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Transcript

MILO J - Podpah _1085 · Luke's English Podcast

0:21
Speaker 1: We'll be right back.
1:21
Speaker 2: Hey, I'm not going to be last, huh?
1:24
Speaker 3: Last day, last day.
1:25
Speaker 1: Bet with response.
1:26
Speaker 3: Last day, last day.
1:53
Speaker 4: We are live for another Podpá. Next to me, he,
1:57
Speaker 4: the legend of Pará, the most beautiful person in Brazil,
2:00
Speaker 4: my love, the mythical young man.
2:02
Speaker 3: I thought you were our guest, brother.
2:03
Speaker 2: Not yet, not yet. I'm talking about you.
2:05
Speaker 3: But accept your compliments.
2:07
Speaker 2: And you, how are you?
2:08
Speaker 4: I'm fine, after a wonderful weekend by your side.
2:10
Speaker 3: Relaxing, right? Relaxing.
2:12
Speaker 2: I'm very relaxed.
2:19
Speaker 5: International guests here today.
2:22
Speaker 3: Right, Igor?
2:22
Speaker 2: Very well, exactly, Mítico Jovem.
2:24
Speaker 4: Before introducing him, I need to talk about the brands
2:26
Speaker 4: that sponsor our podcast, Mítico Jovem.
2:29
Speaker 2: Starting with Philips.
2:31
Speaker 4: Philips has a wonderful audio and video line and has
2:33
Speaker 4: audio options for all kinds of roulette.
2:35
Speaker 2: Party, barbecue, home review, beach, training....
2:40
Speaker 4: It doesn't matter, you'll always be with Philips to follow
2:42
Speaker 4: you on a daily basis. There are boxes of various
2:44
Speaker 4: sizes and powers, from the most compact to that wonderful
2:48
Speaker 4: boombeat that makes that loud sound. So, Philips Audio, one
2:53
Speaker 4: box for each tour and one earphone for each moment.
2:55
Speaker 4: And do you want to know the line? I scanned
2:57
Speaker 4: the QR code that is on the screen and the
2:59
Speaker 4: link that will be in the description. Philips, thank you
3:00
Speaker 4: very much for being in everything.
3:01
Speaker 2: That we promote, okay? Thanks to God. Follow them on.
3:03
Speaker 3: Social media, for the love of God. And send more
3:04
Speaker 3: cash to us. Exactly. And today we're going to talk about.
3:07
Speaker 4: Where the mythical sits every day. We're going to talk
3:11
Speaker 4: about Flexform.
3:12
Speaker 1: Young mythical.
3:13
Speaker 3: I feel good, I feel safe, I feel firm.
3:15
Speaker 1: Me, you, Neymar.
3:18
Speaker 2: You've seen it, right? Go ahead, guys. God bless you.
3:44
Speaker 4: And, look, we've been talking about Hellmann's these past few weeks,
3:47
Speaker 4: and the thing is this. Mítico Jove, Rocky Hill is over,
3:50
Speaker 4: and Hellmann's, do you know.
3:52
Speaker 2: What Hellmann's has done to Rocky Hill?
3:54
Speaker 3: Ah, it broke the record, right?
3:55
Speaker 1: Exactly.
3:55
Speaker 4: The biggest open of sauces in the world at a festival.
3:59
Speaker 4: There are 16 tons. It's sauce that only... And, look, today,
4:05
Speaker 4: at Ressaca Post Festival, we announced the brand.
4:09
Speaker 2: Ufa, Igão. Escapou esse palavrão aí. Mas calma.
4:11
Speaker 4: Temos recordes batidos. A plaquinha do Guinness já chegou lá.
4:14
Speaker 4: E a gente ajudou.
4:16
Speaker 2: Fico feliz.
4:16
Speaker 5: 16 toneladas de molho.
4:18
Speaker 2: Sabe quanto dá esse lanche em porção? São 575 mil lanches.
4:21
Speaker 3: 575 mil porções.
4:26
Speaker 2: My God, thank God.
4:27
Speaker 3: Thank God.
4:28
Speaker 2: I'm listening to the translation that's coming out here.
4:32
Speaker 3: Thank God.
4:32
Speaker 4: QR Code on the screen for you who also wants
4:35
Speaker 4: your dry snack never again, Mítico Jovem.
4:36
Speaker 2: QR Code on the screen. Enjoy, Helmos. Thank you very
4:38
Speaker 2: much for being with us.
4:39
Speaker 3: The biggest fight Helmos wanted, because he wanted to beat this.
4:42
Speaker 2: Record of mole. He beat it. We warned so much.
4:45
Speaker 4: Now, receive with a lot of affection, make a lot
4:48
Speaker 4: of noise for our guest today. I'm very happy, Mítico Jovem.
4:52
Speaker 4: Receive our guest, Milo Rata, who is on Podpá today.
4:55
Speaker 2: Clap your hands. Clap your hands. I like that, I
4:58
Speaker 2: like noise. Today the studio is full.
5:00
Speaker 3: How are you, my brother?
5:06
Speaker 1: Very good, guys.
5:07
Speaker 3: Very beautiful.
5:08
Speaker 6: The sauce.
5:08
Speaker 1: This sauce thing. Guys, I came from Rock in Rio,
5:11
Speaker 1: it was great, very good, amazing.
5:13
Speaker 3: Yesterday we played in São Paulo, it was crazy, man.
5:15
Speaker 3: I didn't expect it, I had no idea. The love
5:18
Speaker 3: of the people here that I felt. It's the first
5:19
Speaker 3: time I'm in Brazil and it was really amazing, I
5:21
Speaker 3: was very surprised. And that's it. I want to come
5:33
Speaker 3: back here a million times.
5:35
Speaker 7: What were the first things that caught your attention here
5:38
Speaker 7: in Brazil? Like, right when you arrived in São Paulo,
5:42
Speaker 7: until you got introduced to Rock in Rio, but what
5:44
Speaker 7: else caught your attention in Brazil?
5:46
Speaker 3: Or some other things? Well, I've always been very motivated
5:55
Speaker 3: to come here to Brazil because of the music. My
5:58
Speaker 3: last album, La Vida Era Mais Corta, I experimented a
6:01
Speaker 3: lot with the sounds of Brazil. And I think I'm
6:05
Speaker 3: a big fan. The thing that I'm the biggest fan
6:07
Speaker 3: of here in Brazil would be the music, really.
6:10
Speaker 1: 100%.
6:10
Speaker 3: The Brazilian artists, mainly. And all this Rock in.
6:14
Speaker 1: Rio thing went up in my head, you know?
6:16
Speaker 3: I went crazy. It's a gigantic thing, guys. You're there
6:19
Speaker 3: on stage. Going up on that stage, in general, Everything
6:27
Speaker 3: that was around this context was really incredible to me,
6:31
Speaker 3: I loved it. And here in São Paulo, it's kind of.
6:35
Speaker 1: I hope they.
6:35
Speaker 3: Translate it well, guys. It's a very quilombola thing, a mess.
6:39
Speaker 3: The city is full of things happening and I like it,
6:43
Speaker 3: it's very busy, it makes me feel at home. You
6:44
Speaker 3: like this mess, right?
6:45
Speaker 2: Yes.
6:51
Speaker 3: Well, my friends and I had already been here in
6:55
Speaker 3: São Paulo and they had a lot of fun. So, like,
6:59
Speaker 3: they filled me with ideas. No, you have to come, man,
7:02
Speaker 3: to São Paulo. And it happened, right? Tomorrow we have
7:04
Speaker 3: a second date. I'm very happy, very happy. And today
7:06
Speaker 3: you're going to the barbecue.
7:08
Speaker 2: That I'm going to be, huh?
7:10
Speaker 4: I'm going to be with you, my brother Ariel is
7:13
Speaker 4: going to be there.
7:14
Speaker 2: Today is us, of course.
7:16
Speaker 1: Really? Really?
7:16
Speaker 3: Paraisópolis, right?
7:17
Speaker 4: Today we're going to Paraisópolis to present a little bit
7:19
Speaker 4: of São Paulo to him, right?
7:20
Speaker 2: You'll like it.
7:23
Speaker 5: You'll like it, but you were saying that you like
7:25
Speaker 5: it a lot.
7:25
Speaker 3: Here you call it barbecue? How do you call it here?
7:30
Speaker 3: How do you say it?
7:31
Speaker 2: Churrasco. Churrasco.
7:33
Speaker 1: Churrasco.
7:34
Speaker 5: And how do you say it there?
7:35
Speaker 3: Um assado.
7:38
Speaker 1: Assado.
7:38
Speaker 3: Assado. There it's assado.
7:40
Speaker 4: Milo, it's very cool for us to have you here.
7:43
Speaker 4: I think our speeches meet each other. We are Latino,
7:49
Speaker 4: that's really cool. And the craziest thing for me is...
7:53
Speaker 4: You are very young, man. And you already have a
7:55
Speaker 4: very crazy, very cool speech. But I wanted to know,
7:57
Speaker 4: a little back there, I wanted to know... How was
8:00
Speaker 4: your childhood? What were your inspirations there? Until rap came
8:04
Speaker 4: into your life, how was it there? How did you
8:07
Speaker 4: grow up in Argentina?
8:09
Speaker 3: Well, I'm from the city of Moron. which is in
8:13
Speaker 3: the western part of Buenos Aires, one hour from the capital. Basically,
8:21
Speaker 3: music has always been my home, but also my passion
8:26
Speaker 3: for football, as a good Latin American boy.
8:31
Speaker 1: And more or less the.
