I have a great debt with the city of São Paulo...
and, for example, it's absurd...
how much people like ''Ronda''. But they like it.
And I owe it to this city.
So now that I'm reaching my 80s...
now that I can't see much in the future for me...
I want to leave a testimony, an anthology...
of what is my artistic debt with the city of São Paulo.
So this project, to me has a lot in that sense...
of love for the city...
for the city and for the people.
The people, individually speaking I'm not very found of...
but I really like the people in general.
A MAN OF MORALE
At night I walk through the city
Looking for you, without finding
Between glances, I spy In all of the bars
But you are not there
I get back home depressed With disillusions of life
Dreams give me happiness It's there that you are
If I had someone who wanted me well
This someone would tell me Give up, this search is hopeless
And I wouldn't give up
However, with perfect patience
I return looking for you And now I will find
Drinking with other women
Rolling dice And shooting pool
And so, on this day The front news will show
A bloody scene in a bar Of Av. São João
I wrote ''Ronda'' when I was at the army, in 1945.
Because we were from the cavalry, and the cavalry at that time...
used to function as the military police.
So we used to patrol the low whorehouse region...
twice or three times a week.
And it's funny, because I didn't see this once...
a woman coming up to a bar likeshe's looking for someone and then leave.
Karaoke never fails...
A Japanese that's being cheated on goes to the karaoke to sing ''Ronda''.
And if you ask Ana to show you...
people in bars ask for music in the napkins.
So she keeps the requests in a brown paper bag...
and brings it home.
There areso many ''Ronda'' written with an 'H'!
There's more ''Ronda'' written with an 'H' than with an 'R'!
TRIBUTE TO PAULO VANZOLINI SESC VILA MARIANA - SAO PAULO
I never made music professionally.
I didn't know how many sambas I had.
The editing of my music was never made by me.
It was Marcus Pereiraand Paraná that wanted to record the musics.
They edited and made a lot of foolishness...
but I never wanted to waste my time doing that...
because I never considered it to be my profession.
Vanzolini is ascientist, and his working area is Herpetology...
which is the Zoology field that studies reptiles and amphibious.
I met him when I was still a kid.
It was in the early 60s at the Jupiá power plant at the Paraná river.
My father, with whom I stand in this picture...
was the construction director...
and Vanzolini made the environmental studies of the plant.
Two people waked in thisstory. One was Luís Saia...
who was an architect from São Paulo that, in the military days...
was specialized moving the persecuted individuals...
to Paraguay and vice-versa. Chileans...
A lot of Chileans went to Europe, went to Paris through Brazil...
moved by Luís Saia. And since it was easy for me to travel...
due to the museum, sometimes I helped him out.
I wasn't important or anything...
but I had afriend called Antonio Carlos Xandó...
which was a tax fiscal, and he was crazy about music from the countryside...
so he was fishing at the Paraná river and he told me:
''the boat man that passes around here, called Nhô Augustão...''
''knows a beautiful song.''
Xandó was a people's man like any other.
It wasn't Augustão who made thesong...
he learned fromsomebody and taught Xandó.
And I received it just as Xandó had received it.
But it wasn't...
You know...
-But you created part of it... -Yes, we had to complete it.
How does it go? What's yours and what's not?
The first verse is not mine, the other two are.
I came to the edge of the harbor Where waves spread out
The herons make their turn And sit at the beaches
CUITELINHO - HUMMINGBIRD FOR COUNTRYMEN And the hummingbird don't like
That the rose button falls
When I came from my home I said goodbye to my relatives
I came in to Mato Grosso And fell in Paraguayan lands
There was a revolution there And I fought great battles
Missing you cuts me Like asteel razor's edge
The heart stays afflicted Beats once, the next beat it fails
Eyes get filled with tears Confusing my sight
Missing you cuts me Like asteel razor's edge
The heart stays afflicted Beats once, the next beat it fails
Eyes get filled with tears Confusing my sight
Paulo Emílio Vanzolini was born in São Paulo in 1924.
Graduated in Med School at the University of São Paulo.
Doctored in Biology at the Harvard University.
Vanzolini worked at the Zoology museum...
of the University of São Paulo for over fifty years...
and was President of this museum from 1962 to 1993.
When I started working at the museum... I was asingle man,
living in my dad's house... At street Atlãntica.
So I used to catch the 'Jardim Paulistano' streetcar...
at the corner of street Atlãntica with Av. Brasil...
and went all the way up to 'Largo do Piques'...
that I don't know why they call 'Praça da Bandeira' today.
And from there I walked to...
