1 00:00:40,270 --> 00:00:41,670 Music 2 00:01:01,160 --> 00:01:07,700 It's better to be happy than to be sad Joy is the best thing there is 3 00:01:07,700 --> 00:01:11,960 It's just like the light in bread 4 00:01:11,960 --> 00:01:19,080 But 5 00:01:19,080 --> 00:01:25,080 To make a samba beautifully, you need to a bit of 6 00:01:25,080 --> 00:01:31,990 sadness It takes a little sadness No, no, a sound is made. 7 00:01:54,190 --> 00:02:00,150 Therefore, if it is a samba without distance, It's a wine that doesn't give you 8 00:02:00,150 --> 00:02:06,750 freedom. A wine that doesn't give you freedom. No, it's not samba 9 00:02:06,750 --> 00:02:08,250 that I want. 10 00:02:23,180 --> 00:02:27,740 The author of this song is, as he says, the blackest white person in Brazil. 11 00:02:29,060 --> 00:02:33,920 I, who is perhaps the most Brazilian in France, I would like to talk about my love 12 00:02:33,920 --> 00:02:37,800 for samba, like a loved one who doesn't dare speak to those you love. 13 00:02:38,460 --> 00:02:40,120 I will speak to all who know him. 14 00:02:54,440 --> 00:02:55,840 There's no one here. 15 00:03:00,000 --> 00:03:01,340 Thanks. Thanks. 16 00:03:50,940 --> 00:03:52,460 Now it's cinema. 17 00:03:52,840 --> 00:03:53,840 Now it's cinema. 18 00:03:54,440 --> 00:03:59,520 He used to be a cinematographer. Here. And It's matographic there. 19 00:03:59,960 --> 00:04:06,620 When I went there, to Paris, it was... Here it was a baton, there was a baton. 20 00:04:07,100 --> 00:04:10,640 It's a matter of accentuation. 21 00:04:11,620 --> 00:04:13,580 Accentuation. No, 22 00:04:19,660 --> 00:04:21,220 I had to give it seven months. 23 00:04:22,860 --> 00:04:26,200 And you, who were born there at X? What is the first set that was there? 24 00:05:02,090 --> 00:05:07,830 . . . . 25 00:05:20,170 --> 00:05:21,149 But it's not worth it. 26 00:05:21,150 --> 00:05:22,150 It's not worth it. 27 00:05:23,170 --> 00:05:24,570 Go, go too. 28 00:05:24,870 --> 00:05:25,870 And it's worth more. 29 00:05:27,170 --> 00:05:28,530 How's this samba going? 30 00:05:29,290 --> 00:05:31,330 A little bit to hit, a little bit to speak. 31 00:05:32,870 --> 00:05:39,390 I'm not half a baton, baton, 32 00:05:39,390 --> 00:05:40,390 baton. 33 00:05:41,470 --> 00:05:43,530 Velão de Brasília, it’s all there. 34 00:05:45,110 --> 00:05:47,590 I'm not half baton, baton, baton. 35 00:05:48,240 --> 00:05:50,540 for Teatro de Mundo, by Pela Jamba. 36 00:06:44,200 --> 00:06:45,600 Goodbye. 37 00:07:25,260 --> 00:07:29,820 Do you really think that the music of Viviane had a great influence 38 00:07:29,820 --> 00:07:30,820 of African music? 39 00:07:31,200 --> 00:07:33,120 Oh, exactly, completely. 40 00:07:34,720 --> 00:07:36,980 The roots are all African. 41 00:07:37,940 --> 00:07:42,780 Do you think this had a bit of the same evolution than jazz in America? 42 00:07:43,920 --> 00:07:50,680 If so, is it a bit of a parallel? I think that the parallel is the term. 43 00:07:51,280 --> 00:07:55,400 There was the same harmonic evolution too, which was intellectual strength. 44 00:07:56,420 --> 00:07:56,720 You 45 00:07:56,720 --> 00:08:14,040 did 46 00:08:14,040 --> 00:08:18,020 songs of typically African types. 47 00:08:18,420 --> 00:08:19,880 For example... 48 00:08:31,730 --> 00:08:36,590 Yemanjá is the goddess of the sea. 49 00:08:36,909 --> 00:08:39,990 She is the mother of the sea. 50 00:08:59,580 --> 00:09:06,000 Iemanjá, Iemanjá, Iemanjá, 51 00:09:06,000 --> 00:09:08,860 Dona Janaína is coming. 52 00:09:11,340 --> 00:09:12,740 Yemanja, 53 00:09:14,400 --> 00:09:16,720 Yemanja, 54 00:09:17,520 --> 00:09:23,400 Iemanjá, there is a lot of sadness coming. 55 00:09:25,670 --> 00:09:31,990 Seeing the moonlight in the sky, seeing the moonlight in the sea 56 00:09:31,990 --> 00:09:38,850 covered in flowers, my dear, of emanating, of 57 00:09:38,850 --> 00:09:45,130 emanating, singing love and looking at each other 58 00:09:45,130 --> 00:09:51,810 in the sad moon in the sky, my dear, sad in the sky sea. 59 00:09:53,900 --> 00:09:59,880 If you want to love, if you want love, 60 00:10:00,160 --> 00:10:04,680 come with me to Salvador, 61 00:10:04,920 --> 00:10:10,200 to hear him stain, to 62 00:10:10,200 --> 00:10:16,160 sing in the outgoing tide, and in the 63 00:10:16,160 --> 00:10:21,820 tide that comes from the end, but from the end of the sea. 64 00:10:22,440 --> 00:10:28,900 Come beyond, come beyond your end of the world. 65 00:10:29,080 --> 00:10:30,820 Come further. 66 00:11:05,990 --> 00:11:10,070 He is one of the greatest mythological figures in the world. 67 00:11:10,070 --> 00:11:13,870 Brazilian Candomblé. 68 00:11:33,389 --> 00:11:37,250 I sing one thing and I sing another. Oh, okay Okay, so let's do this. 69 00:11:37,810 --> 00:11:42,970 Can you send me something Candomblé is a macumba thing. Oh, 70 00:11:42,970 --> 00:11:43,970 do this. 71 00:11:54,440 --> 00:11:56,480 . . 72 00:11:56,480 --> 00:12:06,820 . 73 00:12:06,820 --> 00:12:08,640 . . . . . 74 00:12:29,770 --> 00:12:35,070 . . . . 75 00:12:47,520 --> 00:12:50,320 . . 76 00:12:50,320 --> 00:12:59,460 . 77 00:12:59,460 --> 00:13:00,980 . . 78 00:13:22,880 --> 00:13:24,280 Music 79 00:13:59,880 --> 00:14:06,860 I spoke the African, I sang the apple in Andorra, I sang 80 00:14:06,860 --> 00:14:09,380 the apple in Andorra and now I said... 81 00:14:10,740 --> 00:14:11,740 No, 82 00:14:14,020 --> 00:14:15,580 Let's do Candomblé now. 83 00:14:16,140 --> 00:14:20,340 Ah, in the end it was Candomblé. 