1 00:00:02,669 --> 00:00:04,160 [Woman, in English] Who is this Paulinho? 2 00:00:04,910 --> 00:00:07,609 [Man 1, in English] Paulinho is a master of Groove. 3 00:00:07,703 --> 00:00:12,817 [Man 2, in English] He's been the heart of so many hits! 4 00:00:14,083 --> 00:00:18,146 [Man 3, in English] That smile is in the music! 5 00:00:19,353 --> 00:00:22,308 [Man 4, in English] Life is about dreaming. Dream big! 6 00:00:24,608 --> 00:00:26,539 [Narrator, in English] If you're like most people, 7 00:00:26,540 --> 00:00:28,719 You don't know exactly what percussion is. 8 00:00:29,363 --> 00:00:31,805 In the world of music, it's the sound that comes closest. 9 00:00:31,806 --> 00:00:33,120 of the heartbeat. 10 00:00:33,906 --> 00:00:36,606 With so many crazy shapes, colors, and cultures, 11 00:00:37,307 --> 00:00:40,874 Percussion is the gateway to the world of rhythm and music. 12 00:00:41,355 --> 00:00:43,751 Part of the human experience that we share. 13 00:00:43,752 --> 00:00:46,752 [batucadas] 14 00:00:49,466 --> 00:00:53,344 [Narrator] There's this guy. You won't believe him. 15 00:00:53,595 --> 00:00:56,500 Whitney Houston thought he was touched by God. 16 00:00:57,060 --> 00:01:01,185 And Michael Jackson considered him "the greatest percussionist in the world". 17 00:01:02,747 --> 00:01:05,147 Paulinho da Costa has been the creative force. 18 00:01:05,148 --> 00:01:07,510 {\an8} for some of the greatest artists of all time. 19 00:01:07,511 --> 00:01:10,302 The heartbeat of so many of our favorite songs. 20 00:01:10,809 --> 00:01:12,789 Perhaps he is the most famous musician . 21 00:01:12,790 --> 00:01:15,004 {\an8} of whom most of us have never heard. 22 00:01:15,496 --> 00:01:17,711 A guy who has been not just heart and soul . 23 00:01:17,803 --> 00:01:19,896 {\an8} of magical musical encounters, 24 00:01:19,897 --> 00:01:21,670 {\an8} and all the legends he played with, 25 00:01:22,290 --> 00:01:25,262 But this guy , and perhaps this is the best part, 26 00:01:25,835 --> 00:01:30,301 {\an8} has also been the heart of so many beautiful moments. 27 00:01:30,302 --> 00:01:32,922 {\an8} experienced by humans all over the planet. 28 00:01:33,810 --> 00:01:36,010 Billions of people he will never meet. 29 00:01:36,011 --> 00:01:39,362 {\an8} and whose lives are a little bit better because of him. 30 00:01:40,139 --> 00:01:43,404 Now imagine how that guy must feel. 31 00:01:44,066 --> 00:01:46,898 Well , that's how it is! 32 00:01:47,832 --> 00:01:50,652 [samba music] ♪ 33 00:01:52,279 --> 00:01:54,572 Now! That's it! 34 00:01:54,573 --> 00:01:57,573 [samba music] ♪ 35 00:01:58,406 --> 00:02:01,406 [electronic music] ♪ 36 00:02:02,460 --> 00:02:04,144 [low note] ♪ 37 00:02:08,688 --> 00:02:12,806 What do you think was the reason for inventing the first drum? 38 00:02:12,807 --> 00:02:14,793 This is for you to answer: 39 00:02:14,794 --> 00:02:17,608 How do you think the first drum was created? 40 00:02:17,709 --> 00:02:18,710 How? 41 00:02:19,306 --> 00:02:20,557 There were droughts. 42 00:02:23,404 --> 00:02:26,042 And they couldn't eat because it wasn't raining. 43 00:02:26,043 --> 00:02:27,418 What precedes the rain? 44 00:02:28,712 --> 00:02:29,713 The thunder. 45 00:02:30,067 --> 00:02:32,067 [sounds of thunder] 46 00:02:33,591 --> 00:02:37,115 [Quincy] They were trying to imitate thunder to create rain. 47 00:02:37,116 --> 00:02:38,808 and get food. 48 00:02:38,809 --> 00:02:42,119 Because Africa, unlike classical music 49 00:02:42,120 --> 00:02:44,808 which highlights the virtuosity of the concerts, 50 00:02:45,301 --> 00:02:47,305 African music is about the force of life. 51 00:02:47,306 --> 00:02:49,607 virginity rites, circumcision rites, 52 00:02:49,704 --> 00:02:51,879 Things to make your life easier. 53 00:02:51,880 --> 00:02:54,299 Filling in the gaps, all of this came from Africa, you know? 54 00:02:54,410 --> 00:02:56,723 Music about the power of life. 55 00:02:57,102 --> 00:03:00,406 They imitated crickets, monkeys, birds... 56 00:03:00,407 --> 00:03:02,299 Sometimes they would listen to the birds. 57 00:03:02,300 --> 00:03:05,804 And they saw how things were created, like the first drum. 58 00:03:05,805 --> 00:03:08,096 The first drum was an attempt to imitate thunder! 59 00:03:08,605 --> 00:03:09,606 [low note] ♪ 60 00:03:11,107 --> 00:03:14,414 Because they had no food! It was pure necessity, you know? 61 00:03:14,900 --> 00:03:18,214 It had nothing to do with creativity; the issue was: "We have to eat!" 62 00:03:19,574 --> 00:03:22,574 - [serious note] - [knocks] 63 00:03:31,911 --> 00:03:33,911 [upbeat music] ♪ 64 00:03:34,101 --> 00:03:37,451 [Narrator] Rio de Janeiro in the 1950s was incredibly beautiful, 65 00:03:37,452 --> 00:03:39,641 Glamour and hope after the end of World War II. 66 00:03:40,600 --> 00:03:43,437 That is, if you lived in the South Zone. 67 00:03:44,313 --> 00:03:47,523 Home to the Brazilian elite, destination for international tourists, 68 00:03:48,198 --> 00:03:50,415 the beaches of Copacabana and Ipanema 69 00:03:51,022 --> 00:03:52,822 Besides the iconic Sugarloaf Mountain. 70 00:03:54,318 --> 00:03:58,008 But there in the North Zone, where Paulinho grew up, 71 00:03:58,113 --> 00:04:00,448 It had nothing glamorous about it. 72 00:04:00,449 --> 00:04:03,310 Paulinho was born in the Irajá neighborhood. 73 00:04:03,703 --> 00:04:09,206 which had a lot of violence, poverty, racism, hunger and percussion, 74 00:04:09,903 --> 00:04:11,213 Lots of percussion. 75 00:04:12,000 --> 00:04:14,404 So what's so special about this guy? 76 00:04:14,506 --> 00:04:18,503 who grew up poor in the suburbs, barely finished primary school, 77 00:04:18,504 --> 00:04:21,695 What made so many music legends want to work with him? 78 00:04:21,696 --> 00:04:23,405 [Paulinho, in English] To tell you the truth, 79 00:04:23,499 --> 00:04:26,502 My first instrument was the table in my house. 80 00:04:27,684 --> 00:04:30,560 At that table, I started to get interested. 81 00:04:30,561 --> 00:04:33,585 because I was tapping on it with the back of my hands. 82 00:04:33,586 --> 00:04:35,754 And I was playing a groove with the backs of my hands. 83 00:04:35,755 --> 00:04:38,930 And my mother loved it, she would start singing. 84 00:04:38,931 --> 00:04:41,916 She used to sing the Portela anthem. 85 00:04:42,211 --> 00:04:44,702 [in Portuguese] ♪ Portela, its colors are ♪ 86 00:04:44,703 --> 00:04:46,709 ♪ The flag of Brazil… ♪ 87 00:04:46,710 --> 00:04:49,210 [single-speaker] 88 00:04:49,709 --> 00:04:52,614 [chorus] ♪ Forward Portela, to victory ♪ 89 00:04:52,615 --> 00:04:57,506 ♪ Don't you see that your past is full of glory… ♪ 90 00:04:57,507 --> 00:04:59,465 [in English] My samba school is Portela. 91 00:04:59,466 --> 00:05:02,194 [coral] ♪ ...Portela, its colors have ♪ 92 00:05:02,195 --> 00:05:05,178 ♪ On the Brazilian flag And in the sky too ♪ 93 00:05:05,990 --> 00:05:09,029 ♪ Go Portela, for the victory! ♪ 94 00:05:09,030 --> 00:05:12,340 ♪ Don't you see that your past is full of glory? ♪ 95 00:05:12,598 --> 00:05:15,115 ♪ I miss you ♪ 96 00:05:15,506 --> 00:05:18,504 ♪ Awake, oh great youth ♪ 97 00:05:19,004 --> 00:05:22,011 ♪ Its colors are beautiful ♪ 98 00:05:22,202 --> 00:05:24,824 ♪ Your values ​​are endless ♪ 99 00:05:25,196 --> 00:05:29,282 ♪ Dear Portela, you are everything in life to me ♪ 100 00:05:29,283 --> 00:05:30,371 ♪ For me… ♪ 101 00:05:30,372 --> 00:05:32,004 [in English] The Samba Schools? Samba? 102 00:05:32,611 --> 00:05:33,709 It's rhythm. 103 00:05:33,710 --> 00:05:36,710 [samba music] ♪ 104 00:05:49,432 --> 00:05:53,477 In Brazil, the rhythm has a different emotion. 105 00:05:53,478 --> 00:05:57,801 It's the heartbeat and the passion! 106 00:05:57,802 --> 00:05:59,217 And you can feel it! 107 00:05:59,359 --> 00:06:01,414 When you go to a Samba School, you think: 108 00:06:01,803 --> 00:06:03,356 "What's going on here?" 109 00:06:03,357 --> 00:06:07,450 It's tribal. It's the only place on Earth where you find this kind of emotion. 110 00:06:08,076 --> 00:06:11,076 ♪ 111 00:06:11,608 --> 00:06:14,700 [Paulinho, in English] The table was the easiest thing I had. 112 00:06:14,701 --> 00:06:16,209 to use as an instrument, 113 00:06:16,334 --> 00:06:18,285 And back then it was a wooden table, 114 00:06:18,286 --> 00:06:23,049 There was no marble, nothing fancy in the house, it was all wood! 115 00:06:23,050 --> 00:06:25,892 From then on I started playing a tambourine, 116 00:06:25,893 --> 00:06:27,715 which I don't know where it came from... 117 00:06:28,130 --> 00:06:31,403 [narrator] At that moment, the groove was born in Paulinho's life. 118 00:06:31,958 --> 00:06:34,117 The tambourine became a member of the family. 119 00:06:35,458 --> 00:06:36,795 [Quincy, in English] I didn't have a mother. 120 00:06:37,444 --> 00:06:41,510 When I was 7 years old, she was taken to a clinic for early-onset dementia. 121 00:06:41,777 --> 00:06:44,041 We were out on the street all the time. 122 00:06:44,571 --> 00:06:46,447 So I said, "If I don't have a mother, 123 00:06:46,962 --> 00:06:49,106 "I'm going to let the music be my mother." 124 00:06:49,203 --> 00:06:52,110 And she was always there for me, she never let me down. 125 00:06:53,094 --> 00:06:55,247 I'm sure it's the same with him. 126 00:06:55,248 --> 00:06:57,249 I recognize this, I feel this. 127 00:06:57,250 --> 00:06:59,413 Yes, she had to separate the children. 128 00:06:59,909 --> 00:07:01,907 because there was no way to support them all. 129 00:07:02,304 --> 00:07:05,507 So I went to one lady's house, my brother to another, 130 00:07:06,011 --> 00:07:08,011 And so we went on with our lives. 131 00:07:09,311 --> 00:07:11,223 [Narrator] Paulinho's parents got divorced. 132 00:07:11,504 --> 00:07:14,108 He and his brothers went to live in different houses. 133 00:07:14,596 --> 00:07:18,504 Now it was Paulinho and his tambourine against the world. 134 00:07:19,356 --> 00:07:22,356 [beats on the tambourine] ♪ 135 00:07:24,228 --> 00:07:26,781 [Narrator] Paulinho's passion for the tambourine grew. 136 00:07:27,095 --> 00:07:28,521 And he wanted to play even better. 137 00:07:28,803 --> 00:07:30,617 He had to find a master. 138 00:07:31,284 --> 00:07:34,269 {\an8}[Paulinho, in Portuguese] That the samba group existed there, the Penha church. 139 00:07:35,715 --> 00:07:38,413 And at the Penha festival there was a story about the drummers… 140 00:07:38,414 --> 00:07:41,790 The best people were there at that moment, right? 141 00:07:42,462 --> 00:07:46,800 Many times I was down there, as a young boy, playing, 142 00:07:46,801 --> 00:07:49,766 and my knowledge… I thought I was already capable 143 00:07:49,767 --> 00:07:52,681 to participate in that environment, 144 00:07:52,682 --> 00:07:55,911 without knowing that it was actually a selection of musicians. 145 00:07:56,100 --> 00:08:00,404 Not only percussionists, but there were guitarists, cavaquinho players, and everything. 146 00:08:00,405 --> 00:08:03,039 Then I met a gentleman named Jorge Sapecão, 147 00:08:03,208 --> 00:08:07,103 He was the guy who helped me a lot to become who I am today. 148 00:08:07,613 --> 00:08:10,294 And he told me: "Look, you have a talent, 149 00:08:10,295 --> 00:08:13,513 "But study for another three years and then come back here." 150 00:08:13,606 --> 00:08:15,306 So I went there and studied. 151 00:08:16,005 --> 00:08:17,918 Three, four, five hours a day. 152 00:08:18,205 --> 00:08:20,512 My mother was already saying, "Hey, are you crazy?" 153 00:08:20,613 --> 00:08:24,298 My hand was bleeding, boy. Blood, real blood gushing from my hand. 154 00:08:24,299 --> 00:08:26,298 Then I went back, spoke to him, and he said: 155 00:08:26,299 --> 00:08:28,948 "Look, now I'm starting to worry about you, 156 00:08:28,949 --> 00:08:30,698 "Because you're becoming dangerous." 157 00:08:31,012 --> 00:08:34,608 And that's how I entered the team with respect. 158 00:08:36,698 --> 00:08:41,724 [in English] I was 16, 17 years old 159 00:08:41,904 --> 00:08:45,110 And they called me for an audition for a tour in Europe. 