as Tropicalists...

I was surprised. I said,
"What's up with those clothes?"

This is what happened: Gil asked
me to listen to it with him...

but he was already discussing
these things with me.

He was in some aspects
more advanced...

in his projects to make a change...

than I was. He was more in love
with modern rock than I was.

He knew all the Beatles songs.
He learnt, he listened...

I listened to them. I liked them.

They were intriguing,
but I wanted to do something...

The Jovem Guarda inspired me
more than the Beatles.

But Gil went deeper
into this and really wanted to do it.

He called on several of our friends,
composers here in Rio beforehand...

to create a movement...

to insert MPB music produced here...

into the world of contemporary pop.

Not to fear the reality of the market,
and listen to the Beatles.

But no one understood,
no one got it...

but Gil had these ideas in his head.

After...

the impact that the Beatles
had on us...

and of all that music which
they brought...

there was also American pop,
and British pop rock.

And with my visit to the
Brazilian northeast...

which had a strong impact on me,
because of the local music...

regional music,
typical manifestations...

of northeastern music.

This all provoked in me...

a great desire to
stir up the whole territory as much...

as widely and as boldly as I could.

Stir up the whole territory.
Plow the whole territory.

Replant, sow new things.
Bring new seeds.

Create hybrids crops.
Combine things to create new plants.

Combine orange and papaya.

Avocado trees will wake up tomatoes
and be papayas by nightfall.

I started doing this later
with my record "Refazenda".

This idea of "Refazenda" was
already here, in all of this.

It was the Beatles,
Luiz Gonzaga.

It was the Rolling Stones
and Jorge Ben Jor.

It was Banda de Pífanos de Caruaru
and Jefferson Airplane.

That was what I thought.
And what I'm still thinking today.

Gilberto Gil, Record and
Jovem Pan listeners...

and Channel 7 viewers, a few words
from you during this break.

I don't know,
I think things are going well.

Things are heating up.
I was watching the jury, Cidinha.

Things are heating up because
I was watching one guy...

who booed 11 songs.

Then I saw that 6 songs
were acclaimed as the winners.

The jury is all over the place!
More so than Veloso's hair!

You stated once that if it wasn't
your song...

...then Veloso's song would win.
- I thought so.

Your song and Veloso's aside,
which one do you think will win?

- I think it'd be Ponteio.
- Ponteio by Edu Lobo.

And Veloso, Gil's song aside,
which one would you pick?

I'm really leaning towards
Roda Viva.

- Roda Viva?
- I think Ponteio is beautiful...

really beautiful,
but Roda Viva is more moving.

I agree with Caetano,
that Roda Viva...

is even the most moving
song in the festival.

I think, I think it's Chico's
best work, really.

You think Roda Viva is better
than...

Quem Te Viu, Quem Te Vê
by Chico Buarque?

Yes, I think so.

Because I've heard many people
say that if Chico hadn't released...

Quem Te Viu, Quem Te Vê, it would
have won the festival. Is that true?

I don't know. Quem Te Viu,
Quem Te Vê might be a song...

which reached the public more.

But I think as a piece of music...

which shows how the author
has matured...

Roda Viva is really
Chico Buarque's big step.

And Chico's first really
complete music.

It criticizes the world,
makes self-criticisms...

in relation to this world.
It's Chico's most complete music...

as a man, author, composer,
participant in the modern world.

- That's what I think.
- Ladies and gentlemen...

here you have a calm man,
Gilberto Gil.

Around 6 in the evening,
they told me...

"Gilberto Gil isn't going to come
and sing Domingo no Parque".

I said, "How can he not
come and sing?"

So I ran over to the Danúbio Hotel
which was on...

Brigadeiro Luis Antonio street
where Gilberto Gil was staying.

At the time he was
dating Nana Caymmi.

I knocked on the door,
Nana answered and she said...

"Take a look and see
how Gil is doing".

I looked, he was lying on the bed,
in no state to get up...

and sing in 2 hours time.
I said to Nana, so...

