Latest / Luke's English Podcast / HUNGRIA _ TRIBO DA PERIFERIA (DUCKJAY) - Podpah _985

Transcript

HUNGRIA _ TRIBO DA PERIFERIA (DUCKJAY) - Podpah _985 · Luke's English Podcast

• 0:01
  Speaker 1: Black from Amazon, thousands of deals with up to 70% off,
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• 0:05
  Speaker 2: So don't miss it. Run to the app and enjoy.
• 0:32
  Speaker 1: Hey, Mítico.
• 0:32
  Speaker 2: Hey, guys.
• 0:33
  Speaker 3: Welcome to another Podpah. And today is a very special Podpah.
• 0:37
  Speaker 4: My God, Mítico Jove. Today is awesome.
• 0:40
  Speaker 2: You saw?
• 0:40
  Speaker 5: Calm down.
• 0:41
  Speaker 2: I asked.
• 0:41
  Speaker 5: My God. You're beautiful, huh? You saw? You too, man.
• 0:44
  Speaker 4: On the kit.
• 0:45
  Speaker 5: Are you okay?
• 0:46
  Speaker 2: I'm fine.
• 0:46
  Speaker 5: I'm fine.
• 0:47
  Speaker 4: I'm happy. I'm great.
• 0:48
  Speaker 1: Great.
• 0:49
  Speaker 2: This week.
• 0:49
  Speaker 4: A lot of work.
• 0:49
  Speaker 5: A lot of work. But I'm happy too because....
• 0:52
  Speaker 4: This month is a month of a lot of work, right?
• 0:54
  Speaker 2: November.
• 0:55
  Speaker 6: But it's also giving a joy that the holidays are
• 0:58
  Speaker 6: right there. And it's not because I want to stop working,
• 1:01
  Speaker 6: it's because it's good to rest a.
• 1:02
  Speaker 4: Little too, right, Amid?
• 1:03
  Speaker 5: For sure.
• 1:03
  Speaker 4: It's good to rest a little.
• 1:04
  Speaker 6: But while the holidays don't come, we have a lot
• 1:06
  Speaker 6: of work to do and we're going to do it
• 1:09
  Speaker 6: in that intention of always, right?
• 1:11
  Speaker 4: The idea is the following, Mítico Jovem.
• 1:13
  Speaker 5: Before we introduce.
• 1:14
  Speaker 6: Our guests, today is to stop everything. We need to
• 1:18
  Speaker 6: talk about our sponsor, talk about Amazon. Amazon's Black is
• 1:21
  Speaker 6: already happening. Even tomorrow we will do a live only
• 1:25
  Speaker 6: focused on this, on promotions, on Amazon's Black. So, tell
• 1:29
  Speaker 6: your mom, your dad, everyone who made the savings to
• 1:32
  Speaker 6: spend money on Black.
• 1:34
  Speaker 5: The teams are potpourri against those guys.
• 1:36
  Speaker 2: Exactly.
• 1:36
  Speaker 4: But today what I have to say is.
• 1:39
  Speaker 6: Eu venho falando pra vocês que na Black da Amazon
• 1:41
  Speaker 6: tem até 70% off.
• 1:43
  Speaker 4: Mas eles trouxeram uma nova.
• 1:45
  Speaker 6: Se você pagar no Pix, eles adicionam ainda mais 10% off.
• 1:49
  Speaker 6: Então vamos supor que você tá comprando um produto que
• 1:52
  Speaker 6: tá 40% off.
• 1:53
  Speaker 4: Se você for pagar no Pix, ele fica 50% off. Certo, rapaziada?
• 1:56
  Speaker 4: Então segue tudo bonitinho aí.
• 1:58
  Speaker 6: Atualiza o site e no aplicativo também. Fica de olho
• 2:03
  Speaker 6: porque de hora em hora tem... novidade nova tem promoção
• 2:06
  Speaker 6: nova então fica de olho tem um QR Code que
• 2:08
  Speaker 6: tá na tela aí para você escanear e para o
• 2:10
  Speaker 6: site e já olhar todos os cupons que tem ali
• 2:15
  Speaker 6: tá ligado rapaziada de.
• 2:16
  Speaker 3: Olho aqui no final do programa vai aparecer os cuponzinhos
• 2:19
  Speaker 3: tudo aí certinho para vocês.
• 2:21
  Speaker 6: Também exatamente no final vai aparecer uma tarde já falando
• 2:23
  Speaker 6: das ofertas novas que entraram agora e vão durar muito
• 2:26
  Speaker 6: pouco tempo então tem que escanear o QR Code para
• 2:28
  Speaker 6: aproveitar certo então é isso rapaziada.
• 2:31
  Speaker 4: I'm going to have a coupon now. This coupon is good.
• 2:35
  Speaker 2: So, hold on.
• 2:36
  Speaker 4: It's the Black Podpah.
• 2:38
  Speaker 6: Earn R $ 150 off in purchases from R $ 999, okay? So,
• 2:41
  Speaker 6: use this Black Podpah coupon on the site or on
• 2:44
  Speaker 6: the app. It's already valid, okay?
• 2:48
  Speaker 3: And remembering that Podpah is exclusive on Spotify, on YouTube, guys.
• 2:51
  Speaker 3: And then, in the description, there will be a description
• 2:53
  Speaker 3: for you to participate, for example, from the Brino's program,
• 2:56
  Speaker 3: because Brino is going to debut a program, and this
• 2:58
  Speaker 3: program is only for old people.
• 3:00
  Speaker 4: Only 60-year-old women or more, please. Put your grandmother in
• 3:03
  Speaker 4: this program. And also if you have 45, but you're
• 3:04
  Speaker 4: already baqueada, you can come.
• 3:06
  Speaker 3: If you want to participate in the Pod Paquera, our
• 3:08
  Speaker 3: relationship program, get a kitten for you, there's also for
• 3:11
  Speaker 3: you to sign up and let us invite you.
• 3:13
  Speaker 5: And we're together, okay? You've been to Pod Paquera, right?
• 3:16
  Speaker 5: I was the first.
• 3:17
  Speaker 4: Crazy to find love.
• 3:18
  Speaker 2: Always.
• 3:23
  Speaker 5: I'm wanting love.
• 3:24
  Speaker 4: God will bless you. God will bless you. Mítico Jovem.
• 3:28
  Speaker 5: What's up, dear Gama De Grau?
• 3:29
  Speaker 4: What's up, man? Let's go to this moment. Very awaited.
• 3:33
  Speaker 3: If I tell you that this is for rap, in fact,
• 3:36
  Speaker 3: this is very crazy, man. It's a really cool thing
• 3:38
  Speaker 3: that's going to happen here today.
• 3:39
  Speaker 4: There are two beings.
• 3:41
  Speaker 2: Very important.
• 3:43
  Speaker 5: Fuck yeah.
• 3:44
  Speaker 6: Receive them with a lot of affection, make a lot
• 3:46
  Speaker 6: of noise, knock down this studio, clap your hands for
• 3:49
  Speaker 6: our guests today. Hungary and Duke J from the Periphery Tribe, fuck!
• 3:54
  Speaker 5: Let's go!
• 3:54
  Speaker 4: Let's go!
• 3:58
  Speaker 5: Clap your hands! Let's go!
• 4:00
  Speaker 2: How are you, brother?
• 4:01
  Speaker 5: Very good, bro. Good evening, bro.
• 4:03
  Speaker 2: Satisfaction. Good evening.
• 4:04
  Speaker 4: Thank you very much for that, okay?
• 4:06
  Speaker 2: That's it. We thank you. Satisfaction, really.
• 4:07
  Speaker 7: We're here until the end.
• 4:09
  Speaker 5: Until the end, Duke J.
• 4:10
  Speaker 7: The guys were asking for a lot of money and
• 4:13
  Speaker 7: you had.
• 4:13
  Speaker 4: To find a way to go to the Pod Park.
• 4:15
  Speaker 4: It's great that it worked out, bro. You guys are
• 4:17
  Speaker 4: two monsters, bro. How are you guys doing?
• 4:20
  Speaker 2: We're doing well, bro. Working, right?
• 4:21
  Speaker 1: And for me, to make it clear, it's a special
• 4:24
  Speaker 1: moment for me too.
• 4:26
  Speaker 2: Duque J and I are in a really cool phase.
• 4:28
  Speaker 1: We're a little far away now, but we're in a relationship,
• 4:31
  Speaker 1: that's really cool.
• 4:32
  Speaker 2: And without words, without.
• 4:35
  Speaker 1: He started writing, he's a teacher for me, I think
• 4:36
  Speaker 1: for every scene of rap, of hip hop, of trap,
• 4:39
  Speaker 1: I think he's a guy with a very important role.
• 4:41
  Speaker 6: Duque, you started in 98, right, bro?
• 4:45
  Speaker 2: 98. How was it?
• 4:46
  Speaker 6: We've already had a chat with Grêmio, and it's very
• 4:50
  Speaker 6: cool to know what motivated you to start penning, making
• 4:54
  Speaker 6: a sound, making a rap, and also know the difficulty
• 4:57
  Speaker 6: of making a rap in 98 in Brasília, out of
• 4:59
  Speaker 6: the total axis.
• 5:01
  Speaker 7: Man, he was almost blind, right? to do rap at
• 5:04
  Speaker 7: that time. It was more with the heart. There weren't
• 5:07
  Speaker 7: many references. The references were rational. Was there a rap
• 5:10
  Speaker 7: scene there? There was a scene, but it was very niche.
• 5:13
  Speaker 7: It was just for the people who really liked the movement.
• 5:16
  Speaker 7: It didn't open like that. Just for the people who
• 5:19
  Speaker 7: really liked rap. Or someone who sang, or knew someone
• 5:24
  Speaker 7: who sang. But the people from the streets didn't.
• 5:27
  Speaker 2: Catch it like that. Then we.
• 5:30
  Speaker 7: I started with a friend of mine doing rap. He
• 5:33
  Speaker 7: wrote the raps. But his rap was kind of weak,
• 5:35
  Speaker 7: so I would look at him and say, man, I'd
• 5:36
  Speaker 7: like to do something like that. Then he was in
• 5:38
  Speaker 7: the corner and the guys were like, damn, that's awesome.
• 5:41
  Speaker 7: I said, damn, I'm going to try to do one too.
• 5:43
  Speaker 7: And what were.
• 5:43
  Speaker 5: You talking about at that time, there in DF?
• 5:46
  Speaker 7: It was really about the street, man. It was about
• 5:48
  Speaker 7: the friends, I talked more about the friends, about clothes,
• 5:50
  Speaker 7: about dreams.
• 5:50
  Speaker 5: A save, right?
• 5:51
  Speaker 7: Yeah, a save there for my break, for Rua de Cima.
• 5:54
  Speaker 4: Pazanorte, Pazanorte.
• 5:56
  Speaker 7: From 3, from 4, from 5, that's where I live,
• 5:58
  Speaker 7: it's not Asa, right, man? It's like squares, several broken squares.
• 6:05
  Speaker 2: Man, in Brasília, I went once.
• 6:06
  Speaker 6: And looking there, coming, landing the plane, I looked and thought,
• 6:10
  Speaker 6: what is this?
• 6:11
  Speaker 4: It looks like it was made on the ruler.
• 6:14
  Speaker 5: All lined up, right?
• 6:15
  Speaker 6: So it must be a thing, because it's a high plane,
• 6:18
  Speaker 6: everything is very flat, it must be a totally different
• 6:20
  Speaker 6: experience from any other place, Mítico.
• 6:22
  Speaker 5: Yeah, worse here, huh? But how was this beginning? Like,
• 6:24
  Speaker 5: you already started.
• 6:28
  Speaker 3: It took a long time for you to be recognized
• 6:30
  Speaker 3: in the scene.
• 6:31
  Speaker 5: How was it in 1998, brother?
• 6:32
  Speaker 7: It took a long time. It took a long time
• 6:35
  Speaker 7: for the people to say... And to earn the money
• 6:38
  Speaker 7: that it took?
• 6:39
  Speaker 4: The money was now, after.
• 6:41
  Speaker 2: What.
• 6:42
  Speaker 7: Was the first highlight song that you played?
• 6:44
  Speaker 5: Carro de Malandro. No, not Carro de Malandro.
• 6:47
  Speaker 7: Carro de Malandro was when I did it... Carro de
• 6:49
  Speaker 7: Malandro stopped everything.
• 6:51
  Speaker 5: I did it in Quebrada, with my friends.
• 6:52
  Speaker 7: Who used Opala. The guys put the cars to drive.
• 6:58
  Speaker 7: And the song became a fever all over Brazil. I
• 7:00
  Speaker 7: didn't understand anything, I wasn't even organized to be doing
• 7:04
  Speaker 7: a show.
• 7:04
  Speaker 5: But what was the.
• 7:05
  Speaker 7: The guys called, the shows were going on and they
• 7:06
  Speaker 7: put the name... Carro de Malandra... live, right? They didn't put.
• 7:11
  Speaker 2: Tribe. Tribe of the periphery.
• 7:13
  Speaker 7: Carro de Malandra live.
• 7:14
  Speaker 2: Today, nobody knew. But this sound exploded a lot, Mítico.
• 7:16
  Speaker 2: It exploded.
• 7:16
  Speaker 5: It exploded a lot.
• 7:17
  Speaker 4: Where did you live when you heard this sound? Because
• 7:19
  Speaker 4: you lived all over Brazil.
• 7:21
  Speaker 3: I think I was in Vila Velha at that time
• 7:23
  Speaker 3: of Carro de Malandra. What year was Carro de Malandra?
• 7:25
  Speaker 2: 2003.
• 7:26
  Speaker 5: What is that?
• 7:28
  Speaker 3: Man, I was in Vila Velha. What was the origin
• 7:30
  Speaker 3: of this song? Why Carro de Malandro?
• 7:32
  Speaker 5: Was it a gira?
• 7:33
  Speaker 7: It was a gira from Quebrada mesmo. When you put
• 7:35
  Speaker 7: on a cool outfit, the guys would say, man, this
• 7:37
  Speaker 7: shirt is from Malandro. This chest is from Malandro. When
• 7:40
  Speaker 7: they put on sneakers, the sneakers were from Malandro. Then
• 7:43
  Speaker 7: I got there, I was in a caravan. Then I
• 7:46
  Speaker 7: said to the guys, man, this is Carro de Malandro.
• 7:48
  Speaker 2: I said, look, I'm going to make a dream.
• 7:50
  Speaker 7: I made a song for him, for this guy from
• 7:52
  Speaker 7: the caravan.
• 7:53
  Speaker 6: I have a question for both of you. The scene
• 7:56
  Speaker 6: of the car in Brasília, I see that it is
• 7:59
  Speaker 6: very strong, man.
• 8:00
  Speaker 2: You know?
• 8:00
  Speaker 4: Here there was a.
• 8:02
  Speaker 6: Obviously, I'm going to say that São Paulo is so
• 8:05
  Speaker 6: big that there must be a gigantic movement that we
• 8:07
  Speaker 6: don't know, but there is, it happens. But I remember
• 8:09
  Speaker 6: that this was a fever at one time, but I
• 8:12
  Speaker 6: feel that in Brasília this never stopped being a fever.
• 8:15
  Speaker 2: It's very concentrated, right?
• 8:17
  Speaker 1: This culture of the automotive sound, of the automotive sound too.
• 8:22
  Speaker 2: So we owe a lot to Goiânia' s border, that moves
• 8:24
  Speaker 2: a lot. And I remember that.
• 8:25
  Speaker 1: Our thermometer, to see if the sound was playing, was
• 8:28
  Speaker 1: the cars. When you saw a lot of cars passing by,
• 8:33
  Speaker 1: you bursted.
• 8:33
  Speaker 2: There was a number on YouTube to see. There was
• 8:36
  Speaker 2: no reference. The thermometer was on the street.
• 8:37
  Speaker 4: And where did you release it?
• 8:39
  Speaker 3: The Car de Malandro was only released on YouTube. How
• 8:41
  Speaker 3: did you release this song?
• 8:42
  Speaker 2: YouTube didn't exist. In 2003?
• 8:43
  Speaker 5: No, it didn't exist.
• 8:44
  Speaker 2: It was on YouTube. Really? They released a DVD, right?
• 8:46
  Speaker 2: It was all over Brazil.
• 8:47
  Speaker 7: It was Rap Brasília. There was Car de Malandro. There
• 8:50
  Speaker 7: were several songs from the Brazilian people. Then this DVD
• 8:56
  Speaker 7: went around the whole country, and this song came with it.
• 8:58
  Speaker 4: It was a collection that someone made and put together.
• 9:01
  Speaker 7: Then I recorded her video. I recorded it, I held
• 9:07
  Speaker 7: a camera, we recorded it and released it. I don't
• 9:11
  Speaker 7: know if.
• 9:11
  Speaker 2: You remember, obviously you'll remember.
• 9:13
  Speaker 1: I don't know if you remember, DJ Mix was a
• 9:15
  Speaker 1: very important person in the promotion of the songs.
• 9:18
  Speaker 2: There was a platform called Palco MP3.
• 9:19
  Speaker 5: Palco MP3.
• 9:19
  Speaker 2: It was so popular.
• 9:21
  Speaker 1: That you would release the song at 10 a.m. on
• 9:23
  Speaker 1: a Friday, and at 6 a.m. he was playing it
• 9:26
  Speaker 1: on the car.
• 9:27
  Speaker 8: Damn!
• 9:28
  Speaker 1: Mix has a great importance in the Brazilian scene.
• 9:32
  Speaker 7: In the beginning, right? Where this Brazilian scene came from.
• 9:35
  Speaker 7: But today you were, when Carro de Malandro started with
• 9:38
  Speaker 7: Papo Carro.
• 9:43
  Speaker 2: I used to sing.
• 9:45
  Speaker 1: What kind of music were you making at that time?
• 9:48
  Speaker 5: I used to play a lot.
• 9:50
  Speaker 1: Caramba, mano, desenrolou, hoje tem encontro, já tinha saído, carros estacionados,
• 9:55
  Speaker 1: hoje tem encontro, que falava exatamente dos carros.
• 9:59
  Speaker 4: O rolê era encontro de carro? Qual que era o rolê?
• 10:01
  Speaker 6: Eu queria que vocês explicassem, porque a gente às vezes
• 10:05
  Speaker 6: fica muito focado no eixo, né, Rio e São Paulo,
• 10:08
  Speaker 6: e a gente não sabe... because of lack of knowledge,
• 10:12
  Speaker 6: lack of experience, you don't know how it was culturally,
• 10:15
  Speaker 6: the rides in Brazil, what was it that was hitting
• 10:18
  Speaker 6: you in your teenage years, you know?
• 10:19
  Speaker 4: What was the ride?
• 10:20
  Speaker 1: For me, it was very, it's very striking, this image
• 10:23
  Speaker 1: of the gas station.
• 10:24
  Speaker 2: Gas station. Gas station was the question, I don't know
• 10:27
  Speaker 2: if you remember Flamingo.
• 10:28
  Speaker 1: Flamingo was the question of Friday, talking to 3,000 people
• 10:30
  Speaker 1: in the parking lot.
• 10:31
  Speaker 2: In the station?
• 10:32
  Speaker 4: In the station.
• 10:34
  Speaker 2: In the station of the station, so it was... I
• 10:37
  Speaker 2: think he was.
• 10:38
  Speaker 7: And every class was there.
• 10:40
  Speaker 2: Every class.
• 10:40
  Speaker 1: It was Playboy, it was Maluqueira, everyone was involved in
• 10:43
  Speaker 1: the same environment. And it was so crazy that there wasn't,
• 10:46
  Speaker 1: at the time, an organized tour to connect all the cars.
• 10:50
  Speaker 7: Today it was in Flamingo, today it's going to be
• 10:53
  Speaker 7: in such and such place.
• 10:54
  Speaker 2: It was all spontaneous. It was a thousand car talk
• 10:56
  Speaker 2: and each car playing a different song.
• 10:57
  Speaker 7: Playing a different song. Blah, blah, blah, blah.
• 11:00
  Speaker 3: But thinking about the cars, also the sound, who played
• 11:02
  Speaker 3: the most.
• 11:03
  Speaker 2: It was the sound itself. You opened your door, the
• 11:05
  Speaker 2: man was there, and he was.
• 11:06
  Speaker 7: With the guys in front of your car.
• 11:08
  Speaker 2: That was the tour.
• 11:09
  Speaker 7: That was the tour. And there were also some... In
• 11:11
  Speaker 7: the squares, you know? Then a car would come and
• 11:16
  Speaker 7: stop there. And there was already one stopping. He was
• 11:18
  Speaker 7: very crazy, like... When I saw it, the police were
• 11:20
  Speaker 7: sending everyone away. Now they're going somewhere else. Insomnia is
• 11:24
  Speaker 7: this idea, right? If the police arrive, they'll go somewhere else.
• 11:29
  Speaker 3: Then you mentioned a hymn. I wanted to know when
• 11:33
  Speaker 3: you met each other in this process until you made Insomnia.
• 11:36
  Speaker 2: It was in the studio, right Duqueira? It was in
• 11:40
  Speaker 2: the studio.
• 11:40
  Speaker 5: Who called who to make this sound?
• 11:42
  Speaker 2: It was Duque.
• 11:43
  Speaker 1: It was a really crazy tour, blessed. Duque was in Planaltina,
• 11:50
  Speaker 1: if I remember correctly, in Whiskeria.
• 11:52
  Speaker 2: In Whiskeria, from 5. Exactly. And then....
• 11:56
  Speaker 1: We started drinking and when we had a conversation at
• 11:58
  Speaker 1: 1 am, the guy closed the bar.
• 11:59
  Speaker 2: The bar was at... Maguim. Maguim, Finado Maguim.
• 12:02
  Speaker 1: He closed the bar and we stayed inside. We had
• 12:05
  Speaker 1: a conversation at 1 am. Duque said, let's go to
• 12:08
  Speaker 1: the studio, there's a song to show you.
• 12:10
  Speaker 2: It was Insônia. I said, I'll pass the voice then.
• 12:12
  Speaker 2: And she fixed it. I wrote it on time.
• 12:15
  Speaker 5: We left. We were kind of drunk.
• 12:16
  Speaker 2: Totally.
• 12:17
  Speaker 3: Because it's good to know the stories of these songs.
• 12:21
  Speaker 5: The lyrics are really crazy. The lyrics were real too.
• 12:25
  Speaker 2: That's crazy.
• 12:27
  Speaker 1: And she was a great divider in my career. And
• 12:30
  Speaker 1: in Duke's career too. Because Insomniac played in an absurd way.
• 12:33
  Speaker 2: It played so well. It's an anthem, this song.
• 12:35
  Speaker 5: Who did the beat?
• 12:36
  Speaker 2: Me. Because.
• 12:42
  Speaker 4: And that's it, man.
• 12:45
  Speaker 2: Mood.
• 12:45
  Speaker 4: No, you say like this. This beat is not from
• 12:48
  Speaker 4: the Nordeste.
• 12:48
  Speaker 6: This beat is not from the South. This beat is
• 12:50
  Speaker 6: not from the South. This beat is from Brasília. This
• 12:53
  Speaker 6: bass from Brasília, man. It was you who brought this.
• 12:56
  Speaker 6: It already existed.
• 12:57
  Speaker 3: Why is this absurd bass that there is in Brasília?
• 13:00
  Speaker 2: I'd like you to answer this.
• 13:01
  Speaker 4: Who started this?
• 13:02
  Speaker 7: It was Alibi at the time, right? Alibi is a
• 13:06
  Speaker 7: group from Brasília. It was the Cambo Negro. It was
• 13:08
  Speaker 7: Jamaica and X. They separated. Then Michael went and created
• 13:13
  Speaker 7: the Alive. Then they came up with this absurd bass
• 13:17
  Speaker 7: and a very light snare, right? They put the bass
• 13:19
  Speaker 7: boom and the little air hitting.
• 13:22
  Speaker 2: But at the.
• 13:23
  Speaker 5: Time people didn't say, man, it's distorted, it's messed up.
• 13:26
  Speaker 5: People said, that's it, man.
• 13:27
  Speaker 7: Man, when this fucking clean bass appeared that hit, it
• 13:31
  Speaker 7: reached the heart, it generated love.
• 13:33
  Speaker 2: It generates the same feeling.
• 13:34
  Speaker 7: It's a vibration, it's not a noise, it's not a sound.
• 13:38
  Speaker 2: It's a vibration. It's a feeling, right? Exactly.
• 13:41
  Speaker 7: It causes something. When there's a good bass, a good
• 13:44
  Speaker 7: sound that hits the bass, boom, that nice sound. But
• 13:48
  Speaker 7: you must have the plug-ins that only Brazil has.
• 13:51
  Speaker 2: Really, bro. I stole it in the game.
• 13:54
  Speaker 7: What did you do? I created my 808. I took
• 13:56
  Speaker 7: a kick, put a kick on top of the other,
• 13:58
  Speaker 7: threw a sub on top. Then I created a sub.
• 14:01
  Speaker 2: Boom.
• 14:02
  Speaker 7: Then I threw it.
• 14:03
  Speaker 4: Mastered and saved it for you.
• 14:04
  Speaker 7: Then I did several of those. Then I used it
• 14:08
  Speaker 7: in the songs. And people would say, but how do
• 14:10
  Speaker 7: you do this sub with a pit band, right?
• 14:16
  Speaker 4: And you never told the secret to the people?
• 14:18
  Speaker 7: No, I told, but the people couldn't do it. That's it.
• 14:20
  Speaker 2: I remember a really cool situation. What?
• 14:22
  Speaker 1: It was released on Sony and this song came in
• 14:26
  Speaker 1: several places, man. We never imagined it would reach the
• 14:29
  Speaker 1: proportion it took.
• 14:30
  Speaker 2: And we're still smooth. I didn't understand that.
• 14:35
  Speaker 1: And I always liked... My main theme was always cars.
• 14:38
  Speaker 2: And you didn't have any?
• 14:40
  Speaker 1: And the guys would find me on the bus, like,
• 14:43
  Speaker 1: where the fuck are the cars?
• 14:44
  Speaker 2: So I started to walk with a hood on. And
• 14:47
  Speaker 2: was it requisite? It was real.
• 14:49
  Speaker 4: I was in the middle of the bus, like, man.
• 14:51
  Speaker 2: You're not Zorro das Fadas.
• 14:53
  Speaker 5: Are you?
• 14:53
  Speaker 4: You're not Zorro das Fadas, man.
• 14:56
  Speaker 2: Are you getting a buzz?
• 14:57
  Speaker 1: And, whether you like it or not, Not that I
• 15:02
  Speaker 1: was ashamed to show my reality, but it was embarrassing.
• 15:04
  Speaker 1: Because you would show a car ride, the Aro 20 video,
• 15:08
  Speaker 1: and the guys would.
• 15:09
  Speaker 7: Tell you, that dude there.
• 15:10
  Speaker 2: Worse than me, man!
• 15:11
  Speaker 5: He wants money!
• 15:13
  Speaker 1: I remember I met Duque J, let's have a drink.
• 15:16
  Speaker 1: There's a bar called Miauquimia.
• 15:19
  Speaker 2: Miauquimia.
• 15:20
  Speaker 5: Miauquimia.
• 15:20
  Speaker 2: We were having a drink and Duque J said, man,
• 15:22
  Speaker 2: I have something to tell you, man. I said, what
• 15:24
  Speaker 2: is it? He said, YouTube is giving money.
• 15:26
  Speaker 5: I said, what? Look how crazy these talks, man.
• 15:29
  Speaker 2: What do you mean, it's giving money?
• 15:30
  Speaker 9: He said, hey, man.
• 15:31
  Speaker 1: Look at this, there's a huge platform here. When I
• 15:34
  Speaker 1: got in there, I was rich. I didn't even know
• 15:36
  Speaker 1: what was going on. I said, Duque.
• 15:38
  Speaker 5: Jay, do you have any idea what's going on?
• 15:41
  Speaker 1: The next day, I stopped selling barbecue at the school
• 15:44
  Speaker 1: gate and left. You sold the barbecue.