160 00:08:45,805 --> 00:08:48,912 I arrived at the place, sat down, and suddenly... 161 00:08:49,302 --> 00:08:52,402 One of the people said, "Stop everything!" 162 00:08:52,403 --> 00:08:55,002 "That's the kid who has to go on this trip!" 163 00:08:55,003 --> 00:08:56,809 And he pointed at me! 164 00:08:56,899 --> 00:09:01,790 He had probably already seen me on stage without me knowing. 165 00:09:01,791 --> 00:09:05,443 From one moment to the next I was in Germany, Frankfurt, 166 00:09:05,444 --> 00:09:08,933 I took an Aeroflot plane and arrived in Moscow! 167 00:09:08,934 --> 00:09:12,711 I was supposed to stay for a week, but I ended up staying for three months. 168 00:09:13,042 --> 00:09:14,720 [ri] 169 00:09:14,721 --> 00:09:18,000 They still wanted us to go back to Siberia in the winter. 170 00:09:18,001 --> 00:09:19,797 I said, "Not in winter, no way!" 171 00:09:19,798 --> 00:09:22,435 Please, maybe we can choose a better time." 172 00:09:22,436 --> 00:09:23,437 [ri] 173 00:09:24,054 --> 00:09:26,033 [narrator] After his adventures in Europe, 174 00:09:26,034 --> 00:09:28,073 Paulinho returned to Brazil. 175 00:09:28,074 --> 00:09:31,041 And he started playing at the hottest nightclub in Rio. 176 00:09:31,042 --> 00:09:33,961 A "gig" that would change his life forever. 177 00:09:34,457 --> 00:09:35,458 March. 178 00:09:35,576 --> 00:09:39,100 {\an8}[in English] Friday the 13th, 1970. 179 00:09:39,101 --> 00:09:41,413 [Paulinho] In that nightclub, Katakombe, 180 00:09:41,414 --> 00:09:47,008 There were many tourists who went to see the shows at night. 181 00:09:47,009 --> 00:09:49,914 That night we arrived earlier. 182 00:09:50,007 --> 00:09:53,105 And Paulinho was playing. 183 00:09:53,106 --> 00:09:56,106 - [Alcione sings] - [samba music] 184 00:10:05,409 --> 00:10:06,909 ♪ [Samba music ends] 185 00:10:07,209 --> 00:10:09,209 Oh my God! - [laughs] 186 00:10:10,003 --> 00:10:13,734 I had a solo where I played the atabaque drum. 187 00:10:13,735 --> 00:10:15,806 the African drum. 188 00:10:16,106 --> 00:10:18,517 Shirtless... 189 00:10:19,104 --> 00:10:22,202 And that's what made my eyes light up. 190 00:10:22,203 --> 00:10:25,583 I used to be handsome, not anymore, but I was in shape. 191 00:10:25,584 --> 00:10:28,712 He was young, strong, and she was charmed. 192 00:10:29,100 --> 00:10:31,502 "Want to bet? I'm going out with that guy." 193 00:10:32,131 --> 00:10:34,800 When we met and I saw her coming up the stairs, 194 00:10:34,904 --> 00:10:38,415 I said, "It's her." Beautiful legs, man! 195 00:10:39,100 --> 00:10:43,213 [Arice] We started dating and nobody thought it would work out. 196 00:10:43,304 --> 00:10:45,109 Nobody wanted us to be together! 197 00:10:45,908 --> 00:10:50,096 Whether it was due to color, social standing, money... 198 00:10:50,097 --> 00:10:51,818 Distinct origins, 199 00:10:51,907 --> 00:10:55,495 She was white and I was black, I was already in the world and she was in school. 200 00:10:55,496 --> 00:10:57,705 And the father didn't understand that. 201 00:10:57,904 --> 00:10:59,995 If I had a daughter, I would say the same. 202 00:10:59,996 --> 00:11:02,121 "Wait a minute, forget about that guy!" 203 00:11:02,207 --> 00:11:04,811 But our love was so strong... 204 00:11:05,000 --> 00:11:09,500 [Arice] Of course my parents didn't know we were dating. 205 00:11:09,501 --> 00:11:11,677 My father wouldn't let me date anyone. 206 00:11:11,678 --> 00:11:16,215 We literally ran away. That's the truth. 207 00:11:16,302 --> 00:11:18,126 [soft music] ♪ 208 00:11:18,803 --> 00:11:20,398 [George, in English] When a man falls in love with a woman 209 00:11:20,399 --> 00:11:22,007 Do you think he cares about her skin color? 210 00:11:22,008 --> 00:11:24,404 She doesn't care about his skin color if they're in love. 211 00:11:25,969 --> 00:11:31,800 [Arice] We were both 21 years old. We were super in love. 212 00:11:31,801 --> 00:11:36,908 And Paulinho was invited on a tour, which started in Portugal. 213 00:11:37,614 --> 00:11:40,116 We were so in love, 214 00:11:40,117 --> 00:11:42,488 I saw an opportunity to be with him! 215 00:11:42,489 --> 00:11:44,494 Suddenly she was in the lobby of my hotel. 216 00:11:44,495 --> 00:11:47,005 When I got there, I was scared! 217 00:11:47,477 --> 00:11:48,689 Because it was a surprise. 218 00:11:48,690 --> 00:11:51,318 What if I were with another girl? 219 00:11:51,907 --> 00:11:54,899 [Narrator] When they realized it, the tour had turned into a honeymoon. 220 00:11:55,003 --> 00:11:57,003 And his wife became a businesswoman. 221 00:11:57,904 --> 00:12:02,003 [Paulinho] It was a long trip and I told the producers: 222 00:12:02,095 --> 00:12:07,219 "You decide: either Arice travels with me or I go back with her." 223 00:12:08,812 --> 00:12:10,200 They said, "Wow, but..." 224 00:12:10,201 --> 00:12:12,605 That's it. You choose what you want to do. 225 00:12:12,606 --> 00:12:18,489 I'll pack my bag and come back, or Arice will come with me. 226 00:12:18,490 --> 00:12:20,915 Because we'll never be apart from each other again. 227 00:12:21,502 --> 00:12:23,759 They said, "Okay, she's coming with us." And so it was. 228 00:12:23,760 --> 00:12:26,760 [soft pop music] ♪ 229 00:12:29,397 --> 00:12:31,612 [Narrator] OK, we're getting ahead of ourselves here. 230 00:12:31,913 --> 00:12:35,908 This song, one of the first hits that Paulinho played on, 231 00:12:36,205 --> 00:12:38,298 It would only be released 7 years later. 232 00:12:38,299 --> 00:12:39,714 But it's perfect, isn't it? 233 00:12:39,851 --> 00:12:42,096 Look at these lovebirds... 234 00:12:42,097 --> 00:12:45,595 [thoughtful] When the tour of Europe and the Middle East ended, 235 00:12:45,596 --> 00:12:48,098 Paulinho was "The Man" back in Rio. 236 00:12:48,099 --> 00:12:53,982 An experienced musician whose magnetism was undeniable in Rio's nightclubs. 237 00:12:53,983 --> 00:12:58,915 Everything was happening, you know? She was expecting my first child, 238 00:12:59,302 --> 00:13:02,597 We have two sons, Paulo and then Leonardo. 239 00:13:02,598 --> 00:13:07,311 when I was invited to play at "Number One", 240 00:13:07,412 --> 00:13:11,398 which was the main nightclub in Rio's nightlife, in Ipanema. 241 00:13:11,399 --> 00:13:16,394 The most important artists used to perform there. 242 00:13:16,395 --> 00:13:18,913 International artists went there, 243 00:13:19,401 --> 00:13:21,106 Sarah Vaughan e outros. 244 00:13:21,394 --> 00:13:27,496 One night Sergio Mendes came over and saw me playing. 245 00:13:27,497 --> 00:13:31,009 and he invited me to play in his band. 246 00:13:31,010 --> 00:13:34,611 [Narrator] But for that to happen, Paulinho would have to move to Los Angeles. 247 00:13:35,001 --> 00:13:39,121 And despite the great opportunity, the choice was very difficult. 248 00:13:39,394 --> 00:13:42,901 Paulinho didn't speak any English, Arice was pregnant, 249 00:13:43,099 --> 00:13:45,388 and they would have to leave their family and friends. 250 00:13:45,389 --> 00:13:47,392 that could help the young mother at this time. 251 00:13:47,393 --> 00:13:52,512 So, it was difficult, you know? But we decided to go, and we went. 252 00:13:53,409 --> 00:13:57,028 So, in 1972, 253 00:13:57,618 --> 00:14:00,811 We came to Los Angeles. 254 00:14:00,965 --> 00:14:03,965 [upbeat music] ♪ 255 00:14:07,087 --> 00:14:09,765 [Lani Hall, in English] Even before he came to the United States, 256 00:14:09,766 --> 00:14:13,701 I always listened to Brazilians and people from the group. 257 00:14:13,702 --> 00:14:16,203 {\an8}talking about Paulinho. 258 00:14:16,486 --> 00:14:18,977 "We have to bring Paulinho!" 259 00:14:18,978 --> 00:14:21,818 And I was thinking, "Who is this Paulinho guy?" 260 00:14:21,819 --> 00:14:24,819 [samba music] ♪ 261 00:14:27,206 --> 00:14:29,706 [excited shouts] 262 00:14:43,148 --> 00:14:46,148 ♪ 263 00:14:48,250 --> 00:14:50,250 ♪ [Samba music ends] 264 00:14:56,101 --> 00:14:58,668 [vocalize] 265 00:15:15,800 --> 00:15:19,800 [vocalize] 266 00:15:24,408 --> 00:15:25,493 [excited shout] 267 00:15:25,494 --> 00:15:28,494 [samba music] ♪ 268 00:15:37,478 --> 00:15:39,825 We made so many magical recordings together, 269 00:15:39,916 --> 00:15:42,007 {\an8}com The Crusaders often, 270 00:15:42,008 --> 00:15:43,599 with Joe Sample many times, 271 00:15:43,600 --> 00:15:46,203 who is watching us from up there and laughing, 272 00:15:46,703 --> 00:15:48,100 One day he told me: 273 00:15:48,101 --> 00:15:53,112 "There's a guy who just arrived from Brazil, and he plays really well, man!" 274 00:15:53,607 --> 00:15:57,509 He touches everything with a smile! 275 00:15:57,901 --> 00:15:59,512 [ri] 276 00:15:59,604 --> 00:16:02,604 ["Dreamer", by Ella Fitzgerald plays] ♪ 277 00:16:20,714 --> 00:16:22,613 I tried not to look at him in the studio. 278 00:16:22,853 --> 00:16:27,010 Because I knew I wouldn't see him again later when I was listening to the record. 279 00:16:27,011 --> 00:16:31,995 I didn't want to be seduced by the happiness on his face. 280 00:16:31,996 --> 00:16:34,896 I wanted to be seduced by the sound of the instrument. 281 00:16:35,007 --> 00:16:37,287 So I lost several... 282 00:16:37,288 --> 00:16:40,879 [stutters] Sometimes during a repetition I would look, 283 00:16:40,880 --> 00:16:43,744 But I couldn't afford to look at you. 284 00:16:43,745 --> 00:16:45,750 Because I was never going to see you again. 285 00:16:45,751 --> 00:16:48,420 - Do you understand? - Dude, thanks. 286 00:16:49,380 --> 00:16:52,380 ♪ 287 00:16:55,211 --> 00:16:56,404 [in Portuguese] My English was… 288 00:16:57,077 --> 00:16:59,519 - It's really tiny, isn't it? I mean... - But the sound, huh? 289 00:16:59,520 --> 00:17:02,605 [belt] 290 00:17:03,121 --> 00:17:06,540 The English is tiny, but the sound, wow… 291 00:17:07,280 --> 00:17:10,280 [batucadas] 292 00:17:20,508 --> 00:17:22,288 These were the first drums. 293 00:17:24,001 --> 00:17:25,617 that I played in the United States. 294 00:17:25,900 --> 00:17:29,503 Made by my dear friend Mariano, 295 00:17:30,303 --> 00:17:31,311 Cuban. 296 00:17:34,752 --> 00:17:37,596 [in English] Paulinho didn't speak English when we met. 297 00:17:37,597 --> 00:17:38,682 He didn't say anything! 298 00:17:38,683 --> 00:17:41,517 They used to tell me: "Paulinho, don't learn perfect English." 299 00:17:41,518 --> 00:17:45,146 Because we don't want you to lose your Brazilian accent. 300 00:17:45,147 --> 00:17:48,798 Without him, you're not Paulinho anymore! We don't want that. 301 00:17:48,799 --> 00:17:51,613 "Learn enough so we can communicate," and I went for it! 302 00:17:51,614 --> 00:17:52,699 [ri] 303 00:17:52,700 --> 00:17:55,700 [vocalize] 304 00:17:56,596 --> 00:17:59,952 [narrator] The next 3 years playing with Sergio Mendes would be the pinnacle. 305 00:17:59,953 --> 00:18:01,832 Paulinho as a stage artist, 306 00:18:01,833 --> 00:18:04,995 where he always captivated the audiences. 307 00:18:04,996 --> 00:18:07,996 [notes on the berimbau] ♪ 308 00:18:13,180 --> 00:18:17,512 [In English] Paulinho's image is very powerful when he plays. 309 00:18:18,640 --> 00:18:21,640 [samba music] ♪ 310 00:18:25,000 --> 00:18:27,205 You see choreography in everything he plays. 311 00:18:27,206 --> 00:18:30,596 And this is not something that was planned. 312 00:18:30,597 --> 00:18:35,806 It's something real, it comes from within, from a magical place. 313 00:18:35,807 --> 00:18:38,807 [notes on the berimbau] ♪ 314 00:18:48,901 --> 00:18:51,901 [samba music] ♪ 315 00:18:53,366 --> 00:18:56,622 [in English] Paulinho was spectacular on stage. Spectacular! 316 00:18:59,211 --> 00:19:01,804 [Narrator] In fact, Paulinho was so good live, 317 00:19:01,999 --> 00:19:05,201 that several musicians who watched him playing with Sergio Mendes, 318 00:19:05,202 --> 00:19:08,998 They started inviting him to record in the studio. 319 00:19:09,489 --> 00:19:10,800 That's how Paulinho, 320 00:19:10,801 --> 00:19:14,310 already settled in California and with a growing family, 321 00:19:14,506 --> 00:19:16,812 He began to solidify his career in LA. 322 00:19:17,300 --> 00:19:19,806 His magic migrated from the stage. 