8:32
Speaker 3: Way I fell in love with music, with rap, it
8:35
Speaker 3: was something that my older sister brought to me. She
8:38
Speaker 3: was in freestyle competitions, improvising, she wrote her own songs
8:41
Speaker 3: and I wanted to be like her. So I started
8:44
Speaker 3: imitating her, wanting to do the same thing. Until I
8:55
Speaker 3: was about 11 or 12 years old, when I really started.
8:58
Speaker 7: To like rap. Was this scene big in Argentina? The
9:02
Speaker 7: freestyle scene, the rhyme scene?
9:05
Speaker 1: Yes.
9:06
Speaker 3: There is a movement called Quinto Escalón, which is a
9:09
Speaker 3: freestyle competition. It's improvised with thousands of people, it's for free.
9:16
Speaker 3: And from there we had artists from the Argentinean urban scene,
9:20
Speaker 3: who are very strong. that started after making success in
9:23
Speaker 3: Latin America. They made a lot of success and really
9:28
Speaker 3: professionalized the music industry in a more urban aspect, which
9:31
Speaker 3: started to happen from that moment, at that level. And
9:34
Speaker 3: I would say that I come.
9:35
Speaker 1: From a second generation of these freestyle artists.
9:38
Speaker 3: I think my first song, more or less, that was good,
9:51
Speaker 3: It was more or less in 2022. Because here in Brazil.
9:55
Speaker 5: We have the Battle of Aldeia and there are several
9:57
Speaker 5: other battles.
10:00
Speaker 2: Over the world, all over Brazil.
10:01
Speaker 5: All over Brazil.
10:02
Speaker 7: We are very partners in the Battle of Aldeia and
10:05
Speaker 7: there we see great artists starting there.
10:07
Speaker 3: And there are several types of artists, you know?
10:10
Speaker 7: There's the guy who does the rhyme battle, who goes
10:12
Speaker 7: to the whorehouse, the joker. There are guys who are
10:15
Speaker 7: more lyrical, there are guys who are more serious. Since
10:17
Speaker 7: the beginning, in your battles, what was your plot from
10:20
Speaker 7: the beginning?
10:21
Speaker 1: I was very young, I was very young.
10:24
Speaker 3: So I tried my best to answer the other guy
10:26
Speaker 3: with the first thing that came to mind. But of course,
10:28
Speaker 3: all artists have their personal touch, we have to talk nonsense,
10:31
Speaker 3: we have to talk well, if you're going to talk nonsense,
10:35
Speaker 3: you have to talk well, if you're going to be dumb,
10:37
Speaker 3: you have to be dumb and right. And we have
10:45
Speaker 3: to have a message, we have to talk about following
10:48
Speaker 3: the music, right? Your message is not just a message,
10:51
Speaker 3: you have to come with the music. This musical world
10:54
Speaker 3: is very crazy. And I was very new there, discovering
10:56
Speaker 3: these certain aspects. I started more on the side, let's say,
10:59
Speaker 3: maybe of trap. I always did these ballads.
11:01
Speaker 1: A mixture of things, a mixture, but I started more
11:03
Speaker 1: in the trap world.
11:11
Speaker 3: And I became a big fan of folklore, of Argentinian
11:16
Speaker 3: folk music, to always listen to folk music.
11:19
Speaker 2: But who heard Argentinian folklore.
11:23
Speaker 1: In your house?
11:25
Speaker 3: My mother listened to it, she still listens to it today.
11:29
Speaker 3: Artists like Horacio Guarani, Kuti, Roberto Carabasal, Messer de Sousas,
11:35
Speaker 3: Petec Carabajal, Cafruni. People who are legends of Argentine folk music.
11:41
Speaker 3: And I was.
11:41
Speaker 6: Obsessed with the song called.
11:45
Speaker 3: When I call this name? And then I started to
11:48
Speaker 3: meet my friends producers, all the people there. I talked
11:51
Speaker 3: like this, people involved with Argentine folklore. And my friend
11:54
Speaker 3: and producer, Tatoly, said this to me. Man, you have
12:04
Speaker 3: to try to make this kind of music too, start
12:06
Speaker 3: experimenting with this kind of sound in your songs. And then.
12:12
Speaker 1: It was like.
12:13
Speaker 3: That, little by little, I got to my album, La
12:17
Speaker 3: vida era mais corta, incorporating these elements, and I feel
12:20
Speaker 3: that people in Brazil liked it a lot too, they
12:23
Speaker 3: embraced it.
12:24
Speaker 4: A lot, but I still wanted to go back a
12:26
Speaker 4: few steps, because here in Brazil there is this culture
12:29
Speaker 4: very similar to the culture you experienced in Argentina, which is,
12:33
Speaker 4: as Mítico said, to go to the battles, to be
12:35
Speaker 4: very involved with rap, with an urban culture there, street culture.
12:38
Speaker 4: But I wanted to know inside your house, because here
12:40
Speaker 4: we have contact with several peripheral boys from Brazil and
12:44
Speaker 4: girls too. It's always very challenging for them to be
12:46
Speaker 4: in the battles, they to be on the street rhyming,
12:48
Speaker 4: they go to face each other, right? Because on the
12:51
Speaker 4: street it's very dangerous. How was it for you at
12:53
Speaker 4: that moment? You were very small, going to the street,
12:55
Speaker 4: doing rhyme battles. How did your parents behave with that?
12:58
Speaker 2: Was it something....
13:01
Speaker 4: Okay, Camilo, are you okay? Are you free? Or was
13:05
Speaker 4: it dangerous.
13:07
Speaker 5: For you to be hidden?
13:09
Speaker 3: Look, I'm from a place a little smaller, I'm from Moron,
13:12
Speaker 3: South of Moron, São José neighborhood. It was a little dangerous,
13:17
Speaker 3: a lot of things happened around me. When I was
13:20
Speaker 3: very young, sometimes you don't notice things, only after you
13:22
Speaker 3: grow up that you remember and understand. Wait a minute,
13:25
Speaker 3: the person was beaten, that was serious, right? And in
13:33
Speaker 3: freestyle competitions, I would go with my older sister, who
13:35
Speaker 3: was already very involved in these rap battles, and my
13:38
Speaker 3: mother had to work all day.
13:39
Speaker 1: So, she didn't get there at the end of.
13:41
Speaker 3: The month, she had two jobs to get there, you
13:43
Speaker 3: couldn't have money at the end of the month, so
13:45
Speaker 3: she got there very late at night. And during the
13:49
Speaker 3: day I would play soccer around, or go out to walk,
13:51
Speaker 3: to mess with my friend, a little bit of everything.
14:02
Speaker 3: But yes, I think.
14:03
Speaker 1: It was dangerous, but I wasn't aware.
14:07
Speaker 3: Of what was happening. I wasn't even there, I was laughing.
14:10
Speaker 3: But you're talking about something.
14:12
Speaker 5: That's waking me up, which is that your sister is
14:14
Speaker 5: really awesome.
14:15
Speaker 3: She's a reference for you. She's more angry than you, right?
14:17
Speaker 1: Yes.
14:17
Speaker 3: She's my number one reference in life.
14:19
Speaker 1: My best friend.
14:20
Speaker 3: Now she's my stylist. She rhymes a lot, brother.
14:22
Speaker 1: Is she your stylist?
14:23
Speaker 3: Damn, she must be really awesome.
14:25
Speaker 1: Yes. Yes. And now you're going to be a mom?
14:32
Speaker 3: She's going to be a mom, I'm going to be
14:34
Speaker 3: a uncle now.
14:35
Speaker 2: Ah, how cool!
14:36
Speaker 1: I'm very happy.
14:37
Speaker 2: But she taught you how to rhyme too?
14:39
Speaker 3: She said, come here, Nino, let me teach you how
14:41
Speaker 3: it works.
14:41
Speaker 7: She was teaching you how to rhyme there too at
14:44
Speaker 7: the beginning?
14:45
Speaker 5: Or what else did she help you with at the beginning?
14:47
Speaker 3: No, she... It was more like this, I was looking
14:50
Speaker 3: at her doing it, and in my free time I
14:52
Speaker 3: was imitating, doing the same thing. It's not like I
14:54
Speaker 3: sat down and she taught me, you have to do this, rap. No,
14:57
Speaker 3: I was imitating, copying. listening to the songs she listened to,
15:01
Speaker 3: and then I kind of set my own path for that. Milo,
15:04
Speaker 3: your talk is very cool, but I wanted to know when.
15:05
Speaker 4: The speech comes, you talking about the brown people of Argentina,
15:09
Speaker 4: because what comes to us who are outside of Argentina,
15:12
Speaker 4: what comes from Argentina is a very European Argentina, a
15:17
Speaker 4: very white Argentina, a very racist Argentina, and seeing you
15:27
Speaker 4: hitting that button that there is miscegenation in Argentina, I
15:31
Speaker 4: wanted to know why all of this, why did you
15:33
Speaker 4: go against it, and to want to highlight the brown people,
15:39
Speaker 4: and why we don't know so much about the brown people,
15:43
Speaker 4: you know?
15:44
Speaker 2: And we're so close.
15:47
Speaker 1: To you.
15:47
Speaker 3: Look, what happens, this one here, I got a gift
15:50
Speaker 3: from a fan here from São Paulo.
15:52
Speaker 1: Cool.
15:53
Speaker 3: I think it's something I said in an interview, I think.
15:56
Speaker 3: to show. I did the Tiny Desk session in Washington, live,
16:05
Speaker 3: and in Argentina there was a certain political debate there
16:12
Speaker 3: that was created, because I put a lot of symbolism... Yes,
16:22
Speaker 3: of the Rio Platense culture, really. I put a little
16:26
Speaker 3: doll of the grandmothers of Praça de Maio.
16:29
Speaker 1: Who did things they.