At first I took astreetcar to 'Praça João Mendes'...
but then later I was having a better life...
so I took a jitney at 'Praça Clóvis'.
And a jitney was in a normal car, like a cab...
and it took five passengers.
So there was the jitney stop. When five passengers came in...
it made its way, like a bus track.
I had to wait frequently, so I watched the pickpockets...
working at 'Praça Clóvis', at the bus line and it just came to me...
that's how it happens, you just have to work on the idea.
And it's a lot of work, you see.
At 'Praça Clóvis' My wallet was stolen
It had twenty-five bucks
And your picture
Twenty-five Frankly, I thought it was cheap
To get me rid Of what was delaying my life
I already should have ripped it But I couldn't
This picture which's glance Used to hurt and follow me
One day the swindler showed up In the middle of that crowded square
Twenty-five Frankly, was for free
In 1992, I made a documentary: ''Os Calangos do Boiaçu''...
which showed a bit of the work of the scientist, Vanzolini...
in the river Branco, State of Roraima.
A good scientist is revealed and accomplishes in his laboratory.
Obviously, that's applied to everyone.
But the happy scientist is the one who is connected to the living forest.
The forest is like that saying:
''the full thing is bigger than thesum of the parts''.
It's not only this light, these plants, these animals, these voices...
but it is this entire thing, which gets inside you...
giving you happiness and a tremendous tranquility.
I'm in this life for fifty years now...
and logically my time is coming to an end.
It's afear that I have, to not see this anymore.
Not that I want to see lots of animals and lots of things...
but to be in the forest to me is a great happiness.
In the woods or in the laboratory, however...
music is still part of zoologist Vanzolini's routine.
He's always singing around.
It could be the version of an Irving Berlin's song that he made...
a blues, a Noel Rosa's samba, or maybe he is composing something new.
With a white scarf in hand...
ITALO PERON - MUSICAL DIRECTOR SÉRGIO ÁVILA - RECORDER TECHNICIAN
In 2002, ''Acerto de Contas'' was made
for Paulo Vanzolini.
A general revisal of his work and the recording of fifty-two of his songs.
Rehearsals where made in a place that Vazolini has near his house...
at the 'Cambuci'district.
He called his friends and the record slowly came out.
I was always around and documented most of the rehearsals and recordings.
I used to spend the whole day listening to the radio...
at my dad's house, I remember the carnivals, I tuned at 'Rádio Difusora'...
I was afourteen, fifteen year old boy.
'Rádio Difusora' had asingersshow...
in a time where all radio stations had an orchestraand asinger...
at thestage, the auditorium. There was no disc jockey.
I knew all the carnival songs, fromfirst to last.
-And you didn't forget them... -No, I have a good memory...
-I didn't forget them. -So you remember them all.
So you see, my melodic composition is actually pieces of submerged memories...
of things I have listened on the radio.
CRY IN THE MIDDLE OF THE STREET
You say that I hide when I'm crying
My God, how naive you are
You say that I hide when I'm crying
My God, how naive you are
If I had to cry I'd cry in the middle of the street
You say that I hide when I'm crying
My God, how naive you are
You say that I hide when I'm crying
My God, how naive you are
If I had to cry I'd cry in the middle of the street
I'll tell you that I miss you That's true
I'll tell you I still want you You want me too
But to cry Not alone, or in front of anyone
Don't say that I cried No one is going to believe it
Everybody knows I'm really tough
Don't say that I cried No one is going to believe it
Everybody knows I'm really tough
Round the rugged rocks the ragged rascals ran.
This is the ''R'' sound.
What's the next sound? It's ''S''.
Shesellsseashell in theseashore.
Too much to tell the tail to Thamy
Who tends to tell the true.
Very vain the veil of Vanessa.
Now lets change. Instead of the first starts at the end.
Please, put the paperback book back. Funny.
A dog mobbing a mob playing hob.
Aspecial mink drinks his drink inside thesink
A blow of the wind letting in to the within...
From the inn
From the inn..
Too much to tell the tail to Thamy
Who tends to tell the true.
And then we go from the jokes to the dramatic:
A blow of the wind letting in
From the within.
It's a game. A linguistical exercise.
Can you turn that up a bit, please?
''Serjão'' came to São Paulo in 1946, but I didn't know ''Serjão''...
I knew Maria Amélia. I had some friends, they were my age.
Geraldo and Marcelo Vidigal, but their father was also a great friend of mine.
So, when Maria Améliaarrived in São Paulo, the Vidigal got really worried...
that sheshould have an enthusiastic welcome...
that weshould look for her and everything.
I went and fell in love with her, with ''Serjão'', with her sisters.
