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Speaker 1: Welcome, Welcome, Welcome to the Bob Left Sets podcast. My

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Speaker 1: guest today is Brazilian superstar Gilberto Jill Gibert. Though. Hi,

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Speaker 1: great to have you here, are great to have me here.

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Speaker 1: I am literally in Rio de Janeiro, in the hills. No,

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Speaker 1: we Americans not not that. Everybody listening to this podcast

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Speaker 1: lives in the United States tend to be ignorant of

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Speaker 1: other countries. So it's great to come to Brazil to

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Speaker 1: see the topography. And the other thing is I was

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Speaker 1: asking whether they had daylight savings time in Rio de

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Speaker 1: Janeiro where they turned the clocks forward, and my driver said, oh,

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Speaker 1: of course we have that. It ended in February. I

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Speaker 1: was too stupid to realize everything's reversed. They had summer.

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Speaker 1: Now we're going to falls behind the right. I'm here

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Speaker 1: in our head, here on a beautiful fall day in

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Speaker 1: the hills of Rio de Janeiro, where Gilbert though has

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Speaker 1: an office complex in a studio, and it very much

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Speaker 1: reminds me of a fall day in Los Angeles. Certain moods,

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Speaker 1: certain lights, certain smell and it has me in a mood.

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Speaker 1: And I'm learning so much and we're gonna learn some more.

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Speaker 1: From Joberto so Gilberto. When did you decide you wanted

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Speaker 1: to make music for a living? I was very young. Uh.

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Speaker 1: My mother used to tell me a story about when

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Speaker 1: I was two of age, two years of age, and

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Speaker 1: and she asked me what I was going to be

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Speaker 1: when a growing up, and I responded to the answered

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Speaker 1: a musician. And then she took that in mind, and

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Speaker 1: then she was always watching me. And then when at

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Speaker 1: the age of nine she sent me to a music school. Okay,

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Speaker 1: but you're an age too. What did your father do

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Speaker 1: for a living, and what do you do for work?

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Speaker 1: There was a doctor? What what kind of doctor? He

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Speaker 1: was a physician? Okay, So in America that's a North

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Speaker 1: America because we're in America here too, North America, a

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Speaker 1: doctor is a upper middle class profession and the same

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Speaker 1: thing here is good. There was enough money growing up, etcetera. Yeah,

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Speaker 1: he was. He was an upper middle class, uh person.

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Speaker 1: And by the standards, by Baya Brazilian bayas standards. Then

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Speaker 1: in ninety nine when when when he graduated and and

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Speaker 1: and then he went to the to the countryside in

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Speaker 1: Baia to know to start we start his profession. Don't

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Speaker 1: forget I'm an American So I'm ignorant if I'm in

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Speaker 1: real audition. Earrow, where is Bahia? Bahia? Same Atlantic coast

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Speaker 1: north going north? So if if if you consider the

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Speaker 1: whole Atlantic Brazilian coast going from thousand to to Amazon,

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Speaker 1: right is in the middle, Okay, and how far is

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Speaker 1: it from Rio de Janeiro to thousand and two point

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Speaker 1: five thousand kilometers kilometers? So that's point six and that's

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Speaker 1: like twelve miles. That's far it's and it's Bahia's huge. Yeah,

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Speaker 1: that's what people don't realize. You look at a map,

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Speaker 1: most of South America is Brazil. It's the same size

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Speaker 1: as the continental United States. So it was by here

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Speaker 1: in a big city. It's they initial the founding city

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Speaker 1: of Brazil. You know, when the Portuguese arrived in in

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Speaker 1: fifteen hundred, they they spotted an interesting place to have

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Speaker 1: the boats and everything to you know, the bay right

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Speaker 1: Salvador is a bay like Guadabada here in Rio, it's

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Speaker 1: also a bay. So it's a beautiful bay where the

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Speaker 1: Portuguese arrived and then installed themselves there and they started

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Speaker 1: the city. And then that's the city of Salvador, the

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Speaker 1: capital at a capital of the state of Baia and

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Speaker 1: then the historical uh city you know, was the first one,

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Speaker 1: you know, so it predates rial yeah game before Okay,

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Speaker 1: so you're two years old. Did your parents play a

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Speaker 1: lot of music in the house. No, not at all.

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Speaker 1: You just woke up one days I'm gonna be a musician.

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Speaker 1: It came from the radio, from okay, from from from

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Speaker 1: listening to the radio. The radio was the only thing

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Speaker 1: we have. The funny thing is, for those of us

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Speaker 1: at a certain age, radio is still the thing. I

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Speaker 1: remember living in Connecticut and you get a transistor radio

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Speaker 1: and you put it under your pillow and you listen

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Speaker 1: to the baseball game and then the Beatles hit and

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Speaker 1: you listen to music, music and football here in Brazil

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Speaker 1: exactly in it to sue the little village in in

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Speaker 1: the countryside where my my father went with. Okay, so

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Speaker 1: how many children in your family? To me and the girl?

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Speaker 1: And are you the oldest of the oldest the one

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Speaker 1: year it is your sister still alive, she's she's alive,

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Speaker 1: and the parents gun but your their mothers sister. What

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Speaker 1: is her life like now? She's quiet, you know, at

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Speaker 1: home because she couldn't work anymore, and everything. And but

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Speaker 1: she went to school with me, and then she she

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Speaker 1: did the high school, and then she she did the university.

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Speaker 1: She she graduated. She was a dentist. Really. Yeah, so

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Speaker 1: when your how old? Your mother sent you to music

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Speaker 1: school when I was nine? Okay, Now, usually in America

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Speaker 1: and EA, it's about sending your kids to take piano lessons. Okay.

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Speaker 1: Then in my case was accordion. Okay, but you had

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Speaker 1: to learn how to read music. Yes, so you learn that. Yes,

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Speaker 1: you still know how to read music, not necessarily because

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Speaker 1: I gave up, abandoned to to to have the tuitions,

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Speaker 1: you know, for for playing accordion and everything. It was

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Speaker 1: necessary to have theoretical knowledge about music and everything and everything,

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Speaker 1: and I took it. And then my first four or

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Speaker 1: five years with music was playing learning how to play accordion,

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Speaker 1: and then knowing a little the the theory, no musical theory.

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Speaker 1: Then later when I gave up the accordion to to

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Speaker 1: take the guitar, I then I thought myself, you know, okay,

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Speaker 1: without why the accordion because it was very um how

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Speaker 1: to say, a very remarkable uh instrument In terms of

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Speaker 1: our culture. We lived in a region where the Great,

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Speaker 1: Great great master of music, you know in pop music

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Speaker 1: was a guy named Luis Gonzaga and and his instrument

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Speaker 1: was accordion. So everything we were listening in, you know,

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Speaker 1: in the radio and in the houses and yeah, yeah,

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Speaker 1: he was big. He was the big star. He was

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Speaker 1: the Did you ever go to see him perform? Yeah,

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Speaker 1: And that was an inspiration for me. That was exactly

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Speaker 1: who I I decided to take the accordion. After I

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Speaker 1: went I went to an open air concert that he

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Speaker 1: gave him in Salvador by yea. And then I said

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Speaker 1: when I got home, I said to my to my

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Speaker 1: my people, I want to play with the instrument he's playing.

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Speaker 1: And then my mother said, okay, I'm I'm gonna stay

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Speaker 1: to school. This is if you were of a certain

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Speaker 1: age or a baby boomer and you're in your sixties.

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Speaker 1: A lot of people started picking up the guitar when

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Speaker 1: they saw the Beatles. Okay, so you're playing the accordion.

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Speaker 1: Do you ever have doubts and say, I'm not really,

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Speaker 1: I don't really like this? He little, Yes, I I

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Speaker 1: because especially because of the of the the way the

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Speaker 1: school you know went for me, I mean, with a

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Speaker 1: lot of of of of exercise, and theoretical uh lessons

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Speaker 1: and things and things, and in the repertoire that that

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Speaker 1: was not necessarily you know what I wanted. I had

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Speaker 1: to play many classical pieces and and and you know

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Speaker 1: European classical pieces and and everything and that. Okay, I

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Speaker 1: liked it because I like music, but it was not

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Speaker 1: my not the cup of tea, you know, not not

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Speaker 1: my cup of tea. And then when Jon Hubert too

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Speaker 1: that you of course you know who he is. He

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Speaker 1: started the Bostonenva playing guitar thing. You know, that was

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Speaker 1: a staunching that was absolutely no amazing and and and

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Speaker 1: and what year did Bosonova started in Britain And then

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Speaker 1: I took the guitar myself. When did Bosanova become a

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Speaker 1: big sound in Brazil? Fifty nine sixty okay, so it's

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Speaker 1: like a year too late in the United States. Yeah,

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Speaker 1: did it hit there when they went to the Carnegie Hall,

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Speaker 1: famous legendary moment. Wh it was bossa nova an interestant

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Speaker 1: success in Brazil? You mean now, no, INFT nine, No,

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Speaker 1: that was starting. That was the first record that was released,

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Speaker 1: you know, Jean Hubert to singing by me, Tristez, South

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Speaker 1: Daddy and Joe being Joe don't you Bean's song, and

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Speaker 1: then that became very popular, and then the following no

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Speaker 1: records and things became very big, and so and so

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Speaker 1: and so, and then Bosanova became uh uh uh something

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Speaker 1: you know, big in Brazil and not only here but

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Speaker 1: then the world. So you literally Bossonova hits you to

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Speaker 1: say I'm done with you accordion guitar. That's that was okay,

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Speaker 1: But meanwhile you're continuing to go to school. Yes, yes,

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Speaker 1: because it was project. The family project was that I

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Speaker 1: would become a doctor, right right, like an a nice

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Speaker 1: Jewish boy. First first my father wanted me to be

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Speaker 1: a physician like himself. And then I said no, no, no, no,

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Speaker 1: no no, no, Papa, impossible. And then uh they were

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Speaker 1: starting uh new uh school of Administration Business and Public Administration.

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Speaker 1: And then I said, I go, I go for that.

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Speaker 1: And then I went to the university to do business

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Speaker 1: administration and you got a degree, got a degree for

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Speaker 1: yours later. And then because of that degree, I went

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Speaker 1: to I came to some powow in Real to work

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Speaker 1: as as a trainee for the unilivery International company. You know,

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Speaker 1: okay that as a as a business at that time,

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Speaker 1: do you still believe you're going to be a professional musician.

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Speaker 1: I wanted. I wanted very much. I kept that desire

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Speaker 1: inside inside, and of course I was looking for the

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Speaker 1: opportunities to, you know, doing Okay, at what point in

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Speaker 1: your success did your parents accept that you were a

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Speaker 1: successful musician and be proud of you after the second

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Speaker 1: third year? Because I stayed as a as a as

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Speaker 1: a as a businessman. This is po and for two

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Speaker 1: years and then I started going places, knowing people, meeting

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Speaker 1: musicians and everything, producing my stuff at home and everything.

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Speaker 1: And then I I had I was ready to to start.

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Speaker 1: Right then I I wrote to my father. I phoned it,

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Speaker 1: but I think I wrote him because he he had

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Speaker 1: no telephone at home in in the in the little

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Speaker 1: city where he lived in Baya. Then I wrote him

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Speaker 1: a letter saying, Papa, now I'm going to do my dream.