• 15:48
  Speaker 2: My mom was my boss. She set up a dinner.
• 15:56
  Speaker 1: Rice, because we have this culture in Brasilia, which is barbecue, rice, cassava, vinaigrette.
• 15:59
  Speaker 2: It's already ready.
• 16:00
  Speaker 5: No, it's served on time.
• 16:01
  Speaker 1: My mom used to take the pans with the cassava
• 16:04
  Speaker 1: and serve it. I wanted the heart of the chicken.
• 16:06
  Speaker 1: She used to put the heart, the skewer, the rice,
• 16:08
  Speaker 1: the cassava.
• 16:08
  Speaker 4: So it was a meal, not just the skewer.
• 16:10
  Speaker 2: That's right.
• 16:11
  Speaker 1: It was a dinner, we used to call it that.
• 16:13
  Speaker 1: And then we used to pay, we used to get
• 16:15
  Speaker 1: the money from this.
• 16:17
  Speaker 2: Dinner, at the end of the month, from.
• 16:18
  Speaker 1: All this work, to pay the rest of the college,
• 16:22
  Speaker 1: because my mom got a scholarship for me. And one
• 16:24
  Speaker 1: day we were going to pay for this college.
• 16:26
  Speaker 2: But when I saw this whole thing on YouTube, I
• 16:28
  Speaker 2: called Eduardo. I said, Eduardo, we're rich. Do you have
• 16:32
  Speaker 2: any idea?
• 16:32
  Speaker 1: I don't know if it was a value like that.
• 16:35
  Speaker 1: But it was a very close value.
• 16:37
  Speaker 2: Four.
• 16:38
  Speaker 4: It's a value you've never seen, right?
• 16:40
  Speaker 2: Yeah, man. I said... And it falls all over the place.
• 16:44
  Speaker 2: It's just like that.
• 16:44
  Speaker 6: Duque, how did you find out that YouTube was paying?
• 16:46
  Speaker 4: Damn, man.
• 16:47
  Speaker 2: It was a very crazy story.
• 16:48
  Speaker 5: Hey, man. Tell us. I had a friend who.
• 16:55
  Speaker 7: He used to walk around the house with us. He
• 16:57
  Speaker 7: used to walk around the house with us all the time.
• 17:01
  Speaker 7: Then this guy took all my songs and registered them
• 17:03
  Speaker 7: in his name. All the songs of the guys. He
• 17:05
  Speaker 7: was making money from everyone. But he didn't say anything
• 17:10
  Speaker 7: to anyone, he was quiet, he stayed in the morning.
• 17:12
  Speaker 2: If he came to the crowd and said, oh.
• 17:13
  Speaker 7: Man, 50%, let's crack it, everyone would accept it.
• 17:14
  Speaker 2: Of course.
• 17:14
  Speaker 7: And he would say, 50%, he wasn't winning anything, so
• 17:16
  Speaker 7: 50% is too much. And he was wrong already doing that.
• 17:18
  Speaker 7: He was fucking wrong, but Neguinho.
• 17:20
  Speaker 4: Thought it was cool. He was fucking wrong.
• 17:21
  Speaker 2: He wasn't just wrong, he was fucking wrong.
• 17:23
  Speaker 4: Then a guy came to me and said, that's.
• 17:25
  Speaker 1: It, the NRPM is paying the money from YouTube and such.
• 17:27
  Speaker 7: Then I went to research this thing, I looked, cool.
• 17:36
  Speaker 2: And at the time, you know, I paid well.
• 17:37
  Speaker 4: YouTube already paid for it.
• 17:39
  Speaker 7: I was going to record the songs when I went
• 17:41
  Speaker 7: to upload the songs. It was already in the name.
• 17:44
  Speaker 4: Of the doll. So you took the flag in the
• 17:46
  Speaker 4: music itself.
• 17:47
  Speaker 7: And the guy passing by in a car, man. The
• 17:48
  Speaker 7: guy in the car, man. A Siena Zerado. And us
• 17:50
  Speaker 7: going up on foot.
• 17:52
  Speaker 4: Listening to the music.
• 17:53
  Speaker 2: Listening to the music. Sending money. Sending money.
• 17:55
  Speaker 7: Going up on a bike, man. Buying a car with
• 17:58
  Speaker 7: my money, man.
• 17:59
  Speaker 4: The guys are all running, man.
• 18:00
  Speaker 7: I said, man, what a shit, man. These guys are
• 18:03
  Speaker 7: very cowardly.
• 18:04
  Speaker 2: So this situation for me, man, is very striking. These
• 18:06
  Speaker 2: guys are cowardly. Then I found this guy.
• 18:08
  Speaker 5: But this doesn't happen much today. You're shocked.
• 18:10
  Speaker 2: Wait a minute. He's filming.
• 18:11
  Speaker 7: Then I found the guy. I didn't find him, we
• 18:13
  Speaker 7: were friends. I knew where he lived, we were friends.
• 18:17
  Speaker 7: Then I got to his house and said, man, this
• 18:20
  Speaker 7: thing of.
• 18:21
  Speaker 2: It's a RPMI.
• 18:21
  Speaker 4: I want to use the access now, man.
• 18:24
  Speaker 7: I want to use the access now. He said, no, man,
• 18:27
  Speaker 7: it was bad, I don't know what. No, I'm going
• 18:29
  Speaker 7: to solve it there. No, give me access now. Give
• 18:30
  Speaker 7: me the login and give me the trains. It went
• 18:32
  Speaker 7: by so fast that I got... The access was already
• 18:35
  Speaker 7: out of hand. I got scared, man, because I was...
• 18:36
  Speaker 7: I was very pissed, right, man? You have to be calm.
• 18:39
  Speaker 7: The guy is inside your house and you say, damn, man,
• 18:40
  Speaker 7: how is this thing going to.
• 18:42
  Speaker 5: And all your songs were there?
• 18:43
  Speaker 2: All the songs.
• 18:43
  Speaker 7: They were already on the streets. Then I didn't understand anything,
• 18:46
  Speaker 7: because I had just made the song. And the song
• 18:49
  Speaker 7: was playing on the street one day later. The song
• 18:51
  Speaker 7: was playing on the street and I hadn't.
• 18:52
  Speaker 4: Even released it.
• 18:53
  Speaker 2: Oh my God, I saw it. How did he get it?
• 18:54
  Speaker 2: With the ball, man.
• 18:56
  Speaker 7: Then he was saying that the song was going to
• 19:00
  Speaker 7: play somewhere, I don't know. Then when I saw it,
• 19:03
  Speaker 7: the car was passing on the street. Then when you
• 19:06
  Speaker 7: got there, what did he say? I called him on
• 19:08
  Speaker 7: the street to give me this... These accesses now, bro.
• 19:11
  Speaker 2: Give me these accesses.
• 19:12
  Speaker 8: You should have said it very calmly.
• 19:14
  Speaker 4: Very calmly.
• 19:15
  Speaker 2: No, no, for real.
• 19:16
  Speaker 7: He went in there, gave me the login, the thing.
• 19:19
  Speaker 7: I got to the ball, I said, ball, pass, change
• 19:22
  Speaker 7: the password. Then I started to assume, right? That's where
• 19:25
  Speaker 7: I saw it. Damn, I was making some money, man.
• 19:26
  Speaker 5: On your back.
• 19:28
  Speaker 7: I was more than me there in the studio, working
• 19:29
  Speaker 7: on holidays.
• 19:31
  Speaker 2: At night, birthday, Christmas.
• 19:32
  Speaker 7: I didn't care. I would put the schedule for the
• 19:34
  Speaker 7: guys to mark, right? Then the guys would look at
• 19:38
  Speaker 7: the holidays. I didn't know if it was a holiday
• 19:41
  Speaker 7: or not. The guy was recording in the studio. When
• 19:44
  Speaker 7: he saw the holiday, the guy was there in the studio,
• 19:48
  Speaker 7: I was there at home, I had to go down
• 19:50
  Speaker 7: to the studio. And the doll taking my money and
• 19:53
  Speaker 7: walking around in a car.
• 19:56
  Speaker 4: Sorry.
• 19:56
  Speaker 5: Today you can laugh, right? Today I'm going to be laughing.
• 20:00
  Speaker 6: To give a shit about Ciena Zero, I'm going to
• 20:03
  Speaker 6: charge him with my money.
• 20:04
  Speaker 3: Trampling the holiday here. But this was a change of
• 20:08
  Speaker 3: key for you.
• 20:09
  Speaker 2: Change of key and change of life.
• 20:11
  Speaker 5: Dependence.
• 20:11
  Speaker 2: Because it generated instability there. Even though there were times
• 20:16
  Speaker 2: when they gave money... YouTube was good for everyone. It
• 20:19
  Speaker 2: helped a lot. It was a turn of key and
• 20:20
  Speaker 2: a turn of life too.
• 20:21
  Speaker 1: I remember that Eduardo, we were already in a big mess,
• 20:25
  Speaker 1: Eduardo was battling with me, my employer was battling, Eduardo
• 20:29
  Speaker 1: took a Fiesta, he said that the Fiesta was all right,
• 20:32
  Speaker 1: and we pulled. And then, man, the bank took this Fiesta,
• 20:35
  Speaker 1: there was no way we could pull it, but when
• 20:39
  Speaker 1: we got involved in this situation, that this Rolê was monetizing,
• 20:44
  Speaker 1: a few weeks before, Eduardo had called me, we always
• 20:46
  Speaker 1: talked a lot, Eduardo, Hungary, I said, what was it?
• 20:50
  Speaker 1: You don't think it's better for.
• 20:51
  Speaker 4: Us to study, do you?
• 20:53
  Speaker 2: It's true, man.
• 20:56
  Speaker 3: You don't think it's better.
• 20:58
  Speaker 5: For us to.
• 20:59
  Speaker 2: Wonderful!
• 21:00
  Speaker 4: If my boss sends this to me, I'll say, fuck it, man!
• 21:02
  Speaker 5: I said, fuck this shit! Let's study!
• 21:04
  Speaker 4: Let's borrow some money!
• 21:06
  Speaker 5: But you think.
• 21:06
  Speaker 1: I said, damn, the business shouldn't be too good. We've
• 21:09
  Speaker 1: been battling for a long time, right?
• 21:11
  Speaker 2: Let's study. I said, let's try another month. That's when
• 21:13
  Speaker 2: I got this news. You believe me? I got this news.
• 21:21
  Speaker 2: Let's try one more month? I said, let's try. And
• 21:23
  Speaker 2: then I got this news from Duque J. And I
• 21:26
  Speaker 2: came talking to him.
• 21:27
  Speaker 3: And from that, you started to professionalize more on YouTube
• 21:30
  Speaker 3: in relation to clips?
• 21:31
  Speaker 5: I think it has quality and everything, right, Duque?
• 21:32
  Speaker 1: The investment, it starts to be bigger when you receive...
• 21:35
  Speaker 1: When you know how.
• 21:36
  Speaker 4: Much it turned, you say, hey, I don't know, 10,000?
• 21:37
  Speaker 4: I'll get 4,000, reinvest it, I'll pay the bills. I
• 21:40
  Speaker 4: think it starts to.
• 21:44
  Speaker 1: It became an economy. Even the structure of the studio,
• 21:47
  Speaker 1: the equipment, you know?
• 21:48
  Speaker 2: The clips... Duque, you look like.
• 21:51
  Speaker 4: Sorry, Hungary.
• 21:52
  Speaker 2: No, please.
• 21:53
  Speaker 6: No, you look like you're a guy who's very focused
• 21:55
  Speaker 6: on equipment and stuff, you're always producing. So, for you,
• 21:58
  Speaker 6: I imagine it was your independence, as I mentioned here
• 22:02
  Speaker 6: for Hungary, right?
• 22:03
  Speaker 4: Like, now there's going to be some money, I'm going
• 22:05
  Speaker 4: to set up my studio. How was that moment for you? Wow,
• 22:06
  Speaker 4: there's going to be some money, my God.
• 22:09
  Speaker 5: Finally.
• 22:09
  Speaker 7: Damn, I don't know how to explain it, man.
• 22:11
  Speaker 2: It was like.
• 22:12
  Speaker 4: It's like finding some money on the street.
• 22:15
  Speaker 7: Like when you find 5 reais on the street, is
• 22:18
  Speaker 7: it good? It's different from you. And Duque was a
• 22:21
  Speaker 7: guy I admired a lot, because Duque's.
• 22:22
  Speaker 2: Career was always very big.
• 22:24
  Speaker 1: So there was a time when I arrived at the
• 22:26
  Speaker 1: Duque de Dia studio and he was recording gospel. And
• 22:28
  Speaker 1: at the same time that he recorded in one day,
• 22:31
  Speaker 1: he listened to more.
• 22:36
  Speaker 1: I recorded some more with the sound of Maluqueira and
• 22:39
  Speaker 1: listened to his ideas.
• 22:39
  Speaker 2: So I asked him how he could play the buga.
• 22:41
  Speaker 2: There was a guy who played it. There was a
• 22:43
  Speaker 2: guy who played it. Then there was another guy singing Glovo.
• 22:45
  Speaker 2: Glory to God. How did this guy play the buga?
• 22:47
  Speaker 8: How?
• 22:48
  Speaker 5: And he worked.
• 22:50
  Speaker 4: He worked for many.
• 22:51
  Speaker 2: Years, right?
• 22:51
  Speaker 1: I think it was a health risk, because we only
• 22:55
  Speaker 1: ate bullshit.
• 22:55
  Speaker 2: Duque J didn't leave the studio. Only pizza and Coca-Cola.
• 22:58
  Speaker 2: Sausage rolls, that roasted one near the.
• 23:01
  Speaker 4: Cucumber, sour cucumber.
• 23:02
  Speaker 5: Macarron on the plate.
• 23:04
  Speaker 7: Macarron on the plate.
• 23:05
  Speaker 2: Macarron on the plate?
• 23:06
  Speaker 5: He put the plate like.
• 23:08
  Speaker 7: This, threw the macarron with cheese and a lot of stuff,
• 23:10
  Speaker 7: poured it, threw it on the plate.
• 23:14
  Speaker 4: Let's go, eat.
• 23:15
  Speaker 2: And then.
• 23:16
  Speaker 4: And then he started recording a group.
• 23:18
  Speaker 2: That made a mess in the rap itself.
• 23:19
  Speaker 1: And the guys would get to the Duque Jay there,
• 23:22
  Speaker 1: and if I'm wrong, correct me, they would say, so
• 23:25
  Speaker 1: I have a song that only has the chorus.
• 23:28
  Speaker 2: And Duque Jay, no, leave it to me, I'll do
• 23:32
  Speaker 2: the chorus.
• 23:32
  Speaker 1: 20 bands in Brasília with Duke singing.
• 23:39
  Speaker 2: He wrote and sang. With my choruses. Did you get
• 23:40
  Speaker 2: paid for that?
• 23:41
  Speaker 1: Nothing.
• 23:41
  Speaker 7: I just wanted to make fun of him.
• 23:43
  Speaker 4: He only charged the production.
• 23:44
  Speaker 2: How much was the production?
• 23:45
  Speaker 7: 250?
• 23:46
  Speaker 2: It was like that. 200, 250.
• 23:46
  Speaker 7: And there was a song that hit like hell. There
• 23:48
  Speaker 7: was a song that blew up with my choruses. And
• 23:49
  Speaker 7: at that time, the studio was in a big fight.
• 23:51
  Speaker 5: It was already bad for Duke.
• 23:53
  Speaker 2: And the studio goes and catches fire.
• 24:03
  Speaker 4: Oh, that's a lie, man. It's not a laughing matter.
• 24:05
  Speaker 4: It's not a laughing matter.
• 24:06
  Speaker 2: It's not a laughing matter. It's not a laughing matter.
• 24:07
  Speaker 7: It's not a laughing matter.
• 24:08
  Speaker 2: It's not a laughing matter.
• 24:09
  Speaker 7: It's not a laughing matter.
• 24:10
  Speaker 2: It's not a laughing matter. It's not a laughing matter.
• 24:12
  Speaker 2: It's not a laughing matter.
• 24:13
  Speaker 5: It's not a laughing matter.
• 24:14
  Speaker 9: It's not a laughing matter.
• 24:14
  Speaker 4: It's not a laughing matter.
• 24:15
  Speaker 2: It's not a laughing matter.
• 24:16
  Speaker 1: It's not a laughing matter. It's not a laughing matter.
• 24:18
  Speaker 1: It's not a laughing matter.
• 24:19
  Speaker 2: It's not a laughing matter.
• 24:20
  Speaker 4: It's not a laughing matter.
• 24:21
  Speaker 2: It's not a laughing matter. It's not a laughing matter.
• 24:23
  Speaker 2: It's not a laughing matter. It's not a laughing matter.
• 24:25
  Speaker 2: It's not a laughing matter. It's not a laughing matter.
• 24:27
  Speaker 2: It's not a laughing matter. It's not a laughing matter.
• 24:28
  Speaker 5: It's not a laughing matter. It's not a laughing matter.
• 24:30
  Speaker 7: It's not a laughing matter. It's not a laughing From
• 24:33
  Speaker 7: 2008 to 2009. What happened, bro?
• 24:36
  Speaker 5: I put the studio there.
• 24:36
  Speaker 7: The place was closed, you know? There was no glass.
• 24:41
  Speaker 7: It was very closed. But I thought of putting a
• 24:47
  Speaker 7: little lamp there. To put the light inside the booth.
• 24:50
  Speaker 7: I put a little lamp there, but it was just.
• 25:01
  Speaker 7: There was a time, right?
• 25:02
  Speaker 2: It melted.
• 25:03
  Speaker 7: But I put the gambiarra and it kept rolling. Then
• 25:05
  Speaker 7: I said, I'll change this shit. Then I threw the
• 25:08
  Speaker 7: gambiarra there. We arrived one day, man. It was a
• 25:13
  Speaker 7: Saturday morning. I got up in the morning. To make
• 25:16
  Speaker 7: a mix of a crazy guy, I don't even know
• 25:20
  Speaker 7: who it was.
• 25:21
  Speaker 2: The devil is dirty, right? Right on Saturday.
• 25:23
  Speaker 4: Crazy guy.
• 25:24
  Speaker 7: Then I got up in the morning, but it was
• 25:26
  Speaker 7: like a stop, man. Then I arrived in the morning,
• 25:28
  Speaker 7: turned on the lights, turned on the studio. I turned
• 25:31
  Speaker 7: on the sound, and there, with the headphones on, I'm Dr.
• 25:32
  Speaker 5: Dre, right?
• 25:33
  Speaker 2: Doing the thing.
• 25:33
  Speaker 7: Then the hair starts to... The smoke came out in
• 25:36
  Speaker 7: the corner, right.
• 25:40
  Speaker 2: In the mother, this smoke, right?
• 25:40
  Speaker 7: Then I looked at the smoke, and I said, what
• 25:44
  Speaker 7: the fuck is this smoke?
• 25:45
  Speaker 5: It continued.
• 25:47
  Speaker 7: Okay, I continued, man. And the smoke just getting more
• 25:49
  Speaker 7: and more.
• 25:49
  Speaker 2: I continued, the guy saw the smoke.
• 25:52
  Speaker 7: Fuck, but the smoke closed in there, I was fine.
• 25:54
  Speaker 4: What if someone lit a derby?
• 25:55
  Speaker 2: Man, then I got up, when I.
• 25:58
  Speaker 7: When I opened the cabin, the fire was already all
• 26:00
  Speaker 7: over the cabin. It hit the wall here and there.
• 26:02
  Speaker 7: And it was those.
• 26:03
  Speaker 2: Sonex. Yeah, man. It was the one that catches fire.
• 26:06
  Speaker 2: It looked like it was inflamed. It was like an ember,
• 26:09
  Speaker 2: like a fire. Then it caught fire and it was fast.
• 26:11
  Speaker 2: Then I said, what now?
• 26:13
  Speaker 7: I stopped there, saved a sound box, saved a thing
• 26:17
  Speaker 7: and the fire started to hit everything. Didn't you get burned, bro?
• 26:20
  Speaker 7: I got burned, I stuck my finger, it's still here.
• 26:27
  Speaker 7: I wanted to take the CPU.
• 26:29
  Speaker 2: Out of the place, but I screwed it in the rack,
• 26:31
  Speaker 2: you know?
• 26:32
  Speaker 7: I said, I'm going to screw it here, I want
• 26:35
  Speaker 7: to see if someone steals it, it's going to be
• 26:36
  Speaker 7: a fucking job. And at the time, why did you.
• 26:38
  Speaker 5: Screw this shit? And I was taking it.
• 26:41
  Speaker 7: Out here, I took out the front of the CPU, right?
• 26:43
  Speaker 7: And it was just those screws like that. Then I
• 26:46
  Speaker 7: was trying to take it out there, and it went down, man.
• 26:51
  Speaker 7: The fire was everywhere. I was like a soldier in
• 26:54
  Speaker 7: the army.
• 26:55
  Speaker 5: The fire was everywhere.
• 26:56
  Speaker 2: Alone?
• 26:57
  Speaker 3: Alone.
• 26:57
  Speaker 2: I was alone.
• 26:58
  Speaker 7: I went out and there was no other way.
• 26:59
  Speaker 4: It was very serious.
• 27:01
  Speaker 7: It was very serious. I was going to die in there.
• 27:04
  Speaker 7: I wanted to save the device. And the smoke in
• 27:07
  Speaker 7: the window.
• 27:07
  Speaker 2: The people outside were like.
• 27:09
  Speaker 4: You lost a lot of music, bro.
• 27:10
  Speaker 7: A lot of music. All the equipment.
• 27:12
  Speaker 2: A lot of music.
• 27:14
  Speaker 7: Almost all the equipment.
• 27:15
  Speaker 2: But you saved me.
• 27:16
  Speaker 5: Hungary said you almost stopped.
• 27:18
  Speaker 2: I was in the hospital.
• 27:20
  Speaker 7: Because of the black smoke, I inhaled a lot.
• 27:25
  Speaker 2: And went to the hospital.
• 27:27
  Speaker 1: And then I saw in Duque's eyes that he gave
• 27:31
  Speaker 1: a kick to follow or stop.
• 27:32
  Speaker 2: He gave a kick to him. But God put him
• 27:34
  Speaker 2: on his feet again.
• 27:34
  Speaker 6: Amen.
• 27:35
  Speaker 2: There was a crowd too.
• 27:35
  Speaker 7: There was a crowd that was great.
• 27:36
  Speaker 5: How was it to come back to this studio? Then
• 27:38
  Speaker 5: a crowd arrived.
• 27:39
  Speaker 7: I said, Duque, what happened? I said, damn, I'm going
• 27:42
  Speaker 7: to stop. I got fired here in the studio. It's
• 27:45
  Speaker 7: not going to stop, brother. How much is it? I
• 27:50
  Speaker 7: have 500 bucks here. Let's get some people here and
• 27:54
  Speaker 7: raise some money. We'll set up the studio again. Let's go.
• 27:56
  Speaker 7: Then he called one, called the other. They called the
• 27:59
  Speaker 7: guys and we went and rebuilt the studio again, man.
• 28:01
  Speaker 5: That's awesome, bro.
• 28:02
  Speaker 7: We got here from São Paulo. That Monday, he was
• 28:05
  Speaker 7: going to record, you know?
• 28:08
  Speaker 1: Wow.
• 28:08
  Speaker 7: Because Míngue is an ingested there in the hospital. Then
• 28:10
  Speaker 7: he calls me. Then he says, what's up, Duque?
• 28:14
  Speaker 2: All right? I'm going.
• 28:15
  Speaker 1: Wow.
• 28:16
  Speaker 7: Then I said, brother.
• 28:17
  Speaker 4: Don't come.
• 28:18
  Speaker 7: There was fire in the studio here, don't come. Then
• 28:21
  Speaker 7: he said, I don't know, I'm going there to help, bro.
• 28:23
  Speaker 7: We're going to set up this studio.
• 28:25
  Speaker 2: There, damn it. I said, damn it.
• 28:27
  Speaker 7: No, I don't want to record it, it's too bad, bro.
• 28:30
  Speaker 7: I said, okay, let's set it up. And that's what
• 28:33
  Speaker 7: really got the gas, you know? It was up to Elvis, bro.
• 28:35
  Speaker 7: A big hug to Elvis. What a great Elvis, bro.
• 28:38
  Speaker 5: Damn, what a great guy.
• 28:39
  Speaker 7: And he really encouraged the people there, the guys calling,
• 28:41
  Speaker 7: Mark Daesmo, it was a lot of people, man. The
• 28:44
  Speaker 7: guys running there with the money.
• 28:45
  Speaker 4: You can't forget who gave the hand, this is really cool.
• 28:49
  Speaker 6: But I wanted to know, Duque, at the beginning, when
• 28:52
  Speaker 6: you started, your family, what did they say about you
• 28:55
  Speaker 6: being a rapper?
• 28:56
  Speaker 7: My God, Eduardo. How did that happen? Man, at home
• 29:01
  Speaker 7: it was really crazy. I was too free. I had
• 29:03
  Speaker 7: the freedom to do whatever I wanted. Even too much?
• 29:06
  Speaker 5: Of everything, man. So you said, I'm going to be
• 29:09
  Speaker 5: a rapper.
• 29:09
  Speaker 10: They said, good.
• 29:10
  Speaker 1: Okay.
• 29:10
  Speaker 2: I started singing, how cool, man.
• 29:12
  Speaker 5: You know how to put the bass, son.
• 29:14
  Speaker 2: So put the bass on this shit. I was there
• 29:16
  Speaker 2: singing at home.
• 29:18
  Speaker 7: And the choir thought rap was cool. They liked it
• 29:20
  Speaker 7: a lot. They were very rational. They wrote the man
• 29:23
  Speaker 7: on the road in their notebooks.
• 29:25
  Speaker 2: To decorate, right? To decorate, man.
• 29:26
  Speaker 7: To take the wave out on the street, right?
• 29:27
  Speaker 2: You have to sing everything.
• 29:28
  Speaker 5: I said I wanted to sing.
• 29:30
  Speaker 7: I got there and sang for her. I was admiring.
• 29:32
  Speaker 7: I said, damn, I'm leaving. That's so cool. Because I
• 29:35
  Speaker 7: think it's the same thing.
• 29:36
  Speaker 4: Hungary, your mother, encourages you.
• 29:40
  Speaker 2: You a lot, right?
• 29:41
  Speaker 5: Holy Mary.
• 29:41
  Speaker 4: That's crazy. I don't know what year Lollapalooza was. It
• 29:45
  Speaker 4: was 1924 or 1923.
• 29:46
  Speaker 2: It was 1924.
• 29:46
  Speaker 4: We were recording.
• 29:48
  Speaker 6: Inside an aquarium and then your show started. When we left,
• 29:56
  Speaker 6: we saw your mom making a speech. It was so emotional, bro.
• 30:00
  Speaker 6: I wanted to know the importance of your mom. I
• 30:04
  Speaker 6: see that you always talk about your mom, obviously, with respect,
• 30:08
  Speaker 6: as if she were almost an entity, but the importance
• 30:12
  Speaker 6: of her in your professional life.
• 30:14
  Speaker 1: Talking about my mom is something that always sensitizes me.
• 30:19
  Speaker 1: It's the most precious thing in my life. I think
• 30:22
  Speaker 1: the family is the pillar of this family.
• 30:24
  Speaker 2: It's Mrs. Raquel. And I stop.
• 30:27
  Speaker 1: To think several times, this early morning, two days ago,
• 30:30
  Speaker 1: late at night, I was drinking with my friends at home,
• 30:32
  Speaker 1: I woke up my mother, she said, are you drinking
• 30:34
  Speaker 1: too much? I said, no, I'll stay here alone, drinking.
• 30:36
  Speaker 1: Let me enjoy it, I have time without coming home.
• 30:38
  Speaker 1: And then I knocked on her door, she was sleeping
• 30:42
  Speaker 1: with my daughter, I said, do you have any idea
• 30:45
  Speaker 1: where we are living now? How God is faithful in
• 30:48
  Speaker 1: our lives. You can imagine, it was one of my
• 30:50
  Speaker 1: biggest dreams, son. So, the importance of my mother, not
• 30:53
  Speaker 1: only professionally, but also from the person who made me
• 30:57
  Speaker 1: become who I am, who collaborated with Gustavo.