The kids where all very young...
the oldest was Miúcha with her nine years of age.
ROOT
I live where the root lives in the ground
In the dark and quietness of the ground
In the time when I had wings I did a lot of pirouettes
I flew in the wind To get back in the ground
In the darkness of the ground I planted roots
The sap from the ground I happily drank it
In the darkness of my house I'm going to grow another wing
I will fly with you
dancing free with you
as long as the wind blows
without thinking about the ground
The ground
Generally, asentence comes up. As lyrics and music.
And then, I work it out calmly, with patience.
So how does asentence like that comes up?
When I was in a place called Claudia, in Mato Grosso...
I was sitting alone at the house's porch...
it was afarm house that we rented. And it came to me:
When I go, I'll go with no pitty Pitty will have those who stay
Thissentence came to me like that. Lyrics and music.
So I worked on top of that.
How does music come and go?
It is always in your subconscious.
It comes back to you once in a while, I remember it...
and work it out a bit more. And usually it shows up...
The ruler of the music is the rime. The rime and the rhythm.
Not the musical rhythm, But the text rhythm.
WHEN I GO, I'LL GO WITH NO PITY When I go, I'll go with no pity
Pity will have those who stay
When I go, I'll go with no pity Pity will have to stay
Brunette so unloved and needing to love
Delicate amaryllis With no one gardening you
Serene river curve With no prow to navigate
And so many places on the road With no one to lay down with
What I did was too little
But it is mine and goes with me
I leave a lot of enemies
Because I always walked on the line
In my chest I have consoled many cries
My brunette Until when will you remember me
When I go, I'll go with no pity Pity will have those who stay
-What about Alberto? -Alberto, that's a truestory.
-He existed? Yes, his name was Nelson.
That was when I worked at the 'Hospital das Clínicas'...
and so a man showed up making a conversation at the waiting room...
saying: ''My brother Nelson is too good, doctor...''
''that boy sleeps with the fiancé and the mother-in-law!''
The day the mother-in-law found out, she wasted a round of bullets
and heshowed up at the hospital full of holes.
How does it go?
Alberto, went to live at the fiancé's house
It didn't work out Alberto was too good
To his mother-in-law he did what not many people do
Treated her well
With so much care That left the neighbor's wife jealous
Who had a point and went there to contest the subject
It was a huge mess As a result a nearby widow
Took a gun And stood behind Alberto
And the emporium owner watching that uproar
Smiled and said:
These ladies are crazy Albertinho wouldn't do that with me
Her own maid laughed in pity And thought, ''poor woman
Alberto only likes dark skin really tanned''
Already been slapped for being a meddler
The uproar was spreading When Alberto's wife arrived
And she was angry and arguing I'm the legit woman
Married in the law of the Vatican country
And she came ripping of the clothes punching in the eye
Pulling the lice's nest
If I wasn't a very classy lady that, even when drunk, doesn't curse
I would show these low lives These bad quality leather
These gossipers Women with weak husbands
If you didn't have the impertinence Of messing with a good man
That has as only imperfection
What he carries in the left side of his chest
A heart that is too big
With these words of sorrow In came the reinforced cops
Which took all of the ladies
There where twelve married ones
Fifteen single and seventeen who left their husbands
But what really felt sorry about
Was filling a van from the juvenile court
They were all sent to the police department
And still weren't satisfied They continued the conflict
The police officer got nervous And shouted loud
''Take these monkeys in Lock the door and loose the key
And bring me this Alberto I want to speak with him
I want to know this great artist in person''
Ten Sherlockes followed the clues With police dogs
Newspaper reports Radio and TVstations
After circling a lot Found Alberto in 'Vila Esperança'
In the garden, playing with the kids His wife in the kitchen
Preparing the nursing-bottle of their youngest
A touching scene But they took everybody along
And if you want to know more Look in the newspapers tomorrow
Because Alberto went to live at the fiancé's house
It didn't work out Alberto was too good
His name was Nelson...
but Nelson doesn't rime with 'didn't work out'.
AUCTION
Yesterday, was sold with the struck of the hammer
What I don't have And want the most
Yesterday, was sold with the struck of the hammer
What I don't have And want the most
I got disturbed Walking around the alleys
Avoiding envious glances And counting the hammer strikes
Going once, going twice
Going three dagger stabs
After the auction I went away kicking rocks on the street
Someone else took it home Paid, taking what's yours
From this man I hold no sorrow Only someone crazy wouldn't take it
But he doesn't like it the way I do And doesn't treat it the way I do
Eye of the docile snake Mouth of an angry fruit
Hail Paulo Vanzolini! Thank you.