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Speaker 1: I'm going to go to for my dream. I'm going

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Speaker 1: to be a musician and everything. I know it's hard,

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Speaker 1: but anyway, I'm gonna try. And then he was a

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Speaker 1: little skeptical, but then came one first hit. One first

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Speaker 1: a song I have to ask you, and then she

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Speaker 1: and then both him and my mother accepted. She has

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Speaker 1: accepted already because she was the one that had put

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Speaker 1: the accordion and the guitar in my hands. You know,

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Speaker 1: he was a little more, you know, reticent, but reticent.

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Speaker 1: When you quit your job and you want to be

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Speaker 1: a musician, do you ask your mother for money? Yes?

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Speaker 1: What does he say? He said, you see you see

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Speaker 1: I was telling you it's it's it's risky. You're not

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Speaker 1: you're you're not able to you know, toget a living anything.

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Speaker 1: I said, yeah, Papa, but I'm gonna try. Can you

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Speaker 1: help me? And he said, okay, I'll help you. But

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Speaker 1: he did he put a time limit on it. Did

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Speaker 1: he say, I'll help you for two years then back

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Speaker 1: to you the level? No, no, no, no no, he said,

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Speaker 1: make a good news of this money that I'm sending you.

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Speaker 1: You know, provide your your your needs, you know, provide

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Speaker 1: you you're you're living, get well with your family, and

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Speaker 1: give you your trying go for you try with music.

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Speaker 1: If it doesn't succeed, we we we're good at see

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Speaker 1: you're listening to Gilbert. Though Jill, who was excommunicated from

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Speaker 1: his own country, went to London in the early seventies,

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Speaker 1: was influenced by reggae, came back to Brazil, had a

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Speaker 1: huge hit with a cover of No Woman, No Club.

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Speaker 1: Will be back in a moment. Hey, it's Bob and

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Speaker 1: I host the Bob Left Sets podcast on tune in.

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Speaker 1: Each week I welcome innovators from the worlds of music,

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Speaker 1: tech and media to join me in the tune In studios.

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Speaker 1: From Shirley Manson, lead singer of the band Garbage, to

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Speaker 1: Nathan Hubbard, the former CEO of Ticketmaster and stealth innovator

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Speaker 1: in the ticketing space. We discussed their backgrounds as a

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Speaker 1: means to understand how and why they became successful, leaving

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Speaker 1: an impact on the world as we know it. Check

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Speaker 1: out the Bob Left Sets podcast on tune in and

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Speaker 1: now back to more with the Gilbert though Jill on

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Speaker 1: the Bob Left Sets podcast. So you quit your job

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Speaker 1: at you and the lever before you were successful at music.

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Speaker 1: So how long after you quit didn't start to work?

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Speaker 1: Two to three years between two What was the key

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Speaker 1: to making it work? It was the success of a

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Speaker 1: song in a context that we had then in in

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Speaker 1: a big, big television network, you know, presenting artists, new

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Speaker 1: artists doing new songs. You know and everything, and one

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Speaker 1: of those songs became very You wrote the song. I

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Speaker 1: wrote the song, and I performed the song. You were

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Speaker 1: on the televisions. How did you get on the television show?

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Speaker 1: I was asking too. So you didn't have a manager,

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Speaker 1: You were just doing it yourself. I was. I was

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Speaker 1: when I when I was in in in the union

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Speaker 1: leaver job, and as I told you, I started going

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Speaker 1: places and seeing people for meeting musicians. Some of those musicians,

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Speaker 1: some of those artists were already you know, big so sussful,

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Speaker 1: and one of them, at least Regina, a big, big singer,

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Speaker 1: a female singer, very important. I was sent to her

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Speaker 1: house someday to show her some some songs because she

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Speaker 1: was she was going to record the next songs, you know.

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Speaker 1: And then she said, okay, I will take you to

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Speaker 1: my to my show, to my television show, and so

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Speaker 1: she did. Okay, it worked out that. I have to ask.

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Speaker 1: You got your degree in business administration. Did it help

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Speaker 1: you at all in your music career? I think so,

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Speaker 1: especially in terms of the running the administration ing of

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Speaker 1: my career, because at first, in some Paolo I took

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Speaker 1: somebody as an agent too to take care of my

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Speaker 1: I of myself and of my bookings and and things,

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Speaker 1: you know, and my my my relating to the media

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Speaker 1: and so and so and so. But then with the

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Speaker 1: experience I had, not that necessarily the experience, but with

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Speaker 1: the knowledge you know, that had about business and everything

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Speaker 1: that had acquired at the university, I told myself, can

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Speaker 1: I I think I can go by myself, you know,

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Speaker 1: running my my own thing. And then I did and

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Speaker 1: I started my own small company. And it's been so

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Speaker 1: like that, you know. Okay, so for fifty years, you

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Speaker 1: never had a manager, you know, yeah you're the manager. Wow,

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Speaker 1: But you had did you? In terms of a booking age,

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Speaker 1: of course, I have a have a group. I have it.

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Speaker 1: Of course you're not doing a team. I had my

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Speaker 1: wife for instance, that takes care of the whole you know,

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Speaker 1: office thing and never but but I the last word

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Speaker 1: is my word. And in terms of booking gigs, you

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Speaker 1: also do that in the house, yes, yes, yes, our

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Speaker 1: our our office. It's a it's a compound that that

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Speaker 1: includes the running of the career, the booking of the career,

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Speaker 1: the the the relating with the press and and everything.

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Speaker 1: The studio where we are now here also where I

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Speaker 1: rehearse our record and everything. It's been like that for

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Speaker 1: for a long time because most musicians from that era

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Speaker 1: can tell stories of getting ripped off by management accountants.

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Speaker 1: I guess if you're ripped off, you don't have to

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Speaker 1: plang yourself, not necessarily my case. My case was more

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Speaker 1: of a of a of a natural you know, personal impulse,

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Speaker 1: no need, a personal desire to to to to to

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Speaker 1: to give chance to the studies that I had done

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Speaker 1: at the university. So like that, you go on the

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Speaker 1: television show and you perform your song. What happens after that?

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Speaker 1: After that I started to be you know, popular, and

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Speaker 1: the record that came from that, So you made a

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Speaker 1: deal with a record deal with a record company. I

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Speaker 1: that big success was recorded. Other songs also were recorded,

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Speaker 1: and I did my first album. You know, my first

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Speaker 1: first album was what year? N fifty six? Noh, pardon

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Speaker 1: nineteen sixty Yeah, I think it terms that makes sense

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Speaker 1: in terms of switching from accordion to guitar. So you

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Speaker 1: make your first album and it's successful immediately in assess, yeah,

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Speaker 1: and some not not not huge success, but successful sufficiently

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Speaker 1: to you know, to keep a career to to you know,

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Speaker 1: why do you say, why do you think it was successful? Novelty?

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Speaker 1: You know, the elements, the new elements that we brought

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Speaker 1: in in that song. You know, the subject of this song,

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Speaker 1: that the sounds that we provided with the guitars and

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Speaker 1: and and with with with the the arrangements, you know,

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Speaker 1: and also the singing was a different way of singing it,

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Speaker 1: you know, but it was it was a novelty. You know. Well,

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Speaker 1: that's very interesting because that's the whey it was in

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Speaker 1: the old day, whereas everything sounds just like everything else today.

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Speaker 1: Um so is that your personality? Are you always testing

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Speaker 1: limits and trying to change things and not be like

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Speaker 1: everybody else? To a certain yeah, to a certain extent, yes,

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Speaker 1: I I was not. I had the feeling that you know,

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Speaker 1: in this life, in this in this living time, we

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Speaker 1: have to contribute as much as we can, you know,

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Speaker 1: with with with things, with with provocations and with you know, uh,

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Speaker 1: it's delationing different elements, you know, in in especially if

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Speaker 1: if you talk about culture and about music, it's something

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Speaker 1: very you know, moving all the time. So whenever one

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Speaker 1: guy or one girl has that kind of feeling that,

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Speaker 1: you know, contribution may be given, maybe possible from from

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Speaker 1: their work, they go in for for it, and that

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Speaker 1: was exactly what happened. I said, okay, Um, I sing

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Speaker 1: a little differently, I play a little differently. I have

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Speaker 1: some new ideas about you know, subjects for for for

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Speaker 1: new songs and that kind of thing. And then I

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Speaker 1: I I, I said, okay. And now at some point

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Speaker 1: in this story they put you in jail. What year

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Speaker 1: do they put you in jail? Then in nineteen sixty

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Speaker 1: eight the system, the political Okay, before we get to

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Speaker 1: sixty eight. What happens between sixty two and sixty eight

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Speaker 1: just more and more success a more and more success, okay,

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Speaker 1: and to the point that we we started a movement,

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Speaker 1: me and Kitanolso and God cost Uh and some other artists.

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Speaker 1: We start a movement that came to be called tropically

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Speaker 1: a tropicalism, and that had, besides being musical, was also

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Speaker 1: a cultural movement, UH enforcing the the the new possibilities

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Speaker 1: of the new theater, of the new UH literature, you know,

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Speaker 1: the new cinema and and and that kind of thing.

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Speaker 1: So it was a huge movement and and of course

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Speaker 1: it became something okay when the the detectorship took place,

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Speaker 1: you know, the military guys, you know, seized power and

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Speaker 1: installed the very very repressive system. So they went for

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Speaker 1: everything that would not be that wouldn't be you know,

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Speaker 1: so before but going back to specifically what you're saying,

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Speaker 1: this was a very turbulent time around the world. There

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Speaker 1: were student protests in France, we had English music, we

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Speaker 1: had race riots in the United States. To what degree

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Speaker 1: were you influenced by that? For the topically small book,

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Speaker 1: of course, a lot a lot. Music was not just

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Speaker 1: music the Beatles, I mean the importance of the Beatles,

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Speaker 1: all the Stones or the Grateful Dad or whatever, you know,

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Speaker 1: the Jeffersonette playing all those groups, you know, Bob Dealon

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Speaker 1: and Jimmy Hendrix. I mean the influences of those artists

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Speaker 1: who are not just musical. They had a lot to

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Speaker 1: do with with new visions and you know, new ways

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Speaker 1: of considering society and and and in costumes and you know,

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Speaker 1: different ways of living and supporting in somehow supporting the

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Speaker 1: revolutionary movements in all in all directions, in different directions,

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Speaker 1: you know. And that, of course, it was very influential

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Speaker 1: on on ourselves. I mean, despite the fact that we

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Speaker 1: had a military regime to protest against here, but I

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Speaker 1: mean the influence coming from outside. I mean the new

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Speaker 1: spirit coming from from youth. You know, that's very well articulated.

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Speaker 1: That's what people who didn't live through the era didn't know.

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Speaker 1: If you wanted to know what was going on, you

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Speaker 1: listen to the radio, you listen to the music. It

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Speaker 1: told you everything about the culture. But to what degree

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Speaker 1: were the Beatles, the Stones, Jefferson Airplane, Bob Dillon, to

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Speaker 1: what degree were they successful in Brazil? Very success, very

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Speaker 1: because successful? Yeah here? And did they ever come any

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Speaker 1: of those acts to play live? They were that at

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Speaker 1: that time they were not sort of still coming to

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Speaker 1: perform in Brazil. Know that that that that that the

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Speaker 1: Bridge and American groups started coming here is something that

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Speaker 1: came later, came exactly after I was excited in London.

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Speaker 1: In London, yes, I went to v to see many

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Speaker 1: many counters concerts, and and I went to see I

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Speaker 1: remember that they went to the lycee Um to see

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Speaker 1: uh John Lennon and Yoko on or doing their performance,

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Speaker 1: you know, for for for for Christmas in nine in

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Speaker 1: nineteen seventy and I went to see Bob Dylan at

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Speaker 1: the Isle of White. I went to see Jimmy Hendrix councils.