• 31:00
  Speaker 6: She is a person that if Gustavo were to kick her,
• 31:03
  Speaker 6: she would say, come here.
• 31:05
  Speaker 4: It's wrong.
• 31:05
  Speaker 2: She does?
• 31:06
  Speaker 1: These days I went to her house and she didn't
• 31:08
  Speaker 1: let me in. She said, it's a house.
• 31:10
  Speaker 2: That I gave you, I'm living with you, it's a
• 31:12
  Speaker 2: house that I gave you, if you don't want to
• 31:14
  Speaker 2: let me in, you can take your stuff and go home.
• 31:17
  Speaker 2: And she's like that, right? I bought it for us,
• 31:20
  Speaker 2: you can take your stuff and go home. And then,
• 31:23
  Speaker 2: what happens? There is respect, right?
• 31:24
  Speaker 1: She says, no, it's okay, but can it be tomorrow?
• 31:27
  Speaker 1: Then when she wakes up, she's going to be calmer.
• 31:30
  Speaker 1: And then she woke up, changed her mind, so it's
• 31:34
  Speaker 1: a light being, right? If it exists, I don't know,
• 31:38
  Speaker 1: the doubts we have, if there is another life or not,
• 31:41
  Speaker 1: but if there is, I wanted to be born from
• 31:42
  Speaker 1: that same womb there.
• 31:42
  Speaker 3: But at the time of the dinner, what did she
• 31:45
  Speaker 3: say to you? Oh, son, you're going to be fine,
• 31:46
  Speaker 3: you're going to be fine.
• 31:47
  Speaker 2: This question is important, but your mother always supported you.
• 31:50
  Speaker 2: when she saw that it was working.
• 31:51
  Speaker 8: So, when it was our turn, I wanted to know
• 31:55
  Speaker 8: how it was.
• 31:56
  Speaker 1: Because there was a culture back then, the thoughts of
• 32:00
  Speaker 1: our parents and grandmothers was that we had to work
• 32:03
  Speaker 1: for someone, so in Brazil there was a lot of that,
• 32:06
  Speaker 1: even today, of contests, right?
• 32:08
  Speaker 2: Studying, taking part in contests.
• 32:09
  Speaker 1: So, until that moment, she supported to a certain extent.
• 32:15
  Speaker 2: And what happens? Ms. Raquel is away from my job today,
• 32:17
  Speaker 2: from rap, whatever. She's my daughter, every time I come here.
• 32:20
  Speaker 5: And then.
• 32:20
  Speaker 2: At 22 years old, she started to worry. Right? And
• 32:25
  Speaker 2: my mother... Was she at work? No, but she was
• 32:28
  Speaker 2: really worried about Trampo. Like, man.
• 32:30
  Speaker 1: We used to go to the studio at night. At
• 32:33
  Speaker 1: 22 years old, what did she do?
• 32:34
  Speaker 2: She.
• 32:35
  Speaker 1: Then she would wake up late. Think about the trauma
• 32:38
  Speaker 1: I have of slapping my foot.
• 32:39
  Speaker 2: It was my mother. On the palm of the foot.
• 32:41
  Speaker 5: On the palm of the foot.
• 32:43
  Speaker 2: To wake up. But life doesn't go that way, my son. So,
• 32:46
  Speaker 2: what was the way for her to worry? She had
• 32:47
  Speaker 2: to study, right? Sleep early. Yeah, sleep early.
• 32:49
  Speaker 1: She didn't understand the whole thing, maybe she didn't see
• 32:52
  Speaker 1: a dream as a dream, my dream as a dream.
• 32:54
  Speaker 1: I think she even looked at it and said like this, damn,
• 32:55
  Speaker 1: this is very difficult, it's too difficult.
• 32:57
  Speaker 4: So she already wants to be chosen for security. And
• 33:00
  Speaker 4: what happens? Rap, in our time, I don't know if
• 33:03
  Speaker 4: you have the same.
• 33:03
  Speaker 2: Vision, Duque, but... No one in the rap scene was
• 33:12
  Speaker 2: synonymous with a stable life. It didn't exist. The guys
• 33:14
  Speaker 2: were crazy, they were rational, they were in the favela, so...
• 33:16
  Speaker 2: There was no one, man.
• 33:18
  Speaker 1: Not a single one in a stable life, in a
• 33:20
  Speaker 1: nice house with a family. You say, like, that rapper
• 33:22
  Speaker 1: is a millionaire.
• 33:22
  Speaker 4: Yeah, exactly.
• 33:23
  Speaker 2: We talk a lot, and Duque is.
• 33:25
  Speaker 1: It's nice to have moments with Duque, he goes there,
• 33:28
  Speaker 1: we keep exchanging ideas. We dived into the sea blind.
• 33:32
  Speaker 1: I think that's why it worked.
• 33:34
  Speaker 2: It's love, right? It's love.
• 33:35
  Speaker 1: In fact, we didn't even think about living in this place.
• 33:38
  Speaker 2: We just wanted to see my son playing in the cars.
• 33:41
  Speaker 2: That culture. When I saw the camera.
• 33:43
  Speaker 7: To be part of the movement.
• 33:44
  Speaker 4: In Brasília, right? And then you found out that you
• 33:46
  Speaker 4: can earn real money.
• 33:47
  Speaker 2: I said, damn, Duque. But that was....
• 33:54
  Speaker 1: It's alive, and we witnessed this barrier of seeing rap
• 33:57
  Speaker 1: transforming into.
• 33:58
  Speaker 7: Such a great rhythm today.
• 33:59
  Speaker 2: Brazil has always.
• 34:01
  Speaker 6: Been very conservative with rap at the beginning, but I
• 34:04
  Speaker 6: wanted to know, in Brasília, because the parliamentarians are all there,
• 34:10
  Speaker 6: Planalto is there, it's all there, is it a little
• 34:14
  Speaker 6: more conservative there?
• 34:15
  Speaker 4: Did you feel like a street music? What do you
• 34:17
  Speaker 4: think of what?
• 34:19
  Speaker 7: It's because Lucreia is more penitent than the center where
• 34:24
  Speaker 7: the governor is, this political people. It's very easy for
• 34:26
  Speaker 7: the guys to find you. But where the people really live,
• 34:30
  Speaker 7: where the periphery... Where the big mass of Brasília is
• 34:34
  Speaker 7: not in that area there. So the contact you have
• 34:37
  Speaker 7: with politicians and this people doesn't even exist in the
• 34:40
  Speaker 7: area of the people there.
• 34:42
  Speaker 2: It's another world.
• 34:42
  Speaker 4: It's just the election.
• 34:43
  Speaker 7: It's just the election.
• 34:44
  Speaker 2: It's just the election.
• 34:45
  Speaker 5: It's just the election.
• 34:47
  Speaker 4: It's just the election. It's just the election.
• 34:48
  Speaker 7: It's just the election. It's just the election.
• 34:57
  Speaker 5: But the D.F.
• 34:58
  Speaker 8: Itself.
• 34:58
  Speaker 2: It's not there.
• 34:59
  Speaker 4: It's not there, man.
• 35:01
  Speaker 7: It's around. It's the big mass, right? It's the big mass.
• 35:03
  Speaker 7: It's another life.
• 35:05
  Speaker 5: It has nothing to do with politics. And can you
• 35:07
  Speaker 5: tell me what are the characteristics of D.F.
• 35:09
  Speaker 4: Rap?
• 35:09
  Speaker 2: Besides the bass.
• 35:10
  Speaker 3: What's the difference? I've been there a lot. I saw
• 35:14
  Speaker 3: the differences of rap from there. From there, it was
• 35:16
  Speaker 3: the first Brazilian rap style that caught me. Because I
• 35:20
  Speaker 3: listened to a lot of gringo. So, beat, melody. I
• 35:24
  Speaker 3: was always addicted to cars. Need for Speed, Underground. For me,
• 35:29
  Speaker 3: the first Brazilian rap that struck me was Brazilian.
• 35:32
  Speaker 5: I wanted you to give me characteristics.
• 35:35
  Speaker 3: Because what caught me was the bass and the voice
• 35:37
  Speaker 3: of Hungary, the melody. I was watching the gringos and
• 35:41
  Speaker 3: I said, this is very good.
• 35:42
  Speaker 1: It's a rap, I don't know if we owe this
• 35:44
  Speaker 1: to the border, that we live very close between Goiânia
• 35:46
  Speaker 1: and Brasília.
• 35:47
  Speaker 2: Goiânia is a refuge of the sertanejo.
• 35:49
  Speaker 4: And then.
• 35:51
  Speaker 1: When I started to take the rap, people would say, man,
• 35:56
  Speaker 1: he's singing sertanejo in the rap, so people would take
• 36:00
  Speaker 1: me from sertanejo, why don't you sing sertanejo right away?
• 36:04
  Speaker 1: So I think this identity, the way we sing, I
• 36:07
  Speaker 1: think it's very remarkable. And the timbres too, right? BookD
• 36:11
  Speaker 1: is an example, a timbre that every time we produce
• 36:13
  Speaker 1: a song, we like to have the sensitivity to feel
• 36:16
  Speaker 1: a roll, right?
• 36:18
  Speaker 2: I don't even know how to explain. An aesthetic that.
• 36:21
  Speaker 7: It.
• 36:21
  Speaker 2: Brings nostalgia, I don't know. It's crazy. It's a lot
• 36:24
  Speaker 2: of weight.
• 36:24
  Speaker 7: In Brazil, there's also a characteristic of making the songs artisanal.
• 36:30
  Speaker 7: We don't use samples. We don't use a lot of samples.
• 36:34
  Speaker 7: We use very few samples. So we play almost everything. Basically,
• 36:39
  Speaker 7: everything is played. All arrangements are created.
• 36:42
  Speaker 4: Even if it's digital, it's more organic.
• 36:45
  Speaker 7: It's digital, but it's all done. It's all played. The
• 36:48
  Speaker 7: aesthetics are different. Rap uses too much sample, right? Nowadays
• 36:56
  Speaker 7: it uses more sample. Today it's more fucked up in
• 36:58
  Speaker 7: the sample. To find an artisanal sound that the producer
• 37:02
  Speaker 7: goes there and plays.
• 37:04
  Speaker 4: But do you still use this artisanal?
• 37:05
  Speaker 7: How do you say it?
• 37:08
  Speaker 4: Do you still do this craft in your music?
• 37:10
  Speaker 2: Yes, I still do it. I still do it.
• 37:12
  Speaker 7: But for those who know, the difference is very noticeable.
• 37:14
  Speaker 5: You can put several songs there, I'll listen to it.
• 37:16
  Speaker 5: I'm from Brasília.
• 37:18
  Speaker 3: What brought this closeness between us was this rap in Brasília,
• 37:20
  Speaker 3: between me and Mítico.
• 37:21
  Speaker 5: I remember a video.
• 37:22
  Speaker 2: That Eduardo showed, and I said, man, it costed a lot.
• 37:24
  Speaker 2: And Mítico was in the.
• 37:34
  Speaker 2: From YouTube, very strong, right? I remember we met in Natal,
• 37:37
  Speaker 2: in Rio Grande do Norte, you traveled with us.
• 37:39
  Speaker 4: There are videos of this tour.
• 37:40
  Speaker 2: There are all of you, I saw.
• 37:41
  Speaker 5: There are all of these videos, bro. There are videos
• 37:43
  Speaker 5: I used to.
• 37:44
  Speaker 2: I'm peeing in your house, right? There is. It's crazy.
• 37:48
  Speaker 5: No, but before I met you, I talked about.
• 37:51
  Speaker 2: You in my videos.
• 37:51
  Speaker 3: I said, bro, guys, Hungary, this guy here, he makes
• 37:54
  Speaker 3: a very different sound, guys. There was the funk guys
• 37:57
  Speaker 3: and such, but pay attention to this guy. Then I used,
• 38:00
  Speaker 3: in the intro of my videos, Hungary, Zorro do Asfalto.
• 38:03
  Speaker 2: Zorro do Asfalto.
• 38:04
  Speaker 5: And it was a very cool movement.
• 38:05
  Speaker 2: And it was indeed a mythical movement, right?
• 38:08
  Speaker 1: All this musicality from Brasília and also the themes that,
• 38:12
  Speaker 1: putting Hungria in third person, that he brought to this
• 38:14
  Speaker 1: rap tour. Because it was even worrying, right, Duque? Duque
• 38:18
  Speaker 1: was a great advisor for me, because I already sang
• 38:21
  Speaker 1: another format of rap, which was car, it.
• 38:23
  Speaker 2: Was already more focused on this tour, right? In the
• 38:26
  Speaker 2: gas station.
• 38:26
  Speaker 1: And then there was a kind of rebellion against Hungria
• 38:30
  Speaker 1: in Quebrada.
• 38:31
  Speaker 2: And this rap was Playboy singing. I thought you were Playboy. Yeah, man.
• 38:36
  Speaker 2: And then Duke and Jay just said, man, keep going.
• 38:38
  Speaker 2: I remember that... And it was always.
• 38:40
  Speaker 1: And we were afraid, right? Who was from the rap
• 38:43
  Speaker 1: itself was afraid to participate with me. I remember that
• 38:45
  Speaker 1: Duke had a CD ready.
• 38:46
  Speaker 2: Remember, Duke? We went to record the CD. We recorded
• 38:49
  Speaker 2: the CD. The CD was ready. Duke looked at me. Moreno.
• 38:52
  Speaker 2: I'm going to release this together, because it's not my language,
• 38:55
  Speaker 2: it's not the public's, right?
• 38:57
  Speaker 1: And they can also reveal themselves. And today, I believe
• 39:01
  Speaker 1: that we sing in the same language. The Periferia tribe
• 39:04
  Speaker 1: and Hungary have the same language. But there was a
• 39:06
  Speaker 1: very big fight to be accepted the way it is today.
• 39:10
  Speaker 1: And I thought that was the most bizarre thing in
• 39:13
  Speaker 1: the world, because rap has always been that.
• 39:14
  Speaker 2: Freedom to sing what... I wanted to sing. I always
• 39:18
  Speaker 2: thought so. And then some dizzies started to appear, bro.
• 39:21
  Speaker 2: On YouTube.
• 39:22
  Speaker 4: Then I never forgot.
• 39:22
  Speaker 5: It marked my head.
• 39:23
  Speaker 2: For you. It's a gripped voice. It's not just this phrase, bro.
• 39:26
  Speaker 2: In my head, bro. Do you believe? Playboy singing rap, voice...
• 39:29
  Speaker 2: with a flu. He just wouldn't call me a saint.
• 39:32
  Speaker 2: I remember there was.
• 39:33
  Speaker 5: A time when people hated you.
• 39:34
  Speaker 3: But I thought it was because it was new, man.
• 39:37
  Speaker 3: The guy comes with a high tone, with a different melody.
• 39:40
  Speaker 4: When you started to see it, it must have bothered
• 39:43
  Speaker 4: people a lot.
• 39:43
  Speaker 7: Yes, when I got there, when the music started to play,
• 39:49
  Speaker 7: There was a big complot against me. And I was
• 39:52
  Speaker 7: a little boy, I was a guy who was just
• 39:54
  Speaker 7: starting in the scene, no one knew. Then I got
• 39:57
  Speaker 7: very sad, but someone came to me and said, man,
• 40:00
  Speaker 7: if these big guys are fucking with you, you.
• 40:03
  Speaker 2: Are big, damn it.
• 40:04
  Speaker 5: It's true.
• 40:04
  Speaker 7: If these big guys are trying to boycott you, you're fucked, man.
• 40:08
  Speaker 7: Follow the bond, man. This guy will have to get
• 40:10
  Speaker 7: used to you, man. And I blindly went into the studio,
• 40:13
  Speaker 7: isolated myself, every Friday there was a new song.
• 40:16
  Speaker 2: On the street.
• 40:17
  Speaker 3: I want to know, the first one was Carro de Malandro,
• 40:20
  Speaker 3: but what was the second song that put more of
• 40:22
  Speaker 3: the tribe on the radar?
• 40:25
  Speaker 5: For the fans of the tribe to say, man, that's it,
• 40:28
  Speaker 5: damn it.
• 40:29
  Speaker 7: I think so, then Sônia opened the doors for other people.
• 40:36
  Speaker 7: I got some people who have nothing to do with rap.
• 40:37
  Speaker 2: You got to a new audience, right? New audience. Other
• 40:39
  Speaker 2: people came in.
• 40:40
  Speaker 1: I think that's when she managed to put the family
• 40:42
  Speaker 1: in the living room.
• 40:43
  Speaker 2: In the barbecue, and the father listening, the grandfather listening. Exactly.
• 40:46
  Speaker 7: She's there in the barbecue, there's a pagode going on,
• 40:48
  Speaker 7: the rap comes in and it doesn't give that shock.
• 40:50
  Speaker 7: Because before that, it was a mess. There was a
• 40:52
  Speaker 7: pagode going on, Geraldo was enjoying it. Then the teenager
• 40:56
  Speaker 7: from the family arrived there and put the rap.
• 40:59
  Speaker 8: Boom!
• 40:59
  Speaker 7: Then everyone was stuck. When I started in Hungary to come.
• 41:03
  Speaker 2: Hungary before, right?
• 41:04
  Speaker 7: Hungria came before that, making a more.
• 41:08
  Speaker 2: Universal sound.
• 41:09
  Speaker 5: Open to call.
• 41:10
  Speaker 7: More people into the rap. I arrived a little later,
• 41:12
  Speaker 7: but then I saw that it worked, so I said,
• 41:14
  Speaker 7: I'm not going to stay.
• 41:15
  Speaker 2: Out of this bond here.
• 41:18
  Speaker 7: I'm going to go with Moreno, let's go.
• 41:24
  Speaker 5: Let's go! What was the time of those songs there?
• 41:27
  Speaker 3: Because, man, I got there Alma de Pipa, even a
• 41:29
  Speaker 3: little before, but Alma de Pipa was still later.
• 41:31
  Speaker 5: It was later.
• 41:31
  Speaker 2: Then Louris. Valores!
• 41:35
  Speaker 7: This song was the one that got us to another
• 41:37
  Speaker 7: level of rap. Valores is from what year? Valores is
• 41:39
  Speaker 7: from 2000... I can't remember now. I think it's 2000... Latro?
• 41:42
  Speaker 2: Latro!
• 41:42
  Speaker 5: You and the king of surgery, right?
• 41:43
  Speaker 2: From the old days.
• 41:44
  Speaker 7: This album came out in 2009. Can I say something, brother?
• 41:48
  Speaker 5: I think Imprevisível also did a.
• 42:03
  Speaker 5: Unpredictable.
• 42:04
  Speaker 2: It's already marked. It seems that it came one after
• 42:06
  Speaker 2: the other, right? It was. It gave a sequence of
• 42:07
  Speaker 2: the time. Unpredictable, our plan.
• 42:09
  Speaker 7: Yellow. And I noticed the difference when both my sound
• 42:12
  Speaker 7: and yours arrived, by.
• 42:12
  Speaker 2: The audience, bro. Because... I'm not talking aesthetically, no. But
• 42:15
  Speaker 2: it wasn't a beautiful audience. It was too crazy, man.
• 42:17
  Speaker 2: You know, I started to see... It was like the
• 42:33
  Speaker 2: girls from another class were already attending the show. You know?
• 42:36
  Speaker 2: Because it was a heavy environment for the image.
• 42:39
  Speaker 1: A rap show where they didn't shoot, they tried to kill.
• 42:42
  Speaker 2: So it was very heavy. Even this automotive sound culture, unfortunately,
• 42:45
  Speaker 2: took a lot of lives. Because Brasília is 65 years old.
• 42:57
  Speaker 1: So it's a mix of a lot of people. Then
• 43:00
  Speaker 1: came the Nordestinos, too angry.
• 43:01
  Speaker 2: A lot of crazy people came to Brasília, right? And then,
• 43:04
  Speaker 2: these automotive meetings, no one lowered the key for anyone.
• 43:06
  Speaker 1: So one died straight away. I was delivering the CD,
• 43:09
  Speaker 1: I immediately lowered the key.
• 43:10
  Speaker 2: I had to go. It was dangerous. Brasília improved a.
• 43:13
  Speaker 1: Lot, but Brasília had a phase... Every show had a
• 43:15
  Speaker 1: bad adversity, right? A partner died, a guy who was
• 43:17
  Speaker 1: there at the show died. They killed him, actually. And before,
• 43:21
  Speaker 1: rap was also that thing.
• 43:27
  Speaker 7: The rap show was an open place for you to
• 43:29
  Speaker 7: do whatever you wanted. It was like you were open
• 43:33
  Speaker 7: to the guy, consume his drugs and do whatever you wanted.
• 43:35
  Speaker 7: That's what Neguimká did. He lived in the rap, you know?
• 43:39
  Speaker 2: At that time.
• 43:39
  Speaker 7: There were a lot of people who had nothing to
• 43:41
  Speaker 7: do with the movement itself and ruined the party, right?
• 43:45
  Speaker 3: I'm going to ask a fan question here, man. Who
• 43:47
  Speaker 3: always listened to you guys. But there was a lot
• 43:50
  Speaker 3: of people... I was, damn, I was always recognized as
• 43:53
  Speaker 3: a Hungarian fan, but from the moment I saw the tribe, So,
• 43:56
  Speaker 3: the fans of Hungary were like, what are you listening to, Tribe?
• 44:00
  Speaker 3: And I was like, no, man, I like both of
• 44:02
  Speaker 3: them and I'm not even there for you guys.
• 44:04
  Speaker 5: So, there was a bit of audience. What was that, too,
• 44:06
  Speaker 5: in this public phase?
• 44:08
  Speaker 3: Like, you're listening to Tribe, but you're not from Hungary?
• 44:12
  Speaker 5: And I was.
• 44:13
  Speaker 2: Like, man, but both of them are very good, man.
• 44:15
  Speaker 5: There was this thing. I wanted you to comment on that.
• 44:18
  Speaker 5: But I think it was because, like, man, it was
• 44:20
  Speaker 5: very top. It was like the team, you know, this thing.
• 44:22
  Speaker 2: And it got to a very crazy phase that....
• 44:26
  Speaker 1: It's not like there was a competition, but from the
• 44:29
  Speaker 1: outside it looked.
• 44:30
  Speaker 2: Like a competition. The Dukes played once a day, I
• 44:32
  Speaker 2: played once a day.
• 44:32
  Speaker 7: So each one was a shot everywhere.
• 44:34
  Speaker 2: That moved our Brazilian rap a lot. We had this dispute,
• 44:36
  Speaker 2: but it was a dispute between the listeners. It was cool.
• 44:38
  Speaker 2: We were just making music.
• 44:39
  Speaker 4: And they started to divide the audience.
• 44:42
  Speaker 2: Look at this division. It's a tribe and Hungary, you know?
• 44:45
  Speaker 2: It's going to mix.
• 44:46
  Speaker 1: And it's cool to experience this junction between the audiences.
• 44:54
  Speaker 2: When we do a show together, it's something really incredible.
• 44:56
  Speaker 5: And they understand that everything is fine. The guys thought
• 44:58
  Speaker 5: there were things. And then I said, no, bro, you
• 45:02
  Speaker 5: can hear both, it's okay.
• 45:03
  Speaker 2: It's very crazy, bro.
• 45:04
  Speaker 5: The audience had this kind of team thing, right?
• 45:07
  Speaker 7: I'm a very isolated guy, right? I stay a lot
• 45:09
  Speaker 7: inside the studio, isolated, isolated. That low profile, total. Then
• 45:13
  Speaker 7: it ended up that.
• 45:14
  Speaker 2: I'm your fan, bro. Even more. I'm totally like that.
• 45:16
  Speaker 4: Low profile. I'm just from the streets.
• 45:17
  Speaker 5: I'm also from the streets.
• 45:18
  Speaker 2: I'm also from the streets.
• 45:19
  Speaker 5: I'm also from the streets.
• 45:19
  Speaker 4: I'm also from the streets.
• 45:20
  Speaker 7: I'm also from the streets.
• 45:21
  Speaker 2: I'm also from the streets. I'm also from the streets.
• 45:22
  Speaker 7: I'm also from the streets.
• 45:23
  Speaker 2: I'm also from the streets.
• 45:24
  Speaker 5: I'm also from the streets.
• 45:25
  Speaker 7: I'm also from the streets.
• 45:26
  Speaker 2: I'm also from the streets. I'm also from the streets.
• 45:27
  Speaker 2: I'm also from the streets. I'm also from the streets.
• 45:29
  Speaker 7: I'm also from the streets.
• 45:30
  Speaker 2: I'm also from the streets.
• 45:31
  Speaker 7: I'm also from the streets. I'm also from the streets.
• 45:33
  Speaker 1: I'm also from the streets. I'm also from the streets.
• 45:36
  Speaker 1: I'm also from the streets. I'm also from the streets.
• 45:39
  Speaker 1: I'm also from the streets. I'm also from the streets.
• 45:40
  Speaker 2: I'm also from the streets. I'm also from the streets.
• 45:42
  Speaker 1: I'm also So, there was a show from Hungria and
• 45:45
  Speaker 1: the tribe, and they played it for the whole universe,
• 45:50
  Speaker 1: and we were surprised, right?
• 45:51
  Speaker 2: We were surprised that.
• 45:52
  Speaker 1: It's not that we were surprised physically, but we didn't feel.
• 45:57
  Speaker 2: There was one there and another one there.
• 45:59
  Speaker 4: There was no reason. But after that?
• 46:01
  Speaker 2: No one knows who it is.
• 46:02
  Speaker 7: We got together now, but we're dating.
• 46:04
  Speaker 2: We're dating. He called me for dinner, sent me a flower,
• 46:07
  Speaker 2: let's go.
• 46:07
  Speaker 5: I want to know who called who now. Who was it?
• 46:09
  Speaker 4: We were.
• 46:18
  Speaker 7: I don't know, this is something that we've been saying.
• 46:21
  Speaker 5: For a long time.
• 46:22
  Speaker 1: For those who are fans, look at you two. And then,
• 46:25
  Speaker 1: this whole situation, this atmosphere that they created, it hurt
• 46:28
  Speaker 1: me a lot. Because there's nothing worse, nothing more boring,
• 46:32
  Speaker 1: you know, than being away from a person you admire
• 46:35
  Speaker 1: and love so much, who has a contribution. Because today, Hungary...
• 46:40
  Speaker 1: And Duke and Jay came from behind. We have victories
• 46:43
  Speaker 1: to share. When we're at home, we get nostalgic. I
• 46:45
  Speaker 1: have this loop of nostalgia.
• 46:46
  Speaker 2: It's much more beneficial with you guys together.
• 46:49
  Speaker 4: I'm from the streets, but I have few people on
• 46:51
  Speaker 4: my side.
• 46:52
  Speaker 1: Duke is a more closed guy.
• 46:55
  Speaker 2: Consequently, few people too.
• 46:56
  Speaker 1: So there wasn't a guy who arrived... Unfortunately, not unfortunately.
• 46:59
  Speaker 1: Some guys who arrived in a cool size. To share
• 47:07
  Speaker 1: the victories together.
• 47:09
  Speaker 4: Or even to calm the neurosis.
• 47:11
  Speaker 2: That's it.
• 47:12
  Speaker 7: Change the idea, the same experience. Each one walks on
• 47:15
  Speaker 7: one side. Each one with his neurosis alone.
• 47:17
  Speaker 4: When we sit down, we change the idea.
• 47:19
  Speaker 7: And vibrate with each achievement. But I think it could have.
• 47:22
  Speaker 2: Happened too, my brothers. Each one isolated in his corner,
• 47:24
  Speaker 2: doing his job.
• 47:24
  Speaker 6: Then things that never happened start to happen. Shows, different money.
• 47:27
  Speaker 6: We get a little.
• 47:37
  Speaker 4: Very immersed in it, right? Then you have to see
• 47:39
  Speaker 4: it from the outside.