323 00:19:19,807 --> 00:19:22,904 to the recording studios in Los Angeles. 324 00:19:24,813 --> 00:19:28,408 [Paulinho, in English] I met Dizzy in San Francisco, I was playing. 325 00:19:28,409 --> 00:19:32,808 That was in 1974, 1975. 326 00:19:32,910 --> 00:19:35,921 He came to see us play. 327 00:19:36,212 --> 00:19:40,898 That day he invited me to record on his album. 328 00:19:41,207 --> 00:19:43,615 And we became lifelong friends, until he passed away. 329 00:19:44,495 --> 00:19:45,496 [in Portuguese] The Dizzy 330 00:19:46,006 --> 00:19:48,599 She is a very important person in my career. 331 00:19:48,899 --> 00:19:51,609 Because he was the one who introduced me to Norman Granz. 332 00:19:51,610 --> 00:19:55,000 {\an8}Who was the president of the Pablo Records company. 333 00:19:55,001 --> 00:19:57,608 [narrator] Norman Granz named his record label "Pablo" 334 00:19:57,700 --> 00:20:00,513 in homage to his friend Pablo Picasso, 335 00:20:00,698 --> 00:20:02,899 who created the record label's logo. 336 00:20:02,900 --> 00:20:04,706 Norman Granz did everything for us. 337 00:20:04,903 --> 00:20:07,619 Meeting Norman changed our lives. 338 00:20:07,620 --> 00:20:12,204 [in English] He loved Black American musicians. 339 00:20:12,205 --> 00:20:17,288 He was white, but he loved music. 340 00:20:17,289 --> 00:20:21,719 ...and the Black artists, who didn't have opportunities at that time. 341 00:20:21,720 --> 00:20:25,436 He wanted to hire Paulinho for a session with Dizzy Gillespie. 342 00:20:26,066 --> 00:20:28,706 for what would become her album Bahiana . 343 00:20:28,914 --> 00:20:31,292 At that time, Paulinho had a contract. 344 00:20:31,293 --> 00:20:33,479 I couldn't perform with another artist. 345 00:20:33,480 --> 00:20:36,870 Norman asked for permission for Paulinho to play. 346 00:20:36,871 --> 00:20:40,489 Sergio Mendes gave his permission, everything's fine. 347 00:20:40,490 --> 00:20:42,949 Then Paulinho met Norman. 348 00:20:42,950 --> 00:20:46,600 He had experience with Latinos, who were always late. 349 00:20:46,601 --> 00:20:52,047 and he told me: "Look, our time isn't 10 am, 350 00:20:52,799 --> 00:20:55,614 "It's not 12, it's 11, right?" 351 00:20:55,899 --> 00:20:57,799 When he arrived, I was already playing. 352 00:20:57,800 --> 00:21:00,604 When he entered the studio, I was already recording the track. 353 00:21:01,094 --> 00:21:03,596 [ri] Minutes later he was dancing! 354 00:21:03,901 --> 00:21:06,408 I have a picture of that! 355 00:21:06,500 --> 00:21:09,484 From then on we became friends. 356 00:21:09,485 --> 00:21:12,006 he did everything so that 357 00:21:12,500 --> 00:21:16,215 If our lives were going in the right direction. 358 00:21:17,034 --> 00:21:20,887 [Narrator] In addition to introducing Paulinho to some of the biggest names in jazz, 359 00:21:20,888 --> 00:21:25,595 Norman's label also released two solo albums by Paulinho in the 1970s: 360 00:21:25,596 --> 00:21:29,506 Now in 1977, and Happy People in 1979. 361 00:21:29,507 --> 00:21:33,202 [In English] Actually, the groundwork was done here, you know! 362 00:21:33,306 --> 00:21:34,697 And they sampled the best tracks! 363 00:21:34,698 --> 00:21:37,497 - Yes, they sampled... That's it! - You know? 364 00:21:37,498 --> 00:21:38,904 They sampled the best tracks. 365 00:21:38,905 --> 00:21:43,210 [in English] The year was 1995. 366 00:21:44,312 --> 00:21:47,702 We had just created the Black Eyed Peas. 367 00:21:48,706 --> 00:21:50,610 And I fell in love with Brazilian music. 368 00:21:52,010 --> 00:21:54,410 I don't want to get emotional. 369 00:21:55,610 --> 00:21:56,898 but this guy, 370 00:21:56,899 --> 00:21:58,107 thank you very much, 371 00:21:59,006 --> 00:22:02,500 He gave us the tickets to travel the world. 372 00:22:02,501 --> 00:22:04,307 because we sampled one of his tracks, 373 00:22:05,002 --> 00:22:07,798 "Love Till The End Of Time." 374 00:22:07,799 --> 00:22:13,110 I remember hearing that and saying... 375 00:22:13,701 --> 00:22:16,701 ["Love Till The End of Time" toca] ♪ 376 00:22:20,207 --> 00:22:21,213 I stayed… 377 00:22:22,996 --> 00:22:25,810 Wow! I want to write a song for her! 378 00:22:26,897 --> 00:22:28,469 I want to write a song for her! 379 00:22:28,560 --> 00:22:31,560 ["Joints and Jam", de Black Eyed Peas, toca] ♪ 380 00:22:38,002 --> 00:22:41,002 ["Love Till The End of Time" toca] ♪ 381 00:22:43,219 --> 00:22:44,822 [will.i.am] Where Paulinho is playing, 382 00:22:45,698 --> 00:22:48,711 I can feel the smile. 383 00:22:49,709 --> 00:22:51,387 I feel that love, 384 00:22:51,388 --> 00:22:55,718 I feel what he adds, beyond the percussion. 385 00:22:57,608 --> 00:23:00,306 That invisible layer of: 386 00:23:01,006 --> 00:23:04,813 "What is causing me this wonderful feeling?" 387 00:23:05,049 --> 00:23:08,049 ♪ 388 00:23:12,104 --> 00:23:13,105 That! 389 00:23:14,305 --> 00:23:16,609 [vocalize] 390 00:23:17,710 --> 00:23:18,711 Once again. 391 00:23:20,512 --> 00:23:24,512 [vocalize] 392 00:23:27,009 --> 00:23:30,009 [canta "Joints and Jam"] 393 00:23:48,807 --> 00:23:51,807 [canta "Joints and Jam"] 394 00:24:26,604 --> 00:24:29,604 ["Joints and Jam" concludes] 395 00:24:29,903 --> 00:24:32,903 [vocalize] 396 00:24:33,497 --> 00:24:37,020 ♪ Paulinho on the drums, we're here rocking it! ♪ 397 00:24:37,608 --> 00:24:39,311 ♪ Having fun ♪ 398 00:24:39,594 --> 00:24:44,009 ♪ Brazilians in Los Angeles I am a child of Soul ♪ 399 00:24:44,010 --> 00:24:46,069 ♪ And you know I have everything in the palm of my hand ♪ 400 00:24:46,070 --> 00:24:49,191 ♪ And I'm going to travel all over the world El Mundo ♪ 401 00:24:49,192 --> 00:24:52,369 ♪ Good heavens, let's do this for love, everyone ♪ 402 00:24:52,370 --> 00:24:54,492 ♪ Don't stop! Let's do it for love, everyone! ♪ 403 00:24:54,493 --> 00:24:56,489 ♪ No violence, no brutality ♪ 404 00:24:56,490 --> 00:24:58,542 ♪ Mr. LOVE loves you ♪ 405 00:24:58,543 --> 00:25:02,749 ♪ Why is this the beat, it's the music. Drum of what? Music ♪ 406 00:25:02,750 --> 00:25:07,909 ♪ Do it right, use it until you can't refuse anymore. Just like that ♪ 407 00:25:08,897 --> 00:25:12,013 ♪ That's it, check it out... ♪ 408 00:25:12,105 --> 00:25:13,313 [vocalize] 409 00:25:16,711 --> 00:25:17,845 [ri] 410 00:25:18,508 --> 00:25:19,509 Very cool. 411 00:25:21,091 --> 00:25:24,904 [John, in English] I met him at the Mill Run Theater, 412 00:25:25,204 --> 00:25:26,811 in the Chicago suburbs. 413 00:25:27,106 --> 00:25:29,610 He was playing with Sergio Mendes. 414 00:25:30,497 --> 00:25:36,512 We were very impressed by his energy, you know? 415 00:25:36,606 --> 00:25:37,813 [in English] That's funny. 416 00:25:38,498 --> 00:25:43,008 When you get involved, the adrenaline kicks in and you change. 417 00:25:43,106 --> 00:25:45,900 You just... go! 418 00:25:45,901 --> 00:25:49,405 I can't describe it. 419 00:25:49,406 --> 00:25:52,491 [samba music] ♪ 420 00:25:55,199 --> 00:25:57,901 I was working with The Miracles. 421 00:25:57,902 --> 00:26:00,196 That was after Smokey Robinson left. 422 00:26:00,783 --> 00:26:04,019 We were trying to convince this guy to record with us. 423 00:26:04,020 --> 00:26:06,310 When he arrived, we were ready to record. 424 00:26:06,311 --> 00:26:07,689 He came, played with us, 425 00:26:07,690 --> 00:26:09,794 The song reached the top of the charts worldwide. 426 00:26:09,795 --> 00:26:12,016 We were all lucky, very lucky. 427 00:26:12,397 --> 00:26:15,497 And I think that opened all the doors for me! 428 00:26:15,498 --> 00:26:17,304 - Well… - You know, 429 00:26:17,305 --> 00:26:19,097 When you play a track called "Number 1", what happens? 430 00:26:19,098 --> 00:26:21,499 Yes, people pay attention. - They pay attention. 431 00:26:21,500 --> 00:26:24,500 ["Love Machine", by The Miracles, plays] ♪ 432 00:26:25,989 --> 00:26:29,013 [Narrator] In 1976, Paulinho was starting to get noticed. 433 00:26:29,510 --> 00:26:32,089 Musicians and producers wanted to work with him. 434 00:26:32,090 --> 00:26:35,394 The time had come to leave Sergio Mendes' band. 435 00:26:35,395 --> 00:26:39,135 I don't think we've ever played together on stage; we've mostly recorded in the studio. 436 00:26:39,307 --> 00:26:41,913 Were you in "I Will Survive"? 437 00:26:42,703 --> 00:26:45,703 ["I Will Survive", by Gloria Gaynor, plays] ♪ 438 00:27:01,600 --> 00:27:02,906 Look at that smile! 439 00:27:02,999 --> 00:27:05,999 ♪ 440 00:27:10,003 --> 00:27:13,340 [Paulinho] You feel it's coming. You feel the pressure. 441 00:27:15,634 --> 00:27:19,179 [Narrator] The first time happened right after they arrived in LA. 442 00:27:20,623 --> 00:27:24,823 Sudden headaches forced Paulinho to leave the recording sessions. 443 00:27:26,413 --> 00:27:28,147 The pain was unbearable. 444 00:27:30,110 --> 00:27:31,993 You just want to lie down. 445 00:27:31,994 --> 00:27:35,706 You stop functioning, the pain drains all your strength. 446 00:27:35,707 --> 00:27:37,876 [In English] They thought Paulinho had a brain tumor, 447 00:27:38,300 --> 00:27:40,004 Nobody knew what it was. 448 00:27:40,005 --> 00:27:41,803 [stutters] It was really bad. 449 00:27:41,804 --> 00:27:42,906 Really bad. 450 00:27:43,493 --> 00:27:46,879 [narrator] Unpredictable, unbearable, intractable. 451 00:27:47,722 --> 00:27:50,416 For more than 20 years there would be no diagnosis. 452 00:27:50,947 --> 00:27:53,379 Only pain and uncertainty. 453 00:27:53,380 --> 00:27:56,090 I went to the best doctor, 454 00:27:56,091 --> 00:27:58,384 The guy started sticking needles into my body. 455 00:27:58,385 --> 00:28:00,170 You know, like, what is it? 456 00:28:00,711 --> 00:28:02,985 "It's getting worse!", I told him. 457 00:28:02,986 --> 00:28:08,099 "Doctor, I don't mean to be rude, but these needles are only making things worse!" 458 00:28:08,309 --> 00:28:12,020 Once, Paulinho was watching TV and started shouting: 459 00:28:12,145 --> 00:28:14,029 "Arice, Arice, this is what I have!" 460 00:28:14,030 --> 00:28:16,503 "This guy is going to talk about my headache!" 461 00:28:16,504 --> 00:28:18,951 He comes and describes exactly what I have. 462 00:28:19,200 --> 00:28:22,613 [Narrator] Paulinho was finally diagnosed with "cluster headaches". 463 00:28:22,614 --> 00:28:24,460 There was still no cure. 464 00:28:24,461 --> 00:28:27,850 But the use of oxygen controlled the pain. 465 00:28:27,851 --> 00:28:30,067 and helped Paulinho to continue playing. 466 00:28:30,407 --> 00:28:32,506 But I suffered a lot, man. 467 00:28:32,596 --> 00:28:36,081 I had to get a bridge because they extracted my tooth... 468 00:28:36,192 --> 00:28:38,385 I was saying, "Dude, what is this?" 469 00:28:38,626 --> 00:28:39,759 "Oh, I'm sorry." 470 00:28:39,760 --> 00:28:42,011 "Sorry? Too late, man!" 471 00:28:42,322 --> 00:28:44,899 [ri] 472 00:28:44,900 --> 00:28:47,051 You're laughing now, but... 473 00:28:47,944 --> 00:28:49,064 He knows? 474 00:28:49,557 --> 00:28:54,078 Ultimately, this helped me move on, man. 475 00:28:55,598 --> 00:28:59,319 I was returning from Hawaii. And I met Michael on the plane. 476 00:28:59,320 --> 00:29:05,242 We did a long tour of Japan, and on the way back, on the plane, I heard a voice. 477 00:29:05,243 --> 00:29:06,661 and it was Michael Jackson! 478 00:29:06,662 --> 00:29:08,808 You know, he was very shy, 479 00:29:10,205 --> 00:29:14,772 And I wouldn't bother him. 480 00:29:14,773 --> 00:29:17,220 Suddenly he came and asked if I was Brazilian, I said yes, 481 00:29:17,490 --> 00:29:19,669 We talked for a bit and that's how we met! 482 00:29:19,670 --> 00:29:23,096 Then he invited me to play with The Jacksons. 483 00:29:23,207 --> 00:29:27,806 From there we did many projects. 484 00:29:27,807 --> 00:29:29,889 - I worked with Michael… - [phone rings in the background] 485 00:29:29,890 --> 00:29:34,010 …in over 40 tracks! 486 00:29:34,096 --> 00:29:37,011 "Hello, this is Quincy, is Paulinho there?" 487 00:29:37,012 --> 00:29:39,799 "Quincy," he didn't mention the last name. 488 00:29:39,800 --> 00:29:41,106 More to the voice... 