16:31
Speaker 3: Did during the dictatorship, they went through many difficult things,
16:35
Speaker 3: there is a lot of pain behind it. There is
16:36
Speaker 3: a book called Martin Fiel, which also has its issues
16:39
Speaker 3: and a lot of political debate about what I did.
16:43
Speaker 1: So, I said in a note, look, Argentina is brown.
16:49
Speaker 3: The secondary color of Argentina is brown.
16:51
Speaker 1: What happens?
16:51
Speaker 3: There is a sector of Argentina, a part of Argentina,
16:54
Speaker 3: that uses this word brown to represent... in a disrespectful way,
17:03
Speaker 3: to offend. As white as you are, you can be
17:06
Speaker 3: whatever you are, you can say that you are brown
17:08
Speaker 3: because you are of lower class, and you have certain characteristics.
17:12
Speaker 1: That they use to insult you as brown.
17:14
Speaker 3: I'm used to it, right?
17:16
Speaker 2: Because, look here, all my life.
17:18
Speaker 3: I've suffered this kind of thing, but....
17:26
Speaker 1: I never felt that... I feel that.
17:27
Speaker 3: The word marron is being used as an insult, but
17:31
Speaker 3: literally it's talking about our origins, actually. And after I
17:34
Speaker 3: did that, saying that Argentina is marron, the secondary color
17:38
Speaker 3: is marron, and beyond that, we find that many people
17:41
Speaker 3: connect with that, they liked what I was saying, and
17:44
Speaker 3: I think that's.
17:44
Speaker 1: The most important thing, right? But yes, the issue was around.
17:53
Speaker 3: This point with the Argentines, right? But I think it's
17:56
Speaker 3: also very positive to bring this type of debate in
17:58
Speaker 3: this moment that we are in, that people talk about
18:00
Speaker 3: these things, I think it's good. But you, speaking of this,
18:02
Speaker 3: you also put a target on your back, how was
18:05
Speaker 3: the other side looking at you there, bragging that you
18:08
Speaker 3: are brown, and how was the situation.
18:20
Speaker 7: I don't know if it happened, because I've always been
18:24
Speaker 7: in this place my whole life.
18:26
Speaker 3: So if I don't know if I.
18:31
Speaker 1: Was going against something, if I was.
18:33
Speaker 3: Going to this side, or if I changed any message,
18:35
Speaker 3: I always thought that way. And maybe for me it
18:47
Speaker 3: was always a truth, that's why I said it. She
18:51
Speaker 3: was so sure. I think my last album also represents
18:54
Speaker 3: that well. The first color of Argentina is light blue,
18:59
Speaker 3: the second is brown. That's what I said. And my album,
19:02
Speaker 3: La Vida Era Mais Corta, I talk a lot about
19:04
Speaker 3: that too.
19:05
Speaker 1: This is the color of the album.
19:07
Speaker 3: So for me this moment was an obvious thing. And
19:11
Speaker 3: I keep maintaining these things. For me, the secondary color
19:14
Speaker 3: of Argentina is brown. The color of Latin America is brown. So...
19:17
Speaker 3: I wanted to.
19:18
Speaker 1: Say, like, if you don't suffer some.
19:20
Speaker 7: Kind of boycott, musically speaking, mediatically speaking, you know? To
19:23
Speaker 7: call this kind of agenda, let's say. I think these
19:27
Speaker 7: people who can be against the haters on social networks,
19:31
Speaker 7: besides that, no, for good.
19:34
Speaker 3: Luckily, really, we.
19:44
Speaker 3: There are many stadiums in Argentina, Chile, Peru, Turco. message.
19:50
Speaker 3: That's the most important thing.
19:53
Speaker 1: Well, that's it.
19:54
Speaker 3: Seriously. No, there was no boycott, nothing. Musical, no kind.
20:06
Speaker 4: I think this is perfect, Milo, because I came to
20:09
Speaker 4: have this older consciousness. Today I'm 30, so this consciousness
20:13
Speaker 4: was coming along with the program, with Podpah, closer to 25, 26,
20:18
Speaker 4: much more adult. And your consciousness came very young, man,
20:23
Speaker 4: very early, and that's great.
20:25
Speaker 2: But what is this due to? Because you could.
20:28
Speaker 4: Be worried about other things, just like I was when
20:30
Speaker 4: I was your age, I was worried about other things.
20:34
Speaker 4: political issues were of little interest to me. And I
20:37
Speaker 4: think this is very important because many young people listen
20:40
Speaker 4: to you and pay attention to this discourse. But I
20:43
Speaker 4: want to know why this discourse was already so ready,
20:47
Speaker 4: so mature within you, so young, you know? Look, actually
20:52
Speaker 4: I started in the world of.
20:53
Speaker 3: Music, to become alone, not being at home, because of
21:01
Speaker 3: the music, I was always away from home. When I
21:03
Speaker 3: was 14 years old, I was a musician there. I
21:06
Speaker 3: was there with Barra Wess. I was trying to find
21:09
Speaker 3: out where I was going to record, where I was
21:12
Speaker 3: going to get the situation. In Argentina, at least for
21:17
Speaker 3: me and my family, it was always very difficult, very
21:19
Speaker 3: fucked up. I didn't know if we were going to
21:21
Speaker 3: get a radio, if we were going to be able
21:22
Speaker 3: to record, if we were going to get a condition,
21:24
Speaker 3: a studio, if we were going to meet someone to
21:27
Speaker 3: really get the resources to do things. So, since I
21:32
Speaker 3: was 14 years old I was recording and, as we say,
21:34
Speaker 3: when people started listening.
21:35
Speaker 1: To me at 15, I had to become.
21:36
Speaker 3: A professional in it, I became a master in it.
21:39
Speaker 3: At 16 years old I was already a professional. Did
21:42
Speaker 3: you record yourself? Yes, I was my own producer. I produce,
21:45
Speaker 3: I also produce, so that's it.
21:57
Speaker 1: But also because I didn't.
21:58
Speaker 3: Have anyone else to do it. I couldn't pay anyone
22:02
Speaker 3: to do it for me. You grow up with such big,
22:06
Speaker 3: long steps that sometimes I felt.
22:10
Speaker 1: That the world and life... You're.
22:13
Speaker 3: Not there with a big challenge, but you understand things
22:16
Speaker 3: from another position. Because they will say, a 19, 20-year-old
22:20
Speaker 3: boy is not interested in politics or is not interested
22:25
Speaker 3: in these things. if the president says something and what
22:30
Speaker 3: you're seeing in reality is something else. How am I
22:32
Speaker 3: not going to be interested in politics? If I'm seeing
22:34
Speaker 3: things working or not, I have to understand how the
22:36
Speaker 3: world is. And I don't think other people have to
22:38
Speaker 3: think like me, of course. I understand, that's perfect. That's
22:41
Speaker 3: why I'm your fan. But it's very easy, especially in
22:43
Speaker 3: a musical field.
22:44
Speaker 4: Coming from a difficult context, it's very easy for people
22:47
Speaker 4: to turn to you and say, man, avoid these subjects,
22:50
Speaker 4: these subjects bring.
22:57
Speaker 2: Maybe targets in the back, but here, this.
23:02
Speaker 4: Way is more profitable, this way you will earn more money,
23:05
Speaker 4: because these things happen, it's very easy for us to
23:08
Speaker 4: detract from our purpose.
23:09
Speaker 6: Well, there is a question, I also want, more than
23:17
Speaker 6: being politicized, involved, being the number one hit, more than that,
23:20
Speaker 6: I want to generate a community that identifies itself, that
23:24
Speaker 6: likes to be a fan of Milo Jota, that it's
23:26
Speaker 6: not just about knowing my rites.
23:28
Speaker 3: And I think this is a path that I'm projecting.
23:31
Speaker 3: And there has to be people.
23:33
Speaker 1: Who are against it, right?
23:34
Speaker 3: Because I have to generate the mass. There has to
23:37
Speaker 3: be people who don't like it, right? This is the mass.
23:39
Speaker 3: There are the haters who are important there. It's good
23:42
Speaker 3: and positive to have people who don't like what you do.
23:45
Speaker 3: You have to manage it well.
23:47
Speaker 7: But, man, you with 19 years old, I'm finding your
23:50
Speaker 7: maturity very cool. Where does that come from, man? Your creation, school,
23:55
Speaker 7: living on the street. Where does all this maturity come
23:58
Speaker 7: from for someone who is only.
24:00
Speaker 5: 19 years.
24:06
Speaker 1: Old, brother?
24:07
Speaker 3: At school, no, really. Because I was very bad at school,
24:10
Speaker 3: bad as fuck. And I slept, I was drinking mate,
24:16
Speaker 3: listening and sleeping. I don't know, I think I always
24:20
Speaker 3: felt a little weird there, you know? I think I
24:23
Speaker 3: never thought like my friends, maybe, or the rest of
24:27
Speaker 3: the people. But I repeat, it's not like I was
24:32
Speaker 3: smarter than the others. It's not that, but it's because.
24:34
Speaker 2: I observed things from a point of view.
24:38
Speaker 3: Yes, of course, you get more bothered. I had difficulty
24:40
Speaker 3: socializing because of these things, but maybe we see things differently.
24:44
Speaker 3: It's not that it's better than the others, it's different.
24:49
Speaker 3: When I start talking about these things with my friends,
24:51
Speaker 3: we also have our 20-year-old boy themes, we have those
24:54
Speaker 3: 20-year-old subjects. Me and my team, everyone is like that.
25:05
Speaker 3: My group of friends is all like that, my age, 19,
25:07
Speaker 3: 20 years old. And we talk about our things, about
25:10
Speaker 3: people who are 20 years old. But you know, I've
25:13
Speaker 3: always worked with older people, right? Because of the music too,
25:17
Speaker 3: people who were 10 years older than me. And I
25:18
Speaker 3: think I was also very quiet. And when I was
25:21
Speaker 3: very young, I was always listening more than talking.