84 00:14:37,480 --> 00:14:44,180 In the old black yard, iaiá, let's go Saravá, that father of mine. 85 00:14:44,560 --> 00:14:45,560 Tiangô, 86 00:14:46,780 --> 00:14:53,660 in the old black yard, iaiá, let's go sarava, that one of mine 87 00:14:53,660 --> 00:14:55,480 father. Tiangô, 88 00:14:56,260 --> 00:15:00,400 when the terreiro postpones it, which is how it is people. 89 00:15:01,240 --> 00:15:05,240 When the terreiro postpones it, that's how it is people. 90 00:15:08,880 --> 00:15:11,680 Music Music 91 00:15:43,790 --> 00:15:49,950 Music Music Music Music Music 92 00:16:28,430 --> 00:16:32,490 And the old chest, iá, iá, iá, iá, iá, iá, 93 00:16:32,490 --> 00:16:36,410 ya 94 00:16:59,600 --> 00:17:03,780 I'm tired at heart, I'm old. I'm old at heart, I'm tired. 95 00:17:04,700 --> 00:17:06,859 I'm tired, I'm old at heart. 96 00:17:26,250 --> 00:17:29,570 African religion as it really was, as Africans are. 97 00:18:00,720 --> 00:18:02,180 For example, the 98 00:18:02,180 --> 00:18:15,240 sermon, 99 00:18:15,340 --> 00:18:19,620 her harmonies were more or less based on the berimbau playing. You can 100 00:18:19,620 --> 00:18:22,680 notice this on the disc. The sound of the berimbau That's more or less it. 101 00:18:27,950 --> 00:18:32,010 And then it was all based on this touch and the sermon was given. 102 00:19:32,260 --> 00:19:35,100 No? No? 103 00:19:36,760 --> 00:19:37,239 No? No? 104 00:19:37,240 --> 00:19:38,240 No? No? 105 00:20:00,360 --> 00:20:06,080 And yesterday? He is a Brazilian singer. This singer for me is glory. 106 00:20:06,380 --> 00:20:08,660 For Brazilians, I think it’s cool too. 107 00:20:41,229 --> 00:20:46,610 Love that dies is an illusion. 108 00:20:47,130 --> 00:20:51,450 And an illusion must die. 109 00:20:52,330 --> 00:20:56,330 Love that dies is an illusion. 110 00:20:58,510 --> 00:21:01,550 And an illusion must die. 111 00:21:01,790 --> 00:21:06,710 True love never fades. 112 00:21:07,110 --> 00:21:13,570 And few people still know him. My dear, 113 00:21:14,110 --> 00:21:21,030 If your love died, it's because no one understood. 114 00:21:22,330 --> 00:21:25,110 Leave your heart... 115 00:21:28,470 --> 00:21:34,730 My sin is wanting to love too much, die. 116 00:21:35,030 --> 00:21:36,270 It's beautiful, right, Pierre? 117 00:21:36,470 --> 00:21:40,330 It doesn't exist, right? But there's always a reason very strong. 118 00:21:40,870 --> 00:21:45,730 Always. Sing Baby to me, now same show, and not sing any other 119 00:21:45,730 --> 00:21:51,790 Caetano's song fell out of favor, right? Pierre? 'Cause Baby, she saw, you know, him 120 00:21:51,790 --> 00:21:55,570 there and me here, desperate. I think There really is a very big reason. 121 00:21:55,810 --> 00:21:56,810 Right, Paulinho? 122 00:22:12,929 --> 00:22:19,910 I found Rosa Maria on the edge of the 123 00:22:19,910 --> 00:22:25,030 beach to soak 124 00:22:55,920 --> 00:22:57,420 The solution. 125 00:22:59,340 --> 00:23:03,960 I asked what happened. 126 00:23:04,560 --> 00:23:11,240 Our Maria answered me. No, no, no. 127 00:23:12,380 --> 00:23:15,260 He died. No, no, no. 128 00:23:47,870 --> 00:23:51,250 I asked what happened 129 00:24:06,860 --> 00:24:12,780 Look cool, Paulinho. I asked the what happened, Rosa Maria told me 130 00:24:12,780 --> 00:24:18,620 He replied, our love will be like this. It is 131 00:24:18,620 --> 00:24:21,060 cool? 132 00:24:23,820 --> 00:24:30,660 On the form side of popular poetry, which it was the form of Rosa Maria, 133 00:24:31,040 --> 00:24:34,080 Andalusian, all of that. 134 00:24:34,810 --> 00:24:38,430 So what is the problem you have? I heard, there's a friend of yours who 135 00:24:38,430 --> 00:24:43,770 said you made a song, a samba really traditional, nothing fancy 136 00:24:43,770 --> 00:24:44,549 new, no? 137 00:24:44,550 --> 00:24:45,990 Yeah, nothing new. 138 00:24:46,310 --> 00:24:47,790 The last samba I did. 139 00:24:47,990 --> 00:24:52,310 I was saying this, you asked Bethânia, the commitment to 140 00:24:52,310 --> 00:24:58,750 Bethânia, Bethânia is another school, do you understand? Another school, you know? 141 00:24:58,750 --> 00:24:59,649 which is another school. 142 00:24:59,650 --> 00:25:03,250 Another training, you know? 143 00:25:03,899 --> 00:25:07,440 With new propositions, you understand? Inside in the popular way. 144 00:25:07,660 --> 00:25:11,480 But now my commitment, I don't know if you know, I'm a high school author 145 00:25:11,480 --> 00:25:15,940 samba, samba school composer. And you know, in popular culture, what 146 00:25:15,940 --> 00:25:17,040 means a samba school. 147 00:25:17,660 --> 00:25:18,660 He knows? I know. 148 00:25:19,180 --> 00:25:23,000 So what do you want to know? I don't I understood the meaning correctly. 149 00:25:23,360 --> 00:25:28,820 I know that but if you can tell really that the importance of school 150 00:25:28,820 --> 00:25:31,660 samba and the function of the samba school. 151 00:25:33,900 --> 00:25:39,960 Its importance is the following, a samba school today is a complex. No 152 00:25:39,960 --> 00:25:45,940 if you know, 20 years ago, a samba school was a group that went out, 153 00:25:45,960 --> 00:25:51,060 when you managed to organize yourself, was beaten by the police. 154 00:25:52,660 --> 00:25:59,340 And it was a very small group. And this group was developing 155 00:25:59,340 --> 00:26:02,860 as he passed. 