I know I don't understand about music...
but I know that the music from São Paulo is music with personality.
For example, asamba from Adoniran, played by 'Demônios da Garoa'...
if I listen to that in upper Mongolia...
I'll know it's asamba from São Paulo.
I met Adoniran when I worked at 'Record'...
Actually, before I worked at 'Rádio Record'...
I had a cousin that was my close friend, Henrique Lobo...
and he was aspeaker at 'Record'.
So every afternoon I passed at 'Record' to pick him up and go home.
So I met Raul Duarte...
All the friends I had at 'Record' fromstreet 'Quintino Bocaiuva'.
Including Adoniran.
-Because of Henrique Lobo... -Because of Henrique.
But Adoniran really became my friend, When I started working at 'TV Record'.
Because before theshow went on air, We would cross thestreet...
and drink a little Cachaça. Him, me and Gregorian.
I always compared Adoniran to a caricaturist.
I thought about that the day I saw a caricature from De Gaulle...
and it was just a nose. And I knew it was De Gaulle.
That's the caricaturist's virtue.
To characterizesomething with onestroke.
And Adoniran was like that. I liked him.
And he liked me too. He gave an interview for Fernando Faro,
And I only saw this interview many years after his death...
it was at Faro'sshow on Channel 2, and it really touched me...
the way he demonstrated our friendship...
with the comprehension of our relationship, that was great.
Is your samba different from Vanzolini's samba?
'Praça da Sé'
Today you are
Madame 'Sé'station
No, it's not so different.
He wrote 'Praça Clóvis' And I wrote 'Praça da Sé'.
But Paulo is an intelligent man.
He is a more cultured man than I am, And makes things better than me.
He is a great friend of mine. But the music is the same, understand...
He is my friend and makes sambas like mine.
It's not the same, he uses different themes.
His themes aresomething else. My sambas are more foolish...
his are more intellectual, because he is a professor...
he is from the zoo, an intelligent guy.
Very different from me.
Our samba is the same.
What about 'Seu Barbosa'?
'Seu Barbosa' was an order from Luiz Carlos Paraná...
He wanted to give a medal to Adoniran.
And at the party where he gave him the medal...
he ordered me to make asong making fun of Adoniran...
specially because at that time Agostinho dos Santos...
had arrived from Italy, and he told Adoniran:
''I had a huge discussion over there, I even went to the embassy...
because they where playing 'Trem das Onze'...
as if it was an Italian's authorship, Giovanni Rubinato.''
Because João Rubinato was Adoniran's name, and Agostinho didn't know.
So Paraná ordered me thesong...
imitating Adoniran'sstyle, however I could.
And I was his great friend, I liked his music a lot...
and it worked out fine.
And it was supposed to besung at that day.
-And was it? -It didn't happen.
The medal wasn't delivered.
''Seu Barbosa'', we had a good marriage
Living far away, but the bus passes nearby
A beautiful view from the top of our hill
And if the kids ever needed, there was an Emergency Room
Only an hour away from there
Me and Marly were satisfied
What they did with us, Seu Barbosa Was not right
What started the trouble was a cat
Belonging to a citizen Called Rubinato
The cat disappeared And he blamed it on me.
Only because he saw me Covering a tambourine with leather
He went to the police department, And talked to the clerk
The next day, I received a notification
But I don't care, one who does not owe shall not fear
I'll prove that the tambourine Was made with the Spaniard lady's cat
Mr. Rubinato I'll give you a good advice
Get yourself another cat
And Marly will teach you How to cook a rabbit
Irede was one of the first feminist politician in São Paulo...
and she was very dedicated, very brave, very articulated.
...we are all united, independent from parties, fighting in progress...
against violence, for peace.
Because women have learned that they want to love, real love.
This is a parade about love and life.
One and two, and one...
Maria was looking elegant In the rags she was wearing
In the heels of your shoes She had a queen's walk
MAN'S CARE
Luxurious and petulant
Living with me On the verge to starvation
Irede can say whatever she wants What embellishes a woman the most
Still is a man's care
Maria left me Trying to get a better life
It worked, no one doubts it But not entirely
Who plays the game feels that something is missing on her
Maria took to the high society Vivacity and tenderness
Apainting of a face A disrespectful body
You only forgot to take, my friend The hand that took care of you
So Irede was the feminist.
Irede, the feminist, can say whatever she wants...
What embellishes a woman the most Still is a man's care.
-And how did she react? -She laughed so hard...
''Chauvinist!''
