49 channels.
49 channels, right?
Yes. (laughs)
This is a blessing.
Of course! I'll understand everything I've done.
So far I did everything without knowing how it was done.
Now, you are explaining to me, showing to me.
I can only say, "My God!"
(laughs)
Oh my God, that scares me.
It's really cool, because when we hear 
the whole song, the arrangement 
is already a compact thing that has a lot of facets.
But when you start to analyze, you understand, 
ah, this guitar that added to that one that added to the 
horn section, which added to this percussion.
It is really surprising.
I love this beginning.
It's beautiful, right?
It's apotheotic, so you can say your words.
(singing)
And then your voice comes in
with all its power.
I told Kastrup that I wanted to sing this part a capella.
Then you said, "I like it a lot."
And then, that wonderful thing happened. I like it a lot, too
I want to talk, I want to scream, my country is my talking place.
And your speech represents a lot of people. 
A legion of women, black people, gay people...
Yes, bringing gay people, women, black people, 
I like to innovate, to look for new things.
We know that. Every time we start doing something, 
all of a sudden you come and say, "No, I want it crazier!"
I want this even crazier. I want the electric guitars!
(laughs)
I want the electric guitars!
Their guitars always fit each other.  
One does one thing, the other does another thing
in a sassy way, isn't it?
Sassy!
Sassy!
And then, complementing it is the bass. 
Wonderful, wonderful!
This song has two drum kits.
The first drums,
and the second drums. 
Then the percussions
Aham...
Strong as well.
The drums, right?
It gives me goosebumps. 
It's as if it touched my soul, you know?
I'm the daugther of a slave, an actual slave. 
My grandmother was a slave.
Oh yes?
My mother also lived under the very end of slavery.
Really?
Yes!
it's in our souls. It's very strong.
And this pattern we call it "golden congo",
or "maculelê", it originated carioca funk
Yeah!
(mouth percussion)
Very good.
It is samba's nearest relative but it's not samba.
Same origin, same family.
That's where we started to fit things, right?
So, listen, the crazy Arabic horn that Kiko played.
It's beautiful. That's crazy.
This other synth is very cool, too. 
It is like a center forward
it stays right there in the middle, 
you can hardly hear it, but it's important.
And this synth works as the basis for this arrangement, you see?
Basis for the horns section arrangement.
Opening the two channels together, synth and horn section.
Very strong! 
Scary, right?
A combination that I think is very cool, too, is
the percussion with the horn section, listen.
Elza's voice is always the last one to come up.
True.
After we have prepared the bed for her to lie down in…
Then I lie down. Very good, baby. I love it!
Nosso país ("our country")
É o nosso país ("it's our country")
How powerful.
It's the power, people.
Very good! 
Very Good!