• 47:40
  Speaker 2: To say, no, I'm going to fix it. And Duqueiro,
• 47:42
  Speaker 2: I don't know if you also, sorry, I.
• 47:45
  Speaker 1: Don't know if you care, but then our backstage, our
• 47:47
  Speaker 1: teams were already getting weird, too, at the show.
• 47:49
  Speaker 5: Got it?
• 47:50
  Speaker 3: It became a thing without having it there, but there
• 47:52
  Speaker 3: was something.
• 47:53
  Speaker 4: It became Gammy Brazilian.
• 47:54
  Speaker 2: When they're getting weird, when.
• 47:55
  Speaker 1: My team is getting weird with the Duke team, It
• 48:01
  Speaker 1: automatically creates a tension between you and him, because it's
• 48:03
  Speaker 1: his team, my team.
• 48:03
  Speaker 2: His team, so why is this happening? And we didn't
• 48:05
  Speaker 2: really understand, man. I was stuck in this thing for
• 48:07
  Speaker 2: a while.
• 48:08
  Speaker 5: You've been using it, man. We're back now, I'm serious.
• 48:11
  Speaker 2: How long has it been? Six months? I think that thing, man,
• 48:13
  Speaker 2: when you like someone, you stay away from them, you
• 48:15
  Speaker 2: start to....
• 48:23
  Speaker 7: The image of that person, the image that people talk about,
• 48:25
  Speaker 7: you know? Sometimes you like that person a lot, but
• 48:27
  Speaker 7: you're far away. Then you see people and start talking.
• 48:29
  Speaker 7: Then you start to have the image of that person,
• 48:32
  Speaker 7: the image that people talk about you. So I think, boy,
• 48:35
  Speaker 7: don't be far away from who you like. Put your
• 48:38
  Speaker 7: hand on the phone and call. That was awesome, man.
• 48:41
  Speaker 7: That was beautiful as hell.
• 48:41
  Speaker 4: Give it up for this guy. This is the ref, man.
• 48:45
  Speaker 5: That's us, man.
• 48:52
  Speaker 2: It's the D.F., man.
• 48:53
  Speaker 4: It's the D.F. in this country.
• 48:55
  Speaker 5: So, wait a minute. How was it?
• 48:57
  Speaker 3: You said, man, we've been together for years.
• 48:59
  Speaker 5: Let's make a deal. Let's make a deal.
• 49:02
  Speaker 7: We always talked on the phone. Let's make a deal,
• 49:05
  Speaker 7: let's make this deal. You had already done SONIA 2 with.
• 49:08
  Speaker 2: Rihann SP, right?
• 49:08
  Speaker 5: I remember Rihann said that. He said, go fuck yourself.
• 49:11
  Speaker 4: Let's fight.
• 49:12
  Speaker 6: I'm going to put both of them together. I don't
• 49:15
  Speaker 6: even want to know. And he also talked about the
• 49:17
  Speaker 6: importance of this.
• 49:18
  Speaker 3: Song to him, that I also said, man, this song
• 49:20
  Speaker 3: is a winner. He said, bro, I put the guys
• 49:22
  Speaker 3: together to make this sound of my life.
• 49:23
  Speaker 4: At the time he said, it's the most important sound
• 49:25
  Speaker 4: I've ever made.
• 49:26
  Speaker 5: It's one of my life too.
• 49:27
  Speaker 3: So his affection, when I saw that you guys got together,
• 49:31
  Speaker 3: I said, ah, so it's smooth.
• 49:32
  Speaker 2: He was already in a very cool phase, right?
• 49:35
  Speaker 1: He was already starting to change his mind. It was 100%,
• 49:37
  Speaker 1: but it was already happening. And we started talking through
• 49:39
  Speaker 1: this song, all this harmony. And we had this idea,
• 49:42
  Speaker 1: we have to be closer. And I believe that everything
• 49:46
  Speaker 1: has a right moment to happen too.
• 49:48
  Speaker 2: I think it was written. I think I'm on the
• 49:49
  Speaker 2: side of a man who, for me, has nothing to say.
• 49:51
  Speaker 2: He's a teacher.
• 49:52
  Speaker 1: Duque, for me, he's on the shelf of the master
• 49:55
  Speaker 1: of the role.
• 49:56
  Speaker 2: He's a great poet. I'm a fan.
• 50:05
  Speaker 1: When he didn't release the song, I was angry. Because
• 50:08
  Speaker 1: I took the song to inspire me.
• 50:09
  Speaker 2: Where is it? Where is the song?
• 50:10
  Speaker 7: What is Rua talking about?
• 50:12
  Speaker 4: I don't know what he's talking about.
• 50:13
  Speaker 5: But in this re-approach... You were already saying, let's release
• 50:15
  Speaker 5: an EP together. How was it?
• 50:16
  Speaker 3: After you had this idea... I think the tune came
• 50:20
  Speaker 3: back first. We had the chance to make an EP
• 50:22
  Speaker 3: just to do it.
• 50:23
  Speaker 2: The tune is more or less, but let's not do it.
• 50:26
  Speaker 2: So we were already....
• 50:32
  Speaker 1: We were already in a peaceful atmosphere. It was a relationship.
• 50:36
  Speaker 1: I was in a constant relationship with Duc Geni.
• 50:40
  Speaker 2: Duc Geni is not going out of.
• 50:41
  Speaker 5: The house right now.
• 50:43
  Speaker 2: He's doing a tour with me. He's leaving now? He's
• 50:45
  Speaker 2: doing a tour. I remember that on Rian's day.
• 50:48
  Speaker 5: Tell us about this experience.
• 50:50
  Speaker 4: We recorded this tour, the music.
• 50:53
  Speaker 2: And that day I chapped a lot. Duque also took
• 50:55
  Speaker 2: me in the studio. I was very crazy. I get
• 50:56
  Speaker 2: very excited. Let's dominate the planet. Then I called. Let's
• 51:00
  Speaker 2: record this clip in a rocket. And I said, Moreno,
• 51:03
  Speaker 2: let's do the following. He says, Moreno. Let's buy a
• 51:06
  Speaker 2: house on the beach. Now? At the time? At dawn.
• 51:09
  Speaker 2: I understand.
• 51:10
  Speaker 4: And I take things seriously. Until I wake up.
• 51:16
  Speaker 5: The guys will say that you wanted to buy a
• 51:18
  Speaker 5: house yesterday. Really?
• 51:19
  Speaker 2: If I don't let him sleep, I'll buy it. But
• 51:20
  Speaker 2: after he wakes up, I'll think twice. I said, Duque,
• 51:23
  Speaker 2: we have to be in São Paulo, man.
• 51:25
  Speaker 1: We have to be there, buy a house, take the ships,
• 51:28
  Speaker 1: move the social network.
• 51:29
  Speaker 2: That's it. Was he drinking too?
• 51:32
  Speaker 5: He was, but he's more balanced.
• 51:33
  Speaker 4: Then time passed. This story is very crazy, man.
• 51:35
  Speaker 2: Time passed. Duque, the other day I disappeared. Then I
• 51:38
  Speaker 2: disappeared for another week. I disappeared, on the street.
• 51:42
  Speaker 1: Duque said, Moreno, I'm going to tell you something. We
• 51:47
  Speaker 1: have to take it easy, because you make me have
• 51:49
  Speaker 1: a girl's soul. Then I started, I got home to
• 51:50
  Speaker 1: my wife, saying that I was going to buy a house,
• 51:52
  Speaker 1: that I was going to.
• 51:53
  Speaker 2: Change your name and everyone's name. Then you don't do anything.
• 51:55
  Speaker 4: Yeah, and they believe in your family.
• 51:57
  Speaker 7: I go there, put the child in general, let's go,
• 52:00
  Speaker 7: let's live in São Paulo now.
• 52:01
  Speaker 5: Arruma as coisas.
• 52:02
  Speaker 1: Duque arrived there saying to his wife, I'm going to
• 52:04
  Speaker 1: live in São Paulo the other day.
• 52:06
  Speaker 7: Galã was already in another vibe.
• 52:08
  Speaker 2: He was already.
• 52:09
  Speaker 4: Talking about living in Recife.
• 52:11
  Speaker 5: And São Paulo?
• 52:12
  Speaker 4: No, I'm already buying.
• 52:14
  Speaker 2: A house in Recife.
• 52:14
  Speaker 5: So that day was crazy.
• 52:15
  Speaker 2: Crazy.
• 52:15
  Speaker 5: Then I remember him calling me.
• 52:17
  Speaker 2: Galã, you have to take more to your mother. I
• 52:19
  Speaker 2: put things in my head, I got home talking.
• 52:21
  Speaker 1: I got there and told Suzana, my wife, that we
• 52:23
  Speaker 1: were going to move to prepare things. We were going
• 52:29
  Speaker 1: to move to São Paulo, take the cars, move there.
• 52:32
  Speaker 2: My kids.
• 52:32
  Speaker 8: In his head, he already had a formal plan. The
• 52:35
  Speaker 8: kids were all sad. My little friends from school. And
• 52:44
  Speaker 8: you're saying, we're going.
• 52:45
  Speaker 2: We're going. Now we're going.
• 52:46
  Speaker 5: I'm just going to talk to Gui here.
• 52:47
  Speaker 2: Let's go.
• 52:48
  Speaker 5: Let's go.
• 52:48
  Speaker 2: Let's go.
• 52:48
  Speaker 7: Let's go.
• 52:49
  Speaker 2: Let's go.
• 52:59
  Speaker 4: He wanted to put the cars in the blinds and come.
• 53:01
  Speaker 4: I've already come and put it in the blinds.
• 53:04
  Speaker 6: If you guys are the guys of the cars, talk
• 53:06
  Speaker 6: about cars. I'm crazy to know the cars you have.
• 53:09
  Speaker 6: You don't need to talk, but one.
• 53:11
  Speaker 5: Day I'll know.
• 53:12
  Speaker 2: The guys have it.
• 53:12
  Speaker 5: Hungary has it. Your garage is absurd.
• 53:15
  Speaker 2: How many cars do you have?
• 53:17
  Speaker 5: Twelve.
• 53:19
  Speaker 2: I'm a pirate, bro.
• 53:21
  Speaker 4: What's your show-off? What do you say like, my God,
• 53:23
  Speaker 4: this one I don't sell, this one is the only
• 53:25
  Speaker 4: one that I don't lend. I let you see it.
• 53:29
  Speaker 5: He's the chador?
• 53:29
  Speaker 2: Yeah, the green flashlight. I like it. I'm not a
• 53:32
  Speaker 2: big fan of it, because it's.
• 53:34
  Speaker 1: A dangerous car, because it has a 650 horsepower engine,
• 53:35
  Speaker 1: but it doesn't have a brake. And Chevette seems to
• 53:38
  Speaker 1: have one for the Porsche. Everyone who dies is hitting
• 53:40
  Speaker 1: the Porsche.
• 53:40
  Speaker 2: He can't see a Porsche.
• 53:41
  Speaker 5: That he sticks to.
• 53:42
  Speaker 2: 600 horsepower Chevette? 650 horsepower Chevette, man.
• 53:44
  Speaker 5: Damn.
• 53:44
  Speaker 2: Sideway, right? Huh? And it's sideways that he goes.
• 53:46
  Speaker 7: It seems that he only goes sideways.
• 53:47
  Speaker 2: He likes to go sideways. And the animal is crazy, son.
• 53:51
  Speaker 2: He likes it. Let's go there.
• 53:53
  Speaker 7: I got out of the house and I said, you're crazy, man.
• 53:56
  Speaker 2: And the guy.
• 53:57
  Speaker 4: He doesn't listen, you know? He doesn't listen.
• 54:01
  Speaker 7: He got in the car and he was like, Hungary,
• 54:03
  Speaker 7: are you crazy?
• 54:04
  Speaker 2: What's this?
• 54:05
  Speaker 4: And the guy is a pilot, right?
• 54:08
  Speaker 2: He's a pilot.
• 54:09
  Speaker 5: He was holding the damn thing.
• 54:11
  Speaker 7: And was pulling it out. Both of them.
• 54:12
  Speaker 4: And the guy got deaf.
• 54:14
  Speaker 7: He likes it, man. He wants to see you complaining.
• 54:20
  Speaker 2: I'm with Duque Dião, a pilot! I want you to
• 54:22
  Speaker 2: be a pilot!
• 54:23
  Speaker 5: Which one is the fastest?
• 54:24
  Speaker 4: Ferrari, right?
• 54:25
  Speaker 5: The 458, the last one, the Spider, the last.
• 54:27
  Speaker 1: Aspirated engine that Ferrari made, so it's already an icon, right?
• 54:31
  Speaker 2: The last aspirated that Ferrari made, that 458. The Lamborghini,
• 54:33
  Speaker 2: the Huracán, it's black now.
• 54:35
  Speaker 4: There's a Huracán and a Ferrari.
• 54:36
  Speaker 2: There's a Maserati, a Vogue, there's Do you have a Vogue? Yes,
• 54:51
  Speaker 2: I do. Do you have a car with sound?
• 54:53
  Speaker 1: Yes, I do. Omega Supremo, Omega CD, Assaveiro with sound.
• 54:57
  Speaker 2: Two Chevette. No, I'm going to.
• 55:00
  Speaker 1: Give up my Fusca. I don't know what kind of
• 55:03
  Speaker 1: energy there is in a Fusca. I don't know what
• 55:06
  Speaker 1: kind of energy there is in.
• 55:07
  Speaker 2: A Fusca that everything happens for it not to end.
• 55:09
  Speaker 1: So the first time I left the Fusca there to
• 55:12
  Speaker 1: set the sound, I was doing a beautiful project and
• 55:14
  Speaker 1: the painter's mother died.
• 55:16
  Speaker 2: She left my Fusca, unfortunately. I went back to Bahia,
• 55:19
  Speaker 2: my mother died.
• 55:21
  Speaker 4: I understand.
• 55:22
  Speaker 5: But my Fusca.
• 55:24
  Speaker 2: My Fusca.
• 55:25
  Speaker 5: So you gave up?
• 55:26
  Speaker 1: No.
• 55:27
  Speaker 2: Calm down. I took it to Paranoá. But to break
• 55:29
  Speaker 2: with the painter. The painter disappeared. I was indebted to
• 55:32
  Speaker 2: the RGO and it disappeared. My Fusca stayed there. When
• 55:35
  Speaker 2: I went to get my Fusca, Moreno, I couldn't find
• 55:38
  Speaker 2: where the door was. Right, left. I had already smashed
• 55:41
  Speaker 2: my Fusca. And I told Klebinho that. I told Klebinho.
• 55:46
  Speaker 1: I don't know why he has a fursuit there, who
• 55:49
  Speaker 1: is messing with him, no, it comes out of the fursuit.
• 55:53
  Speaker 1: This has an energy I couldn't get.
• 55:54
  Speaker 5: It's been four years. I said there is an energy
• 55:57
  Speaker 5: in the fursuit.
• 55:57
  Speaker 4: I got it, it hits, it breaks. I liked him
• 55:59
  Speaker 4: talking about Chevette, he just likes to walk sideways.
• 56:01
  Speaker 2: He walks sideways.
• 56:02
  Speaker 5: It's the Chevette, it's.
• 56:03
  Speaker 4: The vibe of the Chevette.
• 56:04
  Speaker 2: It's the vibe of the Chevette. It's the vibe of
• 56:06
  Speaker 2: the Chevette.
• 56:06
  Speaker 5: It's the vibe of the Chevette. It's the vibe of
• 56:08
  Speaker 5: the Chevette.
• 56:08
  Speaker 2: It's the vibe of the Chevette.
• 56:11
  Speaker 7: It's not like Hungary.
• 56:12
  Speaker 6: Hungary is too similar.
• 56:18
  Speaker 2: Corvette and Dodge Ram.
• 56:20
  Speaker 4: Calm down, bro. You're not in the right mood.
• 56:22
  Speaker 5: It's the same.
• 56:22
  Speaker 2: The same. The same.
• 56:24
  Speaker 5: The same.
• 56:24
  Speaker 11: The same.
• 56:24
  Speaker 2: The same. The same.
• 56:25
  Speaker 4: The same.
• 56:26
  Speaker 2: The same.
• 56:26
  Speaker 1: The same.
• 56:26
  Speaker 5: The same.
• 56:27
  Speaker 2: The same.
• 56:27
  Speaker 5: The same.
• 56:28
  Speaker 2: The same. The same. Yeah, you're right. I don't think so.
• 56:38
  Speaker 7: Just put the gas in the car. The car doesn't work.
• 56:40
  Speaker 2: The car doesn't. It's everywhere. You're there. You sleep in
• 56:42
  Speaker 2: the car. You sleep in the car.
• 56:44
  Speaker 4: Even more if you're from the street, right, man?
• 56:46
  Speaker 5: The car is... It takes me everywhere.
• 56:48
  Speaker 2: It opens the door, right? The car is there.
• 56:50
  Speaker 7: The Ferrari arrives at someone's house.
• 56:52
  Speaker 2: What is this car?
• 56:53
  Speaker 4: Man, Hungary was the first country you said.
• 56:56
  Speaker 2: The car is an investment.
• 56:58
  Speaker 4: It looks like a store. The seller says so.
• 57:00
  Speaker 2: The seller says that the car.
• 57:01
  Speaker 5: Is an investment. It's like the seller of a surfing store.
• 57:05
  Speaker 4: Son of a bitch, liars.
• 57:06
  Speaker 6: Do you see this pants here? I've had this pants
• 57:08
  Speaker 6: for 8 years. Then the guy makes you buy and spend.
• 57:12
  Speaker 6: 8 years that you have this pants?
• 57:15
  Speaker 5: It's a lie.
• 57:15
  Speaker 2: The sellers are liars.
• 57:17
  Speaker 4: You would have fallen. I want one of these.
• 57:23
  Speaker 3: But really, I think cars are the main theme of
• 57:28
  Speaker 3: the rap.
• 57:28
  Speaker 2: And I think you should like cars too. I love them, man.
• 57:33
  Speaker 2: I think I was born with this passion. Because I'm crazy, man.
• 57:36
  Speaker 1: I look at cars and there are a lot of
• 57:37
  Speaker 1: cars there that I don't drive. But just knowing that
• 57:41
  Speaker 1: my car is.
• 57:42
  Speaker 2: There, clean, you know?
• 57:43
  Speaker 1: To say it's mine. And it's very crazy to talk
• 57:46
  Speaker 1: about cars to us. Because dreams change places, right? So
• 57:51
  Speaker 1: every time you make a dream, another new dream is
• 57:53
  Speaker 1: born inside you.
• 57:54
  Speaker 2: Like.
• 57:55
  Speaker 1: Hungary. What was the name of Hungary? Omega Suprema.
• 58:00
  Speaker 2: Which was the car of the broken one. I got
• 58:02
  Speaker 2: it wrong in the power tech zone.
• 58:05
  Speaker 5: And then.
• 58:06
  Speaker 2: I'm going to say it. No, it's not a Ferrari.
• 58:09
  Speaker 5: It was too far away.
• 58:10
  Speaker 2: We didn't see the Ferrari. So we dream, consequently, with
• 58:12
  Speaker 2: what is closer to us. Of course. So God was changing...
• 58:14
  Speaker 2: He was giving us the condition to make... Look, this
• 58:20
  Speaker 2: is a man's car.
• 58:21
  Speaker 5: This is a rascal's car. Man, this is a rascal's car.
• 58:24
  Speaker 4: Omega Suprema, play it, guys. This is a rascal's car.
• 58:26
  Speaker 1: I have the utmost respect for the people of electric.
• 58:31
  Speaker 5: Cars, but no. You don't have any electric car?
• 58:34
  Speaker 7: No, no, no.
• 58:34
  Speaker 1: Fabiano's electric car, look. After I bought his electric.
• 58:37
  Speaker 2: Car, look at his face. It's changed, it's more fragile, sensitive.
• 58:40
  Speaker 2: So the guy who arrives and cuts.
• 58:43
  Speaker 5: You'll have an electric car.
• 58:44
  Speaker 2: The skin got thinner.
• 58:45
  Speaker 7: You think?
• 58:46
  Speaker 2: Go. Why? Because it has.
• 58:48
  Speaker 10: Everything to do with the electric car.
• 58:51
  Speaker 2: Look at Megazone there, Mítico. This is a car of scoundrels.
• 58:56
  Speaker 2: It's a car of scoundrels.
• 58:59
  Speaker 7: You put two speakers behind it, it sounds like there
• 59:01
  Speaker 7: are ten.
• 59:02
  Speaker 2: And I'm going to tell you, do you.
• 59:04
  Speaker 5: Want to see the nostalgia hit?
• 59:06
  Speaker 1: This day I went to drink with Dalmi, my partner
• 59:08
  Speaker 1: is there. Let's go to Omega. It looks like I'm
• 59:12
  Speaker 1: there in 98. Cigarra pra foda.
• 59:15
  Speaker 4: And his sound has that dirt.
• 59:15
  Speaker 7: That's it.
• 59:16
  Speaker 2: And Omega's sound there, it's not a sound, but it
• 59:18
  Speaker 2: has that old noise. That day I was crazy. It
• 59:29
  Speaker 2: looks like the second Trago, man. The father was already like...
• 59:32
  Speaker 2: It's crazy, right? There's just a revolver missing in the
• 59:35
  Speaker 2: glove box.
• 59:36
  Speaker 6: And the maldade in the mind.
• 59:37
  Speaker 2: But do you have.
• 59:38
  Speaker 7: A dream car?
• 59:38
  Speaker 5: Because I think you've already made the dream cars. But
• 59:41
  Speaker 5: do you still have a dream car? A Savera full
• 59:43
  Speaker 5: of sound. I want a Voyage Quadrado.
• 59:46
  Speaker 2: I want a Voyage Quadrado.
• 59:47
  Speaker 5: I'm with a Vogue and a Corvette.
• 59:49
  Speaker 7: I like it a lot, man.
• 59:55
  Speaker 2: Dude, your Corvette only lives in a band.
• 59:57
  Speaker 5: Right, Místico?
• 59:58
  Speaker 3: Man, I hit the side of the road and now...
• 59:59
  Speaker 3: I broke the rear-view mirror in a car. Wow, you're
• 1:00:03
  Speaker 3: going to get.
• 1:00:03
  Speaker 2: Hit in the ass.
• 1:00:04
  Speaker 3: You hit the car three times on the street there,
• 1:00:07
  Speaker 3: because our street is horrible.
• 1:00:08
  Speaker 7: The building in front is under construction.
• 1:00:10
  Speaker 4: He said, your Corvette lives in a band.
• 1:00:12
  Speaker 2: He didn't talk about my cars.
• 1:00:14
  Speaker 1: Místico arrived at the Corvette with the rear-view mirror.
• 1:00:18
  Speaker 2: But what the hell is this, Místico?
• 1:00:21
  Speaker 3: It happens, I hit it from the side, but I
• 1:00:23
  Speaker 3: like it a lot. I want to have a square
• 1:00:25
  Speaker 3: Voyage with Soma.
• 1:00:27
  Speaker 2: I think a square Voyage is a very key Voyage.
• 1:00:29
  Speaker 2: It's good to put a little turbine, right?
• 1:00:31
  Speaker 5: It's good, bro.
• 1:00:32
  Speaker 2: And Savero too, Dudu.
• 1:00:34
  Speaker 5: Savero.
• 1:00:35
  Speaker 3: You have another car, you have a long one, you
• 1:00:37
  Speaker 3: have another goal too, bro.
• 1:00:39
  Speaker 1: Triple crown, you have to throw a McLaren in the
• 1:00:41
  Speaker 1: middle of this one before it ends.
• 1:00:43
  Speaker 2: Before the year ends? I have to play until December.
• 1:00:45
  Speaker 2: I'm talking about it every day. I have to release one.
• 1:00:47
  Speaker 2: The best investment is... Car.
• 1:00:49
  Speaker 4: The guy has a Lamborghini and a Ferrari. Because the
• 1:00:52
  Speaker 4: house doesn't work.
• 1:00:53
  Speaker 2: The house doesn't work. You have a car that you like?
• 1:00:57
  Speaker 5: Maybe just to know.
• 1:00:57
  Speaker 3: Besides the ones you have, a car that you say, wow,
• 1:01:00
  Speaker 3: this one.
• 1:01:01
  Speaker 4: Or that one with a kid that looks like an Omega.
• 1:01:04
  Speaker 2: Are you setting up a BMW?
• 1:01:06
  Speaker 4: For drifting?
• 1:01:08
  Speaker 2: For drifting?
• 1:01:08
  Speaker 7: I'm doing it for drifting.
• 1:01:10
  Speaker 5: In 97, I think.
• 1:01:12
  Speaker 7: But I have to get the mother, right? Because I
• 1:01:15
  Speaker 7: don't have the moral of the rabbiada, no.
• 1:01:17
  Speaker 2: Let's go, Moreno. Are you the mother of the drift?
• 1:01:19
  Speaker 5: Of the drift?
• 1:01:20
  Speaker 2: No, I'm the horse of the stick. The crazy thing.
• 1:01:22
  Speaker 2: The guy is from death.
• 1:01:24
  Speaker 4: You have to escape from death.
• 1:01:25
  Speaker 2: It's good to escape from death.
• 1:01:26
  Speaker 6: Do you know about the horse of the stick in
• 1:01:28
  Speaker 6: these cars that don't have handbrake anymore?
• 1:01:30
  Speaker 4: Those strange handbrakes?
• 1:01:32
  Speaker 2: That's mine, Pô do Chevetinha.
• 1:01:34
  Speaker 6: You're talking about the Corvette, which is just a lever.
• 1:01:37
  Speaker 4: I'm like, is there anyone in this car that gives
• 1:01:39
  Speaker 4: a kick?
• 1:01:39
  Speaker 2: There is, man.
• 1:01:40
  Speaker 5: Leo da Orange, he gives a kick. He has a
• 1:01:42
  Speaker 5: Corvette like.
• 1:01:43
  Speaker 3: Mine, he keeps giving a kick with that Corvette. I say,
• 1:01:46
  Speaker 3: how can he give a kick with that Corvette? Man,
• 1:01:48
  Speaker 3: but your car is a soap, man.
• 1:01:49
  Speaker 2: You know?
• 1:01:50
  Speaker 4: Throw a little bit on the side of the car,
• 1:01:51
  Speaker 4: it's going to do that.
• 1:01:52
  Speaker 2: Man, I'm going to tell you. I had a Corvette,
• 1:01:55
  Speaker 2: a Stingray, orange, that car.
• 1:01:56
  Speaker 1: I think it's crazy, but I'm going to tell you,
• 1:01:58
  Speaker 1: that car is very dangerous, man. Because of the rear-wheel drive, right?
• 1:02:03
  Speaker 1: And that car is very strong. I remember coming from Rio.
• 1:02:06
  Speaker 4: It's like you're driving on soap.
• 1:02:08
  Speaker 1: That's right, it's very hard. And I came from Angra
• 1:02:11
  Speaker 1: for a while. I had not checked the tires. There
• 1:02:14
  Speaker 1: was a little rain and I got stuck in the play.
• 1:02:17
  Speaker 1: It was raining and the track was a little dusty.
• 1:02:19
  Speaker 1: So every time I was in the accelerator, the car
• 1:02:22
  Speaker 1: would throw it back and it would come back.
• 1:02:26
  Speaker 7: It was delicious.
• 1:02:27
  Speaker 5: I was playing all day.
• 1:02:29
  Speaker 1: And then there was a climb and I threw it
• 1:02:31
  Speaker 1: and it didn't come back.
• 1:02:33
  Speaker 2: The traction control didn't work.
• 1:02:35
  Speaker 1: Moreno went up a hill and was already far away
• 1:02:38
  Speaker 1: from home in the rain.
• 1:02:40
  Speaker 2: Crazy.
• 1:02:40
  Speaker 1: So it's a car that gave me a trauma. But
• 1:02:43
  Speaker 1: I'll tell you, it's a machine. But the traction control
• 1:02:48
  Speaker 1: doesn't work.
• 1:02:48
  Speaker 4: Look what he's talking about! I got my Corvette in
• 1:02:50
  Speaker 4: the rain, I didn't even look at the tire.