Woman, keep your head straight Show your teeth in asmile
I'm a man who doesn't need To tolerate astressed look
Hang the hat behind the door I'll stay and I'll go
I'll give a ring, If it's deserved If the finger stays
Woman, keep your head straight Show your teeth in asmile
I'm a man who doesn't need To tolerate astressed look
Hang the hat behind the door I'll stay and I'll go
I'll give a ring, If it's deserved If the finger stays
Woman...
Every man is the greatest for himself And wants respect
There's way for everything
Without a fight not even a tied up donkey
Woman who turns to the other side Is summoning her substitute
A woman that doesn't smile Doesn't need teeth
Woman
MARIA, WHO NOBODYWANTED Maria who nobody wanted
I decided to reform
I took her to the dentist Paid the stylist
Taught her how to speak I got satisfied with what I had done
Aperfect job, an artist's work But Maria was smart
I left the door open And she made her way
Time passed One day Maria came looking for me
She opened her game And already declared
That despite the progress That despite the success
That she had found on her way Despite the wealthiness
She kept a weakness For my love
Proposed to get back with me
That she would share All that she had
She promised she'd be mine All mine, entirely
With a natural exception And I didn't get her wrong
But at the same time I refused her offer
Pride, I don't have But I'm too much of a man
For fifty percent
Travel journal, Madeira river, December 14th 1975.
I got out at 13h and until 15h I hadn't seen any animals.
I started to get depressed and decided to sing a little
It was a good idea
I managed to finalize asamba Work fine on another
And I got a Chironius and that was it
On may way back I ran into a latex extractor
Who told me about four jaguars that were at loose in the proximities...
and of a pig that was lost.
Since I get out at night, I asked José Cláudio...
that if the jaguar ever kills me he'll play Last Wish (asamba) at my funeral..
Because that's really one of the greatest desires I have in my life:
to see a jaguar in the forest.
I sent the boys to the farm To cut me some sugar-canes
They came back running Tripping here and falling there
I asked: What happened? ''Just an animal that we saw''
And what animal was that? ''This animal is spotted''
''With a flat face, a pointy mustache Round ears, a big claw''
''A big tail behind''
I said: that's a jaguar That's a jaguar
I had loosen my dogs My faithful dogs
They bark sharp and grave They bark in loud laughter
And there they went: woof, woof,woof, woof
Fromstick to stick And fromstump to stump
Fromstump to stump And from bush to bush
And fromstump to stump
and fromstick to stick
The big animal fell over there That's a jaguar
This project of mine is giving me the opportunity...
to live with some of my musical idols.
The musical quality, the quality of the musicians, issomething amazing.
We are also revealing singers. We are revealing Paulinho Nogueira.
Look at who showed up here!
What did you come here to do? You got nothing to do with this?
What a joy! Oh my...
When I called Paulinho Nogueira to sing he said:
''I demand the mandolin player'' I ask him who it was...
He said: ''Izaías''. I said: ''He's already there''!
Izaías, are you set over there?
THREE O'CLOCK MORNING WALTZ I don't drink to forget
I drink to remember
I drink and stumble And I have you by my side
That's my moment of happiness
I walk in the fog of the streets
Talking to you
Songs of lost happiness
Your perfume mixes With the good smell of dawn
Your hand doesn't even Weight in my arm
But you contact is sweet, sweet
And the sound of your step is music Pure music
I only don't see you But that's okay
With you beside me That's enough for me
And there I go walking in the fog Happy, until I fall
Your perfume mixes With the good smell of dawn
Your hand doesn't even Weight in my arm
But you contact is sweet, sweet
And the sound of your step is music Pure music
I only don't see you But that's okay
With you beside me That's enough for me
And there I go walking in the fog Happy, until I fall
Thank you, good night everybody.
Thank you.
''Waltz with no end'', is a technical trick that I didn't solve out.
It ended up having no end, because I could never finish it.
I couldn't put an end to it. It repeats itself.
Lets go guys...
The rimes are all in words with asyllable with the letter 'M'.
''Tem, bem...'' Understand? That's a trick.
Asimple virtuosity that I tried to do and didn't work out.
WALTZ WITH NO END I know that I'll never have one
Who
Will love and want me well
This heart of mine So thirsty of love
Come and bring me your heat
Come, because I can't live without This that nobody else has
Only you can give it Come and ease my will to love
Come to enjoy in my lover's arms The best moments love gives in life
Come quick, my dear I can't wait
I know that I'll never have one who Will love and want me well
This heart of mine So thirsty of love
Come and bring me your heat
Come, because I can't live without This that nobody else has
Only you can give it Come and ease my will to love
Come to enjoy in my lover's arms The best moments love gives in life
Come quick, my dear I can't wait
Inezita was asuccess.
