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The Rocker

Full Transcript - Episode 18

Episode 18 - Transcript: Image

More robberies, more reasons to rob, toilet humor and a woman's right to touch.

PLUS - São Paulo rock legend, Silvio Lopes tells us what not to do on stage and what he has for breakfast.

J: What does an eighteen-year, rock-band veteran eat in the morning?

S: I don’t know the other guys. Er...I eat Serial Killer!


J: Good morning São Paulo!

G: Hello, once again, from a wet afternoon, in fact, in São Paulo.

J: Very wet and humid, right before Christmas, getting ready to do some ho-ho-ho, and the governor has put in new Covid-19 restrictions, hasn’t he?

G: He has, although you would never believe so if you saw the number of people wandering around outside with no masks on.

J: I agree. That’s, er...there’s quite a few people out here in the street, out and about. Um...I think he...he just changed the status from ‘green’ to ‘yellow’.

G: So what...what’s the difference, then? What’s the yellow signal mean exactly?

J: Well, the green is 60% you can have your restaurant full, and yellow is something like 40%.

G: Oh alright.

J: And they...they made some alterations opening times and closing times as well.

G: Hm, interesting. And they introduced this the day after the elections, didn’t they?

J: They did. They knew about the problem before the election and that...that hasn’t changed anything, not in one day.

G: So, obviously you don’t get many votes for doing the right thing, then, in their opinion?

J: No. Th...that’s...that could have been a reason to vote against them, so, yeah.

G: Yes. Sad but true.

J: Sad but true. So, er, Gee – what do we have today?

G: Well, today, we have...

J: We have an interview, don’t we?

G: We have an interview with...

J: Fabio.

G: Silvio. Silvio’s coming in.

J: Oh. I thought his name was Fabio.

G: No, The Rocker – and he will be here to entertain us with his guitar hopefully.

J: Ok. Good.

G:’ll tell us all about his

J: But...but is he an American rocker or a Brazilian rocker?

G: He’s a Brazilian rocker who likes American rock.

J: Ok.

G: Particularly Jimi Hendrix, so...

J: Ah, very nice! So, well, maybe he’ll play a little bit for us?

G: Exactly. Hence the intro.

J: Great!  


G: I am going to start this week with something we’ve talked about a lot in some of these pods actually – it was the big robbery. Did you hear about the big robbery?

J: Which big robbery?

G: Well, there...

J: There...there’s been several!

G: Well, there are so many, I guess, but there was a very big robbery in Criciúma, in Santa Caterina, near Florianopolis. Do you know it?

J: No, I haven’t heard about this.

G: This was last night, actually, and it took two hours and there wereões – many robbers involved.

J: Right.

G: was extremely well organized in that they knew what they were doing, and they used explosives. They were very heavily armed and they actually deployed six department of transport hostages to help them block the roads to delay the police response.

J: What did they actually rob?

G: Well, they stole cash.

J: Ok.

G: And they stole a large amount of cash. I don’t know how much.

J: But...but is this from a bank or a financial institution?

G: Bank of Brasil.

J: Ok.

G: And they stole from the treasury room.

J: Ok.

G: And some of the cash got left lying around, actually. There were a couple of bags full of cash that four other guys just happen to pick up and run off with and...

J: But they weren’t related to the robbery?

G: ...and they weren’t related to the robbery and they were discovered in their apartment later and they were sitting on R$300,000.

J: My god.

G: And that was just the...the leftover that was...

J: That was just the leftover – the...the...the small change.

G: And they found a whole bunch more money lying on the street too.

J: So, but...but they took it from the treasury?

G: From the treasury room, yes.

J: But, this...this starts to sound like the Casa de Papel – the...the Netflix series.

G: It sounds very much like that, actually, doesn’t it? And one of the things that caught my eye is they all drove off – like our NFL friends – in luxury cars! They had this big convoy, Landrover,

J: My goodness.

G: ...they drove them 18km place Veneza and they abandoned them all there. So all the cars got abandoned in this town. That robbery, and there was actually another robbery that caught my eye too, actually. And this was somewhat less well organized. Um, this took place in Jundiaí.

J: Ok.

G: And, a chap decided he wanted a company that supplies lojas femininas, so feminine stores. I don’t know what they sell in feminine stores, actually.

J: Well, probably something they don’t sell in masculine stores! So, lingerie? I don’t know.

G: Things that only women use or wear, clearly.

J: Ok.

G: Um, so anyway, he arrived on a bicycle, and he used his bicycle to help him get over the fence that surrounded the stores, cos this...the store had a fence with a barb-wire top.

J: Ok.

G: he’s in there and he’s obviously...he’s looking around through of feminine products – whatever they happen to be, and then the alarm goes off. So, of course, he panics a little bit.

J: But did...did he grab a bunch of these feminine products and try to make off with them or what?