489 00:29:41,107 --> 00:29:44,107 ["The Dude", by Quincy Jones, plays] ♪ 490 00:29:58,960 --> 00:30:01,960 ♪ 491 00:30:08,908 --> 00:30:10,808 [Quincy, in English] When did we meet, man? 492 00:30:11,101 --> 00:30:13,591 [Paulinho] When we worked on the movie The Unforgettable Magician. 493 00:30:13,690 --> 00:30:15,309 {\an8}- [Quincy] "The Wiz"! - [Paulinho] Yes. 494 00:30:15,310 --> 00:30:17,375 - It's been a long time. - It was in 1977. 495 00:30:19,300 --> 00:30:22,300 [samba music] ♪ 496 00:30:27,994 --> 00:30:29,812 I produced Michael Jackson soon after. 497 00:30:29,903 --> 00:30:31,005 Off The Wall. 498 00:30:31,700 --> 00:30:33,999 Man, this is awesome. 499 00:30:35,816 --> 00:30:40,613 [in English] You had such precise timing, you were a perfect metronome. 500 00:30:40,912 --> 00:30:43,433 Flawless, perfect. 501 00:30:44,108 --> 00:30:46,740 [in English] His timing was so impeccable, 502 00:30:46,741 --> 00:30:49,060 It was out of this world. 503 00:30:49,061 --> 00:30:52,061 ["Don't Stop 'Til You Get Enough", de Michael Jackson, toca] 504 00:31:11,240 --> 00:31:14,240 ♪ 505 00:31:22,012 --> 00:31:24,292 In 79, 80, 506 00:31:24,293 --> 00:31:27,306 That's when my father bought a radiola, as we called it. 507 00:31:27,902 --> 00:31:30,700 And the headphones, they started painting headphones, and we… 508 00:31:31,004 --> 00:31:35,004 And I would sit there, engrossed in the liner notes of the LPs. 509 00:31:35,303 --> 00:31:37,601 And I was crazy about those guys, Earth, Wind and Fire, Michael, 510 00:31:37,602 --> 00:31:40,613 Among the millions of others you've already recorded. 511 00:31:41,104 --> 00:31:43,404 And when I saw his name, I said, "Wow, he's Brazilian!" 512 00:31:43,405 --> 00:31:45,898 And we had this culture that Brazilians, they… 513 00:31:46,509 --> 00:31:50,098 They would hardly get involved in that music system, that kind of thing. 514 00:31:50,490 --> 00:31:51,896 [notes on the cuíca] ♪ 515 00:31:51,897 --> 00:31:53,210 [coach] Is that okay with you, Paulinho? 516 00:31:53,603 --> 00:31:55,607 [Paulinho] Michael and Quincy said: "Paulinho..." 517 00:31:55,608 --> 00:31:57,004 [thoughtful] 518 00:31:57,700 --> 00:32:01,996 "...do whatever you think is appropriate for that track." 519 00:32:01,997 --> 00:32:06,712 For me, it was very important to add something. 520 00:32:06,800 --> 00:32:10,503 that had a signature, 521 00:32:11,094 --> 00:32:14,816 The cuíca is an instrument that is not widely used in the United States. 522 00:32:15,406 --> 00:32:18,317 {\an8}e has its roots in Brazil. 523 00:32:18,707 --> 00:32:23,495 We recorded it and I was very happy, it was a big success. 524 00:32:23,496 --> 00:32:27,520 And the drawing turned out perfect, nothing complicated, just a... 525 00:32:27,681 --> 00:32:28,800 [imitates cuica sound] 526 00:32:28,801 --> 00:32:31,801 ["Wanna Be Startin' Somethin'", de Michael Jackson, toca] 527 00:32:39,716 --> 00:32:43,117 I don't think of Paulinho as a percussionist. 528 00:32:43,848 --> 00:32:44,999 Paulinho is an artist. 529 00:32:45,000 --> 00:32:48,077 [notes on the berimbau] ♪ 530 00:32:52,004 --> 00:32:54,506 [Herb] He is special, unique. 531 00:32:59,400 --> 00:33:01,215 Musically, he is intuitive. 532 00:33:02,895 --> 00:33:06,397 This music is coming through him, it's coming from a deep place. 533 00:33:06,398 --> 00:33:07,840 straight from the source, 534 00:33:08,207 --> 00:33:11,505 And that's very beautiful, you don't find that normally. 535 00:33:11,804 --> 00:33:14,804 [notes on the berimbau] ♪ 536 00:33:21,493 --> 00:33:23,612 At that moment, 537 00:33:24,192 --> 00:33:26,510 {\an8}we all start at the same time. 538 00:33:26,615 --> 00:33:31,313 It was the beginning of the great record industry. 539 00:33:31,404 --> 00:33:33,698 We were all recording. 540 00:33:33,699 --> 00:33:36,389 - [Paulinho] Yes. - All the studios were booked... 541 00:33:36,390 --> 00:33:39,203 You couldn't get a studio at that time. 542 00:33:39,204 --> 00:33:40,339 [Paulinho] We worked a lot. 543 00:33:40,340 --> 00:33:43,269 You should be doing five or six recordings a day! 544 00:33:43,270 --> 00:33:44,559 It was nonstop. 545 00:33:44,560 --> 00:33:47,109 [in English] We bought our first answering machine. 546 00:33:47,110 --> 00:33:49,906 [Paulinho, on the recording] This is Paulinho da Costa, please leave your message. 547 00:33:50,570 --> 00:33:53,570 ["Workin' Day and Night" toca] ♪ 548 00:34:05,500 --> 00:34:08,130 [in English] I know many arrangers who tell him every note to be played, 549 00:34:08,131 --> 00:34:09,420 I know how to do that too. 550 00:34:09,421 --> 00:34:11,759 But that's not how you make great music. 551 00:34:11,760 --> 00:34:13,908 that connects with God. 552 00:34:13,909 --> 00:34:18,313 You have to set up a good structure and let him be Paulinho! 553 00:34:19,013 --> 00:34:22,013 ♪ 554 00:34:27,303 --> 00:34:29,000 It was a very active time. 555 00:34:29,001 --> 00:34:31,691 You have to understand that the 1970s in LA, 556 00:34:31,692 --> 00:34:35,207 Los Angeles was the recording capital, period. 557 00:34:35,208 --> 00:34:38,697 No other place in the world came close to LA. 558 00:34:38,698 --> 00:34:44,419 In an area of ​​three or four blocks, what was happening was extraordinary. 559 00:34:44,420 --> 00:34:46,415 You had Barry White recording in a studio, 560 00:34:46,538 --> 00:34:52,502 Earth Wind and Fire em outro, The Crusaders, Minnie Riperton, Bill Withers, 561 00:34:52,503 --> 00:34:56,714 All of this happening within an 800m radius! 562 00:34:56,806 --> 00:34:58,806 ["Do You Love What You Feel", de Rufus and Chaka Khan, toca] 563 00:34:59,310 --> 00:35:01,715 [George, in English] That moment was very exciting, 564 00:35:02,200 --> 00:35:06,216 Because finally African Americans have reached the top. 565 00:35:11,312 --> 00:35:15,336 {\an8}[in English] When he plays, he is very expressive. 566 00:35:15,337 --> 00:35:18,989 He really expresses himself through body language. 567 00:35:18,990 --> 00:35:22,688 It could be a simple rattle; he feels it in his jaw. 568 00:35:22,689 --> 00:35:27,016 He feels everything, every heartbeat has an expression. 569 00:35:27,309 --> 00:35:29,508 So every recording session was a show. 570 00:35:29,509 --> 00:35:32,509 {\an8}[Nathan and Paulinho play "Dejà Vu"] 571 00:35:33,004 --> 00:35:35,699 Sometimes I hum while I play. 572 00:35:36,098 --> 00:35:38,070 Michael once told me: 573 00:35:38,556 --> 00:35:40,649 "Paulinho...", he was looking at me. 574 00:35:40,650 --> 00:35:43,116 "You take the rhythm in your mouth, 575 00:35:43,117 --> 00:35:45,860 You move your mouth to the groove, man! 576 00:35:46,109 --> 00:35:49,169 I had never paid attention to that before. 577 00:35:53,644 --> 00:35:56,189 [belt] 578 00:35:56,729 --> 00:35:58,232 That's it! - [Nathan] That was crazy! 579 00:35:59,603 --> 00:36:01,147 [Carlinhos] has a percussion truck. 580 00:36:01,148 --> 00:36:02,949 What did you take to the studio? What's that like? 581 00:36:02,950 --> 00:36:06,245 Everyone says: "He arrived with a percussion truck." 582 00:36:06,246 --> 00:36:08,804 [Roberto] stopped a truck at the studio door and went inside… 583 00:36:09,506 --> 00:36:12,148 All that equipment, all those cabinets, right? 584 00:36:12,610 --> 00:36:14,211 Do you understand? Then I said: "Wow, Paulinho, 585 00:36:14,212 --> 00:36:16,913 I forgot to ask you to bring a… 586 00:36:17,413 --> 00:36:21,009 There's one thing, man, that I wanted to try. 587 00:36:21,010 --> 00:36:23,369 That little ballerina ring they wear on their finger, right? 588 00:36:23,370 --> 00:36:24,714 "Do it like this..." [imitates the sound of a cymbal] 589 00:36:24,715 --> 00:36:25,951 That kind of thing, you know? 590 00:36:25,952 --> 00:36:28,105 But I forgot to tell you, man." 591 00:36:28,609 --> 00:36:30,305 Then he said, "Oh, really? Wait a minute." 592 00:36:31,202 --> 00:36:33,306 Then he opened a small drawer on top, like this: 593 00:36:33,307 --> 00:36:35,618 I think the second one before the last one, 594 00:36:35,790 --> 00:36:37,011 The one at the top, you know? 595 00:36:37,102 --> 00:36:39,262 He opened the little drawer and did this… 596 00:36:39,902 --> 00:36:41,732 - "Is this it?" - [cymbal sound] 597 00:36:41,733 --> 00:36:45,205 ♪ All this that you, my love, give me ♪ 598 00:36:47,207 --> 00:36:50,697 ♪ All this that you, my love, give me… ♪ 599 00:36:52,079 --> 00:36:54,450 [Lalo, in English] There's a lot of talk about "soul brothers". 600 00:36:55,970 --> 00:36:57,886 Paulinho is truly my soul brother. 601 00:36:58,003 --> 00:37:00,979 [They vocalize "Manteca" by Lalo Schifrin] 602 00:37:02,200 --> 00:37:04,132 [belt] 603 00:37:04,133 --> 00:37:06,051 That's it, man! - I remember! 604 00:37:06,052 --> 00:37:09,617 When I met Lalo, he already had a very strong reputation. 605 00:37:09,705 --> 00:37:10,706 Very strong. 606 00:37:11,085 --> 00:37:16,106 When he entered the studio, people trembled. 607 00:37:16,415 --> 00:37:17,815 Seriously, no joke. 608 00:37:17,911 --> 00:37:20,905 Because he had composed the theme song for Mission Impossible! 609 00:37:20,906 --> 00:37:23,416 It was as if we had known each other for 20 years. 610 00:37:24,199 --> 00:37:26,155 - Right on time. - Right on time. 611 00:37:26,156 --> 00:37:30,604 But the difference is that he was very famous and I was a nobody. 612 00:37:30,605 --> 00:37:35,312 I was just a little boy trying to break into the music scene... 613 00:37:35,999 --> 00:37:38,712 - In my book you were already famous. - [Paulinho laughs] 614 00:37:38,997 --> 00:37:43,425 I hope my countrymen don't misunderstand me. 615 00:37:43,798 --> 00:37:45,990 I was born in Argentina. 616 00:37:45,991 --> 00:37:49,516 But I left Argentina because I was running away from tango. 617 00:37:50,202 --> 00:37:53,202 [ri] 618 00:37:55,077 --> 00:37:58,304 Tango doesn't have groove. And I like groove. 619 00:37:58,806 --> 00:38:00,353 In Brazil they have groove, 620 00:38:00,999 --> 00:38:03,206 In the United States they have groove, with jazz, 621 00:38:03,797 --> 00:38:05,506 And if they don't have groove, forget it. 622 00:38:06,207 --> 00:38:08,407 This is my problem, and this is my solution. 623 00:38:08,909 --> 00:38:12,619 [non-piano notes] ♪ 624 00:38:12,620 --> 00:38:14,406 [Paulinho] Dizzy used to say: "Man, Lalo, 625 00:38:14,599 --> 00:38:17,506 when I pick up my trumpet and play 'Manteca'..." 626 00:38:17,908 --> 00:38:20,064 - Do you remember "Manteca"? - Yes. 627 00:38:20,065 --> 00:38:23,065 [non-piano notes] ♪ 628 00:38:25,260 --> 00:38:30,436 [Paulinho] Dizzy Gillespie, who was his mentor and opened doors for him. 629 00:38:31,098 --> 00:38:33,162 It also opened doors for me. 630 00:38:33,636 --> 00:38:34,762 And that's the connection. 631 00:38:36,006 --> 00:38:37,472 Dizzy put lyrics to it: 632 00:38:37,709 --> 00:38:39,705 "I'm never going back to Georgia." 633 00:38:41,611 --> 00:38:45,326 ♪ I'm never going back to Georgia ♪ 634 00:38:45,515 --> 00:38:47,598 ♪ I'm never going back to Georgia... ♪ 635 00:38:47,599 --> 00:38:49,402 [Paulinho] ♪ I'm never going back to Georgia... ♪ 636 00:38:49,403 --> 00:38:52,403 [vocalize] 637 00:39:00,404 --> 00:39:02,909 [ri] 638 00:39:03,910 --> 00:39:08,116 Oh man... That's Dizzy, that's Dizzy! 639 00:39:08,714 --> 00:39:10,309 [ri] But he was... 640 00:39:12,003 --> 00:39:13,711 [Carlinhos] Look, you're a sincere person. 641 00:39:14,314 --> 00:39:16,879 - The whole world calls it a cowbell. - [Paulinho, in Portuguese] Exactly. 642 00:39:17,446 --> 00:39:18,806 [Carlinhos] But we call it a cowbell. 643 00:39:19,699 --> 00:39:22,699 [notes not on keyboard] ♪ 644 00:39:27,700 --> 00:39:30,300 - Several albums that I participated in… - [Carlinhos agrees] 645 00:39:30,301 --> 00:39:32,071 …which are successful and you know them. 646 00:39:32,158 --> 00:39:33,993 Earth, Wind and Fire, "Serpentine Fire". 647 00:39:33,994 --> 00:39:36,670 [imitates the beat of "Serpentine Fire"] 648 00:39:36,768 --> 00:39:39,768 [plays intro of "Serpentine Fire"] 649 00:39:40,250 --> 00:39:43,052 [in English] Man, that gives me the creeps! 650 00:39:44,089 --> 00:39:46,893 We started with this melody... 