156 00:26:04,940 --> 00:26:11,200 achieved acceptance amid society, it was developing. And 157 00:26:11,200 --> 00:26:12,199 that's what you saw. 158 00:26:12,200 --> 00:26:19,000 When a parade, 3,400 people, in a parade, in a 159 00:26:19,000 --> 00:26:22,400 bed room, parading, with communication with thousands of people. 160 00:26:22,900 --> 00:26:26,340 That doesn't exist. You don't even give 15 hours. I'm from Portela. 161 00:26:28,320 --> 00:26:30,260 This doesn't exist anywhere. 162 00:26:30,800 --> 00:26:37,460 I think this is important, because on one one way or another, there is still... It's 163 00:26:37,460 --> 00:26:43,760 a commitment that exists from the people to with the people. The people 164 00:26:43,760 --> 00:26:46,460 organizes for an entire year, whether say, 165 00:26:47,700 --> 00:26:52,380 to put on a show based on the world. All for free, I mean, 166 00:26:52,380 --> 00:26:56,240 Does it matter if there are a lot of people winning? money behind it, if... 167 00:26:56,650 --> 00:27:00,310 If the tourism department wins money or anything. What matters is that 168 00:27:00,310 --> 00:27:03,570 show is performed by 3 thousand people for thousands of people. 169 00:27:03,850 --> 00:27:07,510 So you, every year, you have a contribution with Portuguese? 170 00:27:07,750 --> 00:27:09,330 Every year. That was many years ago. 171 00:27:10,210 --> 00:27:12,990 Every year I go out with school, I have a commitment to the school. And you are 172 00:27:12,990 --> 00:27:17,330 working day to day, you have a I visit almost every day with the people from 173 00:27:17,330 --> 00:27:18,430 Portuguese? 174 00:27:19,470 --> 00:27:20,590 Do you know Samba? 175 00:27:20,830 --> 00:27:24,110 Which? Carnival success, it may have seen? I didn't know whose. 176 00:27:24,490 --> 00:27:28,530 Then I got a record like that from inches, one of the old hits of 177 00:27:28,630 --> 00:27:29,630 do you know? 178 00:27:51,459 --> 00:27:57,020 Go my love, follow your destiny And I I will follow mine 179 00:27:57,020 --> 00:28:03,760 Be happy to God Nothing lasts 180 00:28:03,760 --> 00:28:09,460 eternally Everything in life is illusion 181 00:28:09,460 --> 00:28:15,500 I knew that sooner or later The day would come 182 00:28:15,500 --> 00:28:17,980 of separation 183 00:28:20,240 --> 00:28:25,340 It makes no difference to me to die 184 00:28:25,340 --> 00:28:29,200 in my life. 185 00:28:30,280 --> 00:28:36,340 I waited with resignation for the day of felt 186 00:28:36,340 --> 00:28:41,720 separation. Go my love, follow yours destiny that I 187 00:28:41,720 --> 00:28:44,060 I will follow mine. 188 00:28:45,020 --> 00:28:47,700 Be happy, goodbye. 189 00:28:57,310 --> 00:28:58,310 Today, 190 00:29:01,330 --> 00:29:08,230 looking in the mirror, I saw my eyes red I understood that the life I 191 00:29:08,230 --> 00:29:14,750 what I lived was an illusion Today, looking in the mirror, I saw my eyes red 192 00:29:14,750 --> 00:29:18,870 I understood that the life I lived was illusion 193 00:29:21,390 --> 00:29:23,450 Congratulations. Congratulations. 194 00:29:23,750 --> 00:29:24,750 Congratulations. 195 00:29:35,170 --> 00:29:36,570 Congratulations. 196 00:29:49,889 --> 00:29:51,390 This song is not mine, no. 197 00:29:51,870 --> 00:29:54,670 No. This song is by Jair de Calaquino. 198 00:29:55,370 --> 00:29:56,670 And Joãozinho. 199 00:29:56,930 --> 00:29:58,070 Look at the gate. 200 00:30:00,030 --> 00:30:04,730 Go, repentant sinner, go and deal with your life. 201 00:30:04,950 --> 00:30:07,090 Please leave me alone. 202 00:30:08,870 --> 00:30:15,310 You gave me great grief. I don't I want to see your face. King's word no 203 00:30:15,310 --> 00:30:16,310 contract. 204 00:30:17,840 --> 00:30:24,720 I want a perfect love to ease My chest that has already suffered for you 205 00:30:24,720 --> 00:30:31,640 Too much Oh too much, I want love perfect to relieve my chest that 206 00:30:31,640 --> 00:30:38,560 for you he has already suffered too much Now he has done what world at your feet to walk 207 00:30:38,560 --> 00:30:45,540 I'm tired of suffering, you're tired of making mistakes I planted flowers with 208 00:30:45,540 --> 00:30:52,400 rubbish But now I found another one For caress me Go sinner Go 209 00:30:52,400 --> 00:30:58,920 repentant sinner Go take care of your life Please leave me alone 210 00:30:58,920 --> 00:31:05,900 You gave me great grief I don't want see your face Words 211 00:31:05,900 --> 00:31:06,960 I won't treat you like a king 212 00:31:09,130 --> 00:31:15,510 I want a perfect love to ease My chest that can already be for you 213 00:31:15,510 --> 00:31:22,290 Too much Oh too much, I want love perfect for relieving my chest 214 00:31:22,290 --> 00:31:24,710 that for you may already be too much 215 00:31:24,710 --> 00:31:30,610 Today 216 00:31:30,610 --> 00:31:37,350 I came, my deny, to walk with you in space Try 217 00:31:37,350 --> 00:31:43,820 do in two arms a pure samba of love Without melody or words for no 218 00:31:43,820 --> 00:31:49,220 the value Without melody or words to not lose value 219 00:31:49,220 --> 00:31:55,840 Then I found your bendo denies that drank all night stretched out on the 220 00:31:55,840 --> 00:32:02,740 sidewalk Without any desire Forgot the commitment you made with 221 00:32:02,740 --> 00:32:05,360 woman Don't arrive early in the morning 222 00:32:06,240 --> 00:32:12,260 And not drink cachaça anymore, she even did promise, paid and regretted it. 223 00:32:12,760 --> 00:32:16,680 I sang a samba for him, and he smiled and fell asleep. 