G: Well, I...I guess he’s got some of them stuffed under his arm and then he’s trying to get back over the...he gets back over the wall and he discovers someone’s stolen his bicycle!

J: Now, that’s funny!

G: So, he hasn’t got anywhere to go.

J: My goodness.

G: So, anyway, he managed to get away. They just caught all this on camera, apparently, so...

J: Ok.

G: managed to get off with his loot on foot. Whether he actually stole enough to cover the cost of his bike, I don’t know.

J: depends on the bike, I suppose.

G: We’ll have to find out how much those feminine products are worth, I guess.

J: Nice!

G: So, what about you? Um...wh...what have you got for us this week?

J: Ok, well, first story comes to us also from Brazil. And it’s also related to economy, by the way.

G: Ok.

J: kind of have this, let’s say, the Black Market economy here with their taking money from the Banco Central, or whatever. This comes Minister, Paulo Guedes. He announced on Monday, so the 23rd, that from the point of the view of the Brazilian Government, there...they won’t...will not be extending the emergency relief programs into 2021.

G: So, what are the emergency relief programs?

J: Well, that...that was...that was when they print excess money and they...they...they...they inject that into the banks, and the banks then try to give that to the Economy in the form of lower prices for loans and try to, let’s say, through financial stimulus.

G: So, this is where$600 payments came from, was it? Did they come out of this?

J: Exactly. And according to him, he, they could have continued the...the economic stimulus up to one year if they had stayed at two hundred. But for political reasons, six hundred was chosen and they have to stop because it’s just too expensive. But I think what...what is strange for me is that, basically, United States  and Brazil are following the same economic stimulus package, meaning they print more money than they normally do and inject it into the Economy.

G: Ok.

J: But in the United States the dollar goes up in value and in Brazil the real goes down, so, I mean, how was this possible? There’s...there’s a disconnect here!

G: Yes.

J: It doesn’t make sense.

G: Well, I think in the United dollar defies economic gravity, basically.

J: I think that...that comes from the fact the dollar is, let’s say, the...the basis of all trade.

G: Yes.

J: Global trade, and that’s, you know. So, would just a little bit up on Paulo Guedes. He said that there’s also a lot of political pressure, at the moment, to extend the assistance program, and he considered that the executives actions would be based on evidence, and they hope that the...the Government will know how to handle (sic) in an emergency situation. But, for the moment, he’s saying – ‘No more stimulus.’

G: And what’s...what’s the impact of that, do you think? What’s the impact of this. What’s the forecast impact.

J: I don’t know. I...I think we should bring an economist in ask somebody about that – somebody who’s well-versed in the...the...the Brazilian economy.

G: Ah, I know an economist, actually. Maybe I could call him in?

J: Hm...yah...I think... Didn’t we have an economist earlier this year?

G: I think we did.

J: What was his projection again?

G: Yes, we should probably bring him back and put him back over the coals.

J: Put him on the spot now!

G: Yes.

J: Ok. Er, Gee, what else do you have for us?

G: I have something that’ close to your homeland, actually. You go to public parks, I guess. Have you been to public parks in the United States?

J: Yeah, lots of public parks in the US. Sure.

G: And have you ever need to relieve yourself there? Have

J: Well, yeah, but typically they have, like, those...those porta-potties, those outlets...tho...those plastic toilets that they set up.

G: Oh, ok.

J: Or sometimes they have fixed facilities for that as well.

G: And are those? Are they clean? Are they nice? Are they nice to use or...?

J: Well, I’d say it depends on the budget of the park service that’s taking care of that.

G: Have you ever heard of Bancroft Park in Colorado Springs?

J: I’m from Colorado Springs!

G: Well, you can be very proud to know that your park has the best restroom in the whole of the United States – the winner of the 19th Annual Best Restroom Contest!

J: Best restroom?

G: In the United States.

J: Yay! I win! I win! I win! I didn’t even know they had that thing.

G: They do, and it’s the nineteenth, so it’s obviously popular.

J: My goodness. Th...they...they gotta do something.

G: They have a toilet there, in the park, that self-cleans every thirty users. Um...that’s...

J: Wa...wait a minute. L...l...let’s pay attention to how you... It self-cleans every thirty users, meaning it cleans itself or it cleans every thirty users?

G: Well, I...I...I hope...I hope it’s itself, yeah. Self. It has touchless, automatic toilet paper. It has soap. It has water dispensers – all automatic – and when things run low, then it has an app that alerts the park maintenance to replace things.

J: Wow. Fantastic.

G: And they have a push-button sliding door. They’ve got 7,800 people have used it in just two weeks.

J: So they’re...they’re really lining up for it.

G: And, the strangest thing of all is they got an alarm that sounds every seven minutes.

J: What’s the alarm for?

G: To prevent vandalism because, apparently, that used to be a problem.

J: But every seven minu...imagine you’’re the loo, in the middle number and...and the alarm goes off?

G: I...I honestly don’t know how that works, that would...that would be quite scary, wouldn’t it?