25:26
Speaker 1: That helps. But you were quiet, but.
25:27
Speaker 3: Listening, right? You weren't just.
25:35
Speaker 3: Sim, a gente escuta.
25:37
Speaker 7: A música, então, foi a melhor forma de você expor
25:39
Speaker 7: todos os seus sentimentos, tudo aquilo que você ficou calado
25:42
Speaker 7: durante anos. Você falou, peraí, agora é o momento aqui
25:44
Speaker 7: de eu escrever meu álbum, por exemplo. E eu quero
25:46
Speaker 7: saber como é que funciona o seu processo de criação, irmão. Porque, tipo,
25:50
Speaker 7: eu vi ali que na Lúcia você criou essa música
25:53
Speaker 7: na mesma noite que a sua avó morreu. E como
25:56
Speaker 7: que você consegue fazer isso num momento de tanta dor
25:59
Speaker 7: e escrever um som ao mesmo tempo? So I wanted
26:02
Speaker 7: to understand a little bit about your artistic side, how
26:05
Speaker 7: is the process of creating your songs, brother?
26:09
Speaker 3: Well, in this case of Lúcia Hérnagas, Vagalumes in Portuguese,
26:15
Speaker 3: it was very specific, because at that moment I felt
26:20
Speaker 3: that I needed to take something out of my body.
26:22
Speaker 3: I needed to express what was happening in my head,
26:25
Speaker 3: in my heart, in my body at that moment.
26:27
Speaker 1: But normally it's very.
26:30
Speaker 3: maybe alone, or with whoever is next to me, we
26:35
Speaker 3: start making chord progressions, and I say, more like this,
26:39
Speaker 3: more like that, we go looking for that, until we
26:42
Speaker 3: get to something that I like, we record it, put
26:45
Speaker 3: it in a loop, and then I start looking for
26:49
Speaker 3: a melody that fits. We record that too, and then
26:52
Speaker 3: I need to generate a mental idea there. We record,
27:00
Speaker 3: put a loop in the melody and I can write
27:02
Speaker 3: the lyrics. Sometimes it comes at once, all together. But
27:05
Speaker 3: if someone.
27:06
Speaker 4: Enters the studio at that moment, they will say, this
27:09
Speaker 4: boy is crazy. No, because by the fact of listening
27:14
Speaker 4: to melodies in the loop, people are like, what is this?
27:16
Speaker 2: It's strange, right?
27:19
Speaker 3: For those who don't know.
27:19
Speaker 5: It can be.
27:20
Speaker 1: It's a different process, maybe.
27:22
Speaker 3: Maybe... When a session is over, the person sits down
27:28
Speaker 3: with me and says, the song is not so good.
27:31
Speaker 3: I have a very big imagination, this thing of recording
27:35
Speaker 3: this version here with this guitarist, I have to put this,
27:39
Speaker 3: this phrase, this syllable of the melody, I want to change.
27:43
Speaker 3: I'm a lot of post-production, mainly. I separate a lot
27:46
Speaker 3: the creation part from the production. They are very different things,
27:49
Speaker 3: very different processes for me.
27:50
Speaker 4: So you don't record the voice with the DJ and
27:53
Speaker 4: let him work there, you stay next to him.
27:54
Speaker 1: No, do this.
27:56
Speaker 4: No, no.
27:57
Speaker 3: I'm... I'm a pain in the ass in the studio.
27:59
Speaker 3: I get really... A stone in my shoe. Your friends
28:02
Speaker 3: even react.
28:03
Speaker 2: I'm there, I'm there.
28:05
Speaker 1: Yeah.
28:07
Speaker 3: Say it. Perfectionist. A perfectionist guy. But it has to be.
28:14
Speaker 1: It has to be.
28:15
Speaker 6: A guy.
28:16
Speaker 3: Bring me the mate. Ah, the mate? The mate, guys.
28:18
Speaker 3: Where's the mate? Ah, the boy got loose, huh?
28:20
Speaker 1: Already translated.
28:21
Speaker 3: That's it.
28:24
Speaker 4: That's really cool, man. It's really cool to know about
28:26
Speaker 4: your creative process. We're going to ask a lot of questions,
28:29
Speaker 4: a lot to introduce you to Brazilians, to those who
28:32
Speaker 4: don't know you yet. And one thing I wanted to
28:35
Speaker 4: ask you, Milo, is that here in Brazil we know
28:38
Speaker 4: little of the Argentine outskirts. What we know is what
28:42
Speaker 4: Tevez showed when he came to play in Brazil and
28:45
Speaker 4: made a lot of effort to show.
28:50
Speaker 5: That we love a lot, Tevez.
28:52
Speaker 3: Lanina, give me Lanina.
28:53
Speaker 2: You're from Cumbia too, right? And now with you.
28:55
Speaker 4: And I wanted to know why these stories of the
28:59
Speaker 4: Argentine periphery, which looks so much like the Brazilian ones,
29:02
Speaker 4: and should look like all the countries in Latin America,
29:06
Speaker 4: why doesn't it overflow so much outside of Argentina? Because,
29:10
Speaker 4: as I said, going back to the beginning, what we
29:12
Speaker 4: see from Argentina is... There's even a phrase that people say,
29:16
Speaker 4: that Argentina is Europe in Latin America. And I'm seeing
29:20
Speaker 4: that there's a big part of Argentina wanting to shout
29:23
Speaker 4: that this is not true. So, why don't these stories
29:26
Speaker 4: appear so much, man?
29:29
Speaker 1: Look, I think there's a question there too.
29:31
Speaker 3: Sometimes what we sell from Argentina is only Buenos Aires.
29:37
Speaker 3: And there are more than 20 provinces. more than twenty-something provinces.
29:42
Speaker 3: So other local cities there. And the specificity, in Argentina,
29:49
Speaker 3: one of the things I most experienced in my last
29:52
Speaker 3: album is what doesn't happen in Buenos Aires. Folklore happens
29:57
Speaker 3: in Salta, Santiago do Esteiro, in Formosa, Chaco, in a
30:00
Speaker 3: lot of other places, but in Buenos Aires, maybe... Well,
30:05
Speaker 3: of course, in recent times, for other reasons, it has changed.
30:09
Speaker 3: It has happened, more festivals... But where folklore happens the most,
30:14
Speaker 3: which has never stopped, it's out of fashion, right? People
30:18
Speaker 3: use it a lot there, right? Fashion in Buenos Aires.
30:21
Speaker 3: But this happens even in the provinces, in the countryside.
30:24
Speaker 3: Maybe it's not the most known part of the world,
30:26
Speaker 3: maybe the world doesn't know this in Argentina, but that's
30:28
Speaker 3: not why Argentina is just Buenos Aires. Argentina is not
30:31
Speaker 3: just Buenos Aires. I say this to you being from
30:33
Speaker 3: Buenos Aires. Maybe this is a problem and something that
30:37
Speaker 3: people complain a lot about the states, right? That what
30:40
Speaker 3: is sold abroad is just Buenos Aires.
30:41
Speaker 5: No, so I'm going to reverse this question.
30:42
Speaker 7: I want to know what you Argentines listen to the
30:45
Speaker 7: most about Brazil. What do you think was Brazil? What
30:48
Speaker 7: did you imagine it was? What did you hear about Brazil?
30:51
Speaker 7: And when you got here, you said... That's right, or not.
30:54
Speaker 7: It's not what they only say about Brazil. What else
30:58
Speaker 7: do you hear about Brazil? While I put the mate?
31:03
Speaker 3: Look, I'm going to separate it into two things. What
31:07
Speaker 3: came to the whole world, cultural, what is cultural, and
31:11
Speaker 3: what I listen to. Because I listen to a lot
31:14
Speaker 3: of Brazilian music, but I don't think it's something that.
31:16
Speaker 1: Other people listen to.
31:18
Speaker 3: Now I'm listening to Mestre Barral, which is a capoeira song.
31:24
Speaker 3: I love it, I love it, it's amazing.
31:26
Speaker 1: I listen to a group that makes songs like.
31:29
Speaker 3: This, from Bossa Nova, called Toco. It's amazing. And well, obviously,
31:32
Speaker 3: I became a big fan of funk. I love it.
31:34
Speaker 3: And what really came to Argentina, MC Kevin. MC Pedrinho.
31:54
Speaker 3: MC Pedrinho. The MCs. The golden age of the MCs.
31:57
Speaker 3: If you want to MC something, all of them would
32:00
Speaker 3: get there. But it's very crazy to.
32:02
Speaker 2: Hear that you.
32:06
Speaker 3: He's going crazy.
32:08
Speaker 2: He's going crazy, perfect.
32:09
Speaker 3: Anitta, damn, very good.
32:11
Speaker 2: But it's cool to see what he listens to.
32:13
Speaker 4: It's not what blew up and the whole world heard
32:16
Speaker 4: him talk about Brazil. He goes, no, what I like
32:18
Speaker 4: to listen to, he knows the culture.
32:20
Speaker 7: And sometimes what he quoted, not even the Brazilians are
32:22
Speaker 7: listening as much as he is quoting there.
32:24
Speaker 3: And what did you hear about Brazil?
32:26
Speaker 2: There.
32:29
Speaker 3: What's here, for example, Carnaval, Bundas. Of course, the Rio carnival,
32:34
Speaker 3: those things. That's all, of course, you always heard about Islam.
32:39
Speaker 3: The animal game. But the question of football, of course,
32:42
Speaker 3: you can't avoid it, players from Brazil. There are two
32:47
Speaker 3: Brazilians that we love in Argentina, Ronaldinho and Ronaldo. And
32:51
Speaker 3: you didn't see any of the two, man. Very new.