651 00:39:46,894 --> 00:39:49,743 {\an8}[vocalize] 652 00:39:50,537 --> 00:39:53,150 What I love about "Serpentine Fire" 653 00:39:53,539 --> 00:39:55,732 The thing is, there wasn't much conversation beforehand. 654 00:39:55,850 --> 00:39:58,686 Maurice said, "Let's just let the vibe flow." 655 00:40:03,105 --> 00:40:06,644 And it was interesting because it was a different track. 656 00:40:07,032 --> 00:40:08,438 And it reached number one! 657 00:40:08,610 --> 00:40:11,610 ["Serpentine Fire" toca] ♪ 658 00:40:12,830 --> 00:40:15,824 {\an8}[imitates music beats] 659 00:40:15,825 --> 00:40:16,950 And that's him! 660 00:40:16,951 --> 00:40:19,483 What are you ringing, cowbells? 661 00:40:19,484 --> 00:40:21,174 - Exactly. - Was it like a drum and cowbell? 662 00:40:21,175 --> 00:40:23,378 Something happened, Greg. 663 00:40:23,379 --> 00:40:28,233 We recorded the track and I left that cowbell aside. 664 00:40:28,641 --> 00:40:31,188 because that moment was so special 665 00:40:31,189 --> 00:40:33,417 I said, "I'm never using that cowbell again ." 666 00:40:33,892 --> 00:40:35,527 - Never again. - That's it. So I put it away. 667 00:40:35,528 --> 00:40:37,045 That's where we start this film, 668 00:40:37,648 --> 00:40:39,428 I was in my storage room. 669 00:40:39,586 --> 00:40:41,852 - And I found the cowbell! - I see. 670 00:40:41,951 --> 00:40:44,440 - It was completely rusted. - Really? 671 00:40:44,441 --> 00:40:47,490 - It's all rusty. It's here. - Okay, I have to see it. 672 00:40:47,581 --> 00:40:49,716 You have to see it, it's all rusty. 673 00:40:49,916 --> 00:40:53,903 And I said, "I should clean it, paint it." 674 00:40:54,041 --> 00:40:56,481 No, that will take away the magic! 675 00:40:56,572 --> 00:40:58,112 I ended up not doing anything, he's here. 676 00:40:58,276 --> 00:41:00,287 I have to see the cowbell, show it to me. 677 00:41:01,040 --> 00:41:04,040 ♪ 678 00:41:04,515 --> 00:41:06,340 - [Greg] Is this him? - [Paulinho] This is the guy. 679 00:41:11,050 --> 00:41:14,102 This is the magic cowbell from "Serpentine Fire". 680 00:41:14,350 --> 00:41:17,350 ♪ 681 00:41:19,060 --> 00:41:22,650 And when we had the track ready, you arrived and... 682 00:41:22,651 --> 00:41:24,692 [imitates music beats] 683 00:41:24,693 --> 00:41:28,156 [stutters] And that line... 684 00:41:29,549 --> 00:41:30,633 He wrote the song. 685 00:41:30,738 --> 00:41:33,738 ♪ 686 00:41:49,944 --> 00:41:52,112 - [Verdine] Is this him? - [Paulinho] Yes, look, he's here. 687 00:41:53,919 --> 00:41:54,920 That's it. 688 00:41:58,286 --> 00:42:00,131 That's it. 689 00:42:02,020 --> 00:42:05,020 ♪ 690 00:42:08,900 --> 00:42:11,598 [Paulinho] One day, Maurice White called me. 691 00:42:11,599 --> 00:42:13,765 Of course, they were my idols! 692 00:42:13,766 --> 00:42:17,288 I was apprehensive because I didn't know what was going to happen. 693 00:42:17,914 --> 00:42:22,014 I walk into the studio and Maurice White is sitting at the table, 694 00:42:22,015 --> 00:42:23,155 He is the producer. 695 00:42:23,515 --> 00:42:26,959 Philip Bailey, Verdine White, and others are also present... 696 00:42:27,669 --> 00:42:30,932 {\an8}of all the other guys who are top-tier artists! 697 00:42:31,551 --> 00:42:33,417 I go in and they tell me: 698 00:42:34,184 --> 00:42:38,707 "Hey Paulinho, we've heard a lot about you, it's great to have you with us." 699 00:42:38,708 --> 00:42:39,836 I said, "Thanks, man." 700 00:42:40,089 --> 00:42:42,698 He said, "I'm going to play a track here, see what you can do." 701 00:42:43,258 --> 00:42:44,376 And they played… 702 00:42:45,571 --> 00:42:48,707 [vocaliza "Brazilian Rhyme", de Earth Wind and Fire] 703 00:42:48,708 --> 00:42:50,029 It was the first thing they played for me. 704 00:42:50,030 --> 00:42:53,030 [tocam "Brazilian Rhyme"] ♪ 705 00:42:53,900 --> 00:42:56,900 [vocaliza "Brazilian Rhyme"] ♪ 706 00:43:10,300 --> 00:43:13,300 ♪ 707 00:43:18,602 --> 00:43:20,759 [Paulinho] I have my equipment 708 00:43:20,760 --> 00:43:24,819 And while they play, I'm thinking about what to do. 709 00:43:25,404 --> 00:43:26,788 And I did the following. 710 00:43:27,294 --> 00:43:29,602 "I know what will work." 711 00:43:29,603 --> 00:43:33,009 I got some special spoons. 712 00:43:33,010 --> 00:43:35,228 They were very special spoons. 713 00:43:35,362 --> 00:43:40,315 They play with great simplicity and energy. 714 00:43:41,049 --> 00:43:44,529 They make the music speak, and I went along with them! 715 00:43:44,707 --> 00:43:46,923 And the timing has to be very precise. 716 00:43:47,304 --> 00:43:50,003 I thought to myself, "I'm going to put my heart into it and play." 717 00:43:50,004 --> 00:43:51,772 So I grabbed my spoons and... 718 00:43:51,773 --> 00:43:54,169 [imitates music beats] 719 00:43:54,170 --> 00:43:57,136 ♪ 720 00:44:03,729 --> 00:44:06,775 Suddenly Maurice said: "Stop everything! That's it!" 721 00:44:07,352 --> 00:44:11,476 You're one of us, man! That's right! 722 00:44:11,958 --> 00:44:15,401 They recorded it, and that was that. 723 00:44:16,650 --> 00:44:19,650 ♪ 724 00:44:21,160 --> 00:44:22,603 [vocalize] 725 00:44:22,950 --> 00:44:24,950 ♪ ["Brazilian Rhyme" finaliza] 726 00:44:25,524 --> 00:44:27,524 [belt] 727 00:44:28,349 --> 00:44:29,876 That's how it's done! 728 00:44:29,877 --> 00:44:33,396 [They sing] ♪ That's how it's done... ♪ 729 00:44:34,187 --> 00:44:35,890 Thank you, friends, thank you! 730 00:44:36,611 --> 00:44:39,173 So many memories, guys! 731 00:44:39,265 --> 00:44:42,013 What is it? You're going to kill me! 732 00:44:42,746 --> 00:44:44,080 You're killing me! 733 00:44:44,697 --> 00:44:47,016 - I'm too old for this. - [Greg] Yeah, right! 734 00:44:47,017 --> 00:44:48,139 [Paulinho] What is it? 735 00:44:48,140 --> 00:44:50,399 Man, that's a lot of memories, Philip! 736 00:44:50,400 --> 00:44:53,106 [Man] Listen, a month ago 737 00:44:53,623 --> 00:44:55,849 We recovered the master tapes. 738 00:44:55,980 --> 00:44:58,687 You need to hear this song. 739 00:44:58,688 --> 00:45:01,300 When you listen to the percussion channels, 740 00:45:02,039 --> 00:45:04,596 I think you covered everything in this track. 741 00:45:04,694 --> 00:45:07,107 In this category. It's ridiculous! 742 00:45:07,500 --> 00:45:08,869 [They celebrate] 743 00:45:08,870 --> 00:45:11,419 - There it is! - [Paulinho] That's the song, man! 744 00:45:11,420 --> 00:45:12,506 That's the one! 745 00:45:13,697 --> 00:45:15,310 [celebrates] 746 00:45:15,964 --> 00:45:16,965 So beautiful! 747 00:45:18,333 --> 00:45:20,629 Thanks, man. That's what I was talking about. 748 00:45:20,630 --> 00:45:23,430 It doesn't get any better than this! 749 00:45:24,093 --> 00:45:26,085 Maurice White me disse: 750 00:45:26,336 --> 00:45:27,974 "Dude, when you hit the claves..." 751 00:45:27,975 --> 00:45:29,034 He loves keys. 752 00:45:29,361 --> 00:45:33,007 "You don't just hit the clubs, you use your body!" 753 00:45:33,008 --> 00:45:34,402 He's like a boxer, you know? 754 00:45:34,503 --> 00:45:38,030 The best punch comes when he makes the full movement. 755 00:45:38,031 --> 00:45:41,410 "It's like a tennis player, who uses their body." 756 00:45:41,411 --> 00:45:42,945 - I love it here! - Paulinho! 757 00:45:44,410 --> 00:45:45,637 [They celebrate] 758 00:45:46,007 --> 00:45:48,560 [ri] 759 00:45:49,902 --> 00:45:52,039 [vocalize] 760 00:45:52,040 --> 00:45:53,102 Two halves! 761 00:45:53,195 --> 00:45:56,195 ["In The Stone", de Earth Wind and Fire, toca] 762 00:45:59,958 --> 00:46:00,959 [shout] 763 00:46:02,082 --> 00:46:04,019 That's very accurate! 764 00:46:04,020 --> 00:46:06,983 What? Don't mess with the guy! 765 00:46:06,984 --> 00:46:09,984 ♪ 766 00:46:13,906 --> 00:46:15,906 [Paulinho sings] 767 00:46:16,656 --> 00:46:19,172 [They celebrate] 768 00:46:19,173 --> 00:46:22,878 [Paulinho] Dude, thank you so much! 769 00:46:25,240 --> 00:46:26,324 [excited shout] 770 00:46:26,325 --> 00:46:29,539 [vocalize] 771 00:46:29,540 --> 00:46:31,249 - [Paulinho laughs] - [Man] I told you! 772 00:46:31,250 --> 00:46:33,959 That's it! - Yeah, man! 773 00:46:33,960 --> 00:46:36,340 Yeah, man, awesome! 774 00:46:36,341 --> 00:46:38,916 That's how the whole track is, man, the whole track. 775 00:46:40,333 --> 00:46:42,419 ♪ ["In The Stone", finaliza] 776 00:46:42,420 --> 00:46:46,306 I would go on to play on so many of their albums, so many hits... 777 00:46:46,307 --> 00:46:49,590 You know, they were already very successful, 778 00:46:49,591 --> 00:46:53,375 But I managed to get on that boat. 779 00:46:54,156 --> 00:46:58,477 They opened the door and I just went along with them. 780 00:46:58,940 --> 00:47:01,940 ["And Love Goes On" toca] ♪ 781 00:47:15,081 --> 00:47:16,436 [narrator] In the late 1970s, 782 00:47:16,527 --> 00:47:23,459 Paulinho was already demonstrating his ability to play with artists of various styles. 783 00:47:23,931 --> 00:47:27,152 He didn't realize he was building something. 784 00:47:27,153 --> 00:47:31,832 The most incredible and eclectic biography in the history of modern music. 785 00:47:32,389 --> 00:47:35,059 He is a very special person to me. 786 00:47:35,060 --> 00:47:38,896 A very special musician, a very special member of my family! 787 00:47:39,559 --> 00:47:41,615 We spent a lot of time together in the studio, man. 788 00:47:41,616 --> 00:47:44,700 {\an8}[vocalize] 789 00:47:44,701 --> 00:47:47,701 {\an8}[pop music] ♪ 790 00:47:57,114 --> 00:47:59,498 [vocalize] 791 00:47:59,499 --> 00:48:02,807 [George, in English] Over the years, Quincy Jones has developed 792 00:48:04,425 --> 00:48:08,900 and modernized the industry so much, 793 00:48:08,901 --> 00:48:12,008 {\an8}e uses this to its fullest advantage. 794 00:48:12,009 --> 00:48:15,890 I've heard amazing things he's done on other recordings. 795 00:48:15,891 --> 00:48:18,170 If you've ever listened to a Quincy Jones album 796 00:48:18,171 --> 00:48:20,769 Or something produced by him, you know what I mean. 797 00:48:20,770 --> 00:48:23,770 ["Ai No Corrida", by Quincy Jones, plays] ♪ 798 00:48:30,120 --> 00:48:31,699 [in English] It was 1980. 799 00:48:31,700 --> 00:48:34,700 ♪ 800 00:48:35,505 --> 00:48:38,206 - I used to tease him like that! - That's right. 801 00:48:48,136 --> 00:48:50,136 ♪ ["Ai No Corrida" ends] 802 00:48:50,406 --> 00:48:51,407 OK! 803 00:48:52,245 --> 00:48:53,905 [in English] Then Quincy said, "I just want to know one thing: 804 00:48:54,507 --> 00:48:58,842 Do you want to make the best contemporary jazz album in the world? 805 00:49:00,611 --> 00:49:03,990 I thought to myself, "The greatest jazz album has ever been made." 806 00:49:04,107 --> 00:49:07,710 "Forget about Charlie Parker." 807 00:49:08,195 --> 00:49:10,910 Then he said, "Or do you want to go for the jugular?" 808 00:49:12,604 --> 00:49:14,365 I said, "Quincy...", and laughed. 809 00:49:14,366 --> 00:49:16,339 [ri] 810 00:49:16,340 --> 00:49:18,420 "Quincy, go to the jugular, dear". 811 00:49:18,421 --> 00:49:20,871 [belt] 812 00:49:20,872 --> 00:49:23,147 "That's all I want to know," you know how he is. 813 00:49:23,148 --> 00:49:25,757 - I know. - "That's all I want to know, baby." 814 00:49:26,911 --> 00:49:28,442 Then we talked about you. 815 00:49:28,443 --> 00:49:32,625 [Quincy] Paulinho is the essence of Brazil. 816 00:49:33,215 --> 00:49:36,105 And I've always had an affinity for that. 817 00:49:36,106 --> 00:49:38,717 Because I still think this is an extension of… 818 00:49:40,010 --> 00:49:43,824 [stutters] If we dare to go back in time 819 00:49:43,825 --> 00:49:46,191 and try to make the connection 820 00:49:46,192 --> 00:49:49,466 to discover the essence of black music, 821 00:49:49,467 --> 00:49:54,525 We have to go back to ragtime, swing, jazz, 822 00:49:54,526 --> 00:49:59,267 Country jazz bands, slave spirituals, etc. 823 00:49:59,268 --> 00:50:04,498 Some of the most accessible African roots 824 00:50:05,050 --> 00:50:07,803 They are still available in Brazil. 825 00:50:08,416 --> 00:50:12,691 And Paulinho comes from that school. I've been to Brazil about 17 times. 826 00:50:13,222 --> 00:50:15,799 The samba school, the carnival music, 827 00:50:15,800 --> 00:50:19,404 the merging of roots... 