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Speaker 1: I went just at the round House. I went to

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Speaker 1: see different places in London. So that experience of being

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Speaker 1: directly influenced by bye bye bye, by contact who let's

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Speaker 1: go back artists, that came after the accident, let's go

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Speaker 1: back the government arrest you? Yeah, what do you think?

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Speaker 1: Mm hmmm what I What I thought? Then? What I think?

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Speaker 1: What I thought? Then? Wow? Was I was? I was

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Speaker 1: so mad, you know on a side, and and so

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Speaker 1: so scared on the other side. I mean I had

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Speaker 1: a mixed mixed of of of of being scared and

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Speaker 1: being mad. So did you think your career was over?

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Speaker 1: Do you think you might die? E? Whow? First they

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Speaker 1: imprisoned us, No, they jailed us. Okay, before you did

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Speaker 1: you know they were going to imprison you? I was

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Speaker 1: expecting from the atmosphere, from the general atmosphere and the

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Speaker 1: increasing of their you know, hardline process. You know, I

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Speaker 1: had a feeling that some how things were going to

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Speaker 1: be to be. Did you ever think of exiling yourself

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Speaker 1: so you wouldn't get arrested? Not? Not then? Not yet. No.

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Speaker 1: I was keeping my my work here. I was saying, Okay,

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Speaker 1: let us see how the situation developed, and then then

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Speaker 1: they came one day, they came to our place and said, okay,

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Speaker 1: you're gonna and they take you to jail with what

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Speaker 1: we say in America, the general population with all the

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Speaker 1: other criminals. No, No, we were political cold prisoners. Yeah,

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Speaker 1: political prison in in in in headquarters, in the me headquarters.

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Speaker 1: Really the government was a military government. So you're there.

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Speaker 1: How long before you're exiled? How long? How long were

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Speaker 1: you in jail before you left the country? Three months?

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Speaker 1: And during that three months months in jail after they

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Speaker 1: they they they sent us to our places with in

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Speaker 1: a situation of harm, imprisonment in Baia for six months,

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Speaker 1: and then they said go out of the country. And

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Speaker 1: then they so they said if you leave, okay, do

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Speaker 1: if you leave it, that's okay. What do we can't

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Speaker 1: allow to you is to come back, you know, to

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Speaker 1: your natural situation of being a performer and making trouble

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Speaker 1: here and you know, talking to the public and that

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Speaker 1: sort of thing, giving interviews in the press and that

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Speaker 1: kind of thing that you cannot If you can go

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Speaker 1: wherever I go, no problem. So you went to it.

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Speaker 1: Were you happy with that necessity? Yes? Because I mean

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Speaker 1: that was the way to get rid of the of

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Speaker 1: the torch, you know, so you go to London. Yeah,

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Speaker 1: do you have any money? No? No, no, no money.

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Speaker 1: The family here it was to collect was left to

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Speaker 1: collect the rights, the music right that we had then

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Speaker 1: you know I had some already at that time, and

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Speaker 1: send us to to intend us in London. So the

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Speaker 1: first let us say, the first year in London, I

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Speaker 1: was living with you know, my my my money coming

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Speaker 1: from Brazil, from our you know, when you go, when

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Speaker 1: you go to London, you're a star in Brazil. Does

427
00:32:04,960 --> 00:32:09,960
Speaker 1: anybody know who you are in London? Yeah? Okay, so doors,

428
00:32:10,240 --> 00:32:15,160
Speaker 1: doors start to open, Yeah, there's start open. So this

429
00:32:15,400 --> 00:32:20,440
Speaker 1: is in sixty nine, July sixty nine, the day I

430
00:32:20,480 --> 00:32:24,800
Speaker 1: I got to London. That's the very day the rolling

431
00:32:24,880 --> 00:32:31,120
Speaker 1: stunts were doing the Hide Park, right right after Brian Jones. Yes, yes,

432
00:32:32,080 --> 00:32:37,160
Speaker 1: the doves free, etcetera. I arrived in London and I remember, well,

433
00:32:37,720 --> 00:32:41,479
Speaker 1: going coming to the airport to the hotel we're going

434
00:32:41,560 --> 00:32:45,080
Speaker 1: to be, I saw the park, I mean the leftovers,

435
00:32:45,520 --> 00:32:49,600
Speaker 1: you know, Ken's and garbage and everything in in in

436
00:32:49,720 --> 00:32:52,360
Speaker 1: the in the in one sector of the Hyde Park.

437
00:32:52,680 --> 00:32:55,960
Speaker 1: And then I asked the driver, what's what's going on.

438
00:32:56,400 --> 00:33:01,760
Speaker 1: Why you know that? He said, it's just the Rolling

439
00:33:01,840 --> 00:33:05,240
Speaker 1: Stones concert that happened. You know that, and you know

440
00:33:05,400 --> 00:33:09,680
Speaker 1: that was finished like two or three hours ago. So

441
00:33:09,840 --> 00:33:14,240
Speaker 1: you land in London, how do you penetrate and get

442
00:33:14,320 --> 00:33:21,680
Speaker 1: involved with the music scene there? First in terms of recording,

443
00:33:21,840 --> 00:33:28,560
Speaker 1: the possibilities of recording and everything. Our company here, the PolyGram,

444
00:33:30,160 --> 00:33:35,920
Speaker 1: a company here got in touch with their their puls

445
00:33:35,920 --> 00:33:39,080
Speaker 1: and their guys. Remember who was running PolyGram in London.

446
00:33:39,160 --> 00:33:44,479
Speaker 1: Then no, they get in touch with the guys from

447
00:33:44,520 --> 00:33:51,840
Speaker 1: PolyGram on PolyGram that they couldn't properly. They themselves do

448
00:33:51,920 --> 00:33:54,840
Speaker 1: not take care of our of our of our stuff

449
00:33:54,840 --> 00:33:58,720
Speaker 1: in London, didn't They askd Famous Music, famous music and

450
00:33:58,840 --> 00:34:04,200
Speaker 1: labor Famous Music part of Paramount and then Ralph Mas

451
00:34:05,240 --> 00:34:08,840
Speaker 1: was in charge of of of of famous music in London,

452
00:34:09,080 --> 00:34:11,600
Speaker 1: and that was the guy you know that took us

453
00:34:11,680 --> 00:34:16,759
Speaker 1: to the studio and started doing things. Planned a recording,

454
00:34:16,920 --> 00:34:20,200
Speaker 1: did the recording, did the release, and then I released

455
00:34:20,360 --> 00:34:24,200
Speaker 1: my My, My album in London. So when you were there,

456
00:34:24,760 --> 00:34:28,759
Speaker 1: was your intention to make music for Brazil or to

457
00:34:28,880 --> 00:34:33,520
Speaker 1: make music for the rest of the world. Mixed mixed

458
00:34:33,600 --> 00:34:38,719
Speaker 1: feelings about I was, of course, I I had to

459
00:34:39,120 --> 00:34:44,960
Speaker 1: to stand for my my Brazilian you know, character and

460
00:34:45,280 --> 00:34:50,480
Speaker 1: and everything. Was a Brazilian musician recently living the country

461
00:34:50,520 --> 00:34:56,640
Speaker 1: and everything. So I was a lot compromised with with

462
00:34:56,920 --> 00:34:59,520
Speaker 1: with the Brazilian thing. But at the same time I

463
00:34:59,600 --> 00:35:01,919
Speaker 1: had I had a feeling that, you know, I could

464
00:35:02,000 --> 00:35:06,200
Speaker 1: do an international thing. I could somehow try and an

465
00:35:06,280 --> 00:35:10,399
Speaker 1: international career. And I started doing it. I started going

466
00:35:10,480 --> 00:35:13,200
Speaker 1: to Europe, you know, to perform in Switzerland, in France,

467
00:35:14,000 --> 00:35:18,400
Speaker 1: in Germany. You know, now, did people already know you

468
00:35:18,600 --> 00:35:20,719
Speaker 1: there or you felt if you played you'd be good

469
00:35:20,800 --> 00:35:23,520
Speaker 1: enough to build an audience? I know, I had to

470
00:35:23,800 --> 00:35:29,480
Speaker 1: build an audience. I was not artistically artistics Artistically, I

471
00:35:29,680 --> 00:35:33,520
Speaker 1: was not knowing, no, no, no. I was a little

472
00:35:33,800 --> 00:35:39,920
Speaker 1: known in some circles and some restrict circles in in

473
00:35:40,080 --> 00:35:44,440
Speaker 1: in Paris, and and and in London and Berlin, and

474
00:35:44,880 --> 00:35:51,839
Speaker 1: and and and other places in Spain by the fact

475
00:35:51,920 --> 00:35:56,640
Speaker 1: that that we were victims of the of the repression

476
00:35:56,680 --> 00:36:02,680
Speaker 1: and the dictatorship here. Yeah, so you end up working

477
00:36:02,800 --> 00:36:07,160
Speaker 1: with some famous musicians while you're in London, yeah kind

478
00:36:07,200 --> 00:36:10,399
Speaker 1: of yeah, yeah, yeah, we went. One of the things

479
00:36:10,480 --> 00:36:16,879
Speaker 1: that I used to do was going places to see performances,

480
00:36:16,960 --> 00:36:22,440
Speaker 1: different performances from different artists, and then I got acquainted,

481
00:36:22,560 --> 00:36:28,400
Speaker 1: you know, with with some remember Jimmy Capaldi for instance,

482
00:36:28,480 --> 00:36:31,720
Speaker 1: the drama for of course Traffic. He became a friend

483
00:36:32,239 --> 00:36:37,239
Speaker 1: at Terry Read Terry Reads, Terry Reading McCabe's. That was

484
00:36:37,320 --> 00:36:41,239
Speaker 1: a real real friend. I mean, do you know to

485
00:36:41,360 --> 00:36:44,719
Speaker 1: come to my place, you know, every week and I

486
00:36:44,800 --> 00:36:50,239
Speaker 1: would go to his cottage, you know, in the countryside

487
00:36:50,280 --> 00:36:54,520
Speaker 1: in England. And David Gilmore from from from Big Floyd

488
00:36:56,040 --> 00:36:59,640
Speaker 1: and and many many, many, many different paths that you know,

489
00:37:00,160 --> 00:37:02,800
Speaker 1: we were able to do. You think they were friends

490
00:37:03,200 --> 00:37:07,600
Speaker 1: because of your winning personality or because of your music

491
00:37:07,800 --> 00:37:11,759
Speaker 1: position physician physicians. Yeah, so your music opened the door.

492
00:37:12,480 --> 00:37:16,440
Speaker 1: But now didn't you also record with Jimmy Cliff That

493
00:37:16,640 --> 00:37:20,120
Speaker 1: was later, That was late when I got back from

494
00:37:20,200 --> 00:37:24,520
Speaker 1: exile in Brazil already because reggae music was something that

495
00:37:24,680 --> 00:37:30,719
Speaker 1: I I had the contact with in London, and yeah,

496
00:37:30,719 --> 00:37:33,080
Speaker 1: it was big and it took. It wasn't until about

497
00:37:33,160 --> 00:37:38,520
Speaker 1: nineteen seventy eight that Bob we had the Johnny uh

498
00:37:38,960 --> 00:37:41,840
Speaker 1: suddenly from Johnny Nash, who had I can see clearly

499
00:37:41,920 --> 00:37:46,360
Speaker 1: now in Rain is Gone. What are the great records

500
00:37:46,400 --> 00:37:49,160
Speaker 1: of all time, but in reality, even though they kept

501
00:37:49,239 --> 00:37:52,960
Speaker 1: saying that Bob Marley was signed with Blackwell, was black Well?