• 1:02:52
  Speaker 5: I trusted the traction control.
• 1:02:54
  Speaker 3: You're not in any place in the Corvette rain, you
• 1:02:58
  Speaker 3: stay in Sao Paulo with it.
• 1:03:00
  Speaker 4: It's dangerous. I have something to tell you, very cool.
• 1:03:04
  Speaker 4: Unfortunately she has already passed away, but she is an icon,
• 1:03:06
  Speaker 4: Marília Mendonça. And how much she loved your song, bro.
• 1:03:09
  Speaker 2: Fuck. You know?
• 1:03:09
  Speaker 4: I've seen many videos of her singing your song. You
• 1:03:17
  Speaker 4: have a song with her, don't you?
• 1:03:19
  Speaker 2: No, I don't.
• 1:03:20
  Speaker 6: How is that for you, my brothers? Because Marília Mendonça,
• 1:03:24
  Speaker 6: I think we'll have an idea of what she is
• 1:03:25
  Speaker 6: in a while. But today we already know that she
• 1:03:29
  Speaker 6: is an icon, you know?
• 1:03:30
  Speaker 2: It's impo, right?
• 1:03:31
  Speaker 7: She was always impo, right? She was in the other
• 1:03:34
  Speaker 7: hand of everyone.
• 1:03:35
  Speaker 4: She wasn't afraid of... Because there are people who have
• 1:03:39
  Speaker 4: a very big ego, right? They don't say.
• 1:03:41
  Speaker 5: They're a fan, they don't shake hands, they don't hug.
• 1:03:44
  Speaker 2: I remember I met... Amarelo através do Amigo Nosso, do Vitor.
• 1:03:47
  Speaker 5: There's an old video of you drinking on the sidewalk.
• 1:03:50
  Speaker 2: And a cup of... Paceira. Don't let go. Let's drink.
• 1:03:55
  Speaker 2: I'm Paceira. Let's go. And it was until morning. Living
• 1:03:59
  Speaker 2: like big people.
• 1:04:00
  Speaker 9: Like this.
• 1:04:00
  Speaker 2: To drop like ten cabocas in the coffin. And she
• 1:04:02
  Speaker 2: was still singing.
• 1:04:03
  Speaker 5: What?
• 1:04:04
  Speaker 4: And without getting drunk.
• 1:04:06
  Speaker 1: And then I met her in Goiânia, through Amigo Nosso, Vitor.
• 1:04:10
  Speaker 1: And even the Teixona... It.
• 1:04:12
  Speaker 2: Was Santa Fe, a ballad that was there.
• 1:04:14
  Speaker 1: And who was singing was Mário Maraíza, in a ballad
• 1:04:16
  Speaker 1: for 500 people.
• 1:04:18
  Speaker 2: And I went with Marília.
• 1:04:20
  Speaker 1: Juliano de Chula was there, who wrote the song with her.
• 1:04:23
  Speaker 1: And it was crazy, because we left from there. Goiânia
• 1:04:25
  Speaker 1: is the flux, right? It's the city that I'm in
• 1:04:28
  Speaker 1: love with. We left this tour, I had a Megane, man.
• 1:04:31
  Speaker 2: Gran Turismo. I downloaded it and put the concovasonas negative.
• 1:04:35
  Speaker 2: What happened? Let's go, let's go, let's go. Let's take
• 1:04:38
  Speaker 2: a tour somewhere else. We left at 4 in the morning.
• 1:04:40
  Speaker 1: It's not beautiful to talk about it, but that day
• 1:04:42
  Speaker 1: we took it driving. God is taking care of it.
• 1:04:47
  Speaker 1: When I left, Marília was going.
• 1:04:50
  Speaker 2: To kick my car. The clutch broke. Who will help
• 1:04:54
  Speaker 2: me push the car? Let's go. Let's go. Look how
• 1:04:55
  Speaker 2: crazy it was. It was awesome.
• 1:04:58
  Speaker 5: It was awesome.
• 1:04:59
  Speaker 2: And then she showed me her compositions.
• 1:05:05
  Speaker 1: One of them was from Marília Marais. On the day
• 1:05:07
  Speaker 1: of your wedding, in this church you will enter running.
• 1:05:09
  Speaker 1: And then, man, she was already way ahead of time
• 1:05:12
  Speaker 1: in her compositions. And she's a girl that, I'll tell you,
• 1:05:15
  Speaker 1: from sertanejo, ok. But Marília, she was crazy, man.
• 1:05:20
  Speaker 4: From rap, right?
• 1:05:21
  Speaker 2: Yeah, man, Marília was a legend. For real.
• 1:05:24
  Speaker 1: I didn't know another girl like that, from the roll,
• 1:05:27
  Speaker 1: crazy like her. Crazy to talk, to introduce herself in
• 1:05:30
  Speaker 1: the middle of the roll, to.
• 1:05:31
  Speaker 7: Have the same... Where she enters, she... You know well,
• 1:05:34
  Speaker 7: where she entered, in any environment, she.
• 1:05:36
  Speaker 2: Unwinds.
• 1:05:36
  Speaker 7: Unwinds, she can be in the middle of whoever, crazy, whatever, man.
• 1:05:41
  Speaker 2: A chameleon.
• 1:05:42
  Speaker 5: But how did this sound come about?
• 1:05:45
  Speaker 7: I met her on her birthday. It was a crazy thing.
• 1:05:47
  Speaker 7: Because they invited us to be a surprise attraction on
• 1:05:52
  Speaker 7: her birthday.
• 1:05:53
  Speaker 2: Do you believe it?
• 1:05:54
  Speaker 5: To be a surprise attraction.
• 1:05:56
  Speaker 4: Because she loves it.
• 1:05:59
  Speaker 7: Then I said, this is wrong. No, it's serious. But
• 1:06:02
  Speaker 7: who called us was Henrique from Henrique Juliano.
• 1:06:05
  Speaker 2: Even more wrong.
• 1:06:06
  Speaker 4: Then I said, it's wrong.
• 1:06:07
  Speaker 5: It's very wrong.
• 1:06:10
  Speaker 7: And at that time, the sound was even heavier.
• 1:06:12
  Speaker 2: My sound was crazy. It was like.
• 1:06:14
  Speaker 7: Today she wants to drink marijuana, drink whiskey, Red Bull.
• 1:06:16
  Speaker 2: It was crazy.
• 1:06:16
  Speaker 7: The songs were very heavy.
• 1:06:17
  Speaker 2: I felt all this censorship.
• 1:06:18
  Speaker 7: And she thought our songs were cool. And I was
• 1:06:20
  Speaker 7: invited to sing with surprise at her party. But my
• 1:06:23
  Speaker 7: songs didn't fit with that. And I said, what the
• 1:06:27
  Speaker 7: fuck is this? It's wrong, man. Did I censor it
• 1:06:41
  Speaker 7: in the corner? Yeah, man, I was freezing. Then there
• 1:06:44
  Speaker 7: was a show somewhere else, we finished the show and
• 1:06:48
  Speaker 7: we went there on her birthday. But in the van
• 1:06:51
  Speaker 7: I was really scared, you know? I was in the
• 1:06:53
  Speaker 7: van and I said, no, man, it's wrong. Look there,
• 1:06:54
  Speaker 7: I don't think it's anything to do with it, man.
• 1:06:56
  Speaker 7: They were just the street singers, just the street singers. Man,
• 1:06:59
  Speaker 7: K & N, I said, this is wrong, man. What
• 1:07:01
  Speaker 7: am I going to.
• 1:07:02
  Speaker 2: Do here, man?
• 1:07:03
  Speaker 5: Then the guy said.
• 1:07:05
  Speaker 2: No, calm down.
• 1:07:08
  Speaker 7: I stayed in Havan and he went inside. Then he
• 1:07:12
  Speaker 7: came back. But it was him, Henrique and Juliana. They
• 1:07:14
  Speaker 7: were like, let's go, bro. It's you guys. Let's go,
• 1:07:17
  Speaker 7: she's going to tie herself up. Let's go sing there,
• 1:07:20
  Speaker 7: she's going to like it a lot.
• 1:07:23
  Speaker 2: I said, okay, man.
• 1:07:24
  Speaker 7: Then Henrique and Juliana were there. They were on the clips,
• 1:07:28
  Speaker 7: on the television, in the bars.
• 1:07:29
  Speaker 2: I said, let's go.
• 1:07:30
  Speaker 7: We got there and really, man. Then I got there.
• 1:07:38
  Speaker 7: We started singing, right? Ela Tá Virada, which was the
• 1:07:40
  Speaker 7: song she liked the most. I said, no, just get
• 1:07:42
  Speaker 7: into it, Ela Tá Virada aí, Valores, I don't know what.
• 1:07:44
  Speaker 2: I said, okay.
• 1:07:45
  Speaker 7: We started Ela Tá Virada.
• 1:07:46
  Speaker 2: Then she came with the sale in her eyes, you know?
• 1:07:48
  Speaker 5: Man.
• 1:07:49
  Speaker 2: Then when we took.
• 1:07:50
  Speaker 7: The sale out of her eyes, the song started. Then
• 1:07:52
  Speaker 7: she started crying, man.
• 1:07:54
  Speaker 2: Holy shit. Holy shit, man.
• 1:07:56
  Speaker 7: And I started singing and she stopped in front of
• 1:07:59
  Speaker 7: the stage. Then she started singing too. Then she went
• 1:08:02
  Speaker 7: up to the stage with us, started singing together. I said, damn, man,
• 1:08:05
  Speaker 7: how cool, man. And she really knew all the songs,
• 1:08:08
  Speaker 7: you know? She sang all of them.
• 1:08:10
  Speaker 2: All of them.
• 1:08:10
  Speaker 7: She had a passion and admiration for Brazilian rap, right?
• 1:08:14
  Speaker 2: She did. And why did she say that?
• 1:08:16
  Speaker 3: She heard it in her childhood. Why did she have
• 1:08:18
  Speaker 3: this passion, man? I've seen her saying it several times.
• 1:08:22
  Speaker 6: I think it's because Goiás is on the side of Brasilia, right?
• 1:08:25
  Speaker 6: I think it comes a.
• 1:08:25
  Speaker 2: Lot, right, brother? But to have this mentality in the
• 1:08:28
  Speaker 2: middle of her, it's difficult.
• 1:08:30
  Speaker 5: It's difficult. It was different. It's true.
• 1:08:31
  Speaker 2: It's true, right? To have this reference, right?
• 1:08:35
  Speaker 4: And if her world was right.
• 1:08:37
  Speaker 2: I thought she was very authentic. What about this song?
• 1:08:39
  Speaker 4: Did you call her?
• 1:08:41
  Speaker 2: I called her.
• 1:08:41
  Speaker 5: I made it at home and sent it to her.
• 1:08:43
  Speaker 7: She liked it and said, I'm going to record it here.
• 1:08:47
  Speaker 7: By the way, I have that song of her singing
• 1:08:50
  Speaker 7: it all.
• 1:08:51
  Speaker 2: Only her, only Marília.
• 1:08:54
  Speaker 4: You have her guide by yourself?
• 1:08:55
  Speaker 2: Yes, only her singing it all.
• 1:08:57
  Speaker 7: Because I sent the guide to her, she went and
• 1:09:00
  Speaker 7: sang it all. I said, I'm going to sing it all.
• 1:09:01
  Speaker 4: Then you see that you win.
• 1:09:04
  Speaker 2: What madness, man.
• 1:09:05
  Speaker 4: But what a privilege.
• 1:09:06
  Speaker 2: It was a privilege, a gift, right?
• 1:09:08
  Speaker 7: I'm so honored to have.
• 1:09:13
  Speaker 2: We can't believe it.
• 1:09:13
  Speaker 4: It's the size of your sound. It's the size of
• 1:09:15
  Speaker 4: your sound.
• 1:09:16
  Speaker 2: That's why I know you said it's.
• 1:09:17
  Speaker 4: Very important for us to live a lot today and
• 1:09:19
  Speaker 4: say to the friend we love, we're here, mom, wake up.
• 1:09:21
  Speaker 6: I think it's very cool for us to not normalize much.
• 1:09:25
  Speaker 2: No, man.
• 1:09:26
  Speaker 4: Mom, wake up, wake up, wake up. What was that?
• 1:09:29
  Speaker 4: Look at the house we're in, how awesome. I think
• 1:09:32
  Speaker 4: it's very important. I think it's very crazy, man. Both
• 1:09:34
  Speaker 4: me and Duke J and you are here.
• 1:09:35
  Speaker 2: We have to be grateful, man. Because... If you say
• 1:09:43
  Speaker 2: that there was no God's hand for this tour to happen.
• 1:09:44
  Speaker 1: You're crazy, brother. Damn, there was a very remarkable day
• 1:09:48
  Speaker 1: for me. I had left the tour here and there
• 1:09:49
  Speaker 1: was a show. I already took the plane and turned.
• 1:09:51
  Speaker 2: I was tired to get to the hotel.
• 1:09:53
  Speaker 1: And there was a guy with a guitar under the hotel.
• 1:09:56
  Speaker 1: He said, can I sing a song for you?
• 1:09:57
  Speaker 2: I said, yes, he is. He said, I'm going to
• 1:09:59
  Speaker 2: go up to the room, in a little while you
• 1:10:01
  Speaker 2: go up. Let's listen to this.
• 1:10:03
  Speaker 4: There in your room?
• 1:10:03
  Speaker 2: Uh-huh. The boy was sitting next to the bed. There
• 1:10:06
  Speaker 2: was a chair.
• 1:10:06
  Speaker 1: He sat down because he started to work, to sing.
• 1:10:10
  Speaker 1: I said, man, that's crazy, is this song yours? He said, yeah.
• 1:10:14
  Speaker 2: I said, how long have you been playing this song
• 1:10:16
  Speaker 2: and trying it?
• 1:10:16
  Speaker 1: He said, man, I'm 17 years old. And every day working, producing. So,
• 1:10:21
  Speaker 1: there are people, man, we have to understand that there
• 1:10:23
  Speaker 1: are people who work twice as hard as us and
• 1:10:25
  Speaker 1: it didn't get.
• 1:10:27
  Speaker 2: Where we got. I don't know if I can define
• 1:10:29
  Speaker 2: it as a tip of.
• 1:10:30
  Speaker 5: The finger of the father in heaven.
• 1:10:32
  Speaker 2: We don't understand his plans.
• 1:10:34
  Speaker 1: So, I have this direct sound, I'm a very sensitive
• 1:10:36
  Speaker 1: boy to the things I lived. So, man, the role
• 1:10:38
  Speaker 1: I lived here now. This made me feel like two
• 1:10:40
  Speaker 1: months from now. I was like, damn, I was there,
• 1:10:43
  Speaker 1: I'm going to see myself like this.
• 1:10:44
  Speaker 2: I was like, damn. And it doesn't even look like me.
• 1:10:46
  Speaker 2: Look at the breeze, man. It doesn't look like Gustavo.
• 1:10:50
  Speaker 6: It's like you're living a dream, Gustavo.
• 1:10:53
  Speaker 2: Without a doubt.
• 1:10:55
  Speaker 4: You look and say like this.
• 1:10:57
  Speaker 2: Man, me there on stage... I'll tell you, do you
• 1:11:00
  Speaker 2: know what a breeze I have?
• 1:11:01
  Speaker 4: It must be crazy for you, brother. Because, like, for us,
• 1:11:03
  Speaker 4: it's also very crazy. I feel what you said.
• 1:11:06
  Speaker 6: Every time I pass in front of a McDonald's, I
• 1:11:07
  Speaker 6: worked three years, so every time I look at you, I.
• 1:11:11
  Speaker 4: Say like this.
• 1:11:12
  Speaker 6: Man, I've been stuck in a place like this for
• 1:11:14
  Speaker 6: three years, man. Look what happened in my life, what madness.
• 1:11:17
  Speaker 6: So I understand a lot of this, you know? So
• 1:11:18
  Speaker 6: it's like we're living our own dream and don't believe it, right?
• 1:11:21
  Speaker 5: That, like, man, I'm awake.
• 1:11:22
  Speaker 4: It's real, you know?
• 1:11:23
  Speaker 2: I have a breeze of listening to a sound, mine,
• 1:11:26
  Speaker 2: for example.
• 1:11:26
  Speaker 5: I did.
• 1:11:27
  Speaker 2: I wrote the song today. I left the studio.
• 1:11:30
  Speaker 1: I put it in the car, in the headphones. When
• 1:11:32
  Speaker 1: I got home, I was thinking, how is it supposed
• 1:11:34
  Speaker 1: to be Hungarian? Trying to imagine how the life of
• 1:11:36
  Speaker 1: that guy who's telling that story should be, you know?
• 1:11:38
  Speaker 2: It's like it's another guy.
• 1:11:40
  Speaker 7: It's like it's.
• 1:11:41
  Speaker 2: Another person you don't know. I was thinking, this guy
• 1:11:43
  Speaker 2: must be crazy. It must be awesome, man. It must
• 1:11:45
  Speaker 2: be crazy. So I have this....
• 1:11:54
  Speaker 1: I think that's what keeps us on the ground, this
• 1:11:56
  Speaker 1: gratitude and not letting any moment of this become common, right?
• 1:11:59
  Speaker 2: Because it's not common.
• 1:12:00
  Speaker 3: Yeah, but it's because sometimes in the day-to-day race we
• 1:12:04
  Speaker 3: can get lost and not be as grateful as we
• 1:12:06
  Speaker 3: have to be, not look at the little details that
• 1:12:08
  Speaker 3: have to be looked at.
• 1:12:09
  Speaker 6: That's why you have to be surrounded by people who
• 1:12:11
  Speaker 6: will come and say like this, oh, you're hesitating.
• 1:12:13
  Speaker 2: You can put yourself on the ground, Messi.
• 1:12:15
  Speaker 1: I think what makes a very big hit in the
• 1:12:17
  Speaker 1: life of the artist are the people around him.
• 1:12:19
  Speaker 2: Including the team. So I've seen, bro, that....
• 1:12:23
  Speaker 1: He got to a good level and surrounded his team
• 1:12:26
  Speaker 1: with people who kept on beating him all the time.
• 1:12:29
  Speaker 5: You're saying yes, right?
• 1:12:31
  Speaker 1: My assistant is there and sometimes he's like, man, enough,
• 1:12:35
  Speaker 1: let me talk.
• 1:12:35
  Speaker 2: It was a day that hurt my heart.
• 1:12:36
  Speaker 1: I did a show there in Quebrada, it had a
• 1:12:38
  Speaker 1: big quota, I was 8 years old when I sang
• 1:12:40
  Speaker 1: there in Valparaíso. I sang, man, but I did two shows.
• 1:12:43
  Speaker 1: I did a double there in Goiânia and then I
• 1:12:45
  Speaker 1: went down to sing there in Valparaíso.
• 1:12:46
  Speaker 2: I said, Marquinhos, I.
• 1:12:48
  Speaker 1: Was already at Valparaíso by my house, man. I'm going
• 1:12:50
  Speaker 1: to drink now, to celebrate. I said, Marquinhos, how was
• 1:12:52
  Speaker 1: the show, man? It was shit, man.
• 1:12:56
  Speaker 5: I'm telling you, it was awesome.
• 1:12:58
  Speaker 1: Damn, that's crazy to hear, man. I'm serious, everyone was waiting.
• 1:13:02
  Speaker 1: He was crazy, he talked too much, he said, but
• 1:13:04
  Speaker 1: he sang. I thought it was awesome, honestly.
• 1:13:06
  Speaker 2: My party is over. My ruin is over. But it's good, right?
• 1:13:10
  Speaker 2: It's what keeps us there, man. And after that day,
• 1:13:12
  Speaker 2: never again, man, I'm telling you. Never again.
• 1:13:14
  Speaker 7: The guy is running and talking... You're getting it right.
• 1:13:17
  Speaker 4: Let's drink.
• 1:13:17
  Speaker 5: You know you didn't send it well, but the team
• 1:13:20
  Speaker 5: is saying, was it good?
• 1:13:21
  Speaker 2: Was it good? You say, fuck it.
• 1:13:21
  Speaker 5: The human being is accommodated, right? If you're giving me
• 1:13:24
  Speaker 5: something in the mouth, I'll want.
• 1:13:26
  Speaker 4: It in my mouth too. You don't even know you
• 1:13:27
  Speaker 4: did such a bad thing. You don't even know that
• 1:13:29
  Speaker 4: when the guy goes.
• 1:13:29
  Speaker 7: Up on stage, there's some reference there that you keep
• 1:13:31
  Speaker 7: looking at and you send the show and go away.
• 1:13:39
  Speaker 7: I think it's all right. But those who are from
• 1:13:41
  Speaker 7: outside see the show with different eyes, right?
• 1:13:43
  Speaker 2: For sure.
• 1:13:43
  Speaker 6: Those who are in the audience, those who are... Especially
• 1:13:46
  Speaker 6: since he's watching it in a trance, right? He's not
• 1:13:49
  Speaker 6: enjoying it, he's like... Look, he should be there, he
• 1:13:51
  Speaker 6: should do this. It's another vision, very cool.
• 1:13:53
  Speaker 4: This is what works for everyone, bro.
• 1:13:55
  Speaker 2: This artistic way, bro. You look for people who put
• 1:13:57
  Speaker 2: you in the right place.
• 1:14:02
  Speaker 5: I'm not going to say no.
• 1:14:04
  Speaker 1: Because Marquinhos is the one who takes care of me.
• 1:14:07
  Speaker 1: He's the brother that gave me life. He knows how
• 1:14:09
  Speaker 1: dedicated I am. After that day, he saw the change.
• 1:14:11
  Speaker 1: And when it's time to congratulate, congratulate too. I came
• 1:14:13
  Speaker 1: from Maceió, from the beach, I stayed there.
• 1:14:17
  Speaker 2: I sang at Maia's house.
• 1:14:18
  Speaker 1: And then I rented a house, stayed two days here
• 1:14:21
  Speaker 1: and I'm.
• 1:14:22
  Speaker 2: Going to the show. And I went to the airport already.
• 1:14:25
  Speaker 2: But why this exaggeration? I fell in.
• 1:14:27
  Speaker 1: I got there a little bad, I said, just ask
• 1:14:29
  Speaker 1: the car to pick me up. I was going to
• 1:14:32
  Speaker 1: go down to Campinas to pick me up in Guarulhos,
• 1:14:33
  Speaker 1: and I was going to rest inside the car until
• 1:14:36
  Speaker 1: the hotel. When I got there, the master was already
• 1:14:39
  Speaker 1: late for the show. I said, just take my dinner too.
• 1:14:41
  Speaker 1: When he got there, the dinner was ready, he was
• 1:14:44
  Speaker 1: not going to eat, no. I was already stuck in
• 1:14:46
  Speaker 1: his heart.
• 1:14:47
  Speaker 2: I said, so, I wasn't enjoying it, now I'm going
• 1:14:51
  Speaker 2: to work, then I'll eat.
• 1:14:51
  Speaker 4: The heart of Moreno is full of sweat.
• 1:14:54
  Speaker 2: Then he said, this is my Moreno. Hey, Moreno.
• 1:14:56
  Speaker 5: It's messed up, but go there then.
• 1:14:57
  Speaker 4: Look, another thing, Hungrian, this scare you gave us, says Grama.
• 1:15:00
  Speaker 2: What the fuck was that, bro? It was really serious, bro.
• 1:15:03
  Speaker 4: It was really serious.
• 1:15:04
  Speaker 2: Look how crazy it was.
• 1:15:06
  Speaker 1: I arrived in Brasília and it was already happening a
• 1:15:10
  Speaker 1: lot in São Paulo, in the week. Marquinhos is sure
• 1:15:14
  Speaker 1: to this day where I drank. He knows the place
• 1:15:16
  Speaker 1: where I drank this vodka.
• 1:15:19
  Speaker 2: And then I arrived, did three shows here.
• 1:15:22
  Speaker 1: Put my foot in Brasília, I was having a barbecue
• 1:15:24
  Speaker 1: there at home, I kept drinking mine.
• 1:15:26
  Speaker 2: On Tuesday, no, I went to the cult on Tuesday,
• 1:15:29
  Speaker 2: from the church. On the 4th, I kept drinking one.
• 1:15:33
  Speaker 1: Volatility.
• 1:15:33
  Speaker 2: What a stupid kid.
• 1:15:34
  Speaker 4: He starts telling these stories.
• 1:15:36
  Speaker 5: I want to laugh.
• 1:15:36
  Speaker 2: This is more.
• 1:15:37
  Speaker 4: Volatile than the Bitcoin.
• 1:15:39
  Speaker 5: I went to the cult.
• 1:15:40
  Speaker 2: No, not that day.
• 1:15:41
  Speaker 7: I went to the cult.
• 1:15:42
  Speaker 4: I went to the cult there in Sao Lange.
• 1:15:44
  Speaker 5: Sao Lange, our land.
• 1:15:44
  Speaker 4: You have to pray.
• 1:15:45
  Speaker 2: I went to the 4th to take a walk.
• 1:15:47
  Speaker 1: I went to Casaleno Capotaria's house. I said, let's burn
• 1:15:51
  Speaker 1: some meat there. I went to buy some drinks and
• 1:16:01
  Speaker 1: we got there. I got home at 7.30 in the morning.
• 1:16:05
  Speaker 1: I remember that I was already in the camp to sleep.
• 1:16:09
  Speaker 1: And when it was 8 o'clock in the morning, it
• 1:16:11
  Speaker 1: was half an hour. I didn't sleep, I just woke
• 1:16:13
  Speaker 1: up with a very strong abdominal pain. I said, bro,
• 1:16:16
  Speaker 1: this is wrong.
• 1:16:16
  Speaker 2: I'm used to it. You don't see me vomiting, do you?
• 1:16:19
  Speaker 2: You don't see me falling on the floor.
• 1:16:30
  Speaker 1: I don't pay a penny to anyone. When I came
• 1:16:34
  Speaker 1: in third person, I was already like a guy who
• 1:16:36
  Speaker 1: falls on the bed.
• 1:16:37
  Speaker 2: The one with the acute pain?
• 1:16:39
  Speaker 5: Yes, the acute one.
• 1:16:40
  Speaker 2: As if I were a deviated pain, you know? But
• 1:16:42
  Speaker 2: very strong. I said, you know what?
• 1:16:44
  Speaker 1: I'm going to throw up. That's the second alert. I'm
• 1:16:47
  Speaker 1: not going to throw up.
• 1:16:48
  Speaker 2: It's very rare, man.
• 1:16:50
  Speaker 1: Then you're going to be shocked by this. It's not
• 1:16:52
  Speaker 1: a joke that I'm going to say, man. Because of
• 1:16:55
  Speaker 1: these car passions, the chevette. The first time I threw
• 1:16:58
  Speaker 1: up was when I gave it.
• 1:17:00
  Speaker 2: What was the image in my head? Chevette. The whole taste.
• 1:17:02
  Speaker 2: Of gasoline, of methanol. It's wrong. I was very late.
• 1:17:08
  Speaker 1: Only the chevette in my head and that taste of gasoline,
• 1:17:12
  Speaker 1: of fuel in my mouth.
• 1:17:13
  Speaker 7: You ate the chevette.
• 1:17:14
  Speaker 2: I ate the chevette. I called my sister. I said, Manuela,
• 1:17:19
  Speaker 2: come here.
• 1:17:19
  Speaker 1: I think I'm going to the hospital. Do I have
• 1:17:22
  Speaker 1: to go to the hospital? This baby is going on.
• 1:17:25
  Speaker 1: She said, are you kidding? I always call once a year.
• 1:17:26
  Speaker 1: It's not good to always play. I didn't want to
• 1:17:30
  Speaker 1: go there. So I called an ambulance.
• 1:17:31
  Speaker 2: She saw that it was serious. She tried. She got there.
• 1:17:35
  Speaker 2: She picked me up. I don't remember the way.
• 1:17:37
  Speaker 4: I arrived with white gloves.
• 1:17:39
  Speaker 2: It was horrible. My God.
• 1:17:41
  Speaker 1: The methanol test takes a few days to go out.