33:03
Speaker 5: But there were the best moments on YouTube, right?
33:06
Speaker 3: Yes, of course. I have a vision of.
33:10
Speaker 2: Him, Mítico. Because, look, I was born, then Brazil doesn't
33:14
Speaker 2: win anything anymore.
33:16
Speaker 4: He was born, we don't win anything anymore, and he
33:18
Speaker 4: saw three Argentinian finals.
33:21
Speaker 1: True, true.
33:21
Speaker 3: Yes, but we saw a lot of those we lost too.
33:23
Speaker 3: I saw Messi lose in the.
33:24
Speaker 1: Final of 2014, two in a row in the Copa América.
33:26
Speaker 3: It was too difficult, man.
33:33
Speaker 2: But now it's taking off. So, look. Please, get out. Enough, enough, enough.
33:41
Speaker 4: Dude, no, but it's really cool to talk about this,
33:43
Speaker 4: because football is something that unites us, right? There's even
33:47
Speaker 4: the thing about rivalry. There are a lot of cases
33:50
Speaker 4: of racism, but I don't want to... I also think
33:54
Speaker 4: that people hit the Argentinean key a lot, but it's
33:55
Speaker 4: in all of Latin America, including Brazil.
33:58
Speaker 2: Brazil is still very racist, too.
34:00
Speaker 4: But I think we could meet in places where there
34:04
Speaker 4: are similar things, like soccer, music, and we can.
34:07
Speaker 2: Unite, man.
34:08
Speaker 4: Because, talking here with you, we have everything in similar.
34:13
Speaker 2: There's no difference, you know?
34:14
Speaker 4: It's a similar culture, it's a similar creation.
34:18
Speaker 2: We're close.
34:18
Speaker 3: We're very close and.
34:19
Speaker 4: We sometimes get in this, you know? Like, how does
34:22
Speaker 4: it make Latin America become a rap gang, brother?
34:25
Speaker 3: Uh... Look, of course, it's very difficult, right? Especially Brazil
34:32
Speaker 3: and Argentina, specifically.
34:34
Speaker 2: But I think it's time to end this. Let's seal
34:39
Speaker 2: this friendship.
34:40
Speaker 3: Ah, yes.
34:40
Speaker 1: We have to.
34:41
Speaker 3: Make friends at some point, but also.
34:44
Speaker 1: Of.
34:44
Speaker 3: Course, the love that a person has for their own country, right?
34:47
Speaker 3: This is a question that we have a lot in common, right?
34:50
Speaker 3: Both the Argentines and Brazil. Me, as an Argentine, I
34:53
Speaker 3: defend my country all the time. For me, it's the
34:55
Speaker 3: best country in the world, really, anywhere I go.
34:56
Speaker 2: It has to be like that.
34:57
Speaker 3: I say, no, in Argentina we have a tower too,
35:00
Speaker 3: this building too. I always say that, I'm the most
35:04
Speaker 3: nationalist of all. But I see that Brazilians are also
35:06
Speaker 3: like that, we have a love for our homeland.
35:12
Speaker 1: And in that we are very similar.
35:13
Speaker 3: And maybe because of that, at the same time, it's difficult.
35:17
Speaker 2: No, I understand.
35:18
Speaker 4: But what I wanted to play here is more of a...
35:21
Speaker 4: raise a war against Europe. Because what I want to
35:25
Speaker 4: say is that, damn, our soccer is the best.
35:28
Speaker 2: Our music is the best. The fans are the best.
35:30
Speaker 3: The fans are the best.
35:31
Speaker 4: You don't need to say. The culture is the best.
35:34
Speaker 4: The movies are the best too.
35:35
Speaker 2: The people are the best. Everything is the best. The cuisine,
35:37
Speaker 2: the food. Because we keep paying the money to the guys.
35:40
Speaker 3: It's true.
35:40
Speaker 1: It's true.
35:41
Speaker 3: Cozão, I tell you, City of God, what a great movie!
35:46
Speaker 3: What a great movie! It must be the movie I've
35:49
Speaker 3: seen the most in my life. What a crazy movie,
35:52
Speaker 3: City of God.
35:52
Speaker 5: It's very crazy, right?
35:53
Speaker 7: It's very fucking great. Is there a movie in Argentina
35:56
Speaker 7: called City of.
35:59
Speaker 1: God? What?
36:00
Speaker 7: Is there a movie in Argentina called City of God
36:02
Speaker 7: that does the same things, let's say, because we also,
36:06
Speaker 7: I particularly don't know... There is.
36:08
Speaker 3: There is a cinematographic issue, when a director starts to
36:13
Speaker 3: reflect reality perfectly. This happened in Argentina, in a series
36:18
Speaker 3: called Ocupas, which is on Netflix. It's an 11-episode series,
36:23
Speaker 3: it's amazing, I highly recommend it. Ocupas with an K.
36:27
Speaker 3: It's great. But in Brazil, I think Cidade de Deus, yes,
36:33
Speaker 3: is something that... I've watched it more times, really. It's
36:36
Speaker 3: the movie I've watched the most. I really like this movie.
36:39
Speaker 3: I recommend it to you. Occupas, on Netflix. I recommend
36:44
Speaker 3: Pizzarita e Faz. And the most popular, maybe, I'd say,
36:48
Speaker 3: O Segredo de Sus Horros.
36:50
Speaker 1: Very good.
36:50
Speaker 3: They're Argentinian movies. If you want to watch them.
36:53
Speaker 2: Argentinian cinema is very rewarded. It's very rewarded.
36:56
Speaker 4: It's that the system is all set up on top
36:58
Speaker 4: of the American things, right?
36:59
Speaker 2: Oscar, anyway.
37:00
Speaker 1: But.
37:03
Speaker 4: We need to travel more to South America, Latin America.
37:08
Speaker 4: We need to listen to more things and really consume.
37:11
Speaker 2: Because.
37:12
Speaker 4: Stop paying Paula for it, man.
37:14
Speaker 2: Because, from the heart.
37:15
Speaker 3: We're f * * * ed, Daniel.
37:16
Speaker 2: We're much better. Other countries here.
37:18
Speaker 5: In Latin America... That's it.
37:20
Speaker 3: That's true. We have to understand that we have incredible songs, too.
37:25
Speaker 3: An incredible culture. Very broad, very large. The amount of genres...
37:32
Speaker 3: that we have, not only in South America, the amplitude
37:36
Speaker 3: of genders that we have here, the variety of different dances,
37:41
Speaker 3: it's amazing, just imagine that.
37:44
Speaker 7: Other countries here in Latin America that you went to
37:48
Speaker 7: and that you also liked? I've been to Colombia, Bolivia, Peru,
37:51
Speaker 7: I think I lived in Colombia. I lived in Colombia,
37:53
Speaker 7: I think there are many very cool places, you know?
37:55
Speaker 7: Were there other countries that you went to in Latin
37:58
Speaker 7: America that caught your attention?
38:03
Speaker 1: I like Peru a lot.
38:05
Speaker 3: Peru, I fell in love with Peru. Peru is great.
38:08
Speaker 3: Chile is incredible. Chile is incredible.
38:10
Speaker 1: I like Uruguay.
38:12
Speaker 2: Uruguay was very good.
38:13
Speaker 1: Uruguay.
38:14
Speaker 3: Very good.
38:14
Speaker 7: I want to send a hug to my friends from
38:16
Speaker 7: Agarra and Catarina.
38:17
Speaker 5: It's a group of Uruguayan people.
38:18
Speaker 3: They are very good.
38:19
Speaker 1: I recommend them to you.
38:21
Speaker 3: Ecuador. Ecuador, guys, I really liked Ecuador. I loved it, man.
38:32
Speaker 3: I did three dates there and what is this? Three
38:35
Speaker 3: best shows of my life, really. In Colombia, Colombia was
38:38
Speaker 3: also very good.
38:39
Speaker 4: This tour of yours, Milo, is it being very exciting, man?
38:43
Speaker 4: Because I imagine how it is to arrive in arenas
38:47
Speaker 4: and even in other countries, for you to speak Spanish,
38:52
Speaker 4: the same language there, different from Brazil, I think it's
38:54
Speaker 4: a very high level of connection to see those people
38:56
Speaker 4: so similar to you, speaking the same language, crying, living
39:02
Speaker 4: all that, you're so young, dragging so many mutinies, how
39:04
Speaker 4: is it for you, so many holophones, so many people,
39:07
Speaker 4: so many cell phones, so many things, so many interviews?
39:14
Speaker 3: Well, it's because we start making music, right? So, for example,
39:19
Speaker 3: I started making music because people feel connected, they also
39:22
Speaker 3: feel reflected in me at some point, and that they
39:25
Speaker 3: feel instead of Rota, is very strong, is here too,
39:32
Speaker 3: is appearing and that makes me very happy. The tour,
39:35
Speaker 3: now in a shorter life, was amazing, a real madness.
39:50
Speaker 3: In Brazil, for example, I had never imagined coming here
39:53
Speaker 3: to Brazil. And having dates for me, besides that, at
39:55
Speaker 3: the festival, that's crazy.
39:57
Speaker 1: A great pleasure for me.
39:59
Speaker 3: The date of yesterday, people, it was full, full of people,
40:02
Speaker 3: everyone singing great songs. That's what I was going to
40:05
Speaker 3: ask you. Among you artists who sing in Spanish, I'm
40:08
Speaker 3: a big fan of reggaeton, for example, so I see.
40:15
Speaker 7: Gigantic artists there that don't hit in Brazil, which is different,
40:18
Speaker 7: I don't know, guys.
40:19
Speaker 2: It's another language, right?
40:20
Speaker 3: It's another language, so it doesn't hit so much.