502
00:37:53,040 --> 00:37:55,480
Speaker 1: He was on island and they did and and and

503
00:37:55,640 --> 00:38:01,600
Speaker 1: and then then c Clapton recorded was seventy four, Okay,

504
00:38:01,680 --> 00:38:03,160
Speaker 1: the end of seventy four, that was the hip of

505
00:38:03,200 --> 00:38:05,480
Speaker 1: people in America still didn't know what reggae was. So

506
00:38:05,640 --> 00:38:08,120
Speaker 1: the first album comes out you because I was, as

507
00:38:08,120 --> 00:38:09,880
Speaker 1: I said, you were in London, but in America we

508
00:38:10,080 --> 00:38:12,600
Speaker 1: catch a fire and then they had burned in and

509
00:38:12,640 --> 00:38:15,080
Speaker 1: then I rost them on vibration. Then they had the

510
00:38:15,160 --> 00:38:18,000
Speaker 1: live album from the Lyceum in seventy seven. But it

511
00:38:18,160 --> 00:38:21,600
Speaker 1: wasn't until about seventy eight with Doublon by Bus that

512
00:38:21,760 --> 00:38:24,040
Speaker 1: all of a sudden I followed all of that right

513
00:38:24,160 --> 00:38:27,040
Speaker 1: because I was a follower of reggae already in Brazil,

514
00:38:27,640 --> 00:38:31,279
Speaker 1: you know, since I nineteen seventies three. At seventy four,

515
00:38:31,640 --> 00:38:34,920
Speaker 1: when I came back here and then I got the

516
00:38:36,719 --> 00:38:40,840
Speaker 1: song uh No One to Cry. I wrote a version

517
00:38:40,880 --> 00:38:44,320
Speaker 1: of Portuguese version for for that song with the direct

518
00:38:44,400 --> 00:38:51,320
Speaker 1: translation or new lyrics directors a little adapted to the

519
00:38:51,440 --> 00:38:56,440
Speaker 1: Brazilian Was it successful? I was talking about the main

520
00:38:56,640 --> 00:39:01,279
Speaker 1: points in the Yeah, so was it successful? Here? Who

521
00:39:01,480 --> 00:39:06,839
Speaker 1: was big? The biggest I ever done? Really I've ever made? Yeah?

522
00:39:07,120 --> 00:39:10,200
Speaker 1: Because No Woman, No Cry. That's my favorite Bob Marley song.

523
00:39:11,120 --> 00:39:14,120
Speaker 1: Never a hit in America. Everybody knows it now. It's

524
00:39:14,160 --> 00:39:15,800
Speaker 1: kind of like the It's kind of like the Doors

525
00:39:15,840 --> 00:39:18,200
Speaker 1: that led Zeppelin. You know, they haven't made any new

526
00:39:18,280 --> 00:39:22,160
Speaker 1: music for decades, but everybody knows. Okay, So you're in

527
00:39:22,800 --> 00:39:28,839
Speaker 1: You're in London until what year, seventy two to seventy two.

528
00:39:29,680 --> 00:39:35,000
Speaker 1: Then I came back too. I was allowed already they

529
00:39:35,120 --> 00:39:40,319
Speaker 1: calm down or the government changed the government. They were

530
00:39:40,760 --> 00:39:47,279
Speaker 1: still military, but you know they started an opening. Okay,

531
00:39:47,320 --> 00:39:49,560
Speaker 1: So when you were in London, when I was in London,

532
00:39:49,680 --> 00:39:54,160
Speaker 1: I got the news. Now, probably you can't come back.

533
00:39:54,760 --> 00:39:57,600
Speaker 1: They're not going to put you in jail again. They're

534
00:39:57,640 --> 00:40:01,160
Speaker 1: gonna allow you to start a little you know, but

535
00:40:01,280 --> 00:40:05,960
Speaker 1: can you make entry re establishing your career here. So

536
00:40:06,560 --> 00:40:09,480
Speaker 1: if you if you want to come, come, but that

537
00:40:09,600 --> 00:40:13,160
Speaker 1: they also say, don't make any trouble some to some,

538
00:40:13,880 --> 00:40:18,399
Speaker 1: but you're a troublemaker. No, no, no excuse. So when

539
00:40:18,440 --> 00:40:25,160
Speaker 1: you come back, do you make trouble? The recording of

540
00:40:25,320 --> 00:40:30,400
Speaker 1: the song No Woman no Cry at the time of distinction.

541
00:40:30,640 --> 00:40:34,239
Speaker 1: You know that that's the word I forgot, distinction, you know,

542
00:40:35,840 --> 00:40:41,320
Speaker 1: no distinction in distinction the system and everything that would

543
00:40:41,719 --> 00:40:45,200
Speaker 1: that that song contributed a lot to the you know,

544
00:40:45,480 --> 00:40:49,480
Speaker 1: to this opening to the Okay, So you did a

545
00:40:49,600 --> 00:40:51,680
Speaker 1: version of No Woman, No Cry when you were still

546
00:40:51,719 --> 00:40:54,520
Speaker 1: living in London. No, that's when you came back. I

547
00:40:54,640 --> 00:40:59,560
Speaker 1: came back and then I met Jimmy Cliff here for

548
00:40:59,640 --> 00:41:04,440
Speaker 1: the first time. Actually, Jimmy had a great version of

549
00:41:04,680 --> 00:41:08,239
Speaker 1: of Yeah, of that songle and that was the one

550
00:41:08,360 --> 00:41:13,040
Speaker 1: I heard first. I came to listen Bob Maley's version

551
00:41:13,239 --> 00:41:18,880
Speaker 1: later when I did the version in portug the Portuguese

552
00:41:19,000 --> 00:41:23,560
Speaker 1: version I was based on on on Jimmy version. Okay,

553
00:41:23,760 --> 00:41:26,560
Speaker 1: So when you were in London for three years, did

554
00:41:26,640 --> 00:41:30,759
Speaker 1: you want to come back to Brazil? Are sure? Sure?

555
00:41:30,800 --> 00:41:35,000
Speaker 1: We're missing the family, missing my my first two daughters.

556
00:41:35,160 --> 00:41:36,960
Speaker 1: You know that I had to live here with my

557
00:41:37,640 --> 00:41:41,879
Speaker 1: with my parents, and you know, Okay, so you come back.

558
00:41:42,440 --> 00:41:45,000
Speaker 1: So in the three years you are in England with

559
00:41:45,120 --> 00:41:51,600
Speaker 1: the Polygraham UK, you make in roads around you, you

560
00:41:51,719 --> 00:41:53,960
Speaker 1: make in roads around the rest of the world. So

561
00:41:54,120 --> 00:41:56,920
Speaker 1: it's still going up and you go back to Brazil.

562
00:41:57,000 --> 00:41:59,640
Speaker 1: You have an immediate hit with no woman, no cry,

563
00:42:00,480 --> 00:42:03,600
Speaker 1: So you're bigger than ever. Yeah, what's the next step?

564
00:42:04,120 --> 00:42:07,160
Speaker 1: Next step to suggest to proceed, just to go go

565
00:42:07,480 --> 00:42:12,279
Speaker 1: on doing things, one record after, you know, after the

566
00:42:12,360 --> 00:42:16,239
Speaker 1: auto one record, and then another record, another record, one

567
00:42:16,360 --> 00:42:20,160
Speaker 1: hit here, one hit there, and everything, and then years

568
00:42:20,239 --> 00:42:24,360
Speaker 1: passing also the time passing by, and and and and

569
00:42:24,600 --> 00:42:29,920
Speaker 1: and and and of course I became established artists as

570
00:42:29,960 --> 00:42:31,759
Speaker 1: I am to And to what degree once you were

571
00:42:31,800 --> 00:42:34,400
Speaker 1: back in Brazil, did you work in the rest of

572
00:42:34,520 --> 00:42:38,520
Speaker 1: the world. Pardon you, what do you mean exactly what

573
00:42:38,760 --> 00:42:41,640
Speaker 1: you're now in nineteen coming background, you know, after you

574
00:42:41,719 --> 00:42:45,560
Speaker 1: come back to Brazil, Yeah, in ninety two. To what

575
00:42:45,760 --> 00:42:49,279
Speaker 1: degree are you working in Europe and the US? To

576
00:42:49,320 --> 00:42:53,400
Speaker 1: a certain degree, not as much as I started to

577
00:42:53,920 --> 00:43:00,719
Speaker 1: work after I went to the Montree Festival in Switzerland

578
00:43:00,960 --> 00:43:09,120
Speaker 1: in nineteen seventy eight, because then I really had European

579
00:43:09,600 --> 00:43:13,400
Speaker 1: doors open, you know, in a in a very extensive

580
00:43:13,760 --> 00:43:17,040
Speaker 1: sense so to my music. And then I started performing

581
00:43:17,400 --> 00:43:21,640
Speaker 1: regularly in five six different towns in France, five six

582
00:43:21,760 --> 00:43:28,160
Speaker 1: different towns in in Germany, Italy, Portugal, Spain, and so

583
00:43:28,480 --> 00:43:33,200
Speaker 1: I was able then after after nineteen. I was able

584
00:43:33,280 --> 00:43:38,959
Speaker 1: to travel for two months and perform every every every

585
00:43:39,200 --> 00:43:42,440
Speaker 1: every two days, ever, two nights, ever, two evenings in

586
00:43:42,560 --> 00:43:46,640
Speaker 1: different places in in Europe. And then that that because

587
00:43:47,120 --> 00:43:51,800
Speaker 1: became a solid European career as well as in the States.

588
00:43:51,960 --> 00:43:55,239
Speaker 1: I started coming to New York to perform. Who brought

589
00:43:55,280 --> 00:43:59,279
Speaker 1: you to New York? Brought you to the States, the

590
00:43:59,400 --> 00:44:03,800
Speaker 1: same people that brought me to Monterrey. My my my

591
00:44:03,920 --> 00:44:11,359
Speaker 1: record company, people Warner brother ness We so we heard again, yeah,

592
00:44:11,520 --> 00:44:14,880
Speaker 1: the distribution arm It's brother He brought me to montre

593
00:44:15,200 --> 00:44:16,960
Speaker 1: and so he knew Claude and he said you got

594
00:44:17,040 --> 00:44:20,000
Speaker 1: to put him off. Yeah, sure, and so we we

595
00:44:20,120 --> 00:44:26,960
Speaker 1: credit Nessary for your international career. Sure, absolutely absolutely. And

596
00:44:27,120 --> 00:44:30,840
Speaker 1: then she said, now it's time after Europe. Now it's America.