224 00:32:17,220 --> 00:32:23,100 Today I saw my snow, which had none of the life, and I lost 225 00:32:23,100 --> 00:32:25,920 way of living. 226 00:32:26,320 --> 00:32:29,920 Things are in the world, but I I need to learn. 227 00:32:30,940 --> 00:32:37,420 Things are in the world Only me I need to learn Things are in the 228 00:32:37,420 --> 00:32:38,720 that I need to learn 229 00:32:59,080 --> 00:33:00,080 It's very difficult. 230 00:33:00,240 --> 00:33:06,240 I don't remember. I know what it is. 231 00:33:06,680 --> 00:33:09,440 This song is terrible. I think wonderful. 232 00:33:10,600 --> 00:33:13,080 After death. 233 00:33:28,940 --> 00:33:34,160 I know someone will cry when I die in Mangueira. 234 00:33:36,320 --> 00:33:41,060 Every poet, everyone cries. 235 00:33:42,600 --> 00:33:49,460 I live peacefully in Mangueira. I know that someone will cry 236 00:33:49,460 --> 00:33:52,580 when I die in Mangueira. 237 00:33:59,260 --> 00:34:05,280 Before an introduction, he never does like everyone does, the common thing, right? He 238 00:34:05,280 --> 00:34:06,280 more. 239 00:34:06,320 --> 00:34:07,500 Making it bigger... 240 00:35:10,490 --> 00:35:17,410 Everything goes in peace, with you everything goes in peace peace, we live in 241 00:35:17,410 --> 00:35:22,990 best city in South America, South America. 242 00:35:32,590 --> 00:35:33,950 My shirt 243 00:36:38,220 --> 00:36:44,960 These planes, the trucks at my feet, the tip against 244 00:36:44,960 --> 00:36:51,640 stoned figures, my nose, my body heard, I guide the carnival, I 245 00:36:51,640 --> 00:36:55,520 monument, the dwarf, the neighborhood's reminder. 246 00:37:08,560 --> 00:37:15,320 The monument is made of paper, crepe and silver, the green eyes of the mulatta, 247 00:37:15,780 --> 00:37:22,340 the hair hides behind the green forest, the moonlight of 248 00:37:22,340 --> 00:37:23,420 backcountry. 249 00:37:25,300 --> 00:37:31,300 The monument has no door, the entrance is an old, narrow and crooked street, and in the 250 00:37:31,300 --> 00:37:35,680 I look like a smiling child, without bite and no diamond. 251 00:37:47,660 --> 00:37:51,920 I sing this song in São Paulo, and this whole song with the fast rhythm, 252 00:37:51,920 --> 00:37:56,460 sang like that, always sharing, breaking, and only in the choruses did I do it with 253 00:37:56,460 --> 00:37:59,500 a business, a swing with a thousand musicians, and now only with two, two Carlos 254 00:37:59,500 --> 00:38:06,200 Vins, Raulzinho, second trombone of the world, second in the world. 255 00:38:11,040 --> 00:38:13,460 Considered by people the second, but the first, right, Raul? 256 00:39:04,859 --> 00:39:11,740 Missing Missing Missing so much, I miss you 257 00:39:11,740 --> 00:39:18,140 the parents' club, the brooms, Baptists drawing scissors in the streets 258 00:39:18,140 --> 00:39:19,500 full of le. 259 00:39:20,100 --> 00:39:26,560 Bass drum beats are aracadus, rebellious people who return home tired 260 00:39:26,560 --> 00:39:29,180 with their banners in the air. 261 00:39:29,540 --> 00:39:36,440 When I remember, Recife is far away, I miss you so much 262 00:39:36,440 --> 00:39:37,440 until... 263 00:39:37,740 --> 00:39:44,180 I'm embarrassed, it seems like I see the Haroldo Matias in the park, Valfrido 264 00:39:44,180 --> 00:39:47,780 Onion Paste, reflect close to me. 265 00:39:48,760 --> 00:39:55,720 Bass drum beats are maracatus, retarded people who return home tired 266 00:39:55,720 --> 00:39:57,620 its pieces in the air. 267 00:40:13,130 --> 00:40:14,130 Once again? 268 00:40:14,170 --> 00:40:16,350 Then do it one more time. Let's do more once. 269 00:40:21,530 --> 00:40:22,530 Oh, 270 00:40:30,410 --> 00:40:32,670 Oh, I miss you. 271 00:40:34,670 --> 00:40:36,770 I miss you so much. 272 00:40:38,110 --> 00:40:41,710 I miss the parents' club, of brooms. 273 00:40:41,950 --> 00:40:48,690 Passengers tracing times in the streets full of there Bass drum beats are 274 00:40:48,690 --> 00:40:55,510 maracatus Retarded people returning home Tired of their air banners 275 00:40:55,510 --> 00:41:02,470 When I remember, Recife is far away I miss you so much 276 00:41:02,470 --> 00:41:08,610 until I embarrass myself It seems that I see the Burp Matias in step 277 00:41:33,399 --> 00:41:36,020 Goodbye. I'm going so I don't come back. 278 00:41:38,200 --> 00:41:39,860 And where do you want it? 279 00:41:40,650 --> 00:41:46,930 Let me go, I know I'm going alone. 280 00:41:50,190 --> 00:41:57,130 So alone, baby, it's not even good 281 00:41:57,130 --> 00:42:04,110 think that I won't come back 282 00:42:04,110 --> 00:42:10,210 more of this fear. 283 00:42:19,480 --> 00:42:23,240 And I don't know 284 00:42:23,240 --> 00:42:29,920 How to tell you 285 00:43:17,180 --> 00:43:18,580 Music 286 00:44:06,280 --> 00:44:07,280 Tell you. 287 00:44:43,200 --> 00:44:44,200 No, 288 00:44:48,120 --> 00:44:49,360 I ate cookies, that was it. 289 00:44:50,420 --> 00:44:51,440 Pack water, pack. 290 00:44:51,920 --> 00:44:52,920 Water. 291 00:44:53,300 --> 00:44:54,340 No, banana. 292 00:44:58,390 --> 00:45:00,990 Get a cookie, get a bottle of 'Water, go. 293 00:45:01,690 --> 00:45:03,710 Please, make that water cold. 294 00:45:04,510 --> 00:45:05,670 You can get the first note there. 