828 00:50:19,905 --> 00:50:20,906 [thoughtful] 829 00:50:21,492 --> 00:50:24,529 ...European and African women from Brazil, 830 00:50:24,530 --> 00:50:26,729 Paulinho is the essence of all this. 831 00:50:26,820 --> 00:50:28,820 [vocalize] 832 00:50:29,415 --> 00:50:31,024 You used to pick things up off the floor! 833 00:50:31,203 --> 00:50:33,618 [belt] 834 00:50:34,193 --> 00:50:35,939 With that smile on her face. 835 00:50:36,636 --> 00:50:39,053 But everything was real, it was real! 836 00:50:39,054 --> 00:50:42,095 You don't mess with a guy who works with that level of conviction. 837 00:50:42,372 --> 00:50:45,246 ["Give Me The Night" toca] ♪ 838 00:50:59,600 --> 00:51:01,004 [cantarola "Give Me The Night"] 839 00:51:01,105 --> 00:51:03,105 "That's not going to work, Quincy!" 840 00:51:04,006 --> 00:51:05,395 [cantarola "Give Me The Night"] 841 00:51:05,396 --> 00:51:06,397 "What?" 842 00:51:06,554 --> 00:51:08,433 "Don't use that voice, man!" 843 00:51:08,524 --> 00:51:09,770 [cantarola "Give Me The Night"] 844 00:51:09,771 --> 00:51:11,771 [ri] 845 00:51:12,403 --> 00:51:13,596 [cantarola "Give Me The Night"] 846 00:51:14,806 --> 00:51:16,920 "It won't work, Quincy!" 847 00:51:16,921 --> 00:51:19,734 [ri] 848 00:51:21,368 --> 00:51:23,054 That's great! 849 00:51:23,607 --> 00:51:25,092 How much do you want for the bongos? 850 00:51:25,093 --> 00:51:26,389 [belt] 851 00:51:27,071 --> 00:51:29,279 [Paulinho] I think the way I was accepted 852 00:51:29,280 --> 00:51:31,920 by so many different groups, 853 00:51:31,921 --> 00:51:37,491 jazz, pop, RandB, Rock and Roll, 854 00:51:37,492 --> 00:51:40,805 It was because I always carry it. 855 00:51:41,854 --> 00:51:46,199 in my blood 856 00:51:47,444 --> 00:51:49,286 That groove, the Brazilian groove . 857 00:51:49,287 --> 00:51:52,317 One, two, three and… 858 00:51:52,318 --> 00:51:55,318 [rhythmic clapping] 859 00:51:57,814 --> 00:52:00,814 {\an8}- [vocalizes] - [soft pop music] 860 00:52:03,698 --> 00:52:06,698 [sings "Use Me"] 861 00:52:20,760 --> 00:52:23,760 [sings "Use Me"] 862 00:52:37,412 --> 00:52:39,419 [sings "Use Me"] 863 00:52:53,300 --> 00:52:56,130 [Ray, in English] I remember LA back then, it was interesting, 864 00:52:56,131 --> 00:52:58,300 In Glendale they used to say: 865 00:52:58,301 --> 00:53:00,772 "No dogs, no cats, no Jews, no blacks." 866 00:53:00,773 --> 00:53:03,471 - The racism in Glendale. - [Paulinho] That's true. 867 00:53:03,560 --> 00:53:06,560 [sings "Use Me"] 868 00:53:12,116 --> 00:53:14,660 One day, Paulinho's instruments had been delivered. 869 00:53:14,661 --> 00:53:15,941 by the transport company, 870 00:53:15,942 --> 00:53:18,123 And he started pushing his equipment into the studio. 871 00:53:18,124 --> 00:53:24,117 The engineer sees Paulinho and thinks he's the porter. 872 00:53:24,509 --> 00:53:28,920 He shouts: "Get those drugs out of here !" 873 00:53:29,493 --> 00:53:31,609 And Paulinho stays... 874 00:53:32,273 --> 00:53:34,648 They knew that this guy did this with several musicians. 875 00:53:34,649 --> 00:53:38,024 But nobody said anything because they needed the work and the money. 876 00:53:38,025 --> 00:53:39,026 I am not! 877 00:53:39,470 --> 00:53:44,017 I'm happy to do the work, but I don't need to go through this. 878 00:53:44,018 --> 00:53:47,277 Paulinho says: "Excuse me, are you talking to me?". 879 00:53:47,500 --> 00:53:51,311 And he says, "Did you hear me? Get those drug cases out of here!" 880 00:53:51,607 --> 00:53:53,506 Paulinho says: "No problem." 881 00:53:53,997 --> 00:53:56,374 Then he takes the cases out of the studio. 882 00:53:56,375 --> 00:54:00,198 and leaves before the session even begins. 883 00:54:00,199 --> 00:54:03,507 Next, the musicians and the contractor arrive. 884 00:54:03,508 --> 00:54:06,821 And they ask: "Where's Paulinho, what happened to him?" 885 00:54:06,916 --> 00:54:09,306 He says, "He was here, but he left." 886 00:54:09,307 --> 00:54:12,394 That's it, I left the guy talking to himself. 887 00:54:12,395 --> 00:54:16,676 Because I'm not going to waste my time with him. That would be giving him too many chances. 888 00:54:17,607 --> 00:54:19,608 I left the guy talking to himself and went home! 889 00:54:19,907 --> 00:54:22,907 [sings "Use Me"] 890 00:54:36,509 --> 00:54:38,976 Do you know how hard it is to feel good, Paulinho? 891 00:54:38,977 --> 00:54:40,689 I'm going to warn you: 892 00:54:40,690 --> 00:54:43,149 I've been in pain since 1958. 893 00:54:43,150 --> 00:54:48,186 My back, my legs, I have to monitor my heart... 894 00:54:48,187 --> 00:54:51,687 You know how nice it would be to go to a place... 895 00:54:51,688 --> 00:54:55,060 - I understand. - ...and leave everything behind. 896 00:54:55,061 --> 00:54:57,706 Yes. - Being who you are, feeling good... 897 00:54:57,707 --> 00:54:59,917 You know what? Ever since I sat down here, 898 00:54:59,918 --> 00:55:02,340 I hadn't realized, I don't feel any pain. 899 00:55:03,809 --> 00:55:06,809 [sings "Use Me"] 900 00:55:24,402 --> 00:55:27,402 [sings "Use Me"] 901 00:55:42,299 --> 00:55:44,215 ♪ ["Use Me" ends] 902 00:55:46,104 --> 00:55:49,509 Suddenly I was involved in all kinds of music! 903 00:55:50,339 --> 00:55:55,514 And in the world of rock 'n' roll, there are a lot of drugs! 904 00:55:56,109 --> 00:55:58,715 I don't smoke, I don't drink, I don't use drugs. 905 00:55:58,811 --> 00:56:01,396 [ri] How am I going to fit in like this? 906 00:56:01,397 --> 00:56:03,288 What do I do? 907 00:56:03,289 --> 00:56:06,211 I found the best way to deal with it, which was to say: 908 00:56:06,807 --> 00:56:08,211 "It's legal, it's OK!" 909 00:56:09,008 --> 00:56:13,112 That way they didn't know if I had ever used any drugs. 910 00:56:14,097 --> 00:56:17,807 Or if I was going to use it later. 911 00:56:17,808 --> 00:56:20,308 I'd say, "I'm fine, thanks!", and keep going. 912 00:56:20,406 --> 00:56:23,219 "Hey, man, I'm good," "I'm good"... 913 00:56:24,112 --> 00:56:25,892 I've been doing this all these years... 914 00:56:26,010 --> 00:56:29,042 {\an8}["Runnin", de Earth Wind and Fire, toca] ♪ 915 00:56:38,506 --> 00:56:40,046 [Paulinho] For me, less is more. 916 00:56:40,597 --> 00:56:42,255 And I play using that concept. 917 00:56:43,004 --> 00:56:45,716 I only play what's necessary, at the right time. 918 00:56:50,909 --> 00:56:52,992 ♪ ["Runnin" ends] 919 00:56:52,993 --> 00:56:54,615 [narrator] In the mid-1980s, 920 00:56:54,616 --> 00:56:58,998 Many musicians and producers have also adopted the concept of "less is more". 921 00:56:59,500 --> 00:57:03,882 That is, fewer percussionists and more electronic drums. 922 00:57:03,883 --> 00:57:06,774 Paulinho, maybe we should buy some new equipment, 923 00:57:06,775 --> 00:57:09,104 You can do better. 924 00:57:09,788 --> 00:57:13,267 Paulinho said: "No, everything's fine." 925 00:57:13,268 --> 00:57:17,851 And then the phone starts ringing even more! 926 00:57:18,100 --> 00:57:21,100 ["Open Your Heart", by Madonna, plays] ♪ 927 00:57:40,500 --> 00:57:43,500 ♪ 928 00:57:47,670 --> 00:57:53,929 {\an8}[in English] We enter the synthetic world of programmable electronic drums. 929 00:57:53,930 --> 00:57:57,559 But it was always important to have the human connection as well. 930 00:57:57,560 --> 00:58:00,560 ["La Isla Bonita", by Madonna, plays] ♪ 931 00:58:11,660 --> 00:58:16,997 They improved the machine to have some groove. 932 00:58:16,998 --> 00:58:18,306 But it's not the same thing! 933 00:58:19,688 --> 00:58:23,417 But when you combine the precision of the machine 934 00:58:23,711 --> 00:58:28,546 with a bit of human error, 935 00:58:28,547 --> 00:58:30,307 This combination is powerful! 936 00:58:32,797 --> 00:58:35,740 I remember the first time I saw you with an electronic drum kit. 937 00:58:35,741 --> 00:58:38,228 {\an8}foi is Chaka Khan and Rufus, "Ain't Nobody". 938 00:58:39,897 --> 00:58:44,593 [in English] He felt the beat and began to create a pattern. 939 00:58:44,594 --> 00:58:48,148 This made him one of the most incredible musicians. 940 00:58:48,149 --> 00:58:53,069 He contributed a great deal to those projects. 941 00:58:53,070 --> 00:58:56,136 In other words, you take it from that Michael Jackson recording. 942 00:58:56,137 --> 00:58:57,994 And something very big disappears. 943 00:58:58,175 --> 00:59:01,175 ["Wanna Be Startin' Somethin'" toca] ♪ 944 00:59:03,165 --> 00:59:05,459 Paulinho is a Master of Groove. 945 00:59:05,750 --> 00:59:08,750 ♪ 946 00:59:27,999 --> 00:59:30,999 ♪ 947 00:59:39,913 --> 00:59:41,913 ♪ ["Wanna Be Startin' Somethin'" finaliza] 948 00:59:42,787 --> 00:59:44,580 [in English] I've been told many, many times 949 00:59:44,581 --> 00:59:46,053 to buy electronic instruments. 950 00:59:46,143 --> 00:59:47,416 No, I don't need to! 951 00:59:47,610 --> 00:59:50,909 I'll put my stop on yours, and then we'll see how it goes! 952 00:59:51,498 --> 00:59:53,019 And I'm still here to this day! 953 00:59:54,470 --> 00:59:56,470 [cantarola "Ain't Nobody"] 954 00:59:58,420 --> 01:00:01,501 [Stewart, in English] So for me, the idea of ​​recording things, 955 01:00:01,502 --> 01:00:05,100 {\an8}the magic of keeping things, storing them, 956 01:00:05,650 --> 01:00:09,899 It was so much more important than playing live. 957 01:00:09,900 --> 01:00:15,365 Because when you perform live, you're performing for 100, 200, 200 thousand people. 958 01:00:15,366 --> 01:00:19,489 It doesn't matter, it's just that moment, if you were there, great. 959 01:00:19,490 --> 01:00:20,746 But recordings, man... 960 01:00:21,136 --> 01:00:25,039 Recordings live on, they live forever and ever... 961 01:00:25,040 --> 01:00:28,061 ["All Night Long" toca] ♪ 962 01:00:48,640 --> 01:00:51,640 ♪ 963 01:01:11,293 --> 01:01:14,293 ♪ 964 01:01:22,777 --> 01:01:25,336 [Paulinho] Inside my head I sing what I'm playing. 965 01:01:25,337 --> 01:01:29,389 If you can't sing along to what's playing, you're not really there. 966 01:01:29,390 --> 01:01:32,404 [imitates drumming sounds] 967 01:01:32,507 --> 01:01:35,507 ["Rhythm of the Night", de DeBarge, toca] ♪ 968 01:01:39,597 --> 01:01:41,200 [Paulinho] DeBarge, here he is. 969 01:01:41,201 --> 01:01:44,201 ♪ 970 01:01:56,102 --> 01:01:59,092 [narrator] By this point, Paulinho's percussion could be heard. 971 01:01:59,093 --> 01:02:01,407 every time you turned on the radio. 972 01:02:01,893 --> 01:02:03,965 But he also left his fingerprints. 973 01:02:03,966 --> 01:02:08,611 in some of the most iconic movie soundtracks. 974 01:02:09,102 --> 01:02:14,119 Paulinho isn't just on our radios, the guy's in our cinemas too! 975 01:02:14,120 --> 01:02:17,120 ["(I've Had) The Time Of My Life" toca] ♪ 976 01:02:20,388 --> 01:02:22,948 [in English] I produced a track called "Up Where We Belong", 977 01:02:22,949 --> 01:02:24,887 with Joe Cocker and Jennifer Warnes, 978 01:02:24,888 --> 01:02:28,006 for the film The Force of Destiny 979 01:02:28,511 --> 01:02:34,999 And ended up winning a Grammy, an Oscar, Song of the Year, it swept everything. 980 01:02:35,000 --> 01:02:38,506 And I remember calling Ben Barrett, 981 01:02:38,507 --> 01:02:40,661 that hired for Motown, 982 01:02:40,662 --> 01:02:43,697 And he said, "I wish I had Paulinho da Costa there." 983 01:02:43,898 --> 01:02:47,199 He said, "But it's a ballad, what is he going to do?" 984 01:02:47,317 --> 01:02:49,975 "Playing a tambourine off-beat?" 985 01:02:49,976 --> 01:02:54,305 I said, "No, man, I don't even want to explain why I want him there." 986 01:02:54,395 --> 01:02:57,199 I only want him there because this song is corny. 987 01:02:57,941 --> 01:02:59,443 It has no groove . 988 01:02:59,690 --> 01:03:03,705 And Paulinho is going to put something in it. 989 01:03:04,807 --> 01:03:06,109 or something within us... 990 01:03:06,651 --> 01:03:08,911 [ri] ...no studio," 991 01:03:09,106 --> 01:03:12,459 And I remember that I wanted to make the track looser, 992 01:03:12,460 --> 01:03:14,804 And I knew the drummer would play hard. 993 01:03:15,098 --> 01:03:16,854 {\an8}if you weren't there. 