597
00:44:30,960 --> 00:44:33,359
Speaker 1: So you had to come to America. I'm gonna find

598
00:44:33,440 --> 00:44:37,880
Speaker 1: a promoter, I'm gonna find a book king agent for

599
00:44:38,000 --> 00:44:42,239
Speaker 1: you here. And then they started booking me in Washington,

600
00:44:42,440 --> 00:44:46,880
Speaker 1: in in In in Chicago, in New York, in Miami,

601
00:44:46,960 --> 00:44:51,160
Speaker 1: in Los Angeles, in San Francisco, and places where I

602
00:44:51,280 --> 00:44:54,680
Speaker 1: still go very often. You know, now there are a

603
00:44:54,719 --> 00:44:57,399
Speaker 1: lot of people live in America. When you first come

604
00:44:57,480 --> 00:45:02,960
Speaker 1: to America. Is it mostly Brazil at expat Brazilians or

605
00:45:03,120 --> 00:45:07,440
Speaker 1: is it not necessarily No, I started having audiences, you know,

606
00:45:07,840 --> 00:45:13,560
Speaker 1: local audiences all over you know, and how how important

607
00:45:13,719 --> 00:45:16,920
Speaker 1: is it? Right? How important is it to you to

608
00:45:17,080 --> 00:45:21,759
Speaker 1: be successful outside Brazil? It's always important a musician that

609
00:45:22,000 --> 00:45:27,279
Speaker 1: you know, has music as as his you know, to

610
00:45:28,200 --> 00:45:33,120
Speaker 1: his instrument, his element, to contact, you know, to get

611
00:45:33,160 --> 00:45:38,760
Speaker 1: across musical messages and and and not just musical messages,

612
00:45:38,880 --> 00:45:43,480
Speaker 1: but messages in general. I mean, it's very important that

613
00:45:43,719 --> 00:45:47,920
Speaker 1: we have an international always say the same thing. A

614
00:45:48,080 --> 00:45:52,160
Speaker 1: real artist likes an audience more than money. That's it money, secretary,

615
00:45:52,440 --> 00:45:55,920
Speaker 1: But there's some money is just to survive, right, All

616
00:45:56,040 --> 00:46:00,960
Speaker 1: giences is to live or it's like, uh, a friend

617
00:46:01,000 --> 00:46:04,440
Speaker 1: of mine booked Oprah Winfrey. You know who Oprah Winfrey is? Yes? No,

618
00:46:05,480 --> 00:46:10,320
Speaker 1: do you know who Oprah winfre Okay, we never met? Okay,

619
00:46:10,360 --> 00:46:12,959
Speaker 1: so president, but I know Oprah ended her TV show

620
00:46:14,080 --> 00:46:16,560
Speaker 1: and she was playing arenas and a friend of mine

621
00:46:16,640 --> 00:46:20,279
Speaker 1: was booking it. And they say, why does Oprah have

622
00:46:20,480 --> 00:46:23,120
Speaker 1: to work? As David letterby saying Oprah has all the

623
00:46:23,200 --> 00:46:25,880
Speaker 1: money you No, No, he says, no, where he can

624
00:46:25,960 --> 00:46:29,000
Speaker 1: get that amount of love that hit unless you play live.

625
00:46:29,280 --> 00:46:31,840
Speaker 1: But he got twenty thousand people cheering for you and

626
00:46:32,239 --> 00:46:38,080
Speaker 1: saying exactly, still valuable, It's still worth you know, listening

627
00:46:38,239 --> 00:46:42,960
Speaker 1: to somebody like hair and and it's it's still worthful

628
00:46:43,120 --> 00:46:48,960
Speaker 1: hair addressing some people. So, but you're in Brazil. In America,

629
00:46:50,440 --> 00:46:54,040
Speaker 1: generally speaking, artists is successful for three to five years.

630
00:46:54,560 --> 00:46:58,120
Speaker 1: Then there's a new crop of artists, but you continue

631
00:46:58,160 --> 00:47:03,720
Speaker 1: to be successful. I come from a time in history,

632
00:47:04,080 --> 00:47:10,719
Speaker 1: you know, as as an artist, where and where things

633
00:47:10,800 --> 00:47:15,080
Speaker 1: were a little different from you know they are today.

634
00:47:17,719 --> 00:47:23,040
Speaker 1: Establishing something was was important, you know, not just for

635
00:47:23,560 --> 00:47:26,480
Speaker 1: for the artists or the record companies, but also for

636
00:47:26,600 --> 00:47:31,320
Speaker 1: the public. The public like it to be, you know,

637
00:47:32,080 --> 00:47:35,520
Speaker 1: to be to be with the ones, to be standing

638
00:47:35,719 --> 00:47:38,520
Speaker 1: for the ones that they couldn't agree more, you know,

639
00:47:39,360 --> 00:47:43,640
Speaker 1: but public wanted that. And you think the public had

640
00:47:43,680 --> 00:47:47,719
Speaker 1: their space to do that because they were not bombard

641
00:47:47,840 --> 00:47:54,480
Speaker 1: by by new stuff, new musical bombs and as we

642
00:47:54,600 --> 00:47:58,040
Speaker 1: are today, I mean we had we had time and

643
00:47:58,239 --> 00:48:03,680
Speaker 1: space the time economy. No, I couldn't agree with as

644
00:48:03,719 --> 00:48:06,040
Speaker 1: I said, you would be in yours to to to

645
00:48:06,440 --> 00:48:10,680
Speaker 1: to to settle. You know, you bought a record and

646
00:48:10,719 --> 00:48:13,239
Speaker 1: you couldn't afford every record, and you came in your

647
00:48:13,239 --> 00:48:15,520
Speaker 1: bedroom and you played that record again and again and again.

648
00:48:16,320 --> 00:48:18,440
Speaker 1: It's not like today with the whole history recorded music,

649
00:48:18,520 --> 00:48:21,560
Speaker 1: is that your fingertips not no, no, And with the

650
00:48:21,840 --> 00:48:27,680
Speaker 1: the internet, music shops and and everything that you can

651
00:48:28,400 --> 00:48:31,799
Speaker 1: you know, you do your lists and everything. I mean,

652
00:48:32,120 --> 00:48:36,279
Speaker 1: it's it's completely different today, totally different. So you know,

653
00:48:37,560 --> 00:48:40,400
Speaker 1: they want to be faithful. I mean, like the public

654
00:48:40,440 --> 00:48:42,919
Speaker 1: who wanted you know, that kind But do you think

655
00:48:43,400 --> 00:48:46,279
Speaker 1: the public still feels that way. It's just they're bombarded.

656
00:48:47,040 --> 00:48:55,760
Speaker 1: Some especially the older generations, they stand for that style

657
00:48:55,880 --> 00:49:00,279
Speaker 1: of of of you know, of being fans and in

658
00:49:00,400 --> 00:49:05,160
Speaker 1: appreciating music and everything. Then new kids forget. I mean,

659
00:49:05,239 --> 00:49:14,440
Speaker 1: they go with the tides. You know, you're listening to

660
00:49:14,560 --> 00:49:19,640
Speaker 1: the legendary Gioberto Jiel, superstar in Brazil. We'll be back

661
00:49:19,680 --> 00:49:23,680
Speaker 1: in a moment. I hope you're enjoying listening to this

662
00:49:23,800 --> 00:49:26,520
Speaker 1: episode of The Bob Lefts Podcast. If you want to

663
00:49:26,560 --> 00:49:29,120
Speaker 1: see videos and photos of our guests, go to at

664
00:49:29,200 --> 00:49:33,520
Speaker 1: tune in on Twitter, Facebook, and Instagram. Let's dive right

665
00:49:33,560 --> 00:49:36,120
Speaker 1: back in with my guest Joberto Jill on the Bob

666
00:49:36,239 --> 00:49:41,960
Speaker 1: Left sets podcast. So you end up working in the

667
00:49:42,120 --> 00:49:46,759
Speaker 1: government for a while. Yeah, how did that come to big? Oh?

668
00:49:48,400 --> 00:49:55,200
Speaker 1: One day I was president Lula had been elected. So

669
00:49:55,400 --> 00:50:02,919
Speaker 1: what year is this? That was two thousand one, two

670
00:50:03,000 --> 00:50:07,319
Speaker 1: thousand end of two thousand one, two thousand two, uh,

671
00:50:07,920 --> 00:50:11,000
Speaker 1: and he had been elected. In one day. I was

672
00:50:11,120 --> 00:50:19,080
Speaker 1: on stage in some Paulo um uh sound checking for

673
00:50:19,200 --> 00:50:22,680
Speaker 1: a concert and then I got a call and that

674
00:50:22,880 --> 00:50:27,359
Speaker 1: was his secretary. They had you met him previously? Oh? Sure,

675
00:50:27,600 --> 00:50:31,200
Speaker 1: I had met him, sure during the campaign. And I

676
00:50:31,280 --> 00:50:35,600
Speaker 1: had been following his career because he wasn't a worker

677
00:50:35,760 --> 00:50:41,400
Speaker 1: and he was a labor you know man for for

678
00:50:41,640 --> 00:50:44,360
Speaker 1: for a while, and then he became a politician and

679
00:50:44,440 --> 00:50:48,080
Speaker 1: then he ran for for for president for three times

680
00:50:48,160 --> 00:50:51,520
Speaker 1: and lost, and then he went a fourth time and

681
00:50:51,719 --> 00:50:55,160
Speaker 1: he he succeeded. He was elected. Then that day he

682
00:50:55,320 --> 00:51:00,239
Speaker 1: was that call from him from his secretary saying President Lula. Yeah,

683
00:51:01,000 --> 00:51:07,520
Speaker 1: he was good to be inaugurated like three months later

684
00:51:08,120 --> 00:51:13,960
Speaker 1: in January two thousand three. And then he invited me

685
00:51:14,040 --> 00:51:17,080
Speaker 1: to go to Brazilia and to offer me the Ministry

686
00:51:17,120 --> 00:51:25,200
Speaker 1: of Culture. And then I pondered, then, no, they are

687
00:51:25,360 --> 00:51:30,759
Speaker 1: start pros and cons and and that single, and I

688
00:51:30,880 --> 00:51:33,320
Speaker 1: decided to go and I went. I stayed there for

689
00:51:33,440 --> 00:51:37,000
Speaker 1: six years with him. Okay, when you were the six

690
00:51:37,120 --> 00:51:42,200
Speaker 1: years there, to what degree could you pursue music? Of

691
00:51:42,320 --> 00:51:45,000
Speaker 1: course I could. I could have my guitar with me

692
00:51:45,280 --> 00:51:50,359
Speaker 1: whenever I went wherever I went, and I I made

693
00:51:50,400 --> 00:51:55,560
Speaker 1: a deal with the with the the government that I

694
00:51:56,719 --> 00:52:04,200
Speaker 1: I could perform. I could keep performing, uh as far

695
00:52:04,320 --> 00:52:09,279
Speaker 1: as I could, you know, yeah, time, Yeah, I had

696
00:52:09,360 --> 00:52:14,239
Speaker 1: time for that. And then every every year we had

697
00:52:14,400 --> 00:52:21,120
Speaker 1: we were allowed one month off the government job, and

698
00:52:21,239 --> 00:52:24,960
Speaker 1: that I took those went on the road to go

699
00:52:25,320 --> 00:52:29,960
Speaker 1: to the States, to Europe and everything, and here in Brazil,

700
00:52:30,239 --> 00:52:34,759
Speaker 1: every weekend or whenever I wanted, at the weekends, I

701
00:52:34,800 --> 00:52:39,279
Speaker 1: would go places and perform, provide that I was performing

702
00:52:39,719 --> 00:52:48,560
Speaker 1: by my own you know, costs, and not doing not

703
00:52:48,920 --> 00:52:52,759
Speaker 1: not performing for for public. So what did you show?

704
00:52:52,840 --> 00:52:55,600
Speaker 1: What did you learn working six years for the government.