295 00:45:05,910 --> 00:45:07,710 Go over there and ask me. 296 00:45:19,330 --> 00:45:20,570 Take the water I asked for, go. 297 00:45:24,840 --> 00:45:25,840 The effect is the same. 298 00:45:31,100 --> 00:45:31,540 But 299 00:45:31,540 --> 00:45:42,120 when 300 00:45:42,120 --> 00:45:47,480 you get it here, then you get it here, with that finger, you will go up. 301 00:45:50,740 --> 00:45:51,780 Get it straight away. 302 00:45:53,160 --> 00:45:54,160 That's it, anyone. 303 00:45:54,990 --> 00:45:55,990 What will come down? 304 00:46:00,270 --> 00:46:01,270 That. 305 00:46:02,570 --> 00:46:03,570 What? 306 00:46:03,870 --> 00:46:04,870 Brunette. 307 00:46:12,170 --> 00:46:12,630 You 308 00:46:12,630 --> 00:46:20,030 can 309 00:46:20,030 --> 00:46:23,370 make a, what do you say, a robato there? 310 00:46:24,620 --> 00:46:27,660 That I live on deadline and I'm so unhappy. 311 00:46:29,260 --> 00:46:31,900 There is nothing sadder. 312 00:46:32,480 --> 00:46:36,380 Did you understand? She's going to get ripped off, because he doesn't mean that... Yeah, give it a try 313 00:46:36,380 --> 00:46:37,840 stolen. How long can I get? 314 00:46:39,880 --> 00:46:42,820 That I live on deadline and I'm so unhappy. 315 00:46:45,120 --> 00:46:47,620 No no. You can rest. 316 00:46:48,440 --> 00:46:51,720 That I live on deadline and I'm so unhappy. 317 00:46:53,200 --> 00:46:59,880 There is nothing sadder, not one baby, how cold it is, 318 00:46:59,980 --> 00:47:02,300 warm, my love. 319 00:47:03,500 --> 00:47:09,920 Let's go. All. 320 00:47:10,100 --> 00:47:11,620 Give it here. Let's go. 321 00:47:13,440 --> 00:47:14,440 Silence. 322 00:47:15,060 --> 00:47:16,900 Hey. Hey. 323 00:47:17,260 --> 00:47:18,440 Silence, please. 324 00:47:19,300 --> 00:47:21,620 Silence. Let's go. 325 00:47:26,990 --> 00:47:27,990 Silence. It's here. 326 00:49:09,580 --> 00:49:15,680 . . . . . 327 00:49:57,100 --> 00:50:02,480 No pity, but listen to mine 328 00:50:02,480 --> 00:50:04,600 I'm sorry. 329 00:50:06,140 --> 00:50:12,460 I try in vain to forget you, but 330 00:50:12,460 --> 00:50:19,100 Then my torment is so much that I live in I cry and I'm so unhappy. 331 00:50:19,660 --> 00:50:22,900 There is nothing more sad. 332 00:50:48,360 --> 00:50:54,820 You don't even feel sorry anymore, oh my 333 00:50:54,820 --> 00:50:58,280 God, I was so alone. 334 00:50:59,220 --> 00:51:05,920 Have pity, have pity on me, because I'm sad like this for the love of 335 00:51:05,920 --> 00:51:06,920 you. 336 00:51:07,240 --> 00:51:14,200 There is nothing more beautiful, my dear, my affection 337 00:51:14,200 --> 00:51:17,620 for you, my love, my love. 338 00:51:41,009 --> 00:51:43,830 . . . 339 00:51:59,630 --> 00:52:00,630 Thanks to you. 340 00:52:31,310 --> 00:52:37,290 Just feel sorry for me, because I'm sad so for your sake. 341 00:52:38,270 --> 00:52:44,970 There is nothing more beautiful, my dear and my affection for 342 00:52:44,970 --> 00:52:48,890 you. My love has pity, my love has pity. 343 00:52:51,070 --> 00:52:54,670 My love is sorry, my love... 344 00:53:13,290 --> 00:53:14,610 Ara, bodei, olei. 345 00:53:47,080 --> 00:53:52,920 We grow, we want to love, woman who denies, I deny that it's not for 346 00:53:52,920 --> 00:53:58,220 we pick up, we deliver, we wants to die, no one has anything good without 347 00:53:58,220 --> 00:53:59,220 suffer. 348 00:54:53,060 --> 00:54:54,540 Goodnight. 349 00:55:45,500 --> 00:55:48,780 . . . . 350 00:56:48,170 --> 00:56:49,170 See you there. 351 00:57:26,060 --> 00:57:27,060 Thanks. 352 00:58:13,000 --> 00:58:19,240 But you have to suffer, but you have to cry But you have to want 353 00:58:19,240 --> 00:58:21,620 to be able to love 354 00:58:49,420 --> 00:58:52,420 It's time for love, it's time for... 355 00:59:26,160 --> 00:59:33,120 I'm Gilberto, Carlos Lira, Dorival Caín, Antonio Carlos Jobim, Inês 356 00:59:33,120 --> 00:59:37,020 Susemão Aécio, Baden Powell, and music of writers. 357 00:59:38,200 --> 00:59:39,280 You have my salute. 358 00:59:40,960 --> 00:59:45,740 Sometimes I would like to see even the deliverance, to better rest on 359 00:59:45,740 --> 00:59:49,520 those who, thanks to you, discovered that They made samba what it is. 360 00:59:49,800 --> 00:59:50,800 Congratulations. 361 00:59:55,980 --> 00:59:59,300 Dolores Durand, Cartola and many others. 362 01:00:00,120 --> 01:00:03,560 And all who come, all new, come the donkey. 363 01:00:03,940 --> 01:00:09,840 And again, Dori Cain, Chico Guardolando, Caetano Delos, 364 01:00:10,020 --> 01:00:14,400 Maria Luiz Maria, who are with us. 365 01:00:14,980 --> 01:00:15,980 Baden, of course. 366 01:00:16,460 --> 01:00:17,720 Ian, who films us. 367 01:00:18,200 --> 01:00:21,400 Jean-Claude, Pierre, João Carlos. 368 01:00:22,300 --> 01:00:23,300 Saraba. 369 01:00:24,880 --> 01:00:28,520 That makes it an accent that I could never utter again without 370 01:00:28,520 --> 01:00:29,520 cry. 371 01:00:30,440 --> 01:00:33,200 An accent that hides all the people as we sing with our hands raised 372 01:00:33,200 --> 01:00:34,200 sky. Samba. 373 01:00:36,140 --> 01:00:42,900 They told me that she came from Bahia, that she has the rhythm and the poetry 374 01:00:42,900 --> 01:00:46,140 of centuries of dance and pain. 375 01:00:52,840 --> 01:00:59,200 But whatever feeling she expresses She is white in shape and form 376 01:00:59,200 --> 01:01:06,120 White rhymes of shapes and rhymes She is black, very black 377 01:01:06,120 --> 01:01:12,500 your heart Because samba was born there in 378 01:01:12,500 --> 01:01:19,360 Bahia And if today he is white in poetry, if today he is white 379 01:01:19,360 --> 01:01:23,520 poetry, he is too black at heart. 