994 01:03:16,855 --> 01:03:21,089 And that's one of his great skills; drummers love playing with Paulinho. 995 01:03:21,090 --> 01:03:24,522 I remember, I started playing a combination of rattles. 996 01:03:24,996 --> 01:03:27,046 which gave a... 997 01:03:27,047 --> 01:03:29,527 [imitates a rattle] 998 01:03:30,096 --> 01:03:32,055 That's it! And that's how it was! 999 01:03:32,056 --> 01:03:33,801 That's how it was! 1000 01:03:33,888 --> 01:03:37,344 You're right, that's what happened, I remember. 1001 01:03:37,345 --> 01:03:38,994 [single-speaker] 1002 01:03:39,412 --> 01:03:42,306 - And that's how we recorded it. - Now I remember, 1003 01:03:42,307 --> 01:03:45,061 It was a groove beneath the groove , "the groove under the groove". 1004 01:03:45,062 --> 01:03:48,602 We recorded it and that was it, man. 1005 01:03:49,019 --> 01:03:51,504 [in English] Another thing that people don't know 1006 01:03:52,400 --> 01:03:56,057 It's because Quincy put you in The Color Purple , remember? 1007 01:03:56,058 --> 01:03:57,668 - Exactly! - Do you remember that scene? 1008 01:03:57,669 --> 01:03:59,849 Great times, I was lucky. 1009 01:03:59,850 --> 01:04:02,850 [African percussion] ♪ 1010 01:04:10,180 --> 01:04:12,139 [narrator] In the late 1980s, 1011 01:04:12,140 --> 01:04:13,349 Paulinho had contributed 1012 01:04:13,350 --> 01:04:15,769 for the best-selling album of all time, 1013 01:04:16,067 --> 01:04:19,174 I had recorded with the greatest singer of the decade, 1014 01:04:19,175 --> 01:04:22,415 and worked with the most successful director in Hollywood. 1015 01:04:22,614 --> 01:04:27,911 The poor boy from Irajá was collaborating with the biggest names in showbiz. 1016 01:04:28,192 --> 01:04:29,659 The 1990s arrived. 1017 01:04:29,660 --> 01:04:33,787 And Paulinho still refused to lose ground to electronic drums. 1018 01:04:33,902 --> 01:04:35,044 in hits like this one. 1019 01:04:35,182 --> 01:04:38,182 ["The Beginning", by Seal, plays] ♪ 1020 01:04:49,197 --> 01:04:52,428 [narrator] The list of legends he collaborated with continued to grow. 1021 01:04:52,884 --> 01:04:55,809 And it wasn't just on the radio or in the movies, 1022 01:04:55,810 --> 01:04:57,877 The guy was everywhere! 1023 01:04:57,878 --> 01:05:00,620 [Presenter, in English] Arsenio Hall! 1024 01:05:00,621 --> 01:05:03,469 {\an8}[pop music] ♪ 1025 01:05:03,470 --> 01:05:08,239 [Presenter] "And on today's program, percussionist Paulinho da Costa!" 1026 01:05:08,240 --> 01:05:11,268 ♪ 1027 01:05:18,952 --> 01:05:20,385 [Arsenio, in English] Paulinho da Costa! 1028 01:05:22,477 --> 01:05:24,561 ♪ [pop music ends] 1029 01:05:24,562 --> 01:05:25,563 [shouts excitedly] 1030 01:05:25,655 --> 01:05:28,655 [audience applauds] 1031 01:05:29,091 --> 01:05:30,092 Boy! 1032 01:05:31,886 --> 01:05:33,220 Paulinho da Costa! 1033 01:05:34,273 --> 01:05:36,349 Give me a groove , 1034 01:05:36,350 --> 01:05:39,294 but a groove with the vibe of your land. 1035 01:05:39,295 --> 01:05:40,865 - The vibe of my land? - The vibe of your land. 1036 01:05:40,866 --> 01:05:42,942 Let's go to Brazil, girls... 1037 01:05:42,943 --> 01:05:44,909 Anywhere that has Black people! 1038 01:05:44,910 --> 01:05:47,826 [batucadas] 1039 01:05:51,792 --> 01:05:54,792 [audience gives ovation] 1040 01:05:58,473 --> 01:05:59,595 [Paulinho] That's it! 1041 01:05:59,596 --> 01:06:02,680 [audience gives ovation] 1042 01:06:02,681 --> 01:06:03,946 Method! 1043 01:06:06,999 --> 01:06:09,425 Take me to another country. 1044 01:06:09,426 --> 01:06:11,220 [stutters] This country! 1045 01:06:11,221 --> 01:06:12,625 [square] 1046 01:06:12,626 --> 01:06:15,131 This is Africa! I want to go! 1047 01:06:15,132 --> 01:06:17,132 [audience gives ovation] 1048 01:06:21,456 --> 01:06:24,456 [Arsenio sings] 1049 01:06:27,101 --> 01:06:30,569 [narrator] Although Paulinho had traveled a lot early in his career, 1050 01:06:30,570 --> 01:06:32,113 He went abroad more often. 1051 01:06:32,703 --> 01:06:34,415 He didn't know much about Brazil. 1052 01:06:36,208 --> 01:06:39,692 [in English] Excuse me, but... Have you ever been to Bahia, Donald? 1053 01:06:39,790 --> 01:06:41,956 - [in English] No! - [Zé Carioca] No? Well, then let's go! 1054 01:06:42,605 --> 01:06:46,528 If you go to Bahia, my friend, you'll never come back. 1055 01:06:46,960 --> 01:06:49,316 ♪ And he was very lucky, and he is very lucky ♪ 1056 01:06:49,317 --> 01:06:50,402 ♪ And you will have lots of luck… ♪ 1057 01:06:50,403 --> 01:06:52,008 And you, have you ever been to Bahia? 1058 01:06:52,957 --> 01:06:54,600 - No no? 1059 01:06:54,601 --> 01:06:56,101 Okay, let's go then! 1060 01:06:56,207 --> 01:06:59,207 [samba music] ♪ 1061 01:07:01,160 --> 01:07:03,689 It was the first time I went to Bahia. 1062 01:07:03,690 --> 01:07:06,106 I'm Brazilian, I didn't know Bahia... 1063 01:07:07,996 --> 01:07:10,974 [Narrator] Bahia is one of the 26 states of Brazil. 1064 01:07:10,975 --> 01:07:12,021 Centuries ago, 1065 01:07:12,347 --> 01:07:16,115 It was the main port of entry for enslaved Africans in the Americas. 1066 01:07:16,506 --> 01:07:20,013 Today, it represents the strongest cultural connection that Brazil has with Africa. 1067 01:07:21,410 --> 01:07:24,704 [Carlinhos] Percussion connects. It connects with the spirit. 1068 01:07:25,121 --> 01:07:26,527 It's not about the guitar, 1069 01:07:27,069 --> 01:07:28,573 It's not because of the double bass, 1070 01:07:28,574 --> 01:07:30,879 It's not through the keyboard that the Saint descends. 1071 01:07:30,880 --> 01:07:32,459 It goes down through the drum. 1072 01:07:35,265 --> 01:07:38,173 [Quincy, in English] For me, it goes beyond Brazil, you know? 1073 01:07:38,174 --> 01:07:40,438 Angola... is Africa! 1074 01:07:40,439 --> 01:07:42,976 - [Paulinho laughs] - He has Africa too, you know? 1075 01:07:43,517 --> 01:07:44,852 Angola... 1076 01:07:45,669 --> 01:07:47,932 He's the godfather of music! 1077 01:07:47,933 --> 01:07:49,185 The music came from there. 1078 01:07:50,233 --> 01:07:51,943 True. Africa. 1079 01:07:52,555 --> 01:07:54,308 Angola, macumba! 1080 01:07:56,317 --> 01:07:59,317 [woman vocalizes] 1081 01:08:02,101 --> 01:08:05,459 [in Portuguese] The reason I went to the macumba ceremonies… 1082 01:08:05,460 --> 01:08:07,958 To play, you understand? Because it has a drum. 1083 01:08:08,049 --> 01:08:11,049 - [Cabula samba music] - [Woman sings] 1084 01:08:18,652 --> 01:08:20,679 [speaking in an African-based language] 1085 01:08:20,680 --> 01:08:23,763 [vozerio] 1086 01:08:23,764 --> 01:08:25,629 - [notes on the musical triangle] - [Paulinho] There! 1087 01:08:25,630 --> 01:08:28,802 [imitates the sound of a musical triangle] 1088 01:08:28,803 --> 01:08:31,803 [belt] 1089 01:08:32,093 --> 01:08:34,613 [Paulinho] Hey! Awesome! 1090 01:08:35,403 --> 01:08:37,194 [stutters] No… Go on, my brother. Wonderful. 1091 01:08:37,195 --> 01:08:39,556 We're listening to that sound from up there. 1092 01:08:39,900 --> 01:08:41,501 - From up there. - Everything's great. 1093 01:08:41,601 --> 01:08:44,077 - [Man] Good service. - Play a little more for us. 1094 01:08:44,078 --> 01:08:47,162 [notes on the musical triangle] 1095 01:08:47,163 --> 01:08:48,422 No, not there, not there! 1096 01:08:48,423 --> 01:08:50,441 [Paulinho laughs] 1097 01:08:51,107 --> 01:08:52,804 What is it? Is there something fishy in there? 1098 01:08:52,805 --> 01:08:54,811 - Taboca! - [Carlinhos] Put some taboca there for us. 1099 01:08:55,707 --> 01:08:57,717 [Man] Taboca is delicate, if you hit it, it will break. 1100 01:08:57,718 --> 01:08:59,707 [Paulinho] Break it! Wonderful. 1101 01:08:59,708 --> 01:09:01,708 - [Carlinhos] Look, master! - [Paulinho] Good girl! 1102 01:09:01,709 --> 01:09:03,803 Taboca. Can I grab one here? 1103 01:09:03,804 --> 01:09:05,812 - That's great, my brother. - [Paulinho] Wonderful. 1104 01:09:06,583 --> 01:09:08,753 [Carlinhos] All this percussion that we end up with 1105 01:09:08,754 --> 01:09:10,559 translating and bringing it to the world, 1106 01:09:10,560 --> 01:09:12,520 - She's the one who lives through it. - [Paulinho] Exactly. 1107 01:09:12,521 --> 01:09:15,295 She comes from our experience, because we've absorbed that experience. 1108 01:09:15,908 --> 01:09:19,003 and took it to the major music venues around the world. 1109 01:09:21,093 --> 01:09:23,523 Because we preserve primal culture in the world. 1110 01:09:24,450 --> 01:09:26,586 This is very serious for us. 1111 01:09:26,870 --> 01:09:29,870 ["Nightshift" by The Commodores plays] ♪ 1112 01:09:42,396 --> 01:09:45,004 [Carlinhos] But, at the same time, what does this man do, 1113 01:09:45,455 --> 01:09:47,513 of intense rhythm, 1114 01:09:48,515 --> 01:09:54,212 To be both overflowing with generosity and humble, to the point of revealing one's secrets. 1115 01:09:54,409 --> 01:09:57,699 To open your tools, to open your kitchen. 1116 01:09:57,700 --> 01:10:02,718 to season things that often need salt. 1117 01:10:04,200 --> 01:10:05,313 To be funny. 1118 01:10:06,200 --> 01:10:07,621 This is the percussionist. 1119 01:10:07,750 --> 01:10:10,750 ♪ 1120 01:10:24,140 --> 01:10:27,223 ♪ 1121 01:10:27,224 --> 01:10:29,929 [in English] We made a record with a guy called Lamont Dozier. 1122 01:10:29,930 --> 01:10:32,599 He said, "I want to make an African-American record." 1123 01:10:32,600 --> 01:10:34,351 I had never heard that term before. 1124 01:10:34,352 --> 01:10:36,531 So I asked, "Do you have anything?" 1125 01:10:37,470 --> 01:10:39,518 We hadn't even greeted each other. 1126 01:10:39,519 --> 01:10:42,029 He walks over to the piano and plays. 1127 01:10:42,030 --> 01:10:44,830 "Going Back To My Roots" 1128 01:10:44,831 --> 01:10:50,789 He was tasked with keeping the recording somewhere between Africa and America. 1129 01:10:50,790 --> 01:10:52,644 Paulinho was amazing, man! 1130 01:10:52,645 --> 01:10:54,708 This is one of my favorite recordings. 1131 01:10:54,709 --> 01:10:55,836 And it's because of you! 1132 01:10:55,922 --> 01:10:58,129 - [in English] Thanks, man. - We turned your volume up! 1133 01:10:58,130 --> 01:11:01,130 ["Going Back To My Roots", toca] ♪ 1134 01:11:08,009 --> 01:11:11,114 [narrator] More than four decades after leaving Rio and Irajá, 1135 01:11:11,367 --> 01:11:13,689 after years of missing Brazil 1136 01:11:13,690 --> 01:11:16,980 Despite all the success he built in America, 1137 01:11:17,610 --> 01:11:20,526 Paulinho da Costa was ready to go home. 1138 01:11:20,978 --> 01:11:22,736 A journey back to his homeland. 1139 01:11:23,150 --> 01:11:27,216 Back to drinking from the source. 1140 01:11:28,870 --> 01:11:31,870 ♪ 1141 01:11:31,992 --> 01:11:33,992 [in Portuguese] I live on the other side of the world, 1142 01:11:34,262 --> 01:11:38,215 But my heart still... belongs to this little piece here. 1143 01:11:38,560 --> 01:11:40,604 I left here from Irajá. 1144 01:11:40,605 --> 01:11:42,004 I was born in Irajá. 1145 01:11:42,005 --> 01:11:45,005 [samba music] ♪ 1146 01:11:51,849 --> 01:11:56,621 [Paulinho, in English] Irajá is located in the suburbs of Rio de Janeiro. 1147 01:11:59,710 --> 01:12:02,243 I was born in Irajá, Zeca was born in Irajá. 1148 01:12:03,400 --> 01:12:05,949 Zeca makes music of the street, of the people. 1149 01:12:05,950 --> 01:12:07,808 A real stop. 1150 01:12:07,809 --> 01:12:09,901 This is special! 1151 01:12:09,902 --> 01:12:12,707 People sense it and go crazy! 1152 01:12:13,516 --> 01:12:17,206 Irajá is a breeding ground for great musicians. 1153 01:12:20,210 --> 01:12:22,210 Irajá has a ton of drummers. 1154 01:12:23,007 --> 01:12:24,018 [chorus] ♪ Go, Paulinho… ♪ 1155 01:12:25,612 --> 01:12:26,697 Oh! 1156 01:12:26,698 --> 01:12:28,698 [They laugh and celebrate] 1157 01:12:28,999 --> 01:12:30,205 [Zeca] I gave my two cents, didn't I? 1158 01:12:31,709 --> 01:12:34,915 [in Portuguese] This little square here, I had some good times with my brothers, 1159 01:12:35,312 --> 01:12:38,116 with my family, my mother, my sisters. 