705
00:52:57,520 --> 00:53:00,520
Speaker 1: What I learned that is very first that that's very

706
00:53:00,640 --> 00:53:06,480
Speaker 1: difficult government job. Government job is something very difficult because

707
00:53:06,520 --> 00:53:10,920
Speaker 1: of many factors. First money, first, the budget, you know,

708
00:53:12,480 --> 00:53:15,360
Speaker 1: in in in a country like Brazil, for instance, you know,

709
00:53:16,280 --> 00:53:20,239
Speaker 1: with a with a little tradition of of of of

710
00:53:20,480 --> 00:53:28,840
Speaker 1: of of of really having money for you know, for

711
00:53:28,960 --> 00:53:33,600
Speaker 1: the public thing. It's very short the money that you

712
00:53:33,719 --> 00:53:37,200
Speaker 1: can have, especially if it's a minister of like like

713
00:53:37,960 --> 00:53:42,040
Speaker 1: the one I went, you know to run culture, minister

714
00:53:42,160 --> 00:53:47,680
Speaker 1: of culture. It was very little money. That was one

715
00:53:47,840 --> 00:53:52,080
Speaker 1: factor that you know, made the thing very difficult. Second,

716
00:53:52,160 --> 00:53:58,080
Speaker 1: the politics themselves, you know, different parties, different people too too,

717
00:53:58,640 --> 00:54:04,440
Speaker 1: to attend different people to to satisfy different different you know,

718
00:54:05,120 --> 00:54:09,920
Speaker 1: and a huge uh condition of Brazil as a country,

719
00:54:10,680 --> 00:54:16,120
Speaker 1: you know, many many different areas two enchy and such

720
00:54:16,239 --> 00:54:27,000
Speaker 1: an states, different states, difty five thousand municipalities, and and

721
00:54:27,400 --> 00:54:30,520
Speaker 1: and and and and it was very difficult, you know,

722
00:54:30,760 --> 00:54:35,080
Speaker 1: it was. But anyway, we we we succeeded to do something.

723
00:54:36,360 --> 00:54:39,200
Speaker 1: We did something. So if you had to do it

724
00:54:39,280 --> 00:54:42,880
Speaker 1: all over again, would you still take the job because

725
00:54:43,640 --> 00:54:48,440
Speaker 1: because I'm I'm, I'm it's a different moment, I am

726
00:54:48,560 --> 00:54:51,319
Speaker 1: too old, or we forget forget that if you were

727
00:54:51,360 --> 00:54:53,720
Speaker 1: the same age again, if we could go back in time,

728
00:54:54,320 --> 00:54:57,399
Speaker 1: back in time, of course I would I would accept. Okay,

729
00:54:57,440 --> 00:55:01,160
Speaker 1: So what because that was a natural impulse that I followed,

730
00:55:01,440 --> 00:55:06,719
Speaker 1: you know, a natural inner thing that I followed that

731
00:55:07,120 --> 00:55:10,200
Speaker 1: it is studid with me I mean, I'm I'm sticking

732
00:55:10,280 --> 00:55:16,080
Speaker 1: to my nature. So uh you if you were famous

733
00:55:16,840 --> 00:55:19,840
Speaker 1: for being the opposite of a lot of old I

734
00:55:19,880 --> 00:55:22,480
Speaker 1: don't mean the ural, but a lot of institutional people.

735
00:55:23,000 --> 00:55:27,320
Speaker 1: You were for creative comments, you were all about the internet.

736
00:55:27,560 --> 00:55:36,040
Speaker 1: How did you come to those beliefs through natural inter connecting,

737
00:55:36,160 --> 00:55:41,800
Speaker 1: interchanging with life and you know, with new technologies and

738
00:55:43,360 --> 00:55:49,080
Speaker 1: new um and concepts about about what is necessary to

739
00:55:49,239 --> 00:55:52,279
Speaker 1: provide as a as a as a government. You know

740
00:55:52,960 --> 00:55:57,600
Speaker 1: what what what's what's the task of a government, especially

741
00:55:57,719 --> 00:56:03,239
Speaker 1: in the democracy, when we can you know, have different ideas,

742
00:56:03,320 --> 00:56:09,040
Speaker 1: different people, different uh ways of of of of viewing

743
00:56:09,800 --> 00:56:12,759
Speaker 1: the world and everything. So the new ways of and

744
00:56:13,120 --> 00:56:16,720
Speaker 1: in one thing, I as an artist, especially in those

745
00:56:16,920 --> 00:56:21,160
Speaker 1: times with when I was, I had to to sort

746
00:56:21,200 --> 00:56:26,440
Speaker 1: of oppose myself to the dictator of ship and everything

747
00:56:26,600 --> 00:56:29,680
Speaker 1: and the exile and everything. I learned too. I learned

748
00:56:29,800 --> 00:56:35,880
Speaker 1: to respect youth, to respect the new things in in

749
00:56:36,160 --> 00:56:40,040
Speaker 1: in life. I developed a big respect for new things

750
00:56:40,120 --> 00:56:42,960
Speaker 1: in life. I think that new things do not that

751
00:56:43,160 --> 00:56:49,319
Speaker 1: come through technology, through science, through you know, uh uh

752
00:56:50,360 --> 00:56:55,279
Speaker 1: different forms of knowledge and everything. That's very important. That's

753
00:56:55,600 --> 00:57:00,799
Speaker 1: what you know that that what's pushes so I had

754
00:57:01,280 --> 00:57:04,520
Speaker 1: well a little and I took some some of those

755
00:57:04,600 --> 00:57:07,400
Speaker 1: ideas and some of the projects that we had around

756
00:57:08,880 --> 00:57:12,920
Speaker 1: to the gut. Okay, once a little bit slower and

757
00:57:12,960 --> 00:57:16,640
Speaker 1: a little bit deeper. What made you realize you have

758
00:57:16,840 --> 00:57:19,360
Speaker 1: to get into new ideas and you have to embrace

759
00:57:19,440 --> 00:57:25,520
Speaker 1: the future. What made me too? I don't, I don't.

760
00:57:26,360 --> 00:57:28,960
Speaker 1: I don't know if I if I had, I can

761
00:57:29,080 --> 00:57:32,600
Speaker 1: recollect in terms of memory. Let me put it in

762
00:57:32,680 --> 00:57:35,080
Speaker 1: different Let me put it in a different way. Uh.

763
00:57:35,600 --> 00:57:39,280
Speaker 1: There are many people who love rock and roll but

764
00:57:39,480 --> 00:57:42,520
Speaker 1: hate but hate hip hop? Are you the type of

765
00:57:42,640 --> 00:57:45,520
Speaker 1: person when there's a new sound you say I like

766
00:57:45,640 --> 00:57:47,760
Speaker 1: the old sound, or you say, well, let me see

767
00:57:47,800 --> 00:57:49,400
Speaker 1: what's going on on the new side. Even if I

768
00:57:49,560 --> 00:57:55,040
Speaker 1: don't like, I respect the right of existing, the right

769
00:57:55,080 --> 00:58:00,560
Speaker 1: of being. You know, I respect differences. This is something

770
00:58:00,680 --> 00:58:05,080
Speaker 1: that I learned in life to respect differences. You know,

771
00:58:05,680 --> 00:58:10,320
Speaker 1: I am different from you, But it's not because I'm

772
00:58:10,400 --> 00:58:13,680
Speaker 1: different from you that I have to eliminate you. Right.

773
00:58:14,760 --> 00:58:18,160
Speaker 1: So what are you most proud of? What you accomplished?

774
00:58:18,240 --> 00:58:24,480
Speaker 1: Working for the government, we had a project named cultural

775
00:58:24,640 --> 00:58:30,960
Speaker 1: hot Spots that we were able to spread over Brazil

776
00:58:32,320 --> 00:58:40,760
Speaker 1: that would would be uh, the calling of the communities,

777
00:58:40,960 --> 00:58:47,120
Speaker 1: especially poor communities and especially very distant communities in the

778
00:58:47,280 --> 00:58:54,120
Speaker 1: country to come and participate culturally and have and and

779
00:58:54,320 --> 00:58:59,400
Speaker 1: and and and and start playing with computers and starting

780
00:59:00,040 --> 00:59:08,000
Speaker 1: have broad band, you know, to uploading download things and everything.

781
00:59:08,080 --> 00:59:11,800
Speaker 1: So the hot spots where you know, designed to do that,

782
00:59:12,600 --> 00:59:18,360
Speaker 1: and we were able to have three point five thousand

783
00:59:18,520 --> 00:59:22,800
Speaker 1: hot spots in Brazil in that period of six years,

784
00:59:23,520 --> 00:59:28,640
Speaker 1: and uh, you know, some still doing very well. You know,

785
00:59:29,240 --> 00:59:34,160
Speaker 1: they were very helpful in in in in bringing people

786
00:59:34,320 --> 00:59:39,560
Speaker 1: to to to do different things, to to include themselves culturally,

787
00:59:39,920 --> 00:59:46,040
Speaker 1: you know, to come from from from the very far

788
00:59:46,160 --> 00:59:50,360
Speaker 1: away places, you know, and have a role in the

789
00:59:50,440 --> 00:59:56,360
Speaker 1: in the cultural uh, the whole cultural thing in Brazil,

790
00:59:56,680 --> 01:00:02,040
Speaker 1: in the country. And I am very proud that project. Okay,

791
01:00:02,120 --> 01:00:06,040
Speaker 1: as we sit here, President Lula is supposed to turn

792
01:00:06,160 --> 01:00:09,840
Speaker 1: himself in to go to jail. What do you feel

793
01:00:09,880 --> 01:00:13,520
Speaker 1: about that? I feel so many different things. First, I

794
01:00:13,680 --> 01:00:20,240
Speaker 1: feel very sorry for him and for ourselves because it's

795
01:00:20,320 --> 01:00:24,680
Speaker 1: a very interesting man that had done a very interesting

796
01:00:24,920 --> 01:00:30,120
Speaker 1: job for the for for for our country. Um and

797
01:00:32,160 --> 01:00:37,080
Speaker 1: and of course I mean he he's been child you

798
01:00:37,200 --> 01:00:44,320
Speaker 1: know by justice in Brazil. With some and and just

799
01:00:46,000 --> 01:00:52,440
Speaker 1: the justice in Brazil had has some some arguments, you know,

800
01:00:54,040 --> 01:01:01,200
Speaker 1: and they have some after all, they they have collected

801
01:01:01,400 --> 01:01:05,640
Speaker 1: some reasons to put him, to send him, you know,

802
01:01:06,040 --> 01:01:17,200
Speaker 1: in prison um, which are very sketchy, sketchish, you know,

803
01:01:18,360 --> 01:01:24,080
Speaker 1: And so I feel I feel sorry for for all

804
01:01:24,160 --> 01:01:37,120
Speaker 1: of that. I hope, I hope that either staying in prison,

805
01:01:38,160 --> 01:01:44,280
Speaker 1: oh getting out, he will be able to stand you know,

806
01:01:44,520 --> 01:01:50,080
Speaker 1: for his strong characters as Okay, it's an interesting this,

807
01:01:50,320 --> 01:01:54,840
Speaker 1: it's a learning experience being an American in Rio, Brazil.

808
01:01:55,280 --> 01:01:58,120
Speaker 1: Although we get we get a certain amount of news.

809
01:01:59,080 --> 01:02:02,040
Speaker 1: But before I came to I tend not to be

810
01:02:02,120 --> 01:02:06,840
Speaker 1: a paranoid person. But before I came here, high profile

811
01:02:06,920 --> 01:02:10,240
Speaker 1: people in the music business said very dangerous, don't leave

812
01:02:10,280 --> 01:02:15,680
Speaker 1: the hotel without security, etcetera. I thought they were fearful Americans.

813
01:02:16,160 --> 01:02:18,919
Speaker 1: But when I talked to people in Rio, they say,

814
01:02:19,040 --> 01:02:23,440
Speaker 1: it is dangerous. Okay, So what is the future of Brazil.