380 01:01:23,920 --> 01:01:30,220 He is too black at heart. 381 01:01:56,680 --> 01:01:58,820 You played your first concert with Baden. 382 01:01:59,040 --> 01:02:01,120 10 years ago, you played guitar 3 years ago months. 383 01:02:01,620 --> 01:02:02,900 3 months ago you played guitar. 384 01:02:04,940 --> 01:02:05,360 With 385 01:02:05,360 --> 01:02:25,180 Philip 386 01:02:25,180 --> 01:02:26,180 and Louis Marcel, 387 01:02:27,660 --> 01:02:30,540 I hope that one day Quebec will be extended by Japan. 388 01:02:31,420 --> 01:02:34,760 But Brazil gave me other encounters. 389 01:02:38,040 --> 01:02:39,040 Let's go. 390 01:02:40,020 --> 01:02:41,980 What are you going to say? 391 01:02:43,020 --> 01:02:46,080 I will talk about my encounter with Adam. 392 01:02:46,340 --> 01:02:47,820 Oh yes? Right. 393 01:02:49,180 --> 01:02:55,460 I'll talk about how I met Adam and about history. 394 01:02:56,160 --> 01:03:02,820 So, Adam, we went as a family, with the Succo and his sons, at the time of Noah, 395 01:03:02,940 --> 01:03:07,360 in Brazil, and I had a meeting with the Walter Sales, my friend, 396 01:03:08,360 --> 01:03:13,160 and when we arrived, he told me that I was waiting, 397 01:03:13,880 --> 01:03:17,860 because I should go to a favela, and I I should absolutely introduce myself to 398 01:03:17,860 --> 01:03:22,200 someone, but the favela is not very safe, so it's better that you leave Succo and 399 01:03:22,200 --> 01:03:23,200 the children at home. 400 01:03:27,370 --> 01:03:33,490 Then I entered Paris, that's in film, and when we returned to Brazil, I 401 01:03:33,490 --> 01:03:40,250 I came for Guilherme's album, that's me I explain in the film, and that's when I had the 402 01:03:40,250 --> 01:03:46,350 patience to find Adam, so it's a story that happened in two years. 403 01:03:47,530 --> 01:03:52,830 What happens is that the document in the favela is incredible, but he is even more 404 01:03:52,830 --> 01:03:55,750 unique, because he will never return to favela. 405 01:03:56,200 --> 01:04:01,100 And now, Adão made his first album and, Well, it's better to let it find out. 406 01:04:02,600 --> 01:04:03,600 That's the story. 407 01:04:23,680 --> 01:04:25,320 The favela, the favela. 408 01:04:25,840 --> 01:04:26,840 Cantagalo. 409 01:04:28,860 --> 01:04:30,180 Cantagalo. Cantagalo. 410 01:04:31,680 --> 01:04:38,100 Cantagalo is similar to another favela that Call Parvão, Parvãozinho. 411 01:04:38,400 --> 01:04:42,660 The problem is that for years they have wanted do everything. 412 01:04:43,160 --> 01:04:44,900 Yes, yes, I see, it's fine. 413 01:04:45,220 --> 01:04:48,480 And then they go into fights suicide. 414 01:04:51,020 --> 01:04:53,960 And how did you find her, Adam? 415 01:04:54,400 --> 01:05:00,020 I found her because her daughter is a of the three little 416 01:05:00,020 --> 01:05:07,020 daughters of this favela who spent a competition to be a dancer in the Theater 417 01:05:07,020 --> 01:05:08,520 Municipal de Rio. Ah, ok. 418 01:05:08,780 --> 01:05:14,120 Which is traditionally a ghetto of little rich or classy daughters 419 01:05:15,340 --> 01:05:21,480 And, for the first time, the little daughters black women from Lec, a bit of the favela... 420 01:05:21,480 --> 01:05:23,480 They had access, right? Yes. 421 01:05:24,880 --> 01:05:26,980 He is 52 years old. Adam. 422 01:05:27,600 --> 01:05:29,260 You want to meet Eve too. 423 01:05:29,580 --> 01:05:33,720 Maybe she's not Eve, but she's an Eve wonderful, which is cool too. 424 01:05:34,160 --> 01:05:35,980 And then he got 11 bullets. 425 01:05:36,600 --> 01:05:38,500 He got 11 bullets in his stomach. 426 01:05:41,100 --> 01:05:42,100 14, 427 01:05:43,820 --> 01:05:48,480 15, 16... They know they will have a better life Short then they look for a guard 428 01:05:48,480 --> 01:05:49,480 immediate. 429 01:06:05,760 --> 01:06:08,160 It's OK? Okay, thanks. 430 01:06:08,880 --> 01:06:09,920 Thanks. What love! 431 01:06:14,260 --> 01:06:16,520 Merry Christmas. Merry Christmas. 432 01:06:17,240 --> 01:06:18,240 Mental captivity. 433 01:06:18,420 --> 01:06:19,940 Oh, no. Oh, damn. 434 01:06:20,800 --> 01:06:23,120 How was your Christmas yesterday? 435 01:06:23,380 --> 01:06:25,580 I went from family to family. AND? 436 01:06:26,040 --> 01:06:27,260 Working? AND. 437 01:06:28,580 --> 01:06:29,580 Damn. 438 01:06:35,399 --> 01:06:38,180 The word not to show to others girls no, because I only bought it for 439 01:06:38,180 --> 01:06:42,060 her. It was there in Germany, right? Did you see there the woman's protest? But you don't 440 01:06:42,060 --> 01:06:45,200 knew he had a team like that? I'll offer you a record to 441 01:06:45,840 --> 01:06:47,100 Let's stop. 442 01:06:49,880 --> 01:06:50,160 Let's go 443 01:06:50,160 --> 01:06:58,400 stop. 444 01:07:04,140 --> 01:07:10,760 as a joke, scholasticism has already done lots of nonsense Socrates and 445 01:07:10,760 --> 01:07:17,460 Plato were the first thinkers participated 446 01:07:17,460 --> 01:07:23,160 From this game theory and philosophy 447 01:07:23,160 --> 01:07:29,700 They are no longer made-of-the-day dishes anymore took their 448 01:07:29,700 --> 01:07:36,420 due place to science AND magic. Let's go 449 01:07:36,420 --> 01:07:39,940 stop. Let's stop, baby. 450 01:07:40,720 --> 01:07:47,720 Let's stop playing around. A scholasticism has already done a lot of nonsense. 451 01:07:49,000 --> 01:07:55,400 At the doors of churches, the dying They wait for their daily bread. 