40:21
Speaker 7: Do you guys comment on the difficulty of making success
40:24
Speaker 7: in Brazil with Spanish music?
40:26
Speaker 5: With the language, right?
40:32
Speaker 3: Yes, I think as I say to you, Brazilians, we
40:34
Speaker 3: love ourselves, the country, right? Because the country is beautiful, really.
40:38
Speaker 3: Brazilians are very admirable. And there is an aspect, maybe
40:44
Speaker 3: entering the culture is a little difficult, but at the
40:47
Speaker 3: same time I value a lot the love that I
40:50
Speaker 3: am receiving here. There in Rio I met João Gomes,
40:54
Speaker 3: a very cool guy.
40:56
Speaker 1: I also talked to MC.
40:57
Speaker 3: Ariel, who I met there in Mexico, I found him
41:01
Speaker 3: very cool.
41:02
Speaker 4: Will there be collaborations with these artists, Camilo?
41:09
Speaker 1: I mean, it's not a yes, but.
41:10
Speaker 3: It's not a yes, but I would like to.
41:13
Speaker 4: Let's get to know each other first, make a barbecue.
41:16
Speaker 5: You saw João Gomes' show, right? What did you think
41:18
Speaker 5: of him singing? Churrasco.
41:20
Speaker 2: Churrasco, exactly.
41:22
Speaker 3: You saw João Gomes' show, right? What did you think?
41:26
Speaker 5: The voice of him, isn't it? Isn't it very cool?
41:28
Speaker 2: It looks like he's 60 years old, right?
41:30
Speaker 3: And he's young, man!
41:31
Speaker 1: Incredible, incredible.
41:37
Speaker 3: The voice he has is incredible. How old is he?
41:39
Speaker 1: 17.
41:39
Speaker 3: No, 20 something, 24, 23 years old.
41:40
Speaker 1: That's it, right?
41:41
Speaker 2: He's young. He's much closer to your age than ours.
41:44
Speaker 2: He's very good, man.
41:44
Speaker 3: You have to know more.
41:45
Speaker 2: I sent him a message. I took a picture of
41:47
Speaker 2: the airport.
41:48
Speaker 5: And sent a message to him. I said, my friend,
41:50
Speaker 5: he was very cool.
42:08
Speaker 3: I sent him a picture of the airport. It's the
42:09
Speaker 3: picture of the airport, but I had to send it
42:11
Speaker 3: to him. But he's incredible. João Gomes is incredible. There
42:15
Speaker 3: were some giant dolls at the show.
42:18
Speaker 1: It's cultural. That's it. He said.
42:20
Speaker 3: I went to ask, what was that, man? He wanted
42:22
Speaker 3: to explain it to me a little bit. Because it
42:25
Speaker 3: stuck in my head, you know? And he managed to
42:28
Speaker 3: tell you in Spanish? Or he went around and had
42:31
Speaker 3: a translator with him? How was that communication?
42:33
Speaker 2: I have a friend, Foucault.
42:37
Speaker 1: But when you speak calmly, slowly, you can understand.
43:00
Speaker 2: It's because Argentinians speak fast. It's like speaking fast.
43:03
Speaker 4: One word is embedded in the other, and you lose
43:06
Speaker 4: some information. But when you're talking calmly, you can understand.
43:10
Speaker 2: It's close, Mítico. It's just a little bit of strength. No.
43:13
Speaker 3: I don't even speak the same language, the different accents.
43:18
Speaker 3: In Argentina, it's not the same.
43:19
Speaker 2: In Argentina, it's not just Buenos Aires, right, Milo?
43:22
Speaker 3: Santiago's accent from Cordoba is very different. Same thing in Argentina,
43:26
Speaker 3: not only Buenos Aires. One thing I have to ask
43:28
Speaker 3: you about your.
43:28
Speaker 4: Career, brother, is that you sang trap, a part of rap,
43:30
Speaker 4: and then migrated to Argentine folklore, a part of your roots,
43:35
Speaker 4: Argentine roots, in fact. And I believe that you were
43:38
Speaker 4: conquering a young audience that should love you in trap.
43:49
Speaker 4: When you migrated, how was your audience? Were you afraid
43:54
Speaker 4: of changing styles, but not of speech? How was it
43:59
Speaker 4: for you to make this abrupt change? And for something
44:02
Speaker 4: that maybe those who like it are.
44:08
Speaker 3: The older ones, let's say. Look, in my career, there
44:11
Speaker 3: had already been a change. I spoke with Bizarrap, I
44:14
Speaker 3: did sessions with Bizarrap.
44:19
Speaker 1: And a lot of people got to know me.
44:21
Speaker 3: Because of that, because of the sessions with him. I
44:25
Speaker 3: hadn't even made my first album and people were waiting
44:29
Speaker 3: for a trap album, something more urban, maybe in a
44:34
Speaker 3: more commercial way, let's say, in quotes. I was never
44:38
Speaker 3: commercial in a way.
44:39
Speaker 1: Let's say.
44:41
Speaker 3: But then I made the album 111, which is a
44:45
Speaker 3: concept of a love story, all ballad, with the guitar,
44:48
Speaker 3: the violin, a more romantic thing, nothing to do with
44:51
Speaker 3: what I was doing until then and the things that
44:53
Speaker 3: people already knew me. And there was criticism, people criticized.
44:57
Speaker 1: Me a lot at that time.
44:57
Speaker 3: And then I did the 166, which was much heavier,
44:59
Speaker 3: I was experimenting with a lot of things. Why the numbers? 111, 166... Well, 166...
45:09
Speaker 3: Are you from the astrology of the stars?
45:12
Speaker 2: Of the energies?
45:14
Speaker 3: Yes, but it's not that complicated. The 111, the 111,
45:20
Speaker 3: besides the angelic number, was a date that at that
45:23
Speaker 3: moment was very special to me, in relation to that moment,
45:27
Speaker 3: and that's why I put that number on the album.
45:29
Speaker 3: 166 was the number of the bus line that I
45:32
Speaker 3: took to go to Moron, which is where I live,
45:37
Speaker 3: to the capital, Buenos Aires, which is where everything happens,
45:40
Speaker 3: the music industry.
45:41
Speaker 6: So, yes. Well, with the album La Vida Era Mais Corta,
45:46
Speaker 6: I'm going.
45:47
Speaker 3: To think that it's the first album that doesn't have
45:50
Speaker 3: a number, so I wanted to make a change with
45:52
Speaker 3: that too. But I was less afraid of that change too,
45:55
Speaker 3: you know?
45:55
Speaker 1: I was very confident that.
46:02
Speaker 3: Do something different, but that was good, that was what
46:06
Speaker 3: people were going to listen to and understand. Of course,
46:09
Speaker 3: I didn't expect success, right? The places where this came,
46:12
Speaker 3: I didn't expect it, it was incredible.
46:14
Speaker 7: Dude, I'll go back to your age, which is surprising, the.
46:19
Speaker 3: Maturity you have. And what do you.
46:21
Speaker 7: You're so young, you're doing all this, man. How do
46:23
Speaker 7: you imagine you... What would you say to Jotinha in a.
46:29
Speaker 7: In a few years, in 20 years, how do you
46:31
Speaker 7: see the future of your career?
46:32
Speaker 3: I wouldn't like to say these things to little Jota.
46:38
Speaker 3: I was young, I was very closed, a bad guy.
46:40
Speaker 3: And to say, man, trust yourself. I was going to
46:43
Speaker 3: tell my young man, trust yourself, don't listen to others,
46:48
Speaker 3: because the people who want to help you, no matter
46:50
Speaker 3: what they want, don't understand. Trust yourself and what your
46:52
Speaker 3: heart is. If I could give you some advice, Jotinha,
47:01
Speaker 3: that's it.
47:02
Speaker 2: Very cool, man.
47:04
Speaker 4: Exactly, because I think it's nice for you to ask
47:07
Speaker 4: him to talk about it, but so many boys and
47:10
Speaker 4: girls who must be listening to us now, because, once again,
47:14
Speaker 4: we seek so much inspiration because of the media, television,
47:17
Speaker 4: the internet, a lot of American stuff comes to us,
47:19
Speaker 4: a lot of European stuff.
47:22
Speaker 2: And, once again, we have artists, cultures.
47:26
Speaker 4: And it's so important for us to learn about ourselves,
47:29
Speaker 4: because we go to school and learn from others and
47:31
Speaker 4: not from ourselves.
47:32
Speaker 3: Yes.
47:32
Speaker 2: So, I think it's enough for this moment.
47:35
Speaker 4: I think the internet brings this popularity of democratizing information
47:40
Speaker 4: for us to have Milo here with us, for us
47:43
Speaker 4: to be able to go to Argentina. Exactly, because we
47:45
Speaker 4: have such a great culture, so beautiful, right? When you
47:49
Speaker 4: go to Argentina, let me know.
47:53
Speaker 3: You have to make barbecue. I said three things. We're
47:56
Speaker 3: going to get there. It's roasted there.
47:59
Speaker 7: This guy is going to get there and tell me
48:02
Speaker 7: three things that we have to do there in Argentina.
48:05
Speaker 3: If we don't do it, we're wrong.
48:06
Speaker 2: Not in Argentina. In Moron.
48:08
Speaker 3: That's it. In Moron. In Moron. You have to go
48:11
Speaker 3: to Moron Square. The stadium in Moron.
48:16
Speaker 1: You have to go.
48:17
Speaker 3: There and play a game. I'm the sponsor of the
48:19
Speaker 3: Moron sports club.
48:20
Speaker 4: It's so cool to do this for the team that
48:22
Speaker 4: supports you.
48:23
Speaker 2: My dream.
48:24
Speaker 5: Paissandu, one day I'll sponsor you, Paissandu.