And she is accused so much of being afolklore artist.
But she is one of the greatest sambasingers Brazil has ever had.
We went to 'Morro do Salgueiro'', at some guy's house...
and Inezita made a presentation of Noel Rosa's music...
that peoplestarted to cry.
They asked for champagne. The champagne was warm.
-Let's go? -Let's go.
Recording...
A woman showed up Looking for José
Silence was made And finally asad voice said
You got here late José died longing for someone
On the past 15th...
A woman showed up Looking for José
Silence was made And finally asad voice said
You got here late José died longing for someone
On the past 15th...
The lady screamed Put her hand over her heart
Got white as wax And fell hard on the ground
But nobody felt sorry for her No sir, no one did
Because of this woman José died
On the past 15th...
Where I really listened to a ''Partido alto'' samba...
was with Inezita in Niterói in a place called 'Clube Central'.
The lead singer was a man called Nego Peitão...
a real ''Partido alto'' singer...
A vagabond that hits my face
Has to sign his will And say goodbye to his wife
If he has kids Leave themsomething to remember
A face who mommy kissed No vagabond will ever touch
Me and you, you and her You and her, her and me
Now not even me and her Not you and her, nor me.
I played with Jesus Christ At a ivory table
He won my soul And I won you for me
Vagabond...
In 'Campo de São Bento' Which is the best place in the world
Almost all the women Valorize a vagabond
Every ceiling has lath Every lath has tiles
Every blind man of two eyes Doesn't need eyebrows
Vagabond...
-Wow, and you heard that once? -Yeah...
I first knew him in a cordial and superficial way.
The first time we actually spoke a bit more, was here in my house.
I liked hima lot.
I got the feeling he got out of here as my friend.
WAR FLAG In one of life's corners
A woman lost in time
A man in a deadlock
With this false step And bad start
This distorted love Was born without willing
It admires me that it worked Who would've thought?
That it was madness For more than a day
In fact, who would've thought That it would see the light of day?
In one of life's corners
A woman lost in time A man in a deadlock
With this false step And bad start
This distorted love Was born without willing
It admires me that it worked Who would've thought?
That it was madness For more than a day
In fact, who would've thought That it would see the light of day?
But it worked and it is settled
Yes it's distorted, I display it And no one straightens me
Woman, since God wants it Let's keep going
My war flag
My fighting foot on the ground
My right to be a person
My war flag
My fighting foot on the ground
My right to be a person
My war flag
My fighting foot on the ground
My right to be a person
Elton came because the Paulinho's guys decided weshould be partners.
I didn't know Elton before, I just sent him the lyrics.
But did you meet him here, the first time?
No.
But now was the first time wespent a long time together.
-My friend, I'mazoologist... -I know that.
Azoologist's life is a very jealous thing.
I have very little time out of my laboratory.
He didn't change the lyrics and practically didn't change the melody.
He changed the repartitions And it became a whole other samba.
He is one of the most contributor my partners...
because the way he changed the music's structure, he made another samba.
I didn't like too much before, but know I like it a lot.
I don't know if my partner liked it.
We did it, could it be bad?
DANCING IN THE RAIN When the end comes
But the end doesn't come
You wanted to see me like this But there is no such thing
Would you cry for me? Don't cry, my dear
In the place where I was Right at the time when I was
See that there's nobody there
You ate all the meat And kicked the bone
You drank all the water And spit in the well
Made fun of my verses Said it was lame and dull
With a lot of stinginess And is proud of your role
You danced laughing in the rain But will not dry the sky
He really understands it. These people from Rio, they really understand it.
When I first met the old samba players from Rio...
Carlos Cachaça, Nelson Sargento, Zé Kéti...
I was amazed with what they knew.
They are victims of the musical mafia, Because they don't have...
the opportunity to show their talent.
Their music was always constructed the way that a producer...
thought it should be, and not the way that they made it.
They never could show the talent and knowledge that they had.
I know because I walked with Zé Kéti, singing on thestreets...
and also with Nelson Sargento...
what came out in recordings has nothing to do...
with what was in their heads.
JUDGMENT DAY In the last day of my life
I met with my sins
Some bigger, some smaller But in general, quite heavy
In the other hand Only the ingratitude that I suffered
The angel measured in ascale And wearing white I went up
Now I only play the harp In a gown and with sandals
I spy downstairs to see The furnace gang
That ungrateful is now Working as asausage
Poked with a fork With Satan frying the leech
Hey, Demon! Do your best!