She said, "Do you want to
give him a shower?"

I said, "I'm here to do what I can"
because...

I actively participated in things.

We took him into the hotel shower,
brought him back to bed.

We dressed him. I personally
put on Gilberto Gil's socks.

He decided to do all that
and go out and sing. He sung.

And he was wonderful, right?

Domingo no Parque
took second place.

I was scared to death of singing.
That was it.

Scared to death of singing,
participating in the contest...

being put to the test.
I was petrified of tests.

And taking tests with a series of...

polemical, complicated issues.

Having to be submitted for approval
and failing in advance.

There were already enough people...

condemning me for doing that.

So I was going to have
to be approved.

It was a test in this way, right?

I can only remember...

such agony, perhaps more...

right after, the day I was arrested.

It was that kind of...

dimension...

of fear.
I was terrified of all that.

But when the fear started to
subside, and you started...

to feel the reaction that you
provoked in people...

with your music,
because people liked it...

...what went though your head?
- That was compensation, right?

I said well, at least
it's great that someone liked it...

they didn't see that
poor soul up on stage.

They saw something else.

That's why I was saying that when
I saw the images today...

I'm glad that...

they didn't really record a ghost.

Which was what I was at that
moment up on stage.

The next song is by another composer
who in his own words...

is trying to bring a universal
sound to Brazilian music.

It's Domingo no Parque, with
Gilberto Gil and Os Mutantes.

Os Mutantes will sing...

arranged by Rogério Duprat...

with Gilberto Gil.

You were on the jury when he
presented that song...

...what was your reaction?
- It was funny...

because I went when I heard
that both he and Caetano...

were going to perform
with rock bands.

And I was already
thinking the worst.

Geez, a rock band
with the songs?

And a wonderful thing happened.

The aesthetic won
over my old convictions.

Because the songs were wonderful
Domingo no Parque...

and Alegria, Alegria alike,

I consider Domingo no Parque to be
one of the greatest...

Brazilian songs of all time.

It's a beautiful song,
well written, very intelligent.

And Gil sung it so well.

I was bowled over.

And truth be told I voted right then
for Ponteio...

and then secondly for
Domingo no Parque.

But when I left I thought, "I should
have voted for Domingo no Parque."

We're here with one of the fellows
from Os Mutantes.

- What's your name?
- Arnaldo.

- And the others?
- Sérgio and Rita.

It's the first time you are
participating at an MPB festival...

needless to say.
Everyone knows.

So tell me, what was
your first impression?

It must have been a shock,
when Gilberto Gil said:

"I want you and your electric
guitars to play my song with me...

...at the third festival."
- We thought it was a good idea.

You jokester! Nobody fainted?

They were at the recording studio.

We were recording
Nana's Bom Dia...

where he played guitar and
his brother electric guitar.

And I didn't know them.
And Rogério Duprat...

who arranges my music,
turned and said to me...

"Look Gil, these are Os Mutantes.
They're cool".

And I said, "Rogério, what about
using them in the arrangement?

Let's ask them." So we asked them
and they said, "Hey! Cool!"

Well, that's the truth. I think Gil's
gesture was great.

Caetano Veloso's gesture was great.

We should try to put qualities
together and never divide them.

We should divide faults because
that way we end up with less faults.

And put qualities together.
All contributions are useful.

It's what I say every day.
I found these three kids...

two guys and a girl,
and they are excellent.

Excellent musicians,
excellent people...

with sensitivity,
artistic perception.

Why would I deprive myself of
this value here by my side...

which can contribute to my work,
to everyone's work?

That would be stupid.
So I grabbed them and said...

"Ok, let's go to it and that's that!"

And it was a complete
Domingo no Parque.

I'm going to bring Roberto because
I'm dying of jealousy.

He told a joke on the Jovem Pan
Radio that...

...he has to tell here on Record.
- It's not a joke, no. It's true.

It's true? What happened?

- Ponteio was eliminated.
- Why?