• 1:17:45
  Speaker 1: But according to the experience of the doctor, due to
• 1:17:48
  Speaker 1: the acidity of the blood, he already confirms. Before going
• 1:17:50
  Speaker 1: to the laboratory. They took the acidity and called me methanol.
• 1:17:53
  Speaker 1: What do they give me to end up with methanol?
• 1:17:57
  Speaker 2: Ethanol. Vodka. I said, I can't take it anymore. I
• 1:18:04
  Speaker 2: got home at 7 a.m. But they didn't... No.
• 1:18:05
  Speaker 4: Did you take a dose? I did, but I.
• 1:18:08
  Speaker 1: Didn't want to be pierced anymore. I was being pierced
• 1:18:10
  Speaker 1: too much.
• 1:18:12
  Speaker 2: Man, a dose.
• 1:18:13
  Speaker 5: It's serious, man.
• 1:18:14
  Speaker 2: What a crazy guy.
• 1:18:15
  Speaker 9: Crazy.
• 1:18:16
  Speaker 2: I said, you can throw it up. Let's go. Don't
• 1:18:18
  Speaker 2: pierce anymore. Let's take it. Can it be a dose
• 1:18:20
  Speaker 2: of just a juice? Man, I dropped it.
• 1:18:24
  Speaker 4: He even asked for a juice.
• 1:18:25
  Speaker 2: Just to mix it here. You can't go down alone.
• 1:18:29
  Speaker 2: They checked everything and then I went to Hemodialysis.
• 1:18:32
  Speaker 1: I stayed for 48 hours with my kidney stopped because
• 1:18:35
  Speaker 1: of Hemodialysis to clean everything up. It was funny that
• 1:18:38
  Speaker 1: the guys from the ICU saw that I was going
• 1:18:40
  Speaker 1: up and said that I was already fine.
• 1:18:42
  Speaker 2: They gave me vodka. already drunk.
• 1:18:51
  Speaker 1: They threw me vodka. Then I remember that Dalmi was
• 1:18:53
  Speaker 1: with me. I said, Dalmi, the water was just missing. No,
• 1:18:56
  Speaker 1: I already had a barbecue in here.
• 1:18:58
  Speaker 2: Can you not? In this ICU. But I was already
• 1:19:02
  Speaker 2: drinking one.
• 1:19:02
  Speaker 7: You're crazy, man.
• 1:19:03
  Speaker 2: That confusion. I'm in the hospital.
• 1:19:05
  Speaker 1: And then I'm in this situation, but I... Looking at
• 1:19:09
  Speaker 1: it from one side, it was very good. I was
• 1:19:11
  Speaker 1: used as an example to open an alert throughout Brazil,
• 1:19:15
  Speaker 1: throughout the world.
• 1:19:15
  Speaker 4: That's true.
• 1:19:16
  Speaker 6: Because after your case, there was a lot of talk
• 1:19:18
  Speaker 6: about methadone.
• 1:19:19
  Speaker 2: That's right.
• 1:19:21
  Speaker 3: And it was very risky, man.
• 1:19:23
  Speaker 5: How was that?
• 1:19:24
  Speaker 1: How did you get there, man? Then my head got confused.
• 1:19:26
  Speaker 1: I was getting scared, right? But you, while you.
• 1:19:30
  Speaker 2: Were hospitalized, Hungary, did you know about the news of
• 1:19:32
  Speaker 2: what was going on?
• 1:19:33
  Speaker 4: Because the victims started to appear, right?
• 1:19:35
  Speaker 6: TV all the time, including on a tour that we
• 1:19:38
  Speaker 6: were very close to a city here, two girls went
• 1:19:41
  Speaker 6: to the club in the city where.
• 1:19:43
  Speaker 2: I was, and one of the girls came to die, bro.
• 1:19:45
  Speaker 2: Look how crazy. So, it gave me a very crazy alert.
• 1:19:47
  Speaker 2: And I asked the doctor, but What happened? I won't
• 1:20:00
  Speaker 2: tell you.
• 1:20:01
  Speaker 1: You arrived in Brasília already drinking and you were self-medicating.
• 1:20:06
  Speaker 2: That's why it hit the fourth. You arrived in Jatão
• 1:20:09
  Speaker 2: and you were self-medicating. What was the problem?
• 1:20:12
  Speaker 4: You had to stop drinking.
• 1:20:14
  Speaker 2: You're going to get sick.
• 1:20:15
  Speaker 7: Now everything will never stop.
• 1:20:17
  Speaker 2: It's all over.
• 1:20:18
  Speaker 1: And I think it's cool, all the care of the
• 1:20:22
  Speaker 1: ladies at the airport.
• 1:20:23
  Speaker 2: I have a very beautiful audience.
• 1:20:24
  Speaker 5: How many days did you stay in the hospital? How
• 1:20:26
  Speaker 5: was it?
• 1:20:27
  Speaker 2: Four days. Five days.
• 1:20:28
  Speaker 5: Brother, it was a lot of days.
• 1:20:30
  Speaker 2: It was crazy.
• 1:20:31
  Speaker 1: I'm a little anxious, I don't like to be in
• 1:20:34
  Speaker 1: a closed place, right? And after all that repercussion, I
• 1:20:36
  Speaker 1: was anxious to go home. I told the doctor, the
• 1:20:39
  Speaker 1: doctor is already soft.
• 1:20:42
  Speaker 2: Go home, be good.
• 1:20:43
  Speaker 1: And then, to receive all this affection after the whole tour,
• 1:20:46
  Speaker 1: for me it is very gratifying. Because there are many
• 1:20:49
  Speaker 1: people who go through a situation like this and don't
• 1:20:52
  Speaker 1: have the opportunity to receive love in life.
• 1:20:55
  Speaker 2: To know how much people They liked you, you know?
• 1:20:58
  Speaker 2: And they actually like you.
• 1:21:00
  Speaker 1: So I was very worried about the airport. Man, the
• 1:21:03
  Speaker 1: first day at the airport. Otherwise, the airport was closed.
• 1:21:05
  Speaker 9: The lady.
• 1:21:05
  Speaker 2: You're crazy, bro. It was all scary.
• 1:21:07
  Speaker 4: Brazil was scared.
• 1:21:08
  Speaker 5: You're crazy.
• 1:21:09
  Speaker 4: You're crazy. Like, when it started to get news... He
• 1:21:12
  Speaker 4: started to do hemodialysis and I was like, what the
• 1:21:15
  Speaker 4: hell happened?
• 1:21:16
  Speaker 3: And a lot of old friends showed up, who knows
• 1:21:18
  Speaker 3: about my connection with him.
• 1:21:19
  Speaker 5: What's going on? What's going on? I said, guys, I
• 1:21:21
  Speaker 5: don't know either. Let's just pray for him.
• 1:21:24
  Speaker 2: To be fine.
• 1:21:25
  Speaker 1: It was something really serious, but it's a new chance.
• 1:21:28
  Speaker 2: It was a big scare. But I'm very grateful to
• 1:21:30
  Speaker 2: God for that.
• 1:21:31
  Speaker 1: It's not a matter of playing with this subject, but
• 1:21:34
  Speaker 1: I live my life with a lot of lightness and
• 1:21:36
  Speaker 1: I understand the weight that a fatality, an idiot would
• 1:21:39
  Speaker 1: give to a guy who puts an anon on a
• 1:21:41
  Speaker 1: bottle so much that It didn't kill your life, it
• 1:21:43
  Speaker 1: took the lives of families, because the person won't die alone,
• 1:21:45
  Speaker 1: he won't kill the whole family, he'll die with the
• 1:21:47
  Speaker 1: whole family.
• 1:21:48
  Speaker 2: Yes, yes.
• 1:21:48
  Speaker 1: So, I take it all in a very light way,
• 1:21:51
  Speaker 1: I joke about it, but I understand that it's something
• 1:21:54
  Speaker 1: very serious, and I.
• 1:21:54
  Speaker 2: Thought it was funny, I was at the airport.
• 1:21:57
  Speaker 1: I was like, now you're not going to drink anymore, right,
• 1:21:59
  Speaker 1: my son? And you stopped driving?
• 1:22:03
  Speaker 2: No, I have to take care of this thing here.
• 1:22:05
  Speaker 2: I have to take care.
• 1:22:07
  Speaker 4: Of this thing here.
• 1:22:08
  Speaker 5: And your mother?
• 1:22:09
  Speaker 2: When she gets home, she's already in pain. Your mother.
• 1:22:12
  Speaker 4: You can't believe it.
• 1:22:12
  Speaker 5: When my mother.
• 1:22:14
  Speaker 2: Got there, my sister got there.
• 1:22:16
  Speaker 1: When I called my sister, she called an ambulance. She
• 1:22:17
  Speaker 1: took her car and said, I'm going to take you.
• 1:22:19
  Speaker 1: And my mother was there.
• 1:22:21
  Speaker 2: When I.
• 1:22:28
  Speaker 1: My sister came to my room, my mother came in
• 1:22:29
  Speaker 1: with my sister. I was annoyed to be with my mother.
• 1:22:32
  Speaker 2: Did she hit you? No.
• 1:22:33
  Speaker 4: I was there, vomiting.
• 1:22:35
  Speaker 2: It's a serious matter. The woman said, it's cachaça. Look,
• 1:22:42
  Speaker 2: this is cachaça, not methanol. It's cachaça, man. My mother
• 1:22:45
  Speaker 2: and my sister believe in me. My mom? I was screwed.
• 1:22:49
  Speaker 5: I was screwed.
• 1:22:50
  Speaker 2: I wasn't even here. You had to close the door,
• 1:22:53
  Speaker 2: lock it, and leave it there. His cachaça.
• 1:22:54
  Speaker 4: That's it. Gustavo does it right away.
• 1:22:56
  Speaker 2: I just remember my mom looking at the bed like this.
• 1:22:58
  Speaker 2: Look at my mom's.
• 1:23:01
  Speaker 4: Ideas, man. The guy is full of gasoline in his mouth.
• 1:23:04
  Speaker 2: And then it weighs a lot.
• 1:23:07
  Speaker 1: The most heavy part of the tour was when my
• 1:23:09
  Speaker 1: daughter called me, right? So she already called me in plants, like,
• 1:23:13
  Speaker 1: and my daughter.
• 1:23:18
  Speaker 1: She knows her place, she can control her feelings very well.
• 1:23:21
  Speaker 1: So she calls me and says, who gave you the poison, daddy?
• 1:23:25
  Speaker 1: Who gave you the poison? I'm going there, daddy, I'm
• 1:23:28
  Speaker 1: going there. And then, as much as we have this grace,
• 1:23:31
  Speaker 1: financially everything is fine, I still asked myself, who will
• 1:23:34
  Speaker 1: take care of the way I take care of my family? So,
• 1:23:38
  Speaker 1: of course, I'm one, but every day that passes, we
• 1:23:41
  Speaker 1: get older, and this comes with this term that passes, maturity.
• 1:23:45
  Speaker 2: So I became a more fearful guy.
• 1:23:47
  Speaker 1: To take care of myself.
• 1:23:50
  Speaker 2: I'm passionate about cars, but in Goiânia we like to
• 1:23:52
  Speaker 2: accelerate a lot. Today, when I accelerate, I think, how
• 1:23:55
  Speaker 2: about a loose screw? So, something that stops me, but
• 1:23:58
  Speaker 2: we get more scared.
• 1:23:58
  Speaker 4: That's good, don't see it as bad. That's it.
• 1:24:01
  Speaker 2: Be careful.
• 1:24:02
  Speaker 4: But now, let's talk about good things, Mítico Jove. I
• 1:24:04
  Speaker 4: want to talk about the reset.
• 1:24:05
  Speaker 2: It's true. Duqueira!
• 1:24:07
  Speaker 6: Six songs, six clips in two days that I was knowing,
• 1:24:10
  Speaker 6: you recorded it hidden so people wouldn't trust us.
• 1:24:13
  Speaker 2: Holy shit!
• 1:24:13
  Speaker 4: Tell us about this project.
• 1:24:14
  Speaker 2: Wonderful, man.
• 1:24:15
  Speaker 7: This project was a shock. It was really fast, right, Antônio?
• 1:24:18
  Speaker 2: It was.
• 1:24:19
  Speaker 7: We came there, me, Hungria and Luizinho, who is the.
• 1:24:23
  Speaker 5: Producer.
• 1:24:24
  Speaker 2: Our producer there too.
• 1:24:24
  Speaker 7: We gather everyone there and we do the stuff. And, damn,
• 1:24:27
  Speaker 7: it was such a magical tune, man, that it was
• 1:24:31
  Speaker 7: very fast.
• 1:24:33
  Speaker 3: Look, I want to know, for example, it was one song,
• 1:24:35
  Speaker 3: then it became two, then it became.
• 1:24:37
  Speaker 5: An EP, how was this construction of this thing?
• 1:24:40
  Speaker 2: Actually, it was very natural, right, Duque?
• 1:24:41
  Speaker 1: There was no, let's make a certain number of songs.
• 1:24:44
  Speaker 7: A Greek wanted to make ten, right? Many, I don't know,
• 1:24:49
  Speaker 7: he wanted to make many. I came up with the idea, man,
• 1:24:52
  Speaker 7: let's make an EP with six, that we release in
• 1:24:54
  Speaker 7: one characteristic only, right? In that aesthetic, coming with that
• 1:24:59
  Speaker 7: retro thing, bringing that essence, that timbre. that we always
• 1:25:04
  Speaker 7: did in the old days. The way of singing too.
• 1:25:06
  Speaker 7: We used that thing we used to do back then.
• 1:25:09
  Speaker 5: It's incredible, bro.
• 1:25:11
  Speaker 2: It was a beautiful work.
• 1:25:12
  Speaker 1: And today we see, I think everyone who is here sees,
• 1:25:16
  Speaker 1: who comes and travels with us, how much this distance
• 1:25:20
  Speaker 1: between Duke J and Hungary overwhelmed the whole scene. Because
• 1:25:25
  Speaker 1: people looked at Hungary, they look at it as a reference.
• 1:25:29
  Speaker 1: And when these references distance themselves, That whole Brazilian rap
• 1:25:32
  Speaker 1: scene loses its strength. So this combination is not just
• 1:25:35
  Speaker 1: a combination. In fact, it's much more than a combination
• 1:25:39
  Speaker 1: to make a sound. I think the continuity that we
• 1:25:41
  Speaker 1: are already planning is going to be very cool.
• 1:25:42
  Speaker 2: Yeah, bro. After this release, everyone is looking at this here.
• 1:25:45
  Speaker 2: Me listening to this EP track by track.
• 1:25:54
  Speaker 3: That's what I said to the guys, I said, man,
• 1:25:57
  Speaker 3: I felt nostalgia mixed with the present too. They managed, man,
• 1:26:01
  Speaker 3: for those who are fans and those who are new
• 1:26:04
  Speaker 3: will love too, but for those who are already fans,
• 1:26:07
  Speaker 3: listen to this EP and say, man, wow, that vibe
• 1:26:11
  Speaker 3: that marked our generation. Along with their current moment.
• 1:26:16
  Speaker 5: So they are.
• 1:26:17
  Speaker 3: More current, they are talking about current things, but that sound,
• 1:26:21
  Speaker 3: you know?
• 1:26:21
  Speaker 5: Wonderful, man.
• 1:26:23
  Speaker 7: The aesthetic of that scene in Brasília.
• 1:26:25
  Speaker 1: I think the atmosphere that this emendou goes through is
• 1:26:28
  Speaker 1: like insomnia, you know?
• 1:26:29
  Speaker 5: Yes, this song was the first of the EP, man.
• 1:26:32
  Speaker 2: This song.
• 1:26:32
  Speaker 5: What is this? It's perfect, man.
• 1:26:35
  Speaker 1: So I think the mission is, of course, a milestone
• 1:26:39
  Speaker 1: of a new phase in our lives, of this junction,
• 1:26:41
  Speaker 1: of us being together.
• 1:26:42
  Speaker 2: But I think the response is to continue.
• 1:26:44
  Speaker 1: To raise the name of Brasília. Because if you say
• 1:26:48
  Speaker 1: that Brasília is in a good moment, it's a lie.
• 1:26:52
  Speaker 1: I've seen the most lively rap in our life.
• 1:26:54
  Speaker 3: You were saying that you wanted to come to São
• 1:26:58
  Speaker 3: Paulo to move, right? I imagine you were also thinking
• 1:27:02
  Speaker 3: that we had to do something.
• 1:27:04
  Speaker 1: Because it's not about us, it's about who we influence.
• 1:27:08
  Speaker 1: It's about that whole crowd that depends on the sound
• 1:27:10
  Speaker 1: of Duque to reactivate that dream of singing.
• 1:27:15
  Speaker 2: And after that EP, I saw Quebrada reacting.
• 1:27:18
  Speaker 7: He reacted a lot.
• 1:27:19
  Speaker 1: Misael, Pacificadores, they were releasing the sound.
• 1:27:23
  Speaker 2: That whole gang... It was what was missing, what was needed.
• 1:27:27
  Speaker 1: Because the aesthetics of Brazilian music, as you admire, is
• 1:27:30
  Speaker 1: a very beautiful aesthetic and unique identity.
• 1:27:33
  Speaker 3: But then you made six clips in two days. How
• 1:27:36
  Speaker 3: was that run, dude?
• 1:27:38
  Speaker 2: Damn, that was crazy.
• 1:27:40
  Speaker 4: He was with Rigola.
• 1:27:41
  Speaker 5: He was with Rigola?
• 1:27:43
  Speaker 2: He was with Rigola.
• 1:27:45
  Speaker 5: A legend.
• 1:27:46
  Speaker 2: He was with Rigola since he was a photographer. Rigola
• 1:27:49
  Speaker 2: used to work with us in photoshoots.
• 1:27:51
  Speaker 4: I remember. We talk a lot about Rigola. Rigola is
• 1:27:53
  Speaker 4: very cool.
• 1:27:53
  Speaker 2: Isn't he the one who.
• 1:27:55
  Speaker 4: Works with Galdensi?
• 1:27:56
  Speaker 5: He used to work with us too.
• 1:27:58
  Speaker 1: He used to take photos of the show. He used
• 1:28:00
  Speaker 1: to travel with us. He went through a good phase.
• 1:28:04
  Speaker 1: I remember when we went to record the music video.
• 1:28:07
  Speaker 1: I remember that Friday. He said, let me try to
• 1:28:10
  Speaker 1: do it. Dude, he was the only one who did
• 1:28:12
  Speaker 1: that clip and left me. I didn't want to be
• 1:28:14
  Speaker 1: your photographer anymore.
• 1:28:16
  Speaker 5: But it's that clip, huh? I was in that clip.
• 1:28:20
  Speaker 2: I was with us.
• 1:28:21
  Speaker 5: I cried hidden in that clip.
• 1:28:22
  Speaker 6: But if you want to talk, Mítico, before going to
• 1:28:25
  Speaker 6: this thing, he told Gerardo, you don't believe it, I'm
• 1:28:27
  Speaker 6: going there to travel, I'm going to record a clip
• 1:28:29
  Speaker 6: of a Hungarian song that will be a success, I
• 1:28:31
  Speaker 6: don't know what, I'm all excited.
• 1:28:34
  Speaker 5: Go there, boy.
• 1:28:34
  Speaker 4: Remember? We were even joking. Go there with the griola, man.
• 1:28:37
  Speaker 5: Yeah, my friends here in São Paulo were with the griola.
• 1:28:40
  Speaker 5: used to say, go there with Gria. Go there with Gria.
• 1:28:42
  Speaker 6: He used to come back from the tours with you,
• 1:28:44
  Speaker 6: and he used to say, let's have a barbecue with
• 1:28:45
  Speaker 6: the tours.
• 1:28:47
  Speaker 4: And we used to say, no, go there with Gria.
• 1:28:49
  Speaker 4: Go there with Gria, son of a bitch.
• 1:28:51
  Speaker 3: But I participated in this memory clip, watch it, you'll see.
• 1:28:54
  Speaker 3: For me, man, this clip was.
• 1:28:57
  Speaker 2: Divisor de Águas was very crazy too, bro.
• 1:28:59
  Speaker 5: What's that, bro?
• 1:29:00
  Speaker 3: And I felt the energy of that day of the clip.
• 1:29:02
  Speaker 3: I remember that there was a moment in the recording
• 1:29:04
  Speaker 3: where there was a girl with a snake, if you
• 1:29:07
  Speaker 3: watched this clip. And then there was a moment where
• 1:29:10
  Speaker 3: it was cut. Then I left and started to cry.
• 1:29:11
  Speaker 3: I said, bro, I'm living a dream, bro. I'm in
• 1:29:13
  Speaker 3: the clip of the guy that.
• 1:29:15
  Speaker 4: I listened to his songs.
• 1:29:16
  Speaker 5: And it's cool, you know? So, like, it was very crazy.
• 1:29:19
  Speaker 3: And also, taking advantage of what I'm saying, I also
• 1:29:21
  Speaker 3: participated in the kiss with Trap.
• 1:29:23
  Speaker 2: Kiss with Trap.
• 1:29:24
  Speaker 5: I had the pleasure of exchanging an idea with Mr.
• 1:29:26
  Speaker 5: Catra that day. I remember that he was in the room, like, everyone.
• 1:29:31
  Speaker 3: Katra was standing there, talking, and I was like, oh
• 1:29:33
  Speaker 3: my God, again in Mane's video clip, and Katra teaching here.
• 1:29:37
  Speaker 4: You mentioned Katra, I can't stop talking.
• 1:29:39
  Speaker 6: Katra, among the artists, was the first one, I remember,
• 1:29:42
  Speaker 6: to reach out to us, the youtubers, and say like this,
• 1:29:45
  Speaker 6: you are also artists like us, come record, let's record,
• 1:29:47
  Speaker 6: let's do it. Mane, and you say like this, this
• 1:29:50
  Speaker 6: guy is gigantic, talking to me, because I'm a Franzino
• 1:29:53
  Speaker 6: close to him. And we were like, come with us,
• 1:29:56
  Speaker 6: let's have lunch together. You say, the coolest and the
• 1:29:58
  Speaker 6: most humble. Catra is a great reference.
• 1:29:59
  Speaker 2: The music, the way he took his life, it's crazy.
• 1:30:03
  Speaker 2: He's very crazy. He was only there to participate in
• 1:30:05
  Speaker 2: your video clip. He was already with cancer, unfortunately.
• 1:30:08
  Speaker 5: I remember I invited him to go to the video clip.
• 1:30:09
  Speaker 5: I couldn't call him to show up.
• 1:30:10
  Speaker 2: Only when I was about to show up.
• 1:30:11
  Speaker 1: Because I got sick. And he did it because he
• 1:30:14
  Speaker 1: was with me. He was a guy I met in Brasília.
• 1:30:26
  Speaker 1: And since then we've had a really cool relationship. We've
• 1:30:29
  Speaker 1: been in touch, we've been in touch. I remember one
• 1:30:32
  Speaker 1: day we were in this city, making our song happen,
• 1:30:35
  Speaker 1: Catra Me Liga de Minas.
• 1:30:36
  Speaker 2: Damn it. I told you, your song is playing here,
• 1:30:41
  Speaker 2: my brother. Dora is coming, damn it. Man, I even
• 1:30:44
  Speaker 2: got goosebumps. I was like, fuck, that day I was
• 1:30:48
  Speaker 2: already dead.
• 1:30:48
  Speaker 7: Your song played here.
• 1:30:49
  Speaker 2: So he had.
• 1:30:51
  Speaker 1: He was very kind to me. He taught me a lot.
• 1:30:55
  Speaker 1: Cater was very crazy, but Cater was a guy... Even
• 1:30:59
  Speaker 1: if it may seem contradictory, he was.
• 1:31:01
  Speaker 2: He had a lot of wisdom.
• 1:31:02
  Speaker 5: He said some absurd things.
• 1:31:03
  Speaker 3: But you were talking about the music videos, about Rigol.
• 1:31:09
  Speaker 6: Before they talk about that, I went to the bathroom
• 1:31:12
  Speaker 6: to pee. Then Sidoka sent me a DM. Tell Duke
• 1:31:16
  Speaker 6: J that he made my dream come true.
• 1:31:18
  Speaker 2: I love him.
• 1:31:19
  Speaker 4: That's the only thing he told me.
• 1:31:21
  Speaker 7: A big hug to Doka and us.
• 1:31:23
  Speaker 5: The sound was crazy.
• 1:31:24
  Speaker 4: You guys made a great sound.
• 1:31:26
  Speaker 2: We made a great sound.
• 1:31:27
  Speaker 7: Doka is the energy in the clouds.
• 1:31:29
  Speaker 2: Authentic too.
• 1:31:30
  Speaker 4: Another very authentic guy.
• 1:31:32
  Speaker 2: Paulada.
• 1:31:32
  Speaker 4: Keep talking about Reset, guys.
• 1:31:34
  Speaker 2: Yeah, about the clips.
• 1:31:35
  Speaker 4: For the people to access and watch.
• 1:31:36
  Speaker 2: We did 6 clips in 2 days, right? 2 days.
• 1:31:39
  Speaker 3: Why?
• 1:31:39
  Speaker 5: You didn't have a schedule?
• 1:31:40
  Speaker 2: It's crazy. It was a rush. I was always... The
• 1:31:42
  Speaker 2: schedule was messed up.
• 1:31:43
  Speaker 7: Everyone was messed up.
• 1:31:44
  Speaker 1: So when we met, we were in Brasília to produce
• 1:31:46
  Speaker 1: the songs. Our team had to find the exact moment
• 1:31:52
  Speaker 1: when everyone had the vacancy, the open date, in the calendar.
• 1:31:58
  Speaker 2: So it was the two days we had to make
• 1:31:59
  Speaker 2: this video. It was tiring, but also pleasant. I thought
• 1:32:02
  Speaker 2: it was fucking smooth.
• 1:32:03
  Speaker 7: I'm going to record some clips. I'm going to record
• 1:32:06
  Speaker 7: some clips sometimes, because we spend three days recording.
• 1:32:08
  Speaker 2: A fucking clip.
• 1:32:10
  Speaker 5: You know?
• 1:32:11
  Speaker 2: Clip.
• 1:32:13
  Speaker 7: Then, man, you'll see there, Rigola arrived, Rigola, he did magic, man,
• 1:32:16
  Speaker 7: I said, fuck, the guy is a genius, man.
• 1:32:18
  Speaker 5: How can it be? Done, it was already a clip?
• 1:32:19
  Speaker 1: How?
• 1:32:19
  Speaker 5: Let's go to another one.
• 1:32:20
  Speaker 7: We didn't change, we made six videos, but we... We
• 1:32:25
  Speaker 7: came in at two in the afternoon and closed at
• 1:32:29
  Speaker 7: ten at night, man.
• 1:32:30
  Speaker 5: Perfect.
• 1:32:30
  Speaker 7: I was going to record a clip, we started at
• 1:32:32
  Speaker 7: two in the afternoon, closed.
• 1:32:34
  Speaker 2: Two days later. It's too tiring.
• 1:32:36
  Speaker 7: You wait for the light to come on and tune
• 1:32:39
  Speaker 7: everything and spend a lot of time changing the signal.
• 1:32:42
  Speaker 2: Man, what I don't like is these delays, you know? Yeah,
• 1:32:46
  Speaker 2: but there's no way. I get very agonized.
• 1:32:47
  Speaker 5: Why are you delaying so much? No, it's very crazy.
• 1:32:49
  Speaker 5: Tuning the light.
• 1:32:50
  Speaker 2: Tuning the light. That's it, these things. But how do
• 1:32:52
  Speaker 2: I tune the light? Call me to record. I have
• 1:32:54
  Speaker 2: to record this here, let me rest for a while.
• 1:33:00
  Speaker 1: At some point he will record, now you have to
• 1:33:04
  Speaker 1: tune the light.
• 1:33:05
  Speaker 2: I say, no, let.
• 1:33:06
  Speaker 7: Me record my stuff.
• 1:33:08
  Speaker 4: The guys say, are you tuning the light?
• 1:33:10
  Speaker 2: Tuning the light is cool.