48:27
Speaker 2: Corinthians is very expensive.
48:29
Speaker 3: Paissandu, team?
48:31
Speaker 1: Paissandu?
48:31
Speaker 2: It's a team from the north of the country.
48:34
Speaker 1: Very popular. The first division?
48:37
Speaker 3: No, leave it alone. The first division? No, leave it alone.
48:40
Speaker 1: Man.
48:40
Speaker 6: Man.
48:41
Speaker 1: Man.
49:08
Speaker 2: What's the name of that Argentinian Zika, the famous one?
49:10
Speaker 2: What's the name they say?
49:11
Speaker 4: When the Argentinian says something to Saizika, they say it
49:15
Speaker 4: has some name.
49:16
Speaker 2: From some player. What?
49:17
Speaker 1: I forgot.
49:17
Speaker 3: Pereira. That's it.
49:10
Speaker 1: Mufa. Mufa.
49:10
Speaker 2: Kirikochu.
49:11
Speaker 4: Kirikochu.
49:11
Speaker 2: Kirikochu.
49:12
Speaker 1: Kirikochu. Kirikochu.
49:13
Speaker 3: Kirikochu.
49:13
Speaker 1: Kirikochu.
49:39
Speaker 3: It's a hard thing to say. We put a name
49:42
Speaker 3: like that. It's a good thing to take a luck there. Cricutio, Cricutio.
49:47
Speaker 7: Okay, so when we get there, we have to go
49:48
Speaker 7: to the box, which you sponsor, it's very cool, there,
49:51
Speaker 7: the staff.
49:51
Speaker 1: Yes.
49:51
Speaker 3: Cantia Morão, the stadium, we have to go there at
49:53
Speaker 3: home to eat a real Argentinian barbecue. The guy invited you.
49:56
Speaker 2: To the house, he already thinks we're friends, brother.
49:58
Speaker 1: Let's go. Thank you. What else can we show in
50:02
Speaker 1: Morão for them? We have to play a football. A
50:08
Speaker 1: 5-5 football.
50:08
Speaker 3: What is that? What is that? What is that? Football. Ah, football. Sorry,
50:11
Speaker 3: you spoke too fast.
50:12
Speaker 1: Football. Football.
50:13
Speaker 3: Look, this guy speaks too fast.
50:17
Speaker 2: I said it. I said it.
50:18
Speaker 5: The translator is saying what I said too fast. Football.
50:20
Speaker 2: Football.
50:21
Speaker 3: Football. Who is better at football? Argentina or Brazil? Calm down.
50:24
Speaker 3: Don't say you and us. Argentina or Brazil?
50:35
Speaker 2: Look at the friends clapping.
50:39
Speaker 3: Look, Argentina.
50:41
Speaker 2: You think.
50:41
Speaker 3: Argentina has Messi, Maradona.
50:44
Speaker 7: Brazil, Pelé, Ronaldo and Ronaldinho, that you like.
50:47
Speaker 1: Pelé.
50:48
Speaker 3: Look... We have to be friends, guys.
50:53
Speaker 2: We have to be friends, guys.
50:54
Speaker 6: And you?
50:54
Speaker 3: Do you play ball? It's better for us to be friends.
50:57
Speaker 3: Do you play?
50:58
Speaker 1: Do you play?
51:00
Speaker 2: Do you play ball?
51:01
Speaker 3: Do you play football? Yes.
51:04
Speaker 5: What position do you play? What level? From 0 to 10,
51:06
Speaker 5: what is the quality of your football?
51:08
Speaker 1: Amateur. 6, 7.
51:09
Speaker 3: Humble, right?
51:11
Speaker 1: At least.
51:11
Speaker 3: I like to defend. But look, I was doing well
51:21
Speaker 3: there with my friends, playing well there, putting money in
51:24
Speaker 3: the games, playing very fast, I was getting there. But, fun,
51:29
Speaker 3: you know? I was already a joker, I was already
51:33
Speaker 3: making money there, but it was just like that, in
51:36
Speaker 3: the movies and stuff.
51:38
Speaker 1: But.
51:38
Speaker 3: But what do you do in your free time, brother?
51:42
Speaker 4: What do you like to have fun? Without work, without music.
51:50
Speaker 4: Or the music is even in the fun, I guess.
51:54
Speaker 1: Well, most of the time with my.
51:56
Speaker 3: Girlfriend, it's because on tour I don't see her. So,
52:00
Speaker 3: after the tour, I really like to play paddle, paddle,
52:02
Speaker 3: batting in Brazil, I think. There are few people who play,
52:13
Speaker 3: but with four people you can already play. And with
52:16
Speaker 3: six is the best, right? In all countries it is
52:18
Speaker 3: with six. But, like, a football court in the United States,
52:20
Speaker 3: it was very difficult to find a football court in
52:22
Speaker 3: the United States to play.
52:25
Speaker 1: And.
52:26
Speaker 2: Video game?
52:27
Speaker 1: No.
52:27
Speaker 2: Video game?
52:28
Speaker 1: I don't bring it to.
52:29
Speaker 3: The tournament, but yes, I really like to play FIFA
52:32
Speaker 3: on the PlayStation. Watch movies, series? What are you watching? Watch?
52:38
Speaker 2: Well.
52:39
Speaker 3: I watch documentaries. I really like, for example, if I'm
52:44
Speaker 3: interested in a subject, a specific artist, something, someone famous,
52:51
Speaker 3: the story of that person, how it originated, how it
52:54
Speaker 3: came about. I learn the lore of the thing, you know?
52:58
Speaker 3: And documentaries, in general, in Argentina... I'm going to recommend, then,
53:03
Speaker 3: in this interview... I already recommended it in the interview, but...
53:05
Speaker 3: There's a channel in Argentina called... Lameancu, they do what
53:10
Speaker 3: they call unnecessary stories, unnecessary stories in Spanish. Things that
53:16
Speaker 3: were very important and that people forgot and then they
53:19
Speaker 3: tell the details of these things. It's incredible. I highly
53:23
Speaker 3: recommend it. It's on YouTube for everyone to watch. And documentaries.
53:28
Speaker 2: You like to inform yourself, right?
53:31
Speaker 1: Yes.
53:31
Speaker 3: More than really informing myself, Yeah, favorite movie of your life, go.
53:39
Speaker 7: Emotional attachment, right?
53:45
Speaker 1: Disney movie.
53:46
Speaker 3: There are many, many movies.
53:48
Speaker 2: Che Guevara, Hilario Revolucion. Ratatouille.
53:52
Speaker 1: Ratatouille, that was awesome.
53:54
Speaker 3: Damn, Ratatouille.
53:54
Speaker 5: I wanted to know your indolence.
53:57
Speaker 3: That's why I asked that. Here we have Shrek, Tarzan.
53:59
Speaker 2: Shrek, Ratatouille.
54:05
Speaker 1: There are a lot of.
54:06
Speaker 3: Cool movies for me, I don't know about him, but...
54:09
Speaker 3: From Disney. No, I was.
54:13
Speaker 1: Talking about animation.
54:14
Speaker 3: That, from children.
54:16
Speaker 1: That, that, that.
54:16
Speaker 2: Ratatouille is good. Ratatouille is awesome. It's good. Caramba, se
54:24
Speaker 2: eu olhar pro rato querer chorar, o que é isso?
54:27
Speaker 3: Um rato cozinheiro?
54:28
Speaker 1: É uma obra-prima.
54:31
Speaker 3: De verdade, como que ele fazia as pessoas chorarem com
54:33
Speaker 3: um rato que é chefe de cozinha escondido no chapéu? Não,
54:37
Speaker 3: essa obra-prima, galera.
54:38
Speaker 5: O roteirista, o roteirista, tava chapado de escrever isso.
54:41
Speaker 2: Tava não.
54:42
Speaker 3: Com certeza.
54:44
Speaker 5: Vamos fazer um rato cozinheiro, vai dar certo.
54:47
Speaker 3: E foi, tá ligado?
54:48
Speaker 5: Muita marihuana.
54:50
Speaker 3: Muita marihuana. Your favorite movie of yours.
54:54
Speaker 2: Tarzan.
54:55
Speaker 7: Shrek 2 and As Branquelas. I don't know how As
54:58
Speaker 7: Branquelas is.
54:59
Speaker 2: I cried yesterday watching a TikTok of Tarzan.
55:01
Speaker 5: Las Branquitas.
55:03
Speaker 3: I don't know what it is.
55:05
Speaker 2: What's Ticks?
55:06
Speaker 3: What's Ticks, yeah.
55:07
Speaker 2: Which is the name of the movie, right? Original. But
55:09
Speaker 2: As Branquelas, I think it was a favorite of mine.
55:11
Speaker 3: Artistically, it seems that everyone sang it too. Onde Estão
55:13
Speaker 3: as Loiras? Onde Estão as Loiras?
55:14
Speaker 1: Onde Estão as Loiras? Onde Estão as Loiras? Onde Estão
55:15
Speaker 1: as Loiras?
55:16
Speaker 3: Onde Estão as Loiras?
55:17
Speaker 1: Onde Estão as Loiras? Onde Estão as Loiras?
55:18
Speaker 3: Onde Estão as Loiras?
55:19
Speaker 1: Onde Estão as Loiras? Onde Estão as Loiras?
55:20
Speaker 3: Onde Estão as Loiras? Onde Estão as Loiras? Onde Estão
55:22
Speaker 3: as Loiras?
55:23
Speaker 1: Do you want to act?
55:25
Speaker 3: To make movies? Yes, I would like to. It happens
55:27
Speaker 3: that in Argentina, I.
55:28
Speaker 2: Already acted once in a.