Because there's no more
guitar to play.

Sérgio Ricardo broke it.

I knew it was a joke!
Thank you, Roberto.

So that I could contribute in some
way to the Tropicalist project...

which needed to
stand out from the rest...

the whole time I needed to be
pulled along by Caetano.

Literally pulled along by Caetano.

Pulled along
"Let's go! It's really something!"

Because if it was up to me,
I'd have disagreed.

All that division
was agony for me.

That's not the spirit of my music.

My music is OM, right?

That's what my music wants to be.
So there's no room for division.

It's one thing up to here,
another up to here...

that's not me! So my Tropicalism
phase was the most agonizing phase

of my musical life.

I was a bit alone in this story.

I was sort of chosen to be
the representative of a...

conservative style of music or
conservative attitude...

or conservative posture.

Or an old man.
That's what it was, right?

It was a bit of young versus old.

No one wants to be called old
at least not at age 23!

He points this out also as a result
of the appearance of Tropicalism...

which was seen as a
movement by the young.

I have no doubt, that's for sure.

This is simply documentary, what
Chico said was simply documentary.

He felt lonely and he had every
reason to feel that way.

Because Tropicalism came about...

and for a moment everything
appeared more...

Those who didn't agree with
Tropicalism, in truth...

the majority disagreed. Chico still
had more support than we did.

But alone at age 23?

Hearing restrictions that you
never thought were there?

It's like identifying yourself with
things from the past...

and saying that it was the others
who were the young ones.

I'm a year older than Chico.

- We went to see a show in a club.
- It was Caetano's show.

Caetano's show.
Caetano was doing that thing...

throwing himself on the ground
and going AHHHH!

Things we didn't really understand.

We went to see the show
at a really seedy place.

We were watching the show
and I wasn't understanding a thing.

I thought it was strange.
He dropped to the ground...

and was dragged along.
When I went to the bathroom...

Erasmo was also there,
taking a piss.

Him and I taking a piss,
one beside the other.

And we kind of looked
at each other.

We didn't really cross paths much,
Jovem Guarda and MPB, right?

But he knew who I was,
I knew who he was.

We didn't cross paths much.
He looked at me and said:

"Shit, I don't get this at all".
I said, "Me neither!"

Veloso, can you define for Record
and Jovem Pan listeners...

and the Channel 7 TV Viewers,
in simple words...

because I read in the papers tons
of stuff...

and I didn't really understand.
Pop music, define it.

It's hard to define
because it's...

I don't even know if what
we are doing is pop, right?

It's something which
I admit as a term, because...

in some way we are leaning towards
a type of pop culture...

of assuming all kinds of mass culture.

Comic books are pop,
for example.

It's...

It is!

Pop culture is what is! Just
something that is and that happens.

Pop comes from popular in English,
which is art coming from the masses

using things which have had
success among the masses.

And all the elements
of things which have...

direct communication
with the masses.

- There is pop painting.
- There is pop Veloso...

which has more communication with
the masses than Caetano Veloso...

which we'll see...

I don't know, I saw that they
were trying something new...

but I think the whole Tropicalism
story revolves around...

an attitude on stage,
the type of clothes.

A younger, more modern style
because the clothes were...

And I was one of the square guys.

I remember we sang in tuxedos.

I agree it's really stupid
to put on a tuxedo to sing.

It ended up being
more or less that.

They ended up
being younger than us.

That's true, so to speak.

Marília Medalha, how are you?
After that song?

I'm really thrilled, I sung the
music, I don't even now how.

You sang really well,
I can tell you that much!

Marília, I was overwhelmed,
because I have the impression...

that you are going to sing it again.

But I thought it was beautiful.
I was appreciating the audience.

I thought the packed
theatre was beautiful.

Everyone singing together.
I was crying and singing!

- I'm crying because I'm talking.
- Careful!

Can I say that you are
wearing false eyelashes.

Because nowadays all us women
use them. Myself included!

No because...
It's a darn thing!