452 01:07:56,180 --> 01:08:00,860 Minimum wage that never grows. Where's the minimum wage? 453 01:08:42,119 --> 01:08:48,920 It's wonderful. Oh, oh, oh, desolate, ok 454 01:08:48,920 --> 01:08:50,880 inside, inside me. 455 01:08:52,680 --> 01:08:55,540 The nest was strange, 456 01:08:56,720 --> 01:08:59,340 the strange thing was the nest. 457 01:09:00,399 --> 01:09:07,100 It's inside my little corner, carried by a crazy thirst. 458 01:09:13,040 --> 01:09:14,960 The taste sometimes causes horror. 459 01:09:15,420 --> 01:09:21,040 Here I am, coming back from nowhere. 460 01:09:21,560 --> 01:09:28,319 Oh, oh, oh, desolate, burning inside 461 01:09:28,319 --> 01:09:29,319 me. 462 01:09:30,740 --> 01:09:37,700 Man chose unreality. 463 01:09:38,700 --> 01:09:41,979 He created his jungles of stones. 464 01:09:42,890 --> 01:09:45,729 He surrounded us with danger. 465 01:09:47,810 --> 01:09:49,729 Perge orative. 466 01:09:50,790 --> 01:09:56,450 It is the analyst's system that makes up the warlike. 467 01:09:58,030 --> 01:10:03,350 I come from the heart of Africa. I was born in heart of Africa. 468 01:10:03,570 --> 01:10:06,950 Look at me, I performed a dance ritual deadly. 469 01:10:07,290 --> 01:10:11,050 Deadly, trapped in the guillotines of slavery. 470 01:10:11,350 --> 01:10:18,190 In the holds of slave ships Here I arrived, now I arrived at the sugar mills 471 01:10:18,190 --> 01:10:24,730 sugar I worked, I danced, I danced I took advantage of 472 01:10:24,730 --> 01:10:31,470 evasions of the Dutch and quilombos of palmares I created, now I created 473 01:10:31,470 --> 01:10:36,890 Dance, fight, fight, dance My warriors kill political career 474 01:10:38,170 --> 01:10:44,310 I really like popping Yoruba with the Portuguese. In fact, I had the privilege 475 01:10:44,310 --> 01:10:47,430 continue speaking African languages. 476 01:11:15,050 --> 01:11:22,030 Luanda is the wind, she is the sea She is daughter of Xangô and granddaughter of 477 01:11:22,030 --> 01:11:23,030 Emanja 478 01:11:36,940 --> 01:11:41,400 As in the Sahara desert, there is no sculptor there. 479 01:11:41,840 --> 01:11:47,960 The wind and the sand, size is yours talents, Seguri. 480 01:11:49,140 --> 01:11:54,000 Seguri, Saboriê, Seguri, Seguri, Saboriá. 481 01:11:54,480 --> 01:11:59,700 Seguri, Saboriê, Seguri, Seguri, Saboriá. And now? 482 01:12:00,460 --> 01:12:04,780 Tartaro warned, the cart cannot go. 483 01:12:05,840 --> 01:12:10,040 In front of the ox, he put it, put it, held it. 484 01:12:11,020 --> 01:12:13,560 I held the stain to cut, understand? 485 01:12:16,100 --> 01:12:19,600 As in the Sahara desert, there is no brush. 486 01:12:20,320 --> 01:12:24,400 There is no sculptor there, but the size is yours talent. I mean, in the favelas 487 01:12:24,400 --> 01:12:29,320 no one has culture and such, but they have the minds, has the miracle of the metabolic 488 01:12:29,320 --> 01:12:31,180 sensorial. And safe, right? 489 01:12:32,440 --> 01:12:35,500 It's that explosion. 490 01:12:36,560 --> 01:12:39,540 Mama Africa, mama Africa. 491 01:12:43,660 --> 01:12:46,780 Nego is humo, nego is juice. 492 01:12:48,560 --> 01:12:54,160 The black seed generated, when the mud dried up, 493 01:12:54,180 --> 01:12:58,120 beginning of planet Earth. 494 01:12:58,480 --> 01:13:04,700 In the micobre of this mud, it was that the black man if 495 01:13:04,700 --> 01:13:11,420 generated. In the mycobre of this mud, it was that the black 496 01:13:11,420 --> 01:13:13,000 was generated. 497 01:13:13,540 --> 01:13:16,540 Mother Africa, oh mother... 498 01:13:30,960 --> 01:13:37,320 So now, arrest me, do something thing with me. The story is mine, 499 01:13:37,500 --> 01:13:38,780 it doesn't exist. 500 01:13:39,140 --> 01:13:45,460 It was an artifice by the Portuguese. 501 01:13:45,820 --> 01:13:51,140 Did you understand? You ordered a raid, right? He painted it black and threw it at the bottom of the river, 502 01:13:51,300 --> 01:13:55,320 knowing that later the silly fisherman fishing, right? 503 01:13:55,560 --> 01:13:59,740 And there it is, our lady will say... This is my story, understand? He 504 01:13:59,740 --> 01:14:05,540 doesn't disclose, and I don't feel lesser than than Bahia. Oh, oh, oh Camatuça, Mangui, 505 01:14:05,580 --> 01:14:09,140 oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, 506 01:14:09,140 --> 01:14:10,480 oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, 507 01:14:11,520 --> 01:14:12,520 oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, 508 01:14:14,320 --> 01:14:15,320 oh, oh 509 01:14:16,390 --> 01:14:18,470 I need to remember, each one has three hundred songs. 510 01:14:20,770 --> 01:14:26,250 No, three hundred, I have more than two, six hundred, seven hundred songs. 511 01:14:26,810 --> 01:14:30,110 That's one I forget, people They have to be reminding me. 512 01:14:30,730 --> 01:14:37,510 Look, talk to God, look at my walk. Look, talk 513 01:14:37,510 --> 01:14:42,010 with God, look at my walk. 514 01:14:42,430 --> 01:14:45,470 I came from Africa forced. 515 01:14:46,090 --> 01:14:52,950 Here they made me a slave, they pretended to give me freedom, they didn't even give me 516 01:14:52,950 --> 01:14:54,250 one cent. 517 01:15:16,390 --> 01:15:17,550 on the channel now! 518 01:15:55,980 --> 01:15:57,580 Open the doors, Faustão. 519 01:15:58,580 --> 01:15:59,600 Adopt me. 520 01:15:59,900 --> 01:16:02,600 I'm from Rio, I'm from Milá. 521 01:16:03,860 --> 01:16:04,900 Adopt me. 522 01:16:05,160 --> 01:16:07,900 I'm banto saci, I want to promote myself. 