• 1:33:11
  Speaker 4: Let me record my stuff.
• 1:33:12
  Speaker 2: It's not a criticism, it's an observation. The culture of
• 1:33:15
  Speaker 2: the funk, I think the culture is very crazy. Let's
• 1:33:17
  Speaker 2: record the clip. There are several partners. I went to
• 1:33:18
  Speaker 2: record the clip with a partner of mine. My godfather,
• 1:33:21
  Speaker 2: on the day of the video, they like to cut
• 1:33:22
  Speaker 2: their hair. On the day of the video, right?
• 1:33:24
  Speaker 4: Take the barber to the.
• 1:33:24
  Speaker 2: Day of the video. Why don't you go home, shave
• 1:33:27
  Speaker 2: your feet and get ready?
• 1:33:28
  Speaker 3: I think it's the aesthetic of the thing. It's like,
• 1:33:31
  Speaker 3: it's my video, I have to cut my hair.
• 1:33:32
  Speaker 2: On the video.
• 1:33:33
  Speaker 1: At the time.
• 1:33:34
  Speaker 5: To be lined.
• 1:33:34
  Speaker 2: Zero.
• 1:33:35
  Speaker 7: It's true, bro.
• 1:33:36
  Speaker 2: It's not a criticism, but I respect it.
• 1:33:39
  Speaker 1: It's a way of trying to understand the culture.
• 1:33:42
  Speaker 2: Of the guys, Moreno. What am I going to tell you?
• 1:33:46
  Speaker 2: Let's record. Everyone is waiting. Let's record. Let's go. It's here. Moreno, now.
• 1:33:52
  Speaker 9: No.
• 1:33:53
  Speaker 2: One and a half hours to adjust the light. One
• 1:33:58
  Speaker 2: and a half hours. Cut the hair at home, man.
• 1:33:59
  Speaker 5: To record the video. One and a half hours to
• 1:34:01
  Speaker 5: cut the hair.
• 1:34:02
  Speaker 2: One more hour to adjust the light.
• 1:34:06
  Speaker 4: And the day is over. The day is over. What
• 1:34:08
  Speaker 4: time did you start recording? 8 p.m.
• 1:34:10
  Speaker 3: But the process of this EP... You said you came
• 1:34:12
  Speaker 3: back in six months. Was it the same period? We
• 1:34:16
  Speaker 3: always talk.
• 1:34:17
  Speaker 2: About this, right, Duque?
• 1:34:17
  Speaker 1: About the idea of producing something together. And I think
• 1:34:22
  Speaker 1: it was the right moment.
• 1:34:23
  Speaker 2: And in those six months, as I said, the right
• 1:34:26
  Speaker 2: word is this, we.
• 1:34:26
  Speaker 1: Got into a really nice relationship. I think the best
• 1:34:28
  Speaker 1: way to make a relationship is in love. So we're
• 1:34:30
  Speaker 1: reliving this relationship and gaining maturity.
• 1:34:32
  Speaker 2: Let's see each other.
• 1:34:33
  Speaker 1: And through all this romanticism, this magic happened.
• 1:34:37
  Speaker 2: Without much commitment, too light. It was fast. It was
• 1:34:39
  Speaker 2: really fast.
• 1:34:40
  Speaker 5: It didn't take six months.
• 1:34:41
  Speaker 2: We recorded an album in two months, I think. Taking
• 1:34:52
  Speaker 2: a day.
• 1:34:53
  Speaker 5: For a week there. But now another for the fans.
• 1:34:56
  Speaker 5: Are you going to do a tour together?
• 1:35:00
  Speaker 2: What are the ideas? How is it?
• 1:35:02
  Speaker 7: Let's do this label reset and let's roll. Next year
• 1:35:05
  Speaker 7: we'll be on the streets.
• 1:35:05
  Speaker 2: That's it. We'll do the show.
• 1:35:08
  Speaker 6: And there will be a moment when there will also
• 1:35:10
  Speaker 6: be the songs of the tribe and also only the
• 1:35:12
  Speaker 6: songs of Hungary.
• 1:35:12
  Speaker 2: Then you sing together.
• 1:35:13
  Speaker 5: Exactly.
• 1:35:13
  Speaker 2: Wow! The idea is to have a three-hour show.
• 1:35:16
  Speaker 4: It will end with everything.
• 1:35:17
  Speaker 1: I'm the one who put this idea in Moreno. Because
• 1:35:19
  Speaker 1: Moreno has... My partner, Marlon Moreno, he already earns a
• 1:35:22
  Speaker 1: lot of money.
• 1:35:23
  Speaker 4: So he's more like this.
• 1:35:25
  Speaker 2: He's more shy, right? He's more good. And I like
• 1:35:27
  Speaker 2: to get the bagaço. He gave me 150,000, 120,000, 130,000.
• 1:35:28
  Speaker 2: I said, let's go. Let's go. My brother said, no, bro.
• 1:35:30
  Speaker 2: You have to be calm. I said, no.
• 1:35:32
  Speaker 1: If they show up, we'll go get them. We'll go
• 1:35:34
  Speaker 1: get our paper. I like to scratch everything. He wants
• 1:35:37
  Speaker 1: to scratch everything.
• 1:35:38
  Speaker 2: He wants to scratch everything.
• 1:35:40
  Speaker 1: So, there's no specific value.
• 1:35:42
  Speaker 2: But, moreover, there are houses in certain places.
• 1:35:44
  Speaker 1: This is a warning to all artists. Looking at Hungria
• 1:35:49
  Speaker 1: and all the work they do, the tribe too.
• 1:35:52
  Speaker 2: Man, the concert halls all over Brazil are closing. Why?
• 1:36:02
  Speaker 1: Because they're not feeding this class of contractor anymore. So
• 1:36:05
  Speaker 1: the guy plays a song, plays an absurd cachet that
• 1:36:10
  Speaker 1: a house of a thousand people can't pay. So consequently,
• 1:36:13
  Speaker 1: there won't be an artist to be in this house.
• 1:36:15
  Speaker 1: So we're killing the contractor and we're killing a source
• 1:36:18
  Speaker 1: of publicity. Because it's necessary, the artist is everywhere. The
• 1:36:21
  Speaker 1: maximum entrepreneur has a lot.
• 1:36:23
  Speaker 2: Of this vision.
• 1:36:25
  Speaker 1: We can get money from a guy who supports us
• 1:36:27
  Speaker 1: for a long time and his house fits a thousand people.
• 1:36:29
  Speaker 2: So we can't stop doing this there.
• 1:36:32
  Speaker 5: Maci is a monster. He's a legend.
• 1:36:34
  Speaker 2: He's a vision.
• 1:36:35
  Speaker 3: You know, Maci, thank you for everything you're doing.
• 1:36:38
  Speaker 2: So, an example. If the cash is 140 thousand, he
• 1:36:40
  Speaker 2: calls me.
• 1:36:41
  Speaker 1: Let's go to the 80's to help a guy who
• 1:36:44
  Speaker 1: was with us from the beginning and today doesn't behave
• 1:36:47
  Speaker 1: to pay such a price, who has a course to
• 1:36:51
  Speaker 1: do an event.
• 1:36:51
  Speaker 6: I see a lot of contractors, people in the business world,
• 1:36:56
  Speaker 6: in the artistic world of music, People are complaining about
• 1:36:59
  Speaker 6: the cashier. The cashier that the artist is asking for
• 1:37:03
  Speaker 6: doesn't match with the amount of tickets he sells.
• 1:37:06
  Speaker 2: That's it. I fully agree.
• 1:37:07
  Speaker 1: I think that in my career it was exactly like that.
• 1:37:12
  Speaker 1: Every time we advanced in cashier, it was because we
• 1:37:17
  Speaker 1: were selling tickets and the contractor wasn't getting a loss.
• 1:37:19
  Speaker 2: Not that we want everything from the contractor, but man.
• 1:37:23
  Speaker 1: Cashier is so much. We changed places, we're... It's getting
• 1:37:27
  Speaker 1: more public, so it's time to... It's no use, we're
• 1:37:30
  Speaker 1: going to kill the contractor. I'd like to give a
• 1:37:33
  Speaker 1: hug to all the contractors in the country.
• 1:37:35
  Speaker 2: Contact me. Yeah, contact me.
• 1:37:37
  Speaker 5: Call me Marcin.
• 1:37:38
  Speaker 1: Yeah, call me Marcin, because we have a lot of respect.
• 1:37:41
  Speaker 1: And I see this class, Duke J, being... Like, shot down, man.
• 1:37:47
  Speaker 1: There's no more. The pandemic itself was already.
• 1:37:51
  Speaker 5: Yeah, after the pandemic.
• 1:37:53
  Speaker 2: And a lot of people, all businessmen too, right? Artists, medium, small, big, big.
• 1:37:57
  Speaker 2: Playing music doesn't mean selling tickets. No.
• 1:38:03
  Speaker 5: You have to build up the audience.
• 1:38:05
  Speaker 7: Nowadays, you put a song on Spotify, it depends on
• 1:38:10
  Speaker 7: the way, the guy comes in with the money, there's
• 1:38:13
  Speaker 7: no way the song will play.
• 1:38:14
  Speaker 5: Or on Tik Tok.
• 1:38:15
  Speaker 7: And sometimes people don't even like it, but it's here,
• 1:38:18
  Speaker 7: it accidentally came in there.
• 1:38:21
  Speaker 3: Or the person sees that it's in the top 10
• 1:38:22
  Speaker 3: and says it's a success, I'll listen to it too.
• 1:38:24
  Speaker 2: Exactly, there's that too. Manada effect, right? It shows the
• 1:38:28
  Speaker 2: situation of... farms of history. Of the events now in
• 1:38:33
  Speaker 2: the city hall, also disfavored a lot the contractors, right?
• 1:38:36
  Speaker 2: Of private houses.
• 1:38:36
  Speaker 1: Because the artists want to go to the city hall,
• 1:38:39
  Speaker 1: which is a free event, there are 20,000 people there
• 1:38:40
  Speaker 1: singing his song.
• 1:38:41
  Speaker 2: But they forget about this guys that strengthens, bro.
• 1:38:43
  Speaker 4: This is something that.
• 1:38:48
  Speaker 1: That really moves me, because I went to a house
• 1:38:50
  Speaker 1: in the interior of São Paulo, and this house should
• 1:38:52
  Speaker 1: have been there for 25 years.
• 1:38:54
  Speaker 2: And who was taking care of it was the son, right?
• 1:38:56
  Speaker 1: The father who created all that structure, and the son
• 1:39:00
  Speaker 1: was playing the guitar. And that house of the show,
• 1:39:03
  Speaker 1: it sustained the whole family, and formed the children, and
• 1:39:07
  Speaker 1: took the bread to that whole family.
• 1:39:08
  Speaker 2: And it's a house that, damn, the last show we
• 1:39:11
  Speaker 2: did there was us.
• 1:39:12
  Speaker 1: Got it?
• 1:39:13
  Speaker 2: A 25-year-old house, man. Did you close the house? Yeah,
• 1:39:16
  Speaker 2: I closed it.
• 1:39:16
  Speaker 1: Damn.
• 1:39:17
  Speaker 2: It's a beautiful house, man.
• 1:39:19
  Speaker 1: And he said it's exactly because of that.
• 1:39:22
  Speaker 2: Damn, we don't find artists of 80,000 anymore. It's hard.
• 1:39:26
  Speaker 4: And 80,000 is money.
• 1:39:27
  Speaker 2: That's what I say. Buqueira. If it's 150, but if
• 1:39:31
  Speaker 2: it appears to be 180, it's money. 10 is 800.
• 1:39:33
  Speaker 4: On a Thursday, out of nowhere?
• 1:39:35
  Speaker 2: On a little party? What?
• 1:39:36
  Speaker 5: Don't call me, put my drink in the dressing room
• 1:39:38
  Speaker 5: and my cigarette.
• 1:39:39
  Speaker 2: I'll be there, I'll be there. 85, you're flying. Moreno,
• 1:39:41
  Speaker 2: it's because the calculation has to be on a large scale.
• 1:39:43
  Speaker 7: You know?
• 1:39:51
  Speaker 2: You can't do 20. You can't do 20. I'll do
• 1:39:52
  Speaker 2: 20 of these. It's 1,600. In a month? What can't
• 1:39:54
  Speaker 2: be missing in your dressing room? Three items. Then it's good.
• 1:39:57
  Speaker 2: I ask for galinhada. Ah, stop.
• 1:39:59
  Speaker 5: Galinhada.
• 1:39:59
  Speaker 2: Galinhada. Oh, God.
• 1:40:00
  Speaker 4: Even my team is.
• 1:40:02
  Speaker 2: Here for the show. That's why sometimes I don't leave
• 1:40:05
  Speaker 2: the dressing room the way I want. I get a
• 1:40:06
  Speaker 2: little upset. Why? I only ask for galinhada. Galinhada, chiclete, cachaça.
• 1:40:09
  Speaker 4: Four trident.
• 1:40:21
  Speaker 2: A boy's car, not even a Ferrari, a boy's car.
• 1:40:23
  Speaker 1: A yellow car.
• 1:40:24
  Speaker 2: A yellow car. A yellow car. A yellow car. A
• 1:40:28
  Speaker 2: yellow car. A yellow car. A yellow car. A yellow car.
• 1:40:49
  Speaker 2: Pepper is crazy.
• 1:40:51
  Speaker 7: So, when Marquinhos arrives, I like to put my marmitas.
• 1:40:55
  Speaker 2: Marquinhos already brings the isopor marmitas. I open the galinhada pot,
• 1:40:58
  Speaker 2: put it.
• 1:40:58
  Speaker 1: I make two marmitas to take to the hotel.
• 1:41:02
  Speaker 2: That's all I ask for.
• 1:41:03
  Speaker 5: You don't even eat there, you eat later.
• 1:41:04
  Speaker 2: When I get to the hotel... Full of mania. Full
• 1:41:06
  Speaker 2: of mania, man.
• 1:41:06
  Speaker 5: Then I eat. Got it?
• 1:41:07
  Speaker 2: Because I'm not going to ask that bunch of things.
• 1:41:09
  Speaker 2: We stay what?
• 1:41:15
  Speaker 1: I stay in the dressing room for 40 minutes. Then
• 1:41:16
  Speaker 1: I ask for a lot of things. But it doesn't
• 1:41:18
  Speaker 1: make sense. Then it started to happen a lot. At
• 1:41:20
  Speaker 1: the beginning I started to mess around, but it doesn't
• 1:41:22
  Speaker 1: make sense to have so many things.
• 1:41:23
  Speaker 2: I want my galinhada, guitore de quatro, trident, a box
• 1:41:26
  Speaker 2: of girls and Red Bull and vodka.
• 1:41:28
  Speaker 5: And the cashier paid is right?
• 1:41:30
  Speaker 2: Let's go.
• 1:41:31
  Speaker 1: Everyone smiling, hiring, the public singing, children crying and let's go.
• 1:41:34
  Speaker 4: And in your dressing room, Duque de.
• 1:41:35
  Speaker 2: What can't be missing?
• 1:41:36
  Speaker 4: I'm just the sound, son.
• 1:41:38
  Speaker 7: The dressing room, a little sound.
• 1:41:42
  Speaker 5: Yeah, I put the little sound there.
• 1:41:44
  Speaker 7: I don't eat anything from Camarim. When I leave the hotel,
• 1:41:47
  Speaker 7: I'm ready to go on stage. You have to have
• 1:41:48
  Speaker 7: something to drink.
• 1:41:50
  Speaker 5: Some chocolate... Yeah, I have to.
• 1:41:51
  Speaker 7: Have something to drink and some Sozinho for me to
• 1:41:53
  Speaker 7: feel good. I don't need a lot of things.
• 1:41:55
  Speaker 2: And water, right? And water. Water as hell.
• 1:41:56
  Speaker 4: What about Mano Brown's Camarim, the young legend? What a
• 1:41:59
  Speaker 4: nice guy.
• 1:41:59
  Speaker 5: Oh my God, oh my God.
• 1:42:01
  Speaker 4: A DJ playing... There was a DJ on his Camarim.
• 1:42:02
  Speaker 2: It looks like a barbecue, it's just smoke. Moreno, it's smoke.
• 1:42:07
  Speaker 2: It's smoke. Brown, you're my partner.
• 1:42:10
  Speaker 1: Moreno, did you see that I smoked a lot with Brown?
• 1:42:12
  Speaker 1: I'm not a big fan of maconha, well, there are some,
• 1:42:14
  Speaker 1: but I'm not that kind of guy. Moreno, I gave
• 1:42:17
  Speaker 1: it a first try. It seems like I.
• 1:42:21
  Speaker 2: Got it all wrong. It's like you don't know the
• 1:42:24
  Speaker 2: Chapolin's hammer. I didn't know anything else. And then I
• 1:42:29
  Speaker 2: got insecure.
• 1:42:30
  Speaker 1: I forgot the lyrics of my song. It was already
• 1:42:32
  Speaker 1: time for my show. It was before the show.
• 1:42:34
  Speaker 5: And how did you remember?
• 1:42:36
  Speaker 2: I put it on Google.
• 1:42:37
  Speaker 4: Dubai. It gave me Dubai in my head.
• 1:42:38
  Speaker 1: Dubai, man.
• 1:42:38
  Speaker 2: What a mess. Man, what a mess. I don't want
• 1:42:41
  Speaker 2: it anymore. You can take it from us. But did
• 1:42:43
  Speaker 2: you go to his dressing room? I did.
• 1:42:53
  Speaker 1: Our relationship is awesome, bro. Brau always went to Brazil,
• 1:42:56
  Speaker 1: stayed at home, met my mom. He was a counselor too.
• 1:43:00
  Speaker 1: A real counselor, bro. There was a fight between me
• 1:43:04
  Speaker 1: and a guy from Brasilia. I can't remember the name.
• 1:43:08
  Speaker 1: And Brau beat me. I said, bro, let me tell
• 1:43:11
  Speaker 1: you something.
• 1:43:12
  Speaker 2: Wow.
• 1:43:12
  Speaker 5: Brau beat you out of nowhere.
• 1:43:14
  Speaker 4: It was serious.
• 1:43:15
  Speaker 1: Yeah. There was a guy there, and it was stupid.
• 1:43:18
  Speaker 1: I went to Faustão and said, bro, I'm so happy
• 1:43:20
  Speaker 1: that rap is coming here. And he should have a
• 1:43:24
  Speaker 1: different view from mine. I went on the internet and said,
• 1:43:27
  Speaker 1: I don't think it's cool. It's on the Globo, these things.
• 1:43:29
  Speaker 1: You have to know what you say. I said, you
• 1:43:32
  Speaker 1: want to know? There's a Mercedes there, a Mercedes Pirou.
• 1:43:33
  Speaker 1: I said, this is like that guy. No one has
• 1:43:35
  Speaker 1: ever seen this.
• 1:43:36
  Speaker 2: This is wrong to see. No one has ever seen it.
• 1:43:39
  Speaker 1: And then he took a look there and started this
• 1:43:41
  Speaker 1: thing on the internet. I called, Brau calls me. I said, Moreno,
• 1:43:43
  Speaker 1: let me tell you.
• 1:43:45
  Speaker 2: He called me, he's Cuppet. Cuppet? It's Brau, Moreno.
• 1:43:49
  Speaker 1: You're so nice, everyone likes you, but you're going to
• 1:43:51
  Speaker 1: do the following, when I turn off this phone, look,
• 1:43:54
  Speaker 1: I'm ordering, the number of this guy is there, you're
• 1:43:56
  Speaker 1: going to call him, you're going to change the idea.
• 1:44:00
  Speaker 2: Fuck! It doesn't make sense to be in this mess there.
• 1:44:02
  Speaker 1: It took a while, I already called, when it turned off,
• 1:44:07
  Speaker 1: I already called, bro, let me tell you, the guy
• 1:44:08
  Speaker 1: who called me, I called him to change this idea,
• 1:44:11
  Speaker 1: everything I said in the interview, Maybe it's just my experience,
• 1:44:18
  Speaker 1: it's different times. And you, as an experienced coach, I
• 1:44:22
  Speaker 1: expected at least one advice, not a judgment. I'm not
• 1:44:24
  Speaker 1: here to always get it right. So you, as a
• 1:44:26
  Speaker 1: guy who's been in the scene for a long time,
• 1:44:27
  Speaker 1: you should give me some advice. Next time you can
• 1:44:29
  Speaker 1: say some more things like that, to make it look cool.
• 1:44:30
  Speaker 1: And then it happened, I did the show at the
• 1:44:34
  Speaker 1: beach and I even called this man to participate.
• 1:44:35
  Speaker 5: And it was.
• 1:44:36
  Speaker 2: That's how you solve it.
• 1:44:38
  Speaker 1: To see how it makes the influence, that we were
• 1:44:41
  Speaker 1: talking about right people with us, the influence of these people,
• 1:44:44
  Speaker 1: to amenize a situation.
• 1:44:46
  Speaker 5: Mano Brau. And what a tension to stop, to call,
• 1:44:47
  Speaker 5: to do this. I was in the hospital there.
• 1:44:49
  Speaker 2: I called the hospital there. There's a time when we
• 1:44:51
  Speaker 2: get the notice in the field.
• 1:44:53
  Speaker 1: It's time to give it a try. It's time to give.
• 1:44:57
  Speaker 2: It a try.
• 1:44:58
  Speaker 1: To understand how it was there. Your mother is there.
• 1:45:01
  Speaker 1: Where's your mother? So he has this care there with us.
• 1:45:04
  Speaker 1: I think it's great.
• 1:45:06
  Speaker 5: It's great, man.
• 1:45:06
  Speaker 2: Meet the young man. What's up, dear Igor Underground.
• 1:45:13
  Speaker 4: I wanted to know if they came to sing a
• 1:45:14
  Speaker 4: little bit.
• 1:45:15
  Speaker 2: Yeah, right?
• 1:45:15
  Speaker 5: You're going to sing a.
• 1:45:17
  Speaker 2: Little bit, right? Yeah? You're going to sing a little bit, right?
• 1:45:19
  Speaker 4: A little bit. Because I saw the guitar.
• 1:45:22
  Speaker 2: Is there a guitar there?
• 1:45:24
  Speaker 4: I saw a man with a guitar there, bro.
• 1:45:25
  Speaker 2: I swear to God. But who's playing it is not us. No?
• 1:45:28
  Speaker 2: Is it?
• 1:45:29
  Speaker 4: Come here, man.
• 1:45:32
  Speaker 1: Why?
• 1:45:34
  Speaker 4: Look at that, the guitar.
• 1:45:35
  Speaker 2: In the black cover. I fixed this guy in my
• 1:45:37
  Speaker 2: life and he's giving me a lot of work. Who?
• 1:45:40
  Speaker 4: Dalmy from the guitar.
• 1:45:41
  Speaker 2: He gives you a lot of work? Yes.
• 1:45:43
  Speaker 5: But let me tell you.
• 1:45:45
  Speaker 2: Damn!
• 1:45:46
  Speaker 1: Damn!
• 1:45:46
  Speaker 5: This is different. Wow, a guitar.
• 1:45:48
  Speaker 4: Damn, what a beautiful guitar.
• 1:45:49
  Speaker 2: Let's go, Moreno. Let's go, Moreno.
• 1:45:51
  Speaker 1: I really liked that.
• 1:45:53
  Speaker 5: Are you at peace? Oh, Moreno. Damn, what a key guitar.
• 1:45:56
  Speaker 4: It's giving work to the guys. But for me it's...
• 1:45:58
  Speaker 4: How is it, Padrinho?
• 1:46:00
  Speaker 2: Good. Feel free. Good. Dalmy is a.
• 1:46:05
  Speaker 4: Is this a guitar or is it another instrument? It's
• 1:46:07
  Speaker 4: a guitar.
• 1:46:08
  Speaker 2: Very cool. This is Dalmy, a son that life gave me.
• 1:46:12
  Speaker 5: She will bring a microphone to let me.
• 1:46:13
  Speaker 2: He's a son because Dalmy is 24 years old.
• 1:46:15
  Speaker 4: I'll put it there, it's mine for now, don't worry.
• 1:46:17
  Speaker 2: Dalmy is 24 years old, he's a singer too. I
• 1:46:18
  Speaker 2: wouldn't stop asking.
• 1:46:20
  Speaker 3: These guys to sing anything they want. I wouldn't lose
• 1:46:23
  Speaker 3: this opportunity.
• 1:46:24
  Speaker 5: Thank you, me too. And he's a boy who.
• 1:46:30
  Speaker 1: He's always with us. He's a guy who dreams of music.
• 1:46:32
  Speaker 1: He always takes us to shows, places to... We went
• 1:46:36
  Speaker 1: to Altas Horas, Sergio Grosso. And I said, man, it's
• 1:46:39
  Speaker 1: better if you start... Wherever I can take you to
• 1:46:42
  Speaker 1: feel this environment and attract these things.
• 1:46:45
  Speaker 5: It's going to be a.
• 1:46:47
  Speaker 2: Routine in your life. So, dude.
• 1:46:48
  Speaker 4: Let's do it.
• 1:46:49
  Speaker 5: This is not music, this is.
• 1:46:52
  Speaker 2: I'm here.
• 1:47:00
  Speaker 1: A sua frente meio bagunçada Cheguei com o volume do
• 1:47:05
  Speaker 1: som topado Lembrei do rolê domingo passado Aí cê lembra
• 1:47:11
  Speaker 1: bem Nada é impossível Tudo é invisível pra quem só
• 1:47:16
  Speaker 1: olha pra si É bem assim É coisa de outro
• 1:47:20
  Speaker 1: nível Eu me acho incrível quando cê olha pra mim
• 1:47:24
  Speaker 1: Me gosta assim Tá pra nascer uma loqueira Disposto a
• 1:47:27
  Speaker 1: soltar o dedo só por causa dela.
• 1:47:32
  Speaker 7: E aí eu penso o tempo.
• 1:47:33
  Speaker 9: Inteiro e até bate o desespero que sonhou sem ela.
• 1:47:38
  Speaker 1: Eu danço com a nossa fumaça, me abraço no convencível,
• 1:47:42
  Speaker 1: seguro a minha mão Até o radar tirou uma foto,
• 1:47:47
  Speaker 1: se nós tivéssemos de moto não pegava não E hoje
• 1:47:52
  Speaker 1: nós volta pra foder, vem o sol nascer, faça o
• 1:47:56
  Speaker 1: que você quiser.
• 1:47:59
  Speaker 2: Let's sing that version of Cachaceira.
• 1:48:10
  Speaker 4: Sing that version of Cachaceira.
• 1:48:13
  Speaker 9: Take this version, Mítico.
• 1:48:21
  Speaker 11: You can be born a cachaçeiro willing to take three
• 1:48:24
  Speaker 11: fingers of the yellow finger. Then I drink all day
• 1:48:27
  Speaker 11: and even hit a despair when it ends. I drink
• 1:48:31
  Speaker 11: and make smoke smoking a San Marino with.
• 1:48:33
  Speaker 2: The body in hand.
• 1:48:40
  Speaker 4: Tem que gravar isso aí, bro.
• 1:48:41
  Speaker 11: Cara, tem que gravar isso aí.
• 1:48:44
  Speaker 2: Tem que gravar, tem que gravar, meu irmão.
• 1:48:56
  Speaker 4: Man, what a song!
• 1:48:58
  Speaker 11: Hey, Moreno, now I wanted to make a request for
• 1:48:59
  Speaker 11: the two of us to sing and sleep. You're in
• 1:49:02
  Speaker 11: our team!
• 1:49:02
  Speaker 4: You're in our team! You're in our team, Moreno!
• 1:49:04
  Speaker 5: Wow, get ready!
• 1:49:05
  Speaker 4: Whoever knows how to sing, come with us!
• 1:49:06
  Speaker 5: Whoever knows how to sing, come with us!
• 1:49:08
  Speaker 4: Damn, my God!
• 1:49:08
  Speaker 6: Hey, Mitki, I'm going to cut it just because you asked.
• 1:49:10
  Speaker 5: I asked for sleep again And today these black guys
• 1:49:12
  Speaker 5: are going to.