We cry and our eyelashes fall off.

Edu Lobo, Cidinha was just talking
about crying and such.

I was downstairs, and I thought:

if the music had one more verse,
Edu Lobo is going to cry.

- Is that true, Edu?
- You might be right.

No, I saw it, I noticed.
Your eyes are still red. Look!

I held back as much as I could,
but when I looked at Marília...

saw that her eyes were watering up.
It was tough to hold back.

And the audience, with their crazy
enthusiasm for your Ponteio.

All right, Edu.
Congratulations to you.

- Thank you, Randal.
- And may this year be your year...

Edu Lobo, in all ways.

And now the best song of 1967.

Let's call to the stage the
author of Ponteio...

Edu Lobo and his partner,
Marília Medalha singing.

Nothing better than Ponteio
to win the festival.

Ponteio had all the ingredients...

it had a political message
and united the audience.

It had excellent lyrics by Capinam.
Capinam is a great poet.

He always was, he was
even before the festival.

And Edu's music. Marvelous!

Music which lifted you up,
which elevated you...

which took you away!

There was one detail,
that no one noticed.

But which was a
Jungian coincidence.

If Sergio Ricardo hadn't come in
earlier...

and thrown the guitar at the
audience, Edu's verse went:

"Quem me desse agora, eu tivesse
a viola pra cantar."

This went by unnoticed.

This Jungian coincidence.

As if to say,
"You don't throw a guitar away".

Everyone was competing.
It was a race.

Logically the competition would...

but that was part of the festival.

And that was good for ratings.
People bet.

I remember people
cursing in the street:

"Ponteio's going to lose,
because I bet I don't know...

how much on Caetano's music.
You're damn well going to lose!"

Then someone else would say,
"Hey I bet on you, you can't lose!

Because I've got money on it."
You turn into a kind of racehorse...

no, you really turn
into a racehorse.

You think that somehow the success
of Ponteio distances you from that?

It wasn't a coincidence that 10 days
after Ponteio's victory...

I went to France for 2 months.
I worked the casino with Nara.

Nara was living there,
and I said yes in a flash.

You know why? Because I think
focusing on just one music...

people wanting you
to sing that song...

I don't just have one song.

I remember doing a show,
one night with Marília.

We went to two clubs
the same night.

There's a good side,
but then the other...

is sort of excessive,
over the top.

When you look at the Edu from
1967 who was 22 years old.

How do you face that kid?

Funny, I don't see him as a kid.

My life was more mature in a way.

I think I was more worried about
my career, with my music.

I was always kind of
excessive with that.

What kind of music to play,
how long will I last?

When will this making
music thing end?

As if it were a kind of spell...

which might only last
a short time and then end.

I've been talking a lot about
that sort of thing...

composers from around the world
coming up with an idea...

for a great melody
and running home to...

I never had a melody
come looking after me.

I'm doing this work here
because your asking me to talk.

But I swear I don't think about
these...

old stories...

Sometimes,
I see a picture and say:

"How cute!" or "Wasn't I cute"
or "How time flies!"

But that's it.
I won't say that...

I don't really miss it much,
except for the mere fact...

of being physically younger.
I do miss that.

It's much better
when you are 24...

then when you are 66, right?

From a basic, primary perspective.

Your body, your agility,
your flexibility...

your resistance.

That's all much better.
You feel happy without thinking!

When you are young.

And when you don't have that
anymore with age...

you realize that it's
something you miss.

But the rest of the situations,
I don't really miss.

Children, the death of a child,
marriages...

unions and break-ups, loves...

ups and downs.

It all gave me more...

How can I explain?

It's hard to put into words,
but it gave me more...

patience with things in life.

It gave me more ability to tolerate,
to get through the difficulty...

in a more integral way.
With my whole being.

And not that divided being that
I was, when I was young.

Today...

I have the courage to say,
that I am not afraid of dying...

in a song for example.
Things like that.

And at the same time,
the courage to say...

that I am also afraid of dying.

[1st Place]