815
01:02:24,000 --> 01:02:29,760
Speaker 1: I hope we we're gonna be able to overcome this

816
01:02:29,960 --> 01:02:34,600
Speaker 1: degrading there's a degradation that we live now in terms

817
01:02:34,680 --> 01:02:42,600
Speaker 1: of society socially, you know, with the whole differences that

818
01:02:42,760 --> 01:02:47,400
Speaker 1: we have today. I mean the injustice, the social injustice

819
01:02:47,560 --> 01:02:52,520
Speaker 1: that we've been having with bad distribution of wealth and

820
01:02:52,920 --> 01:02:56,040
Speaker 1: and that up to thaying I mean access of education,

821
01:02:56,160 --> 01:03:02,520
Speaker 1: excess of UH to health care and that kind of thing.

822
01:03:02,600 --> 01:03:07,720
Speaker 1: I mean that makes Brazil, I mean this this dangerous

823
01:03:07,760 --> 01:03:12,120
Speaker 1: place that we have today because poor people not assisted,

824
01:03:12,360 --> 01:03:21,440
Speaker 1: not not attended, you know. Um, so crime becomes an alternative,

825
01:03:22,840 --> 01:03:30,720
Speaker 1: an easy alternative. Crime is something very very very strong worldwide.

826
01:03:31,560 --> 01:03:38,160
Speaker 1: You know, the connecting networks. You know that the crime

827
01:03:38,240 --> 01:03:42,720
Speaker 1: networks are very very big all over you know, so

828
01:03:43,160 --> 01:03:47,160
Speaker 1: for for for for for a, for a for UH

829
01:03:47,520 --> 01:03:53,520
Speaker 1: and then not none attended population. You know, crime is

830
01:03:54,720 --> 01:03:59,560
Speaker 1: becomes a very easy alternative, you know, and that makes

831
01:03:59,760 --> 01:04:02,800
Speaker 1: makes a place danger as as as we have today

832
01:04:03,160 --> 01:04:06,440
Speaker 1: in this is the way out to Dame Brazil. In

833
01:04:06,560 --> 01:04:12,600
Speaker 1: other places we have different forms of danger, like in

834
01:04:12,760 --> 01:04:16,640
Speaker 1: your country and right the things of the guns and well,

835
01:04:16,720 --> 01:04:20,920
Speaker 1: in my country there's a lot of crime committed by

836
01:04:20,960 --> 01:04:25,920
Speaker 1: white collar community and there's very rarely a penalty. But

837
01:04:27,200 --> 01:04:31,440
Speaker 1: in the UK and in the US there's a camera everywhere.

838
01:04:32,560 --> 01:04:37,640
Speaker 1: So certainly, certainly over the past few decades, the murder

839
01:04:37,800 --> 01:04:40,960
Speaker 1: rate has gone down because the economy has improved, in

840
01:04:41,160 --> 01:04:44,640
Speaker 1: most big cities. But if you're a blue collar person

841
01:04:45,120 --> 01:04:48,040
Speaker 1: and you do anything, they have a recording. We used

842
01:04:48,040 --> 01:04:51,080
Speaker 1: to say tape. Now it's on hard drive, so you know,

843
01:04:51,160 --> 01:04:53,480
Speaker 1: it's almost like a TV show. Somebody steals it. Let's

844
01:04:53,520 --> 01:04:56,840
Speaker 1: go to the tape. There's always a tape. But it

845
01:04:56,880 --> 01:05:00,480
Speaker 1: would it doesn't seem to be that way in Brazil.

846
01:05:00,840 --> 01:05:03,720
Speaker 1: Doesn't seem to be like they have a camera everywhere. No,

847
01:05:04,520 --> 01:05:09,480
Speaker 1: we as comparing no with with with with the States,

848
01:05:09,640 --> 01:05:12,200
Speaker 1: with with your country. I mean we are we are

849
01:05:12,920 --> 01:05:19,440
Speaker 1: under under under under development in various in many various sense.

850
01:05:20,360 --> 01:05:24,280
Speaker 1: You know, we have a lot to to to do.

851
01:05:25,560 --> 01:05:29,520
Speaker 1: We have a long way to go. I mean, uh,

852
01:05:30,800 --> 01:05:37,040
Speaker 1: how our foundations are historical foundations are very different from

853
01:05:37,520 --> 01:05:39,480
Speaker 1: from the ones and from my body has told me

854
01:05:39,560 --> 01:05:44,080
Speaker 1: how they're different. Oh, you had you had a colonizing

855
01:05:44,240 --> 01:05:49,280
Speaker 1: process that was quite different from from ours. Uh you

856
01:05:49,440 --> 01:05:54,920
Speaker 1: were you had Bridge colonnaders, you know first, you know,

857
01:05:56,040 --> 01:06:03,200
Speaker 1: coming from England to do a different thing, to prove

858
01:06:03,760 --> 01:06:09,120
Speaker 1: that they could build a new society, you know, as

859
01:06:09,200 --> 01:06:13,720
Speaker 1: a strong or even more strong than they had the

860
01:06:14,200 --> 01:06:18,400
Speaker 1: English such the British society and everything. So they had

861
01:06:18,440 --> 01:06:24,920
Speaker 1: to kind of a proud, you know, a pride and

862
01:06:25,200 --> 01:06:28,040
Speaker 1: and and and and and and that sort of thing.

863
01:06:28,520 --> 01:06:36,120
Speaker 1: They colonizers that came to Brazil, they came to to

864
01:06:36,280 --> 01:06:44,320
Speaker 1: rip them off, to rip and that mentality remains. Someone

865
01:06:44,400 --> 01:06:48,080
Speaker 1: told me a Brazilian a driver said that Brazilians tend

866
01:06:48,120 --> 01:06:51,080
Speaker 1: to look out for themselves and say, what what can

867
01:06:51,120 --> 01:06:53,520
Speaker 1: I do for me? If it hurts somebody else, They're

868
01:06:53,560 --> 01:06:56,000
Speaker 1: not that worried about it, not in some senses. But

869
01:06:56,200 --> 01:07:01,880
Speaker 1: but we we also can be a very generous, uh people.

870
01:07:03,120 --> 01:07:06,240
Speaker 1: It can be so at this point in many, many,

871
01:07:06,320 --> 01:07:09,680
Speaker 1: many different ways we can know about our houses. Well

872
01:07:09,720 --> 01:07:12,440
Speaker 1: certainly have opened their hearts to me, but you know,

873
01:07:12,600 --> 01:07:15,640
Speaker 1: my view is relatively limited to supposed to someone lives here.

874
01:07:15,960 --> 01:07:19,440
Speaker 1: So you mentioned to me earlier before we were on

875
01:07:19,680 --> 01:07:24,080
Speaker 1: Mike that you personally had an experience where you were robbed,

876
01:07:24,280 --> 01:07:28,080
Speaker 1: your family was robbed. Mm hmmm. It was not recently.

877
01:07:28,120 --> 01:07:30,040
Speaker 1: It was a couple of decades ago, a couple of decades.

878
01:07:30,040 --> 01:07:34,560
Speaker 1: But do you ever think of because of the social

879
01:07:34,920 --> 01:07:38,320
Speaker 1: political situation in Brazil, do you ever think of moving

880
01:07:38,440 --> 01:07:41,480
Speaker 1: to another country? No, No, I've been to other I

881
01:07:41,840 --> 01:07:44,240
Speaker 1: was in London, right, I was in England, you know,

882
01:07:44,920 --> 01:07:50,560
Speaker 1: during the exile. I was spontaneously in l a for

883
01:07:50,840 --> 01:07:53,959
Speaker 1: almost two years when I I decided to go there,

884
01:07:54,400 --> 01:07:59,120
Speaker 1: invited by Sagimendous to do an American record and everything,

885
01:08:00,120 --> 01:08:03,880
Speaker 1: but never really thought about living Brazil, you know, um

886
01:08:04,360 --> 01:08:10,520
Speaker 1: and because I think that facing difficulties and and and

887
01:08:10,720 --> 01:08:16,800
Speaker 1: and and in danger and and and accepted, you know,

888
01:08:17,240 --> 01:08:22,280
Speaker 1: unbearable situations, there is something that you can always have anywhere.

889
01:08:22,960 --> 01:08:27,160
Speaker 1: And the first time I was robbed was in London

890
01:08:28,240 --> 01:08:32,439
Speaker 1: and and what what what was it? I went to

891
01:08:32,640 --> 01:08:37,160
Speaker 1: the ground Scotts that you might have heard about, very

892
01:08:37,240 --> 01:08:43,840
Speaker 1: famous London nightclub, Jazz Scott and Scott the Sacks playing

893
01:08:43,880 --> 01:08:48,160
Speaker 1: exactly club there. I went one night to see, if

894
01:08:48,240 --> 01:08:53,599
Speaker 1: I'm not wrong, it was Sundra okay that was performing there,

895
01:08:54,280 --> 01:09:02,120
Speaker 1: legendary Arry Sundra. And entering the the club, I was

896
01:09:04,040 --> 01:09:09,320
Speaker 1: grabbed by two young guys and with the with the

897
01:09:09,400 --> 01:09:14,360
Speaker 1: knife and then you know, they menaced me with a

898
01:09:14,439 --> 01:09:20,799
Speaker 1: knife and everything, and they mhm inside in my pocket,

899
01:09:21,000 --> 01:09:24,479
Speaker 1: you know, hands inside my pocket, took my my wallet,

900
01:09:24,720 --> 01:09:30,840
Speaker 1: took my money, run away. And that was London, so

901
01:09:30,920 --> 01:09:34,280
Speaker 1: they say it could happen anywhere, and that was what

902
01:09:34,920 --> 01:09:43,519
Speaker 1: they were getting money for drugs right m that's a

903
01:09:43,560 --> 01:09:47,280
Speaker 1: whole different topic about legalizing drugs and reducing crime. You know,

904
01:09:47,320 --> 01:09:51,200
Speaker 1: we're making some progress with marijuana and America and America.

905
01:09:51,280 --> 01:09:53,560
Speaker 1: Too many people are in jail for drugs who shouldn't be.

906
01:09:53,920 --> 01:09:56,040
Speaker 1: But the federal government right now is fighting. It's a

907
01:09:56,080 --> 01:09:58,960
Speaker 1: crazy situation. We don't have to talk about crazy. United

908
01:09:58,960 --> 01:10:03,080
Speaker 1: States is. But at this point in your career, are

909
01:10:03,120 --> 01:10:07,840
Speaker 1: you still excited about making new music? Yes, yes, but

910
01:10:09,720 --> 01:10:14,559
Speaker 1: a little more selectively. You know, what does that mean?

911
01:10:14,800 --> 01:10:23,960
Speaker 1: More selectively, less frequently, less frequently, um attending to more

912
01:10:24,160 --> 01:10:31,519
Speaker 1: special requests, you know, a little more like very So.

913
01:10:31,640 --> 01:10:34,040
Speaker 1: How many live dates do you do a year now?

914
01:10:34,840 --> 01:10:41,840
Speaker 1: I do around fifty, when I used to do a

915
01:10:42,000 --> 01:10:46,439
Speaker 1: hundred twenty. And you do it for the rhythm, for

916
01:10:46,479 --> 01:10:48,519
Speaker 1: the emotional experience, or you do it for the money,

917
01:10:49,720 --> 01:10:53,280
Speaker 1: mostly for for the experience, for the for the pleasure,

918
01:10:53,479 --> 01:10:58,760
Speaker 1: you know, for the the nourishing of my You've been

919
01:10:58,800 --> 01:11:01,080
Speaker 1: doing it a long time, and I heard this question

920
01:11:01,160 --> 01:11:05,200
Speaker 1: asked if John bon Jovi, of all people recently, do

921
01:11:05,320 --> 01:11:08,960
Speaker 1: you remember a specific gig that was like the greatest

922
01:11:09,000 --> 01:11:14,160
Speaker 1: gig for you? Difficult one at least two or three

923
01:11:14,920 --> 01:11:20,040
Speaker 1: and What made those so special, Uh that the music.