523 01:16:09,160 --> 01:16:13,220 Adopt me. I'm from Madureira, I'm from Odara. 524 01:16:14,160 --> 01:16:15,160 Adopt me. 525 01:16:15,420 --> 01:16:18,080 I'm from Madureira, I'm from Odara. 526 01:16:19,700 --> 01:16:23,500 I'm sweet like honey. 527 01:16:24,000 --> 01:16:29,570 Pilate Points. There goes the hand, I am long before 528 01:16:29,570 --> 01:16:35,410 from Tutacama, Araúrum, Quimquim. 529 01:16:35,630 --> 01:16:42,070 I'm from Oxogbo, Araúrum, Quimquim. Look, I'm going to 530 01:16:42,070 --> 01:16:48,730 Jubaú, in Dumaré, Xangô, king of Ióió, hold the 531 01:16:48,730 --> 01:16:54,950 ember with your hand. Look, Greece wasn't Greece, not China, not Japan, was Japan. 532 01:16:55,519 --> 01:16:56,820 Oh, oh, oh! 533 01:16:57,620 --> 01:16:58,620 Danilo! 534 01:17:25,799 --> 01:17:27,900 Well done, Adam! 535 01:17:52,430 --> 01:17:57,550 with a quarantine of percussions. I was in a state of impatience 536 01:17:57,550 --> 01:18:03,050 to go and meet Adam in the favela and do you listen to your music, recorded by 537 01:18:03,050 --> 01:18:05,230 Silvano Michelino a few months ago. 538 01:18:05,690 --> 01:18:11,730 Walter Salles was in Cana on a jury, but my friends told me that 539 01:18:11,730 --> 01:18:17,690 had gone hastily to the favela, Cantagalo. 540 01:18:18,070 --> 01:18:20,390 The young man who pulled him in his small chair 541 01:18:21,280 --> 01:18:27,820 He was a boy from the neighboring favela, peacock little peacock, the intimate enemies 542 01:18:27,820 --> 01:18:34,160 from Cantagalo. He took advantage of his chair handle status for 543 01:18:34,160 --> 01:18:35,860 in Adam's favela the drug next door. 544 01:18:36,980 --> 01:18:43,860 He was hiding, taking refuge in a religious hospice three hours away 545 01:18:43,860 --> 01:18:44,679 from Rio. 546 01:18:44,680 --> 01:18:49,620 It was actually from Buñuel 15, the Cure of Miracles. 547 01:18:50,030 --> 01:18:56,190 At the entrance, there was a big Christian, he which is quite critical about what the 548 01:18:56,190 --> 01:18:59,050 West could impose on its ancients. 549 01:18:59,470 --> 01:19:02,590 It was there, dark, and it was done listen to the music. 550 01:19:32,760 --> 01:19:34,040 Let's go, let's go. 551 01:19:36,520 --> 01:19:40,980 The core of the violent seed 552 01:19:40,980 --> 01:19:45,840 violent seed nucleus 553 01:19:45,840 --> 01:19:50,220 Vegetable incendiaries 554 01:19:50,220 --> 01:19:56,280 They are tax deniers They are awesome 555 01:19:56,280 --> 01:20:02,920 corrupt They are enemy number one I don't I see them in 556 01:20:02,920 --> 01:20:03,920 Bangu 557 01:20:05,660 --> 01:20:09,440 The core of the violent seed 558 01:20:09,440 --> 01:20:14,980 violent seed nucleus 559 01:21:34,660 --> 01:21:37,460 It doesn't pass 560 01:21:37,460 --> 01:21:48,460 of 561 01:21:48,460 --> 01:21:49,740 silly, lol. 562 01:21:56,200 --> 01:22:02,980 by a reused political system that the temple remained stagnant. Who 563 01:22:02,980 --> 01:22:06,900 you think it is, it doesn't happen again, guys. 564 01:22:07,400 --> 01:22:08,520 What a pleasure. 565 01:22:10,300 --> 01:22:12,840 Pleasure. Great pleasure. 566 01:22:13,620 --> 01:22:17,400 Have you already shown your songs to the Martinho da Vila? No, no, don't stop 567 01:22:17,400 --> 01:22:23,200 nobody. The first to know me Even, the first ones to know me, was the 568 01:22:23,200 --> 01:22:24,200 Valt and him. 569 01:22:27,600 --> 01:22:28,600 But do you know what it is? 570 01:22:28,900 --> 01:22:32,680 My music is all about criticism. These People don't like heads. 571 01:22:32,960 --> 01:22:37,000 It was Japan, Namibia. 572 01:23:03,480 --> 01:23:04,860 It's a 573 01:23:04,860 --> 01:23:21,540 pleasure 574 01:23:21,540 --> 01:23:22,540 immense. 575 01:23:43,980 --> 01:23:44,980 Thanks. 576 01:25:02,830 --> 01:25:05,210 The Guide also recorded a song by Adam. 577 01:25:05,530 --> 01:25:09,450 In fact, this return to Brazil was dictated by the desire to record a 578 01:25:09,450 --> 01:25:13,730 part of his 2nd album, Sources, on his country of origin. 579 01:25:14,490 --> 01:25:20,310 Then, La Mémoire du Vent, his first album, recorded in France, went to 580 01:25:20,310 --> 01:25:25,150 opportunity to find the wonderful Figuca, that, when I found him, 581 01:25:25,250 --> 01:25:27,510 while I was in Lisbon in 1959, 582 01:25:28,370 --> 01:25:35,340 He offered me his friendship and... and the terrible allowed me to discover the 583 01:25:35,340 --> 01:25:38,080 Julia's incredible wealth. 584 01:26:19,040 --> 01:26:25,680 Therefore, these jewels suddenly seem uncertain. 585 01:26:26,520 --> 01:26:31,600 I can't believe they reveal. 586 01:26:52,490 --> 01:26:56,170 that I don't know how to last anymore. 587 01:27:31,280 --> 01:27:35,180 I'm very involved, very too emotional to have one 588 01:27:35,840 --> 01:27:37,980 Suddenly Pierre can give his opinion of him. 589 01:28:01,930 --> 01:28:05,290 There is an incredible emotional charge in this footprint. 590 01:28:24,680 --> 01:28:27,200 I wanted to get a girlfriend who had it like that for me. 591 01:28:27,760 --> 01:28:28,760 Have you thought? 592 01:28:29,240 --> 01:28:30,920 He married her, he did the same with his son. 593 01:28:31,700 --> 01:28:34,080 Then the grandmother, the girlfriend and everything would leave. 594 01:29:07,270 --> 01:29:13,330 Music Music Music 595 01:29:45,770 --> 01:29:48,790 THE CITY IN BRAZIL