In the last day of my life I met with my sins
Some bigger, some smaller But in general, quite heavy
In the other hand Only the ingratitude that I suffered
The angel measured in ascale And wearing white I went up
Now I only play the harp In a gown and with sandals
I spy downstairs to see The furnace gang
That ungrateful is now Working as asausage
Poked with a fork With Satan frying the leech
Hey, Demon! Do your best!
I feel great!
I felt great!
He is the guy with less rhythm that you can ever know.
I still don't know how he makes his music.
That's true...
-It was Adauto's who fixed the rhythm... -And musicians say...
-And he doesn't want it to change. - And musicians say that Adauto used to say:
''So, Paulo, isn't it like this that you want it to be?''
And so, Paulo said: ''But, it's just like the way I just sung it!''
''That's how it should be.''
I'ma great fan of Waldir de Azevedo and Chorinho in general.
Jacob, do 'tambourine', like Ana likes to call him...
was a great friend of mine, hisson Serginho as well...
and I always had a craving to write the lyrics for a chorinho.
To write lyrics for Chorinho is very hard because you have no freedomat all.
You areslave to the pick...
You have to get all the accents right...
If you take ''Pedacinho de céu'' you'll see...
how everything is directed by the pick.
That's why I took twenty-five years to make it.
But it's mostly because I didn't learn the melody from the end.
In your lips two honeycombs
And your eyes Are little pieces of the sky
With a glance so sweet That only by looking
I get the impression
Of seeing an angel Flying in the immense
But you pass on the street And looks back
And my heart doesn't know what to do
Because it sees In this starting promise
LITTLE PIECES OF THE SKY A glance a bit indecisive
That opens into asmile
Not little pieces of the sky But little pieces of paradise
Now, thesecond part...
it's not ''In your lips...'', it's ''You have in your lips...''
-''You have...'' -Yes, but the first it isn't...
And in a banal, trivial day
Find out in asecond, comprehend
That it is something normal, natural That angels come to the world to bring
A calm and blue promise Light love with no hurry
That dares in quick watch In clear veil
Serene light, not perceived That solves all life
In little pieces of the sky
The best birthday present I ever had in my life! Thank you very much.
The president, in this time it wasn't governor...
the president of the State of Paraíba...
was Ariano Suassuna's father, João Suassuna.
It was in the city of Piancó...
where they called this black man, Zé Limeira, to perform.
Zé Limeira was afunny looking figure, Because he was almost 6.5 feet tall...
with a red handkerchief around his neck, a knapsack, astick...
and he didn't take the bus, thestreetcar, train, nothing.
He went there walking. So it was like:
-''Zé, you're playing over there...'' -''I'll get there in three days.''
''I'll get there in four days.''
His opening is beautiful:
My name is Zé Limeira Apoet with jealousy
A breeze that blows fast A beast that comes from the peak
Fighting only with a big knife
Asingle woman's piss A one cut knife
So they took him to sing at Piancó's town hall, and the governor was there.
Zé was singing and the women were talking.
So asked Ariano's mother: ''My lady, give me a lineso I can start.''
And she gave him Casimiro de Abreu's: ''The years have no return...''
Now, his maliciousness was that he was speaking to the governor's wife.
Old Tomé de Souza, Bahia's governor
Got married And the same day screwed his wife
And did it like a fox Screwed in the front and in the back
Later went to the docks Where the ships traffic
And screwed 'Padre Nobrega' The time, my lady, has no return
Arnaldo Horta, was a great friend of mine.
He told me, when Carybé came to São Paulo...
Who brought Capoeira to São Paulo? I'd never heard of Capoeira in my life.
And Carybé...
I'll tell Carybé'sstory in New York later...
Arnaldo Horta came to me and said: ''Come on!''
''This foreigner comes here full of Capoeira, and you never made one!''
And I said: ''Tomorrow I'll bring you one.''
I made it over night and brought the next day.
Walking on thestreet once, I saw the ''Macambiras''.
And the ''Macambiras'' are really good. And I know their land.
I love Crato, and behind Crato, there is a bank called ''Batateira''.
Which is the land of the ''Macambiras''.
The ''Macambiras are all brothers, cousins and nephews.
And there was afamousstory at the ''Batateira''...
that when an outsider came there, people bet on which side he would fall...
right or left. And there was those boring people that fell to his front...
tying the bet and making them wait some other foreigner to untie the bet.
João Lima is, without a doubt, a musical genius. Like few.