55:30
Speaker 3: Movie called Homo Argentum. It's a movie, but it was
55:50
Speaker 3: a small appearance there, and then... But yes, I would
55:53
Speaker 3: really like to enter this area. But yes, it's an
55:56
Speaker 3: independent project, you know? A more, let's say, a community,
56:01
Speaker 3: a spoken one there. And I would be interested in that, yes,
56:04
Speaker 3: of course. I would be interested, it would.
56:07
Speaker 2: Be very good. No, very cool.
56:08
Speaker 4: I wanted to talk about your Tiny Desk again, brother,
56:10
Speaker 4: because that there... From the heart, really, I had never
56:12
Speaker 4: seen a Tiny Desk so beautiful, so authentic and... It
56:19
Speaker 4: was beautiful.
56:46
Speaker 3: The paintings there, as you say, that is the Argarra
56:50
Speaker 3: de Catalina group, which is a group, they are.
56:52
Speaker 1: Amazing, really, you can look at it later, because in Tiny.
56:55
Speaker 3: Desk, it's with 5 there, but they are a group
56:57
Speaker 3: of more than 12, with a band, with everything, 12
56:59
Speaker 3: people singing, they are amazing, amazing, really.
57:11
Speaker 1: The painted faces.
57:12
Speaker 3: The clothes, they are part of his folklore because Uruguayan
57:17
Speaker 3: and Argentinian Mugua are different things. Uruguayan is more musical
57:23
Speaker 3: and Argentinian is more famous for other things, a local
57:26
Speaker 3: context of dances, but they are different.
57:29
Speaker 1: And what we wanted to do.
57:37
Speaker 3: What I wanted to do there is, basically, in A
57:41
Speaker 3: Vida Era Mais Corta, they participate in many songs, and
57:44
Speaker 3: there are songs like Solificando-se, my song, and they sing everything.
57:51
Speaker 3: And that was there, Agarra de Satalinha, they weren't part
57:53
Speaker 3: of the original, and then we added them to give
57:56
Speaker 3: it a more Rio Platense touch, in some way, there.
58:03
Speaker 3: But they make incredible mixtures, mixtures. All the beginning of Xamandú,
58:09
Speaker 3: which is the founder of the Kalinina grip, he does.
58:12
Speaker 1: It in the solificando. It's amazing.
58:16
Speaker 3: The percussionist, Mio, he is also a percussionist, he has
58:20
Speaker 3: the influence of Uruguayan love and folklore, so he perfectly
58:23
Speaker 3: matches that situation.
58:26
Speaker 4: Milo, if you could say elements of the music of
58:29
Speaker 4: Argentine folklore, for those who are more laymen, not musicians,
58:33
Speaker 4: to understand, what are the elements of the music of folklore? Like,
58:37
Speaker 4: the cumbia is a.
58:40
Speaker 2: What would an Argentine folklore be?
58:43
Speaker 3: Well, as I said, Argentine folklore is not a genre
58:48
Speaker 3: that has a sound. It has the xacareira.
58:51
Speaker 1: It has the zamba. All of them are different. There's
58:59
Speaker 1: also a carnavalito. Something more danceable.
59:04
Speaker 3: To go to the carnivals. So when I say, keep
59:07
Speaker 3: the Chaya Chaya-ing in my music, there's the Chaya. But,
59:10
Speaker 3: as I said... They're Argentine elements, right?
59:11
Speaker 1: More broad, right?
59:24
Speaker 3: Yes, as I said to you. And also the name
59:26
Speaker 3: of the genres. For example, there is a genre called Gato.
59:29
Speaker 3: It may be similar to Chacarera, but the times are
59:31
Speaker 3: different because of the dance. And in Argentine folklore, many
59:35
Speaker 3: of the pauses have to do with the dance. This
59:38
Speaker 3: is very crazy. The times speed up when people get
59:50
Speaker 3: to the front, when you have to stop a little
59:51
Speaker 3: and brake. Everything is defined by the rhythm of the song.
59:54
Speaker 3: The rhythm accelerates, it's very crazy. And I also wanted
59:55
Speaker 3: to know, obviously you released your album recently, but I
59:57
Speaker 3: wanted to.
59:58
Speaker 4: Know what you can say to the fans, what they
1:00:01
Speaker 4: can expect from your musicality, what they can expect from
1:00:05
Speaker 4: your next work, from your trips and maybe meeting new artists.
1:00:16
Speaker 4: Because I imagine that now what people are most anxious
1:00:19
Speaker 4: about is for your next work, man.
1:00:21
Speaker 2: Because you are a very authentic artist, very good.
1:00:25
Speaker 3: Very new.
1:00:26
Speaker 2: And very new, but.
1:00:26
Speaker 4: We are sure that you will not let go of
1:00:29
Speaker 4: something for letting go, do you understand?
1:00:34
Speaker 3: Yes, that's why the reality is that I want to
1:00:36
Speaker 3: take some time now to do my next project. I
1:00:41
Speaker 3: want to live a little too, to bring the stories,
1:00:44
Speaker 3: what stories I want to pass, what message. I don't
1:00:47
Speaker 3: want it to be the same, life was shorter, I
1:00:49
Speaker 3: don't want it to be any other way, I want
1:00:51
Speaker 3: it to be a wrong decision, to lie to myself,
1:00:54
Speaker 3: to do the same thing, so no. I want to
1:00:55
Speaker 3: continue enjoying this tour now, In addition to Rock in Rio,
1:01:01
Speaker 3: which for me was a dream come true, it was incredible.
1:01:04
Speaker 3: We are going to other festivals, soon we have a
1:01:08
Speaker 3: tour in Central America, El Salvador, Costa Rica, Guatemala. In Argentina,
1:01:14
Speaker 3: I will continue the tour at the Campes Stadium, which
1:01:17
Speaker 3: is in Cordoba, for 50,000 people, it.
1:01:18
Speaker 1: Will be a show in 360 degrees, it's crazy. And
1:01:26
Speaker 1: I'm trying to.
1:01:26
Speaker 3: Take advantage of these things, you know? Instead of thinking
1:01:30
Speaker 3: about what comes next, it's enjoyable what's happening now, to
1:01:33
Speaker 3: take advantage of it, because I think we deserve it too.
1:01:35
Speaker 3: You deserve it.
1:01:36
Speaker 2: It's important, even to create new experiences, new songs, right, Mítico?
1:01:39
Speaker 2: You have to live, right?
1:01:40
Speaker 1: For sure.
1:01:40
Speaker 3: How long will you stay in Brazil, Milo? I think
1:01:47
Speaker 3: tomorrow we have the second date in São Paulo. I'm
1:01:51
Speaker 3: very happy with that. And then I'll be back to
1:01:56
Speaker 3: continue my work. But yes, as I said, I would
1:01:57
Speaker 3: come back a thousand times. Because the love I felt
1:01:59
Speaker 3: for the people here, I loved.
1:02:01
Speaker 2: And I'll love to come back.
1:02:02
Speaker 3: Coming back, say hi to us. We call it a barbecue.
1:02:06
Speaker 2: We're passing through Argentina.
1:02:08
Speaker 3: I'll give you a hug and.
1:02:10
Speaker 2: We'll make a barbecue.
1:02:16
Speaker 4: And I wanted to know if you liked to exchange
1:02:19
Speaker 4: this idea with us, brother.
1:02:22
Speaker 3: Yes, I loved it. Guys, thank you for this conversation,
1:02:25
Speaker 3: the format of you, the best I've ever seen. So,
1:02:29
Speaker 3: it was incredible, really, very cool. And today we'll see
1:02:32
Speaker 3: each other later.
1:02:33
Speaker 2: Very cool.
1:02:33
Speaker 3: Is there going to be a barbecue? There's going to
1:02:36
Speaker 3: be a.
1:02:36
Speaker 4: Barbecue with our partner Ariel.
1:02:39
Speaker 5: Churrasco.
1:02:40
Speaker 2: Lá no Paraisópolis. A gente vai dar uma passadinha lá.
1:02:42
Speaker 1: Tem que jogar um futebol.
1:02:43
Speaker 3: Tem que jogar um futebol.
1:02:45
Speaker 1: E o FIFA.
1:02:47
Speaker 3: E o FIFA.
1:02:47
Speaker 4: Se você gostou, deixe seu like, se inscreva no canal,
1:02:50
Speaker 4: siga o Milo Rota nas redes sociais, vão estar aí
1:02:51
Speaker 4: na descrição.
1:02:52
Speaker 2: Acompanhe os lançamentos. Vá aos shows. Espero que você tenha
1:02:56
Speaker 2: comprado seu ingresso pra amanhã. E é isso.
1:02:58
Speaker 3: Não dá mole não, viu?
1:02:59
Speaker 2: Mítico jovem, faça as honras do canal.
1:03:01
Speaker 3: Amanhã tem mais Podpah. Muito bom aí. Segue a nossa
1:03:04
Speaker 3: agenda aí. Tamo junto, viu? Até amanhã. Dignidade já.
1:03:07
Speaker 2: É nóis.
1:03:07
Speaker 3: Tamo junto.
1:03:17
Speaker 1: My sandwich is dry.
1:03:18
Speaker 2: I can't eat it.
1:03:20
Speaker 1: It's just missing this.
1:03:21
Speaker 3: It's missing. Elman Supreme is what's missing.
1:03:24
Speaker 2: It's just Elman that saves. Pass the Supreme here. It's
1:03:28
Speaker 2: just Elman. Elman Supreme. Elman Supreme. It's more creamy.
1:03:34
Speaker 1: Elman Supreme.
1:03:35
Speaker 2: Spreading what's missing. Elman Supreme. It's just Elman. Elman Supreme. Hey,
1:04:03
Speaker 2: I'm not going to be last, huh?