1160 01:12:38,718 --> 01:12:40,825 We were walking around here, there was… 1161 01:12:41,317 --> 01:12:44,099 several little friends that we had here. 1162 01:12:44,100 --> 01:12:45,864 Every now and then we'd have some casual soccer games here. 1163 01:12:45,865 --> 01:12:48,340 It even painted a rhythm, too. 1164 01:12:48,341 --> 01:12:50,304 Because my mother liked to sing. 1165 01:12:50,305 --> 01:12:53,574 So, every now and then, we'd start banging on some tin cans here and there, and stuff like that. 1166 01:12:53,575 --> 01:12:56,425 ♪ Mommy, I want Mommy, I want ♪ 1167 01:12:57,158 --> 01:12:59,906 ♪ Mommy, I want to nurse… ♪ 1168 01:13:00,276 --> 01:13:02,634 And she used to sing that to us, I remember that. 1169 01:13:02,635 --> 01:13:05,112 [stutters] I used to hit him, when I was little, I used to hit him… 1170 01:13:05,113 --> 01:13:07,498 [vocals] I didn't quite fit in with that much… 1171 01:13:07,925 --> 01:13:08,926 [thoughtful] 1172 01:13:09,306 --> 01:13:11,704 Perfectly, but it was, more or less… 1173 01:13:12,008 --> 01:13:13,498 Right? Something like that… 1174 01:13:13,499 --> 01:13:16,710 ♪ I'm from Rio, I'm from Madureira ♪ 1175 01:13:17,099 --> 01:13:20,426 ♪ Tabajara raises dust ♪ 1176 01:13:20,703 --> 01:13:23,689 ♪ My sweetheart invited me to this awesome party ♪ 1177 01:13:23,690 --> 01:13:27,309 ♪ Here comes Portela, you rascal! The samba has arrived… ♪ 1178 01:13:27,310 --> 01:13:28,614 - Yeah! - [Paulinho] That's it! 1179 01:13:29,503 --> 01:13:30,798 - Boy… - [Paulinho] Oh, boy. 1180 01:13:30,799 --> 01:13:33,396 Your home, your home. 1181 01:13:33,397 --> 01:13:35,313 Thank you very much. That's a... 1182 01:13:35,797 --> 01:13:37,417 My heart is already… 1183 01:13:38,599 --> 01:13:41,359 [Carlinhos] Good sons always return home, right? 1184 01:13:41,360 --> 01:13:43,814 - This is the house… Look over there. - [Paulinho] Wonderful. 1185 01:13:44,006 --> 01:13:45,408 The battery is here, welcoming you. 1186 01:13:45,409 --> 01:13:48,906 I could already hear the sound. Oh, look! That's the father... 1187 01:13:49,205 --> 01:13:52,205 [samba music] ♪ 1188 01:13:56,603 --> 01:13:58,810 [Monarco] Hey, my Paulinho. We're here. 1189 01:13:58,898 --> 01:14:00,410 [Paulinho] Wonderful, thank you very much. 1190 01:14:04,104 --> 01:14:06,104 How are you doing, Paulinho? 1191 01:14:08,405 --> 01:14:10,111 - [Noca] Wow! - [Monarco] Damn! 1192 01:14:10,508 --> 01:14:11,509 Thank you very much. 1193 01:14:13,503 --> 01:14:15,814 Yes, raptor! FAIR! 1194 01:14:18,500 --> 01:14:19,501 Wonder! 1195 01:14:20,212 --> 01:14:21,213 [ri] 1196 01:14:22,607 --> 01:14:23,608 Thank you very much. 1197 01:14:24,218 --> 01:14:25,815 Oh, my friend, how wonderful! 1198 01:14:31,339 --> 01:14:34,339 ♪ 1199 01:14:37,157 --> 01:14:39,864 [batucadas] 1200 01:14:42,501 --> 01:14:44,005 [Director] How long has it been since you last came here? 1201 01:14:44,506 --> 01:14:47,202 Look, it already has… 1202 01:14:47,809 --> 01:14:50,776 - He's going to be 45 years old. - That's about right. 1203 01:14:50,777 --> 01:14:53,727 {\an8}- Forty-five years that I… - In 1970. 1204 01:14:53,728 --> 01:14:54,729 Exactly. 1205 01:14:55,001 --> 01:14:58,001 [samba music] ♪ 1206 01:15:00,000 --> 01:15:04,552 [in English] I was happy to see that they still carry on the tradition. 1207 01:15:04,553 --> 01:15:07,312 [chorus] ♪ Awake, oh great youth ♪ 1208 01:15:07,601 --> 01:15:10,413 ♪ Its colors are so beautiful ♪ 1209 01:15:10,700 --> 01:15:13,308 ♪ Your values ​​are endless ♪ 1210 01:15:13,713 --> 01:15:17,502 ♪ Dear Portela, you are everything in life to me ♪ 1211 01:15:17,503 --> 01:15:18,608 ♪ For me ♪ 1212 01:15:18,609 --> 01:15:22,744 ♪ Portela, its colors are in the flag of Brazil ♪ 1213 01:15:22,745 --> 01:15:24,267 ♪ And in heaven too… ♪ 1214 01:15:24,803 --> 01:15:26,709 [Man] Give us a little taste now, just the two of us, come on! 1215 01:15:26,710 --> 01:15:28,602 Alone? But... Wow, that's great. 1216 01:15:29,115 --> 01:15:31,740 It's awkward being surrounded by all those guys, isn't it? 1217 01:15:33,104 --> 01:15:34,105 [Carlinhos] Master. 1218 01:15:34,706 --> 01:15:36,790 [thoughtful] We have a question. 1219 01:15:36,791 --> 01:15:39,409 How old were you when you joined the drumming group? 1220 01:15:39,595 --> 01:15:41,906 Look here. My mirror is right here. 1221 01:15:42,214 --> 01:15:43,299 There! 1222 01:15:43,300 --> 01:15:46,404 At this age, I was here in this… 1223 01:15:46,912 --> 01:15:48,298 In this wonderful place. 1224 01:15:49,112 --> 01:15:51,290 I want to say thank you. I'm emotional. 1225 01:15:52,896 --> 01:15:53,897 I want to thank… 1226 01:15:54,408 --> 01:15:55,535 [sighs] 1227 01:15:56,212 --> 01:15:59,212 [batucadas] 1228 01:16:07,949 --> 01:16:09,388 [Paulinho, in English] The way they play 1229 01:16:09,389 --> 01:16:11,995 and they show their affection for me, 1230 01:16:11,996 --> 01:16:15,235 They know more about the projects I've been involved in than I do myself! 1231 01:16:15,391 --> 01:16:19,997 It's incredible! They know more about my musical life than I do myself! 1232 01:16:19,998 --> 01:16:22,791 They've been studying me for a long time. 1233 01:16:22,792 --> 01:16:26,009 "But how do you know that?" "We know!" 1234 01:16:26,010 --> 01:16:30,795 And they know the beats, every move I make because they've studied me. 1235 01:16:30,913 --> 01:16:32,310 I don't even remember anymore! 1236 01:16:37,400 --> 01:16:40,064 - [in Portuguese] Portela! - [they cheer] 1237 01:16:40,065 --> 01:16:41,948 That was amazing! 1238 01:16:41,949 --> 01:16:45,706 For me, it's the best gift one could receive. 1239 01:16:46,998 --> 01:16:49,127 It wasn't easy. 1240 01:16:49,860 --> 01:16:53,013 I went through a lot of hardship to get here. 1241 01:16:53,585 --> 01:16:56,516 ["Ain't No Sunshine", de Bill Withers, toca] 1242 01:16:56,517 --> 01:16:59,606 I don't know why I succeeded, or how I succeeded. 1243 01:17:00,400 --> 01:17:03,102 But it's nice when people say you're talented. 1244 01:17:03,200 --> 01:17:05,521 Without you realizing it, just like I don't realize it. 1245 01:17:07,007 --> 01:17:08,904 I'm not even aware of the talent I have. 1246 01:17:08,905 --> 01:17:10,715 I'm still looking... 1247 01:17:15,193 --> 01:17:17,003 [voice breaking] ...I'm still looking. 1248 01:17:17,897 --> 01:17:19,009 [sighs] 1249 01:17:19,010 --> 01:17:20,712 My mother taught me that I should... 1250 01:17:22,210 --> 01:17:24,810 [hesita] ...respect everyone. 1251 01:17:25,710 --> 01:17:26,795 [throat clearing] 1252 01:17:26,796 --> 01:17:29,411 "No one needs to know our secrets." 1253 01:17:30,799 --> 01:17:34,004 If we don't have food, and we go to someone's house... 1254 01:17:35,915 --> 01:17:37,409 that offers food, 1255 01:17:38,607 --> 01:17:42,805 You say: 'I'm fine, thank you, no need'. 1256 01:17:43,999 --> 01:17:46,435 'I'll eat at home', 'I already ate'. 1257 01:17:46,600 --> 01:17:49,411 [funga] That wasn't true, we were hungry. 1258 01:17:51,506 --> 01:17:55,809 [echoed voice] "We need to eat! It was pure necessity!" 1259 01:17:55,810 --> 01:17:57,212 We need to eat! 1260 01:17:58,406 --> 01:18:00,406 The reason why they invented the first drum. 1261 01:18:01,401 --> 01:18:03,815 [echoed voice] "We were hungry." 1262 01:18:07,194 --> 01:18:09,014 Long journey, man. 1263 01:18:10,205 --> 01:18:11,206 But here we are. 1264 01:18:11,914 --> 01:18:13,603 We're here. [ri] 1265 01:18:18,190 --> 01:18:20,296 [Monarch] But now I'm going to invite you to the following: 1266 01:18:20,297 --> 01:18:22,989 Wearing our blue and white uniform at Carnival 1267 01:18:22,990 --> 01:18:25,369 - and parade with our Portela. - [Paulinho, in Portuguese] That's it! 1268 01:18:25,370 --> 01:18:26,706 That's already done... 1269 01:18:26,707 --> 01:18:29,707 [vocalize] 1270 01:18:32,999 --> 01:18:34,610 [ri] 1271 01:18:34,611 --> 01:18:35,612 Do you want me to put it on? 1272 01:18:35,809 --> 01:18:38,909 [stutters] I'm not very good at hats, but does this look okay? 1273 01:18:39,813 --> 01:18:41,193 Should I tighten it more? Is that okay? 1274 01:18:41,194 --> 01:18:42,998 - [Director, in English] Ready to rock? - [In English] Ready to rock! 1275 01:18:42,999 --> 01:18:44,811 [in Portuguese] Put one there. There… 1276 01:18:45,108 --> 01:18:48,108 [vocalize] 1277 01:18:48,890 --> 01:18:51,890 [samba music] ♪ 1278 01:18:54,336 --> 01:18:56,296 [in English] It all started with samba, you know? 1279 01:18:56,297 --> 01:18:57,911 And that's where I come from. 1280 01:18:58,730 --> 01:19:01,730 ♪ 1281 01:19:03,507 --> 01:19:05,004 [Paulinho] I'm very excited! 1282 01:19:05,101 --> 01:19:07,368 This is the moment when everyone takes a stand. 1283 01:19:07,369 --> 01:19:08,869 And this is just the beginning! 1284 01:19:08,870 --> 01:19:11,999 [stutters] The energy, man! 1285 01:19:12,000 --> 01:19:13,599 Can you feel the energy? 1286 01:19:13,600 --> 01:19:16,685 [samba music] ♪ 1287 01:19:21,704 --> 01:19:24,469 [Paulinho] Everyone carrying their bags, 1288 01:19:24,470 --> 01:19:27,799 wearing their costumes, 1289 01:19:27,800 --> 01:19:31,905 Everyone helping each other... 1290 01:19:32,000 --> 01:19:33,914 [stutters] ...it's wonderful! 1291 01:19:34,901 --> 01:19:37,901 ♪ 1292 01:19:50,908 --> 01:19:52,399 Look at this, man. 1293 01:19:52,703 --> 01:19:57,023 The guys who made history go inside it! 1294 01:19:57,700 --> 01:20:00,717 Who knows, maybe we'll fly to the moon on it, man! [laughs] 1295 01:20:01,109 --> 01:20:02,219 You never know... 1296 01:20:03,104 --> 01:20:06,307 And when the school is formed, 1297 01:20:06,308 --> 01:20:09,807 They come in... oh my God, it's so beautiful... 1298 01:20:09,808 --> 01:20:12,304 It's magic! 1299 01:20:12,305 --> 01:20:15,289 [chorus] ♪ My children come to worship me ♪ 1300 01:20:15,290 --> 01:20:18,353 ♪ To revere samba ♪ 1301 01:20:18,618 --> 01:20:23,703 ♪ Make way, I'm about to introduce myself ♪ 1302 01:20:23,704 --> 01:20:27,113 ♪ I am the Eagle. Let whoever wants to talk about me, talk about me ♪ 1303 01:20:27,114 --> 01:20:30,020 ♪ But it's best to show respect, I'm Portela ♪ 1304 01:20:30,021 --> 01:20:33,201 ♪ On this journey, one more star ♪ 1305 01:20:33,202 --> 01:20:35,708 ♪ That will shine In the Madureira pavilion ♪ 1306 01:20:36,609 --> 01:20:39,430 ♪ I'm going to ask for passage ♪ 1307 01:20:39,905 --> 01:20:42,788 ♪ In search of gold ♪ 1308 01:20:42,789 --> 01:20:45,216 ♪ Your shine fascinates me ♪ 1309 01:20:45,217 --> 01:20:47,776 ♪ I want that treasure map to find treasures ♪ 1310 01:20:47,777 --> 01:20:51,850 ♪ Open the window ♪ 1311 01:20:52,202 --> 01:20:55,210 ♪ For the world that Paul created ♪ 1312 01:20:55,683 --> 01:20:58,616 ♪ On the other side ♪ 1313 01:20:58,617 --> 01:21:01,010 ♪ Can anyone see this love? ♪ 1314 01:21:02,110 --> 01:21:05,005 ♪ My children come to worship me ♪ 1315 01:21:05,006 --> 01:21:08,215 ♪ To revere samba ♪ 1316 01:21:08,216 --> 01:21:11,331 [muffled] ♪ Make way… ♪ 1317 01:21:12,106 --> 01:21:14,618 The vibe there was incredible, man! 1318 01:21:15,105 --> 01:21:16,611 It's like I'm going back... 1319 01:21:17,798 --> 01:21:20,015 Probably 55 years old. 1320 01:21:20,208 --> 01:21:22,808 I'm coming back... back to the future! 1321 01:21:23,005 --> 01:21:26,005 [Orchestral version of "Aquarela do Brasil" plays] ♪ 1322 01:21:50,490 --> 01:21:53,490 ♪ 1323 01:22:18,770 --> 01:22:21,770 ♪ 1324 01:22:41,231 --> 01:22:44,231 ♪ 1325 01:23:04,456 --> 01:23:07,456 ♪ 1326 01:23:11,703 --> 01:23:13,703 {\an8}["Aquarela do Brasil" orchestral version, concludes] 1327 01:23:14,004 --> 01:23:17,004 {\an8}["The Groove Under The Groove", toca] ♪ 1328 01:23:44,122 --> 01:23:47,122 ♪ 1329 01:24:07,292 --> 01:24:10,292 ♪ 1330 01:24:30,315 --> 01:24:33,315 ♪ 1331 01:24:54,214 --> 01:24:57,214 ♪ 1332 01:25:17,404 --> 01:25:20,404 ♪ 1333 01:25:40,224 --> 01:25:43,224 ♪ 1334 01:26:03,267 --> 01:26:06,267 ♪ 1335 01:26:26,390 --> 01:26:29,390 ♪ 1336 01:26:49,246 --> 01:26:52,246 ♪ 1337 01:27:12,144 --> 01:27:15,144 ♪ 1338 01:27:35,000 --> 01:27:38,000 ♪ 1339 01:27:58,106 --> 01:28:01,106 ♪ 1340 01:28:21,238 --> 01:28:24,238 ♪ 1341 01:28:44,319 --> 01:28:47,319 ♪ 1342 01:29:07,133 --> 01:29:10,133 ♪ 1343 01:29:30,006 --> 01:29:32,006 ♪ ["The Groove Under The Groove" finaliza]