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Rael Feliciano - Sao Paulo, Brazil - Portuguese (Global Lives Project, 2006) ~21:40:16 - 21:55:16

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— I don't know, like... I can put it on the table! Let's put it on the table, let's put it on the table. —This one goes right here Rael, right here, look. —This thing is right here, brother. —It isn't, brother. —It is, bro! —Like this? —Excuse me. It's like this, bro. —Is it really like this? —Close this thing, dude. —Put the cover on the top, look, this opens right here, look. —Coming soon, "Pentagono" "Pentágono", a Brazilian story "Pentágono", a national rap story They come to change everything... —Aren't you calling Pedro? —On what? —Collect call? —Mark him. Ask him. —I want to know his number. —It's a crazy thing. I wanted to tell you guys, look. If you're unemployed, and you need a job, go right to our manager office, and look for Cida so you can be part of this closing act, okay? Nice? The "Pentágono" is already with us in here. And I'm absolute sure that they will do a pretty crazy closing here. They come with us. So if you can tell what the hip hop is! Is that it? The hip hop is strong! The "Pentágono". —So, what about the brothers? Let me tell you something. -We're gonna hold the B.O. in here. —I tried to call them now, but... ...the call dropped. I have no credits on my phone. —You're fucking crazy, bro, you're crazy. That dude is kidding me. —Yeah, say that the crime is all that. —Who? —That crazy dude on the car. Here it is, bro, we made an agreement, right? And then he comes with another idea, you see? I'm glad I have a couple of friends in here and that other brother that's coming over there. Him, dude, I made the deal on Friday. I'm glad, I was going to pay, man. —The van? —If I had paid him I would have to deal with a war in here. —The van, the van? —What? —The van? —It's the crazy dude of the van. I guess that's another one coming. —The one that has brought you? Yeah, that dude is stupid, man. —Wait in here, real quick. Pedro doesn't have any credits. —Is he coming? —No, dude. —Yeah, but from there to here is really quick, man. Haven't you seen it? —It was by car, He must be... —Oh yeah, he's almost here. —No, it is. Yeah, it's cool for me. —Oh, no, I don't have it. I, I, I —What is it? —Take it, it's caipirinha. —Hello? Pedro, where are you? —Sure, then. No, it's because we are... We already got it. It's already here. We needed Kiko to call, Paulo is calling in there a little bit. But tell Kiko to come running, okay? See ya. —Next year I'll play something for you. A rap as well? —I sing. I've recorded a CD. Produto louco. —Here, from Itapecerica? —Here from the favela, here. We live here. You see that? Here, look. Lives here. Here, from that tower and from the Montezano. From the other side as well. There are three members: me, a little brother that said hi, he was there... —Yeah, you can tell that he's got the joint, there? —Yeah. —No, not the one with the joint, the other one that was wearing a black and yellow jacket. —I didn't pay attention, but... —So, he is a small boy. —Sure, dude. —I run with them since '97, but I sing rap since '98, you see? I was going to go with them, to go to the parties, right? And then that crazy ass called me. Another group invited me to sing. Then okay, but in the meantime I was arrested and such. —I see. —When I got out, I got in the "Produto Louco". I'm in since then. —Cool, that's it. Rap rescues people, Marcelo who used to sing with us he was the one who said that the essence was crap, he is The rap set him free, we used to go pick him up in the drug den and say "there's a show today and you're going". —No, the thing is that a different thing happened to me. It was a murder, a real one. That crazy dude made a blunder. —What is it? —It's caipirinha. —Eh, keep going. —The dude went crazy, tried to rape my niece. He had it coming, bro. He thinks he's so humble, a worker. He thinks he's gonna mess with my family? He's crazy. —And the group exists ever since? Ahn? —Until now... So the group still exists? — The "Produto Louco"? Of course! —But they are spread out —The dudes are here now, man. —I know, where's Pedro? —He's here too. —Where? That's what I'm asking. —He arrived with the other guys. —I know, but he's here, he's there, where is he? —I saw him walking by right about now, dude. —According to the periphery it is, it is already 17 years old. I used to sing in this periphery group. We don't even have a DJ. —We get bothered. But the right time always comes. But it sucks when you have a bad DJ. That's why Pentagono we have our DJ. He's not part of it, he's not in the pictures because we spent a lot of time not having a DJ. Then we found a DJ to work with us, not a DJ that was... —Yeah, it's complicated. —It looks like it's gonna be the same thing that happened to you guys, right dude? —Are you going to sing tonight? —We already sang. Everybody wanted us to sing tonight, but no, dude. We already sang, we already sang. —Sing tonight, bro. Ze Pequeno is here, man. —Ze Pequeno is not here, dude. —A bad brother is missing, you see? You see that guy over there? You wanna go there, Dode? Let's go there? We're gonna go there, do you want to go? So I'm gonna go there. I'm going. —There, there is you guys. I know he is going to pay. —What's up, Bucha? —Everybody has one. —Everyone has each one of them. —Where is the adapter? Where did you put the adapter? —Everyone has an adapter? —Everyone has an adapter. —So you have to find an output that fits in here? —It already fits. It's okay. —Where is it? Do I need to take it there? —Look, the dude said that we... The sound, the break The sound is okay until 11 PM. I said that if the guys keep playing, the later that it can get is 11:10 PM. You understand? —Don't ever do this again, bro. No, no! That's the second time that you do it. I've never done it to you. Fuck you, fuck you. —It's not because you told me to, like, "come here and give it to me". Do you understand? —But that's true, bro! —Man, what should I do? We were already here in Itapecerica. I said "no, don't hug me because I just got a tattoo". I said "look, if you can come, but if you can't what can I do? Then you said 'okay, so fuck you!'" Bitch! Oh! —I couldn't put it together because the drivers from this side of the road don't give rides, they don't let us (inaudible). —Bucha? Bucha? Give me your bag. Leave it here, look. —♪ Dry weed. ♪ ♪ So what, what do you say? ♪ ♪ Ha ha ha ha! Fire in the bomb! ♪ ♪ So what, what do you say? ♪ ♪ Ha ha ha! Fire in the bomb! ♪ —What's up, bro? —They can only play until 11 PM, can you help? —Sure. —Everyone takes yours. —Look, look! —Look! —It fits more than two in here. —Look! —So where is yours? Is it with you? —There. —It's not the drums. —The negative is the bigger one, right Paulo? —What? —The negative is the bigger one, right? I forgot. —The negative is the smaller one. Yeah, that's it. No, the negative is the bigger one... Yeah. —The yellow one is okay, right? —No, no, mine is the green one. —It's in the front. —♪ It's only the smell ♪ ♪ It's only the smell ♪ —Leave it all. Including the drums. —Grab two. —There. —Put it right there, put it right there. You can put it right there. Leave it. —May I connect this red one here? —Hold on. —Fire in the bomb! —The negative is the bigger one. —Bucha's is the Massau's one, bro. —You won't need it, will you? —Of course I will. The microfone? —Here, look. —Life is a run that always has its delays, huh? It's always gonna have its delays. —It's not holding here, look. —If you plug the blue one in, it's not gonna work. —It's on, it's on, all of the three are on. —There are the red one and the black one left. —It's on, it's on. It's okay. This one is for the both of them. —So there's only the red one left. —Where does this one go? —There, there it is, look. —Hold it, Rael. Hold it. —Leave it, just leave it. Here. —It's on, it's on, it's on.

Video Details

Duration: 15 minutes
Country: Andorra
Director: Helio Ishii
Views: 164
Posted by: globallives.brazil on May 18, 2008

Getting ready for his show backstage.

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