• 1:49:13
  Speaker 7: Burn Porque são duas da manhã e eu tô aqui
• 1:49:29
  Speaker 7: Com outra garrafa de vodka, de vodka E eu sou
• 1:49:33
  Speaker 7: mais um maloqueiro da quebrada Que tá virado desde outras
• 1:49:38
  Speaker 7: madrugadas Depois das onze já.
• 1:49:41
  Speaker 9: Não pensa mais em nada Só quer viver que a.
• 1:49:44
  Speaker 1: Vida é única, é única Eu e meu desprazer É.
• 1:49:50
  Speaker 2: O que me faz sentir.
• 1:49:51
  Speaker 1: Prazer É o que me faz enlouquecer É o que.
• 1:49:57
  Speaker 7: Me faz querer viver E ver que tudo é passageiro
• 1:50:01
  Speaker 7: Solta esses cabelos e vem Que hoje eu vim pra
• 1:50:04
  Speaker 7: esbagaçar nessa porra Que.
• 1:50:06
  Speaker 1: Nóis tá solteiro E deixa o som bater neném Até
• 1:50:10
  Speaker 1: a polícia chegar Se pedir pra baixar nóis vai.
• 1:50:13
  Speaker 12: Pra outro lugar Hoje eu quero ver os cara preta
• 1:50:21
  Speaker 12: queimar Os cara preta a queimar E como é.
• 1:50:27
  Speaker 1: Bom viver A vida passa e cê nem vê Pra
• 1:50:31
  Speaker 1: que sofrer?
• 1:50:31
  Speaker 2: Mais tarde vamo.
• 1:50:32
  Speaker 1: Ali no rolê Logo mais um dia vai amanhecer outra
• 1:50:36
  Speaker 1: vez É nóis de nuvem, 10 horas da manhã do
• 1:50:40
  Speaker 1: chinês Não deixe ninguém roubar sua brisa Esse é teu momento,
• 1:50:44
  Speaker 1: melhor tá isento Desse mundinho, viu?
• 1:50:47
  Speaker 2: O certo é certo, é você.
• 1:50:48
  Speaker 13: Mesmo é que faz o seu julgamento E tudo.
• 1:50:51
  Speaker 7: Passa, faz outro gama, e fidei tempo ao tempo Hoje
• 1:50:54
  Speaker 7: ninguém dorme, tô na rua daquele jeito De.
• 1:50:57
  Speaker 13: Asante na nave com os grave temendo o peito E
• 1:51:00
  Speaker 13: bagaceiro meio bandoleiro, eu e um parceiro Contribuindo pra.
• 1:51:04
  Speaker 1: Essa cidade virar Ontem pensei, pensar sozinho.
• 1:51:08
  Speaker 13: Cê morre E se pagar vai ver porque que o
• 1:51:11
  Speaker 13: DF não dorme Coloca na balança o que pra ti
• 1:51:15
  Speaker 13: tem mais valor Amar é bom, mas melhor ainda é
• 1:51:18
  Speaker 13: fazer amor Eu e meu desprazer É.
• 1:51:22
  Speaker 7: O que me faz sentir prazer É.
• 1:51:25
  Speaker 13: O que me faz enlouquecer É o que me faz
• 1:51:29
  Speaker 13: querer viver E ver que tudo é passageiro Solta esses
• 1:51:34
  Speaker 13: cabelos e vem And today I came to mess around
• 1:51:37
  Speaker 13: in this shit That we are single, let the sound beat,
• 1:51:41
  Speaker 13: neném Until the police arrive If you ask to get off,
• 1:51:44
  Speaker 13: we go to another place Today I want to see
• 1:51:51
  Speaker 13: these black guys burn These black guys burn.
• 1:52:04
  Speaker 2: Wow!
• 1:52:04
  Speaker 4: We're doing this live, brother.
• 1:52:06
  Speaker 3: Man, the mythic must be crazy. My God, the mythic
• 1:52:10
  Speaker 3: from the past must be crazy.
• 1:52:12
  Speaker 4: You're commanding the thing.
• 1:52:14
  Speaker 2: It's the mythic.
• 1:52:14
  Speaker 4: Look at the mythic.
• 1:52:16
  Speaker 5: What a happiness to see this. Would you send it
• 1:52:19
  Speaker 5: to Dubai or Hungary?
• 1:52:21
  Speaker 2: Let's go there.
• 1:52:22
  Speaker 4: I would ask this to the mythic.
• 1:52:23
  Speaker 2: Do you remember Tondela or Moreno? Just Tondela. Do you
• 1:52:26
  Speaker 2: remember Dubai?
• 1:52:26
  Speaker 4: Look at the boss here. I won't remember.
• 1:52:29
  Speaker 2: Dubai, but there's another one.
• 1:52:31
  Speaker 5: A request.
• 1:52:34
  Speaker 2: Outro pedido?
• 1:52:34
  Speaker 5: Muito bom. Muito bom.
• 1:52:35
  Speaker 2: Muito bom.
• 1:52:36
  Speaker 5: Por que você tá.
• 1:52:36
  Speaker 4: Falando pra eu fazer outro pedido? Outro pedido.
• 1:52:40
  Speaker 5: Isso aí é hino também, tá? Nossa, essa música não dá.
• 1:52:46
  Speaker 1: Essa música é oração, de fato.
• 1:52:52
  Speaker 2: Foi. Já pensou se eu tivesse parado? Thank you.
• 1:53:08
  Speaker 1: The smoker didn't smoke, the playboyzada used tires to burn.
• 1:53:11
  Speaker 4: I saw four friends of mine go to the crime
• 1:53:13
  Speaker 4: of an asshole.
• 1:53:14
  Speaker 1: And five black people in the favela become businessmen.
• 1:53:17
  Speaker 4: Whatever, my mom already cried.
• 1:53:19
  Speaker 2: Her smile is so beautiful.
• 1:53:20
  Speaker 1: It's just that today I can give you a hug,
• 1:53:23
  Speaker 1: but for a dress car.
• 1:53:24
  Speaker 2: And if it were for someone who already said that
• 1:53:28
  Speaker 2: a boy wouldn't last.
• 1:53:29
  Speaker 1: And changed the revolver in love, because singing rap I
• 1:53:32
  Speaker 1: didn't want to study.
• 1:53:33
  Speaker 2: Now it's a ship and a ship down.
• 1:53:36
  Speaker 1: Jete no engate da danada Daqui pra Riviera é quase
• 1:53:41
  Speaker 1: nada Descendo a bachada Sente.
• 1:53:44
  Speaker 4: A acelerada Vem, vem, vem Um.
• 1:53:48
  Speaker 1: Dia eu vi Uma estrela cadente Fiz um pedido Creio
• 1:53:54
  Speaker 1: fui atendido Era só um menino Brincando com os amigos
• 1:54:01
  Speaker 1: Fiz essa aqui pra relembrar daqueles que estavam comigo Dividindo
• 1:54:08
  Speaker 1: um sorriso Tudo que eu acredito não demora eu conquisto
• 1:54:15
  Speaker 1: Beautiful song.
• 1:54:16
  Speaker 4: Applause, applause.
• 1:54:18
  Speaker 6: I was asking the GPT chat what the tone was.
• 1:54:20
  Speaker 5: To see if they knew. This song, man. It seems
• 1:54:25
  Speaker 5: that you make some hymns too, right?
• 1:54:26
  Speaker 2: A gospel hymn.
• 1:54:27
  Speaker 5: This thing is from God too. The two, man.
• 1:54:29
  Speaker 6: The songs move a lot, man. Especially the timbre of
• 1:54:31
  Speaker 6: the two, I don't know. The way of singing.
• 1:54:32
  Speaker 2: Very cool. This is a request, I.
• 1:54:34
  Speaker 1: Remember, that we recorded. It was Rigola who recorded. Things
• 1:54:37
  Speaker 1: were already happening. Not the way it happens today. But
• 1:54:40
  Speaker 1: these people enter the... in the idea that the cadente
• 1:54:45
  Speaker 1: star is the figurative meaning of the cadente star. And
• 1:54:47
  Speaker 1: the cadente star that speaks in this song is God.
• 1:54:50
  Speaker 1: Every time I close my eyes, I have a cadente
• 1:54:52
  Speaker 1: star that I can make a request.
• 1:54:54
  Speaker 2: And this video is very cool, right?
• 1:54:55
  Speaker 5: Because you're a child, you're a child and such, it's
• 1:54:57
  Speaker 5: very cool.
• 1:54:58
  Speaker 2: This is crazy to hear a cadente star. I believe
• 1:55:00
  Speaker 2: I was attended. Everything I believe takes time to achieve.
• 1:55:05
  Speaker 2: And it talks a lot about me too.
• 1:55:07
  Speaker 1: If I put something in my head, I'm sure I'll
• 1:55:09
  Speaker 1: do it while God gives me health.
• 1:55:10
  Speaker 2: Because after you.
• 1:55:13
  Speaker 1: You don't understand where you want to go. And we,
• 1:55:16
  Speaker 1: who are less socially privileged, the only weapon we have
• 1:55:19
  Speaker 1: to fight is faith. And after I understood the size
• 1:55:22
  Speaker 1: of faith, I said, I don't need anything else.
• 1:55:25
  Speaker 2: It's enough. So everything we see with our eyes closed,
• 1:55:29
  Speaker 2: we can see with our eyes open.
• 1:55:30
  Speaker 1: That's what I do in shows. When I recorded my
• 1:55:32
  Speaker 1: first song, today I have a meeting. I remember I
• 1:55:35
  Speaker 1: took the CD, went to the room, put it on
• 1:55:37
  Speaker 1: the sound and said, now it's with you. I was
• 1:55:42
  Speaker 1: 13 years old, I had never been to a nightclub.
• 1:55:43
  Speaker 1: And I saw the hands of people, even the lights
• 1:55:47
  Speaker 1: that I see today are the same. Those lights, that
• 1:55:51
  Speaker 1: focus of light in the hand. So when I say,
• 1:55:54
  Speaker 1: now it's with you, and today I saw it with
• 1:55:55
  Speaker 1: my eyes open. So everything we see with our eyes
• 1:55:58
  Speaker 1: closed and create here in the imagination, we can realize
• 1:56:00
  Speaker 1: and see with.
• 1:56:01
  Speaker 2: Our eyes open.
• 1:56:02
  Speaker 4: It gets more powerful, very cool.
• 1:56:03
  Speaker 2: Very cool.
• 1:56:03
  Speaker 4: Mythic young.
• 1:56:04
  Speaker 5: Yeah, what day is it?
• 1:56:28
  Speaker 4: Just to let you know, right? Thank you, thank you,
• 1:56:30
  Speaker 4: thank you.
• 1:56:31
  Speaker 9: If you go away and don't sing the Dubai.
• 1:56:32
  Speaker 5: Song, you're screwed. I'll tell you a story, talking about
• 1:56:35
  Speaker 5: this tone of music. Morifé is in Dó, right?
• 1:56:37
  Speaker 11: And then we went to a festival there, which has
• 1:56:39
  Speaker 11: one on the beach, in Brasília. It was a show
• 1:56:42
  Speaker 11: by Tietê Romário and Murilo Rufo, and Moré was in
• 1:56:44
  Speaker 11: a hurry. He arrives at the producer and tells me
• 1:56:47
  Speaker 11: to play a song with them. It took a while.
• 1:56:57
  Speaker 11: I talked to the producer, he said, let's start the
• 1:56:59
  Speaker 11: show here, organize the train and we'll do it. Man,
• 1:57:03
  Speaker 11: I said, I'll leave it here for now, it will
• 1:57:06
  Speaker 11: take a while. I went down there to talk to
• 1:57:08
  Speaker 11: my guys. I'm down there, I see him.
• 1:57:11
  Speaker 7: In the middle of the stage.
• 1:57:12
  Speaker 2: He came in at once, if the guys call.
• 1:57:15
  Speaker 4: Father, the people, Hungary, Hungary, Hungary, stop. What's the tone
• 1:57:19
  Speaker 4: of that song?
• 1:57:19
  Speaker 2: And I said, don't do that. I sang the song
• 1:57:21
  Speaker 2: Dó Menor, Dó Menor, damn it.
• 1:57:23
  Speaker 7: I started singing until.
• 1:57:24
  Speaker 9: I found the tone of that song.
• 1:57:26
  Speaker 5: On stage?
• 1:57:27
  Speaker 4: No, I threw the monsters in the fire.
• 1:57:28
  Speaker 5: It was crazy.
• 1:57:29
  Speaker 2: But it was good. It was good. In the end,
• 1:57:33
  Speaker 2: it always works out.
• 1:57:34
  Speaker 4: That's what I was going to say, it's a.
• 1:57:36
  Speaker 5: Time of pain.
• 1:57:37
  Speaker 2: You have to calm your heart.
• 1:57:38
  Speaker 4: Calm down.
• 1:57:38
  Speaker 5: Calm down, Moreno.
• 1:57:40
  Speaker 2: What's next?
• 1:57:42
  Speaker 5: Let's see here, I don't improvise. I trust you. I
• 1:57:45
  Speaker 5: never played. I trust you, Moreno.
• 1:57:48
  Speaker 4: It's always the first time.
• 1:57:50
  Speaker 2: Let's go.
• 1:57:51
  Speaker 5: Play this voice, my dog.
• 1:57:53
  Speaker 2: My dog.
• 1:57:54
  Speaker 5: My dog, his little voice. This take here.
• 1:57:56
  Speaker 7: Now she has a flying pipe soul and a heart
• 1:58:05
  Speaker 7: of gold.
• 1:58:10
  Speaker 9: Loved, but it's no use. Write and be happy, but
• 1:58:13
  Speaker 9: with another taste.
• 1:58:22
  Speaker 13: The best makeup is a smile on the face And
• 1:58:24
  Speaker 13: she goes with her way.
• 1:58:26
  Speaker 9: That no one understands But I want to have.
• 1:58:28
  Speaker 2: Her But I want to have her.
• 1:58:33
  Speaker 13: Let me see that I will increase this dream and
• 1:58:36
  Speaker 13: let you get involved.
• 1:58:37
  Speaker 4: She falls in love.
• 1:58:39
  Speaker 13: With lucidity and once again she's crazy on the street,
• 1:58:42
  Speaker 13: she's loose on the street. And without name, without interest,
• 1:58:47
  Speaker 13: without phone, without dream, without commitment.
• 1:58:50
  Speaker 2: And tomorrow is another day of how.
• 1:58:53
  Speaker 7: And she says that tomorrow.
• 1:58:57
  Speaker 2: No more than abandonment.
• 1:59:00
  Speaker 9: Now she has a flying pipe soul. E coração de
• 1:59:04
  Speaker 9: marguerita gelada.
• 1:59:07
  Speaker 7: Corpo de patrícia, mente da quebrada.
• 1:59:10
  Speaker 9: Um dia foi amada, mas não adiantou nada.
• 1:59:13
  Speaker 2: Descreve ser feliz, mas com outro gosto. A melhor maquiagem,
• 1:59:18
  Speaker 2: o sorriso no rosto.
• 1:59:20
  Speaker 7: E ela vai com o seu jeito que ninguém entende,
• 1:59:23
  Speaker 7: mas deseja tê-la.
• 1:59:25
  Speaker 2: Very good, very good, very good. Mítico Jovem, ask us
• 1:59:29
  Speaker 2: to end today.
• 1:59:29
  Speaker 6: It was wonderful, I wanted to know if you guys
• 1:59:33
  Speaker 6: liked to talk to us about what day it was.
• 1:59:35
  Speaker 6: It was a night of gratitude, the feeling that I
• 1:59:37
  Speaker 6: carry the most every day is gratitude.
• 1:59:40
  Speaker 2: To be with Mítico and relive.
• 1:59:51
  Speaker 1: As we said, Mítico has a journey with us and
• 1:59:55
  Speaker 1: is on your side. To get to a structure like
• 1:59:57
  Speaker 1: this and see that you live a dream and that
• 1:59:59
  Speaker 1: you are a promise from God to me is gratifying.
• 2:00:01
  Speaker 1: It's another way to share victories and stories of learning.
• 2:00:05
  Speaker 1: You and Igão, in a situation like this, never forget,
• 2:00:10
  Speaker 1: as you said, the simple things that make a difference
• 2:00:12
  Speaker 1: in your heart, in your life, in Igão' s life. For me,
• 2:00:14
  Speaker 1: Duque J... Look at my eyes, Leandro. Take off your glasses.
• 2:00:19
  Speaker 1: I want to say that you are a teacher to Gustavo,
• 2:00:23
  Speaker 1: you are a man who... the simplicity of being in
• 2:00:28
  Speaker 1: the studio, of going down to eat a snack, of
• 2:00:30
  Speaker 1: dreaming of golf, with the sound, I witnessed and.
• 2:00:33
  Speaker 2: Experienced these moments with you.
• 2:00:35
  Speaker 1: And if we live a dream, if I live this dream,
• 2:00:36
  Speaker 1: you can be sure that you have some bricks in
• 2:00:39
  Speaker 1: this wall that Hungary is building. Count on me, it's
• 2:00:42
  Speaker 1: always good to be on your side, I wanted and
• 2:00:44
  Speaker 1: I want No doubt that people know you more and more.
• 2:00:51
  Speaker 1: I'm talking about Fernando, who is a suffering guy, who
• 2:00:54
  Speaker 1: has his traumas, his fears, his anxieties, just like everyone else.
• 2:00:59
  Speaker 2: But he has a lot.
• 2:00:59
  Speaker 1: To share in the life of this generation that is
• 2:01:02
  Speaker 1: coming up ahead.
• 2:01:04
  Speaker 2: Never lose your essence, your perfume. Alegro Mundo.
• 2:01:07
  Speaker 5: That's it, man!
• 2:01:09
  Speaker 2: That's very beautiful, man.
• 2:01:09
  Speaker 4: You're starting now, you have to get a lot of
• 2:01:12
  Speaker 4: work done.
• 2:01:12
  Speaker 2: That's it.
• 2:01:12
  Speaker 1: Dalmi is a guy I met, a guy who came
• 2:01:14
  Speaker 1: out of nowhere, he had nothing, and today he has nothing.
• 2:01:17
  Speaker 2: And he's happy.
• 2:01:18
  Speaker 4: The same way.
• 2:01:19
  Speaker 2: He's with us, man!
• 2:01:20
  Speaker 1: Dalmi, I'm a big fan of yours, you're building a
• 2:01:22
  Speaker 1: beautiful path, you're a guy who has a dream too.
• 2:01:35
  Speaker 1: to bring your music to the stage, to reach thousands
• 2:01:37
  Speaker 1: of people. Tell me, it's amazing to have you here,
• 2:01:40
  Speaker 1: receiving this caress from Mítico, from Igão too. And I'm
• 2:01:42
  Speaker 1: sure that in a while, we never know if it's
• 2:01:44
  Speaker 1: a long time or a short time, you'll be back here,
• 2:01:46
  Speaker 1: because I'll be there watching.
• 2:01:48
  Speaker 5: You, admiring you.
• 2:01:49
  Speaker 2: For sure, bro. I just want to thank you, Padrinho.
• 2:01:51
  Speaker 2: I have no words to thank you.
• 2:01:52
  Speaker 7: Thank you for the opportunity.
• 2:01:53
  Speaker 4: You're crazy, bro.
• 2:01:55
  Speaker 5: You saved us, made us sing there, man.
• 2:01:57
  Speaker 4: Like Faustão, right?
• 2:01:58
  Speaker 6: Then he said, I want you to sing in Sony.
• 2:02:01
  Speaker 2: I was like... Thank you, thank you, damn it.
• 2:02:05
  Speaker 5: We were afraid of men not singing.
• 2:02:07
  Speaker 2: And this thing about the guitar is fucking, right? You
• 2:02:09
  Speaker 2: have to know how to play anything. You know how to.
• 2:02:12
  Speaker 5: Play, I don't know anything, bro. You don't know the guitar?
• 2:02:14
  Speaker 2: I thought you knew, damn it. It's because I take it.
• 2:02:17
  Speaker 4: Out sometimes when I'm alone. You play the chevette, bro.
• 2:02:20
  Speaker 11: But he's my official keyboardist.
• 2:02:23
  Speaker 2: There are some videos there. In the Série A, he's
• 2:02:25
  Speaker 2: the one.
• 2:02:26
  Speaker 4: In the Série A, the keyboardist is us.
• 2:02:27
  Speaker 2: Guys, I'm going to.
• 2:02:28
  Speaker 3: Make a request, so listen to Reset. Their EP is wonderful. Seriously,
• 2:02:33
  Speaker 3: if you're a fan, you're going to love it. You're
• 2:02:35
  Speaker 3: going to have a nostalgic and current trip. That's what
• 2:02:39
  Speaker 3: I felt.
• 2:02:41
  Speaker 5: And congratulations. I don't know. For me, it was a
• 2:02:43
  Speaker 5: magnificent moment.
• 2:02:45
  Speaker 2: It's happening.
• 2:02:45
  Speaker 5: I think, I don't know, zeroing the game. Very cool.
• 2:02:48
  Speaker 3: Because you are people who... I grew up in my career,
• 2:02:52
  Speaker 3: in my videos. Your songs were part of my life,
• 2:02:55
  Speaker 3: of my career. So, for me, it's magical. I don't
• 2:02:57
  Speaker 3: even know how to say it right. Por favor, toca Dubai.
• 2:03:01
  Speaker 2: Vamos lá. Tô emocionado.
• 2:03:03
  Speaker 5: Tô emocionado por você conversando aqui, ó.
• 2:03:05
  Speaker 4: No, but you.
• 2:03:07
  Speaker 2: Calm down.
• 2:03:08
  Speaker 4: Damn it!
• 2:03:09
  Speaker 6: Leave a like, subscribe to the channel, follow Duque J
• 2:03:11
  Speaker 6: on all social media, people from the outskirts, follow Hungria
• 2:03:13
  Speaker 6: too on all social media.
• 2:03:14
  Speaker 4: Look who's there!
• 2:03:15
  Speaker 2: Happy for the 5th! Applause!
• 2:03:17
  Speaker 4: MC Rick is in the face!
• 2:03:18
  Speaker 2: Let's go!
• 2:03:19
  Speaker 4: He's beautiful, man!
• 2:03:21
  Speaker 2: He's strong!
• 2:03:22
  Speaker 5: He dyed his hair!
• 2:03:23
  Speaker 2: Cool! How are you doing without this here, man?
• 2:03:32
  Speaker 5: No, this is already at home.
• 2:03:34
  Speaker 2: Is it good?
• 2:03:35
  Speaker 5: Is it smooth, brother?
• 2:03:35
  Speaker 2: Smooth.
• 2:03:36
  Speaker 9: Come record Carlão' s music video there.
• 2:03:38
  Speaker 5: Too, right? I'm sorry for the past.
• 2:03:44
  Speaker 2: I was looking there and I said, man, is it
• 2:03:45
  Speaker 2: really now? I said, it must be now, right? It's now, man.
• 2:03:47
  Speaker 2: So I went there to see, and.
• 2:03:48
  Speaker 5: I saw that it's now.
• 2:03:49
  Speaker 2: Nice, MC Iggy, come with us, man.
• 2:03:51
  Speaker 4: You know, Carlão is also there.
• 2:03:52
  Speaker 5: When I was a kid and until today I'm a
• 2:03:55
  Speaker 5: fan of the guys. When I was a kid and
• 2:03:57
  Speaker 5: until today I'm a fan of the guys.
• 2:03:58
  Speaker 2: That's it, MC Iggy. Thank you, brother. That's cool, that's cool.
• 2:04:01
  Speaker 4: Very cool. I get to the dressing room, the guys there.
• 2:04:12
  Speaker 2: When I was a kid, I used to listen to it.
• 2:04:13
  Speaker 2: I said, I'm fucked, man.
• 2:04:14
  Speaker 4: I'm old.
• 2:04:15
  Speaker 2: It's already very successful.
• 2:04:17
  Speaker 4: But let's go. I listen to this.
• 2:04:19
  Speaker 5: I don't even remember what happened.
• 2:04:21
  Speaker 2: Clothes on the stairs, bottles of sparkling wine.
• 2:04:24
  Speaker 13: I don't know where these ladies appeared.
• 2:04:27
  Speaker 1: I heard them say that the freibank was until morning.
• 2:04:32
  Speaker 2: They just lowered.
• 2:04:33
  Speaker 14: The sound when the neighbor, Charubu, Put the whiskey in
• 2:04:42
  Speaker 14: the Saddam's house.
• 2:04:44
  Speaker 2: And when I got drunk, my dog came to me.
• 2:04:47
  Speaker 5: Today this girl is crazy.
• 2:04:48
  Speaker 9: These women are crazy.
• 2:04:50
  Speaker 2: Maldivian in the mind, whiskey in the mouth. Today this
• 2:04:52
  Speaker 2: girl is crazy. They don't even know about the clothes.
• 2:04:55
  Speaker 2: I don't want to be in the skin of these
• 2:04:57
  Speaker 2: girls' fathers.
• 2:05:01
  Speaker 1: O meu barraco é coração de mãe Cabe todo mundo
• 2:05:05
  Speaker 1: Não tem muito luxo Mas tem freezer cheio lá E
• 2:05:08
  Speaker 1: não tem área de lazer Mas daqui eu vejo o
• 2:05:11
  Speaker 1: céu Bem melhor.
• 2:05:12
  Speaker 2: Do que a vista da janela And it's like Dubai.
• 2:05:15
  Speaker 1: It's like Carai, it's like American Pie. Bottles spread out
• 2:05:22
  Speaker 1: and that one comes and goes.
• 2:05:24
  Speaker 2: Today I'm more asked than the Wi-Fi password. I live
• 2:05:27
  Speaker 2: in my time, because death is inevitable.
• 2:05:30
  Speaker 4: The barrack is small, but it's very pleasant.
• 2:05:33
  Speaker 1: Querer voar mesmo sem asa é sabedoria, é arrancar sorriso
• 2:05:38
  Speaker 1: de onde não tem alegria. Saber que meu barraco pode
• 2:05:42
  Speaker 1: se tornar mansão, pois.
• 2:05:43
  Speaker 2: Deus fez um banquete só com um pedaço de pão.
• 2:05:46
  Speaker 1: Saber que minha caneta fez de mim um bom poeta,
• 2:05:50
  Speaker 1: que a rima.
• 2:05:50
  Speaker 2: Bem escrita me tirou da bicicleta.
• 2:05:54
  Speaker 1: Várias Patrícia Cola A rua tá quebrada Tá ensinando mais
• 2:05:59
  Speaker 1: que escola Se sendo homem chora Mais tarde é sorriso
• 2:06:03
  Speaker 1: Se ontem fui tirado Hoje é respeito aonde eu piso.
• 2:06:07
  Speaker 10: Casa bagunçada Calcinha na estante Eu nem me lembro o
• 2:06:11
  Speaker 10: que aconteceu Roupas na escada Garrafa de espumante Não sei
• 2:06:17
  Speaker 10: de onde essas donas apareceu.
• 2:06:20
  Speaker 5: Que isso, tamo junto!
• 2:06:21
  Speaker 4: Faça as honras, Mítico Jovem!
• 2:06:23
  Speaker 3: Tamo junto, gente. Maravilhoso demais, tem nem o que falar.
• 2:06:26
  Speaker 3: Confere a agenda, amanhã tem live da Black.
• 2:06:28
  Speaker 4: Black da Amazon, a partir das 8 da noite. Todas
• 2:06:31
  Speaker 4: as ofertas no peitão de vocês.
• 2:06:33
  Speaker 2: Ao vivo.
• 2:06:33
  Speaker 5: Então se preparem, tamo junto, dignidade, já.
• 2:06:36
  Speaker 6: Palmas!
• 2:06:36
  Speaker 5: É nóis. Parado!
• 2:06:48
  Speaker 1: Black from Amazon, thousands of deals with up to 70% off,
• 2:06:51
  Speaker 1: more than 50 million.
• 2:06:52
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• 2:06:53
  Speaker 5: So don't miss it. Run to the app and enjoy.
• 2:08:07
  Speaker 14: Thank you.