924
01:11:20,200 --> 01:11:24,519
Speaker 1: Sometimes I mean they're performing properly speaking. Sometimes I mean

925
01:11:24,920 --> 01:11:29,559
Speaker 1: the delivering, the playing, the singing, the band, that kind

926
01:11:29,600 --> 01:11:32,639
Speaker 1: of thing in the old giance and and their reaction.

927
01:11:33,240 --> 01:11:36,840
Speaker 1: But sometimes the situation in the general sense. One of

928
01:11:36,920 --> 01:11:42,800
Speaker 1: these memorable performances that I have in mind that you

929
01:11:42,880 --> 01:11:50,160
Speaker 1: asked me about is the one in nine when we

930
01:11:50,400 --> 01:11:55,080
Speaker 1: had already asked to leave Resil for the exile and

931
01:11:55,280 --> 01:12:01,040
Speaker 1: we were allowed to do a farewell concert in Baiya

932
01:12:02,000 --> 01:12:05,200
Speaker 1: and then we did, you know, and it was ten

933
01:12:05,320 --> 01:12:11,360
Speaker 1: o'clock in the morning of Sunday, real real music time,

934
01:12:12,240 --> 01:12:17,680
Speaker 1: music time, and and it was incredible. I mean, you know,

935
01:12:18,680 --> 01:12:23,960
Speaker 1: the the the the warmth, and and and and and

936
01:12:24,960 --> 01:12:31,559
Speaker 1: in in the it's no words, you know, no words,

937
01:12:31,760 --> 01:12:35,200
Speaker 1: I can get the emotion. Just yeah, you're saying, you know,

938
01:12:35,640 --> 01:12:39,560
Speaker 1: to to a level that it's absolutely impossible to describe

939
01:12:39,560 --> 01:12:43,439
Speaker 1: in words. Now, if you're at home, you obviously are

940
01:12:43,479 --> 01:12:45,799
Speaker 1: making your own music. And A C. D. C famously

941
01:12:45,840 --> 01:12:48,880
Speaker 1: said they didn't listen to anybody else's music. But do

942
01:12:49,000 --> 01:12:52,200
Speaker 1: you listen to other people's music? And what are some

943
01:12:52,400 --> 01:12:58,880
Speaker 1: of your favorite musicians or records? I still like very much.

944
01:12:58,920 --> 01:13:01,519
Speaker 1: I had some old rec is that you know, Oh

945
01:13:01,600 --> 01:13:05,360
Speaker 1: I'm old to you can mention the role, yeah, exackly

946
01:13:05,479 --> 01:13:09,479
Speaker 1: bye bye bye bye bye. Miles Davis for instance, kind

947
01:13:09,560 --> 01:13:12,400
Speaker 1: of Blue, kind of Blue and Bitches Brew? You like

948
01:13:13,080 --> 01:13:17,680
Speaker 1: it's that I that I I bought when I was

949
01:13:17,760 --> 01:13:22,080
Speaker 1: in London. That was exactly when he released bitch Brew

950
01:13:22,160 --> 01:13:25,240
Speaker 1: when I was arriving in The funny thing was because

951
01:13:25,280 --> 01:13:27,559
Speaker 1: we were talking also off Mike about the Fillmore East.

952
01:13:28,439 --> 01:13:31,280
Speaker 1: Laura Nero, who was a client of David Geffen. She

953
01:13:31,439 --> 01:13:35,080
Speaker 1: used to play at the Filmore ultimately every Christmas. But

954
01:13:35,160 --> 01:13:39,000
Speaker 1: I went to see her in June, June of seventy

955
01:13:39,479 --> 01:13:43,400
Speaker 1: and the opening act was Miles Davis playing Bitches Brew. Now,

956
01:13:43,880 --> 01:13:45,880
Speaker 1: if you look at that record today and you look

957
01:13:45,920 --> 01:13:48,240
Speaker 1: who's on it, we didn't know anything. We're sitting there

958
01:13:48,240 --> 01:13:51,200
Speaker 1: waiting for Laura Nero. But I think John McLaughlin was

959
01:13:51,280 --> 01:13:54,200
Speaker 1: in the band. Everybody was in the band was unbelievable.

960
01:13:54,360 --> 01:14:01,080
Speaker 1: The Brazilian to any other records that you think of, Oh,

961
01:14:01,600 --> 01:14:07,320
Speaker 1: Jimmie's records, Jimmie Hendry's records, Molly's records. Can you mentioned

962
01:14:07,320 --> 01:14:10,920
Speaker 1: a specific uh, Jimmie Hendricks or Bob Marley record or

963
01:14:11,040 --> 01:14:16,880
Speaker 1: song Bob I would I would go what for for

964
01:14:19,760 --> 01:14:25,400
Speaker 1: Oh Babylon Baby bas would be okay, But I think

965
01:14:25,479 --> 01:14:27,880
Speaker 1: that catch a Fire would be okay one of the

966
01:14:27,920 --> 01:14:31,439
Speaker 1: first third up studio up one of these things. Um

967
01:14:32,439 --> 01:14:42,040
Speaker 1: from from Jimmie um Boda's Lovely six nine Yeah yeah,

968
01:14:43,040 --> 01:14:52,960
Speaker 1: and from Miles I have already mentioned um Deylon's songs

969
01:14:53,120 --> 01:14:59,479
Speaker 1: and records and and in Brazil. I mean so many. Okay.

970
01:14:59,520 --> 01:15:01,920
Speaker 1: So when the time you have left on this planet,

971
01:15:02,280 --> 01:15:04,200
Speaker 1: which is not infinite because none of us are gonna

972
01:15:04,240 --> 01:15:08,680
Speaker 1: live forever, any any specific thing you would like to accomplish,

973
01:15:08,760 --> 01:15:14,600
Speaker 1: or any goals left unfulfilled that I haven't already. Yes, No,

974
01:15:15,520 --> 01:15:18,479
Speaker 1: no big ambitions left. I mean I think that the

975
01:15:18,600 --> 01:15:27,600
Speaker 1: main targets have been you know, hit and and the

976
01:15:27,760 --> 01:15:32,840
Speaker 1: main desires have been satisfied. They're not I'm I'm okay,

977
01:15:32,920 --> 01:15:41,599
Speaker 1: I'm I'm the little um ambition that remains. It's related

978
01:15:41,680 --> 01:15:46,240
Speaker 1: to this day to day kind of you know, needs

979
01:15:46,400 --> 01:15:50,040
Speaker 1: that we have. We have to have to be clean.

980
01:15:52,200 --> 01:15:55,000
Speaker 1: I love, I love to be. You're wearing all white today.

981
01:15:55,720 --> 01:15:59,760
Speaker 1: I love certainly look clean and sound clean to be,

982
01:16:00,120 --> 01:16:08,200
Speaker 1: you know, but a little perfume you know, I like

983
01:16:08,400 --> 01:16:17,680
Speaker 1: to to to eat mhmm, not not much, but you know,

984
01:16:18,240 --> 01:16:21,080
Speaker 1: I like the way they cook our food at home,

985
01:16:21,280 --> 01:16:26,839
Speaker 1: that kind of thing. I I still like to go sometimes,

986
01:16:26,920 --> 01:16:29,759
Speaker 1: go to go to the States, go to to Japan,

987
01:16:29,920 --> 01:16:36,320
Speaker 1: go to Africa something. Um. I think that that in October,

988
01:16:36,439 --> 01:16:43,280
Speaker 1: I'm going to India for the third time. Uh. That

989
01:16:43,680 --> 01:16:52,120
Speaker 1: those things, and watching the kids growing, watching the the family,

990
01:16:52,840 --> 01:16:58,439
Speaker 1: you know, becoming grown up to them stafflished themselves. Yes,

991
01:16:58,840 --> 01:17:01,479
Speaker 1: and and and have been starting to have to do

992
01:17:01,680 --> 01:17:06,000
Speaker 1: with life problems been right right right, They see how

993
01:17:06,080 --> 01:17:09,840
Speaker 1: hard it was, Yeah, and that sort of thing. I

994
01:17:09,920 --> 01:17:15,360
Speaker 1: mean in the since I'm okay, I'm I've been, I've been, Um,

995
01:17:18,520 --> 01:17:24,719
Speaker 1: I mean fred you know, okay. In nine seven, James

996
01:17:24,800 --> 01:17:28,040
Speaker 1: Taylor put out a record called JT Switched from Warner

997
01:17:28,120 --> 01:17:30,679
Speaker 1: Brothers to Columbia, and the last song on the first

998
01:17:30,760 --> 01:17:34,320
Speaker 1: slaught side was called the Secret of Life, and he said,

999
01:17:34,560 --> 01:17:38,400
Speaker 1: the secret of life is enjoying the passage of time. Yeah,

1000
01:17:38,880 --> 01:17:41,200
Speaker 1: you have a lot of perspective. Any secrets of life

1001
01:17:41,240 --> 01:17:45,400
Speaker 1: you can inform my audience. Just the minute to minute,

1002
01:17:45,439 --> 01:17:48,519
Speaker 1: our to our day to day, year to year thing.

1003
01:17:48,880 --> 01:17:52,320
Speaker 1: You know, it goes and it goes and goes, and

1004
01:17:52,520 --> 01:17:59,000
Speaker 1: you you you go adapting yourself in several terms and physically, mentally,

1005
01:17:59,600 --> 01:18:04,639
Speaker 1: you know, emotionally you go, you go, adapting to whatever

1006
01:18:05,760 --> 01:18:11,720
Speaker 1: life offers O impose to you. You've been listening to

1007
01:18:11,840 --> 01:18:16,799
Speaker 1: the astounding Gilberto Jill, who started talking about the impact

1008
01:18:16,880 --> 01:18:20,080
Speaker 1: of music beyond the actual notes on the audience in

1009
01:18:20,160 --> 01:18:23,160
Speaker 1: the sixties, and you can see he's still that gentleman

1010
01:18:23,680 --> 01:18:26,720
Speaker 1: who looks at the landscape and says, Hm, this is

1011
01:18:26,800 --> 01:18:29,479
Speaker 1: my perspective. And if you've been listening to this point,

1012
01:18:29,600 --> 01:18:32,400
Speaker 1: I know that your perspective had been widened. Thanks so

1013
01:18:32,560 --> 01:18:35,960
Speaker 1: much for being on the podcasting to thank you and

1014
01:18:36,120 --> 01:18:43,920
Speaker 1: your audience. Once again, that was Gilberto Jill. I know

1015
01:18:44,040 --> 01:18:46,280
Speaker 1: your head is spinning as mine was when I was

1016
01:18:46,320 --> 01:18:48,800
Speaker 1: in the hills of Rio de Janeiro listening to him

1017
01:18:48,840 --> 01:18:52,720
Speaker 1: talk about his life, his politics, even being in the

1018
01:18:52,880 --> 01:18:56,760
Speaker 1: government of Brazil. Until next time it's the Bob left

1019
01:18:56,760 --> 01:19:15,080
Speaker 1: Sets podcast. M h. I can think of me reason

1020
01:19:15,479 --> 01:19:18,240
Speaker 1: and I don't know me exactly.