When I came from my land Passed swimming through the flood
I got cold, I got hungry I stayed ten days crying
To know that from your life I was forever leaving
In the steps of this Calvary There was nobody helping me
I was like a bird Lost from it's flock
Let's go away Let's go away, fellow
Over this huge world Over this huge world, my friend
When I came from my land Look at what I left behind
Five brides with no husbands Seven kids with no father
Twelve saints with no miracle Fifteen sighs with no air
Thirty happy husbands Asking me: ''Leaving already?''
And the priest telling the devouts A miracle takes long, but happens
Let's go away Let's go away, my fellow
Over this huge world Over this huge world, fellow
When I came from my land I didn't know what grief was
Wisdom of astupid old man Courage of a young tiger
Prayer to protect the body worn around my neck
A Winchester rifle Big knife with a bone handle
Medal of ''Padre Ciço'' And Rosary of seeds
To make smooth thin hair To shiver thick hair
That I left my land With no worry, fright or grief
Let's go away Let's go away, my fellow
Over this huge world Over this huge world, my fellow
When I came from my land I made a lot of mess
Where ever I passed The road got empty
People coming, went back Peolpe going, didn't go
Who had an urgent matter Left it to the following day
The priest abandoned the mass The jaguar abandoned it's breed
Fathers of young ladies Changed neighborhood
But they had to make an effort Because the ladies didn't want to
Let's go away Let's go away, my fellow
Over this huge world Over this huge world, my fellow
I left my land For having a voyager's fate
In two months of my journey I lived an entire life
Got out angry, came back calm Macho, the same way
The road was a good master Gave me a true lesson
The courage is not in the yell Nor is richness in the pocket
And the sins of Sunday Are paid by Monday
Let's go away Let's go away, my fellow
Over this huge world Over this huge world, my fellow
He said two things. One was that in ''Boca da Noite''...
there is a verse that goes like this:
People of our kind Don't ask for vows nor make them
Love and go, and don't show Their war and their peace
When the rooster called me up I left without looking back
Because I knew, brunette If I looked back, I wouldn't be able
To get out of there ever again
So it's like this:
People of our kind don't ask for vows nor make them...
Love and go, and don't show, or don't 'reveal'?
Because 'show' is deaf and then come 'war', which is open.
So the doubt was weather have one deaf and one open...
or 'reveal' and 'war' which are two open ones.
I stayed six months with this doubt and then I decided on 'show'.
He has a thing with words. He goes like:
''I'm doing ascientificstudy here and I have four dictionaries''.
EVENING I arrived in the evening
EVENING Left at dawn
I didn't say I would stay And you didn't ask anything
When I was leaving You slept so relaxed
Breathing so soft It didn't even seem, brunette
That the pillowcase was wet
I saw a face in the window Stopped in the middle of the road
I arrived in the evening Left at dawn
People of our kind Don't ask for vows nor make them
Love and go, and don't show Their war and their peace
When the rooster called me up I left without looking back
Because I knew, brunette If I looked back, I wouldn't be able
To get out of there ever again
I saw a face in the window Stopped in the middle of the road
I arrived in the evening Left at dawn
The wind goes wherever it wants The water flows to the sea
A high cloud in the hand of a wind Is the way for the water to return
Brunette If one day the storm gets you
Don't run away from the winds
For the rain that spins around Is me, holding you in my arms
I saw a face in the window Stopped in the middle of the road
I arrived in the evening Left at dawn
He wrote ''Praça Clóvis'', ''Ronda'', ''Boca da Noite''...
''Volta por cima''. Back at home the fight is all about ''Volta por Cima''...
because my wife hits me and says: ''Get back up''...
and I hit her and she gets back up.
That's how it is. ''Volta por cima'' is great.
She hits me, I get up. I hit her, she gets up...
I cried I didn't try to hide it
Everybody saw it Pretended to be sorry for me
It wasn't necessary
Where I cried Anyone would cry
Get over it the way I did I want to see could
I cried I didn't try to hide it
Everybody saw it Pretended to be sorry for me
It wasn't necessary
Where I cried Anyone would cry
Get over it the way I did I want to see could
A man of morale Doesn't stay on the ground
Doesn't want a woman To reach her hand
He admits the fall And isn't discouraged
Gets up, cleans the mess And gets over it
He admits the fall And isn't discouraged
Gets up, cleans the mess And gets over it
A man of morale Doesn't stay on the ground
Doesn't want a woman To reach her hand
He admits the fall And isn't discouraged
Gets up, cleans the mess And gets over it
He admits the fall And isn't discouraged
Gets up, cleans the mess And gets over it
You see, everybody in ''Volta por cima'' pays attention to ''Get over it''.
But there'ssomething else that to me is way more important, which is:
''Admits the fall''.