J: That...that...I don’t... that...I can’t understand why a line of people would be wanting to have that experience.

G: So, how much do you think that this wonderful toilet in Colorado Springs has actually cost your local people.

J: Er....$50,000.

G: It’s $300,000, actually.

J: Oh, I was on the...the sh... I don’t know, man. That’’s starting to sound like the golden toilet price.

G: Exactly.

J: It is.

G: Well, obviously they have moved up in the world, you know.

J: They have.

G: And would get serious competition, however, from the Japanese.

J: Ok.

G: Japanese have gone even further with their park bathrooms.

J: How’s it possible to go further than $300,000?

G: Well, it’s funny you should say that because England we’ve always considered the bathrooms in public places like parks to be some...somewhat seedy, you know?

J: Ok, so...not...not so clean, unpleasant really.

G: Yeah, and you get some unsavory characters who go there and know, they’re seeking sexual favors, and all that sort of thing.

J: Oh no.

G: It’s all kind of nasty.

J: Right, right.

G: So, what...what the Japanese have done is they have got around this.

J: Ok.

G: So, basically, what they have come up with is they have come up with toilets that are completely transparent. They are made of glass!

J: Huh? how does that make it attractive go use?

G: Well, they got...they’ve got this pastel-shaded lighting, which just sort of illuminates so when you see the photo, each of the...the toilets has sort of got this nice pale pink glow or yellow, orange glow...

J: So, you can pick can...

G:  So, you can see, straightaway there’s nobody inside there...

J: Ok.

G: ...lurking to do horrible things, and you can see that it’s clean, and you can go in there and relax.

J: Ah, ok. as soon as you go in, then what? The lights go off and it’s you’re in a black hole?

G: Well, what happens... Luckily, what happens is it doesn’t stay transparent once you’re in there. They actually have a way that the pastel shadings, sort of, become opaque and you can’t actually see. It’ s a pastel...’powdery pastel shade’ is how they describe it. And then you can see that obviously somebody is using it...

J: Right.

G: ...and you don’t actually see what they are doing in there.

J: Right. Right.

G: So, they’re using technology to try and make the park toilet experience that much more pleasant.

J: Well, now that’s...that’s just a very Japanese way to see things. I like that.

G: Exactly. Now, of course, actually, this...I...I hate to keep continuing with toilets but actually this reminds me.

J: No, it’s quite interesting actually. Please, keep...keep going!

G: We’re going to have a toilet...toilet episode today. Toilet humor. Um, you remember your most famous toilet – the golden toilet?

J: The golden toilet, yes, and that was...that was...had something to do with a duke, or a nobility in England as well. Fantastic story.

G: And how much was that toilet, do you remember?

J: Um, no, but I think it was more than a million. 1.2 million, or something.

G: 1.2 million. Well, that’s actually pretty cheap.

J: Is it?

G: Because I know...well there’s been...

J: It was solid gold!

G: There’s another toilet that is worth no less than $23 million.

J: Now how...aagh. Seriously.

G: Seriously. Because...

J: Because? Wh...what’s it made out of now? Titanium? I don’t know.

G: I don’t know what it’s made out of. It’s...

J: Is it on the moon?

G: It’s a zero-gravity toilet. It’s actually a new toilet for the international space station.

J: Oh, it is a zero-gravity toilet.

G: It is. It’s a zero-gravity toilet, and it uses vacuums hoover up the waste from the body.

J: Well, I think it would have to because otherwise it just kind of floats around there. I mean, that’s... Ugh. I’m not even gonna go there.

G: Well,’s...basically it’s kind of designed so, you know, you get two different chambers – one for each part, and the...the...the liquid is particularly designed for females.

J: Ok.

G: Because, apparently, design wasn’t ideal for females.

J: Ok.

G: Anyway, the liquid, of course gets recycled.

J: Right.

G: So, then the...the toilet...toilet can process and recycle urine into drinking water. Or in the words of the NASA spokesman, he said – ‘Today’s coffee is tomorrow’s coffee.’ And that’s a very nice way of looking at it, izzit? (sic)

J: That’s a positive could also say the same thing but in a different way. Yeah, but ok – I’m not gonna go there!

G: So, that’s toilet news from three different places.

J: Well, I think that pretty much covers all of 2020 – any...any...any questions I had about that!

G: So, what else do you have for us this afternoon, Jay?

J: (Oh my). I’m gonna go a little bit further away. This is not in Brazil. This is from Nepal.

G: Nepal. Wow.

J: Yeah. And actually my story is kind of tied into Pod 16.

G: Ok.

J: A little bit. Because, now if you remember, that was the Women in Business.

G: Yes.

J: Talking about all of the issues that women in business face. all the things that they go through. And to expand on that, I just want to sh...give a little glimpse into what it’s like for some women in Katmandu.

G: Right. Nice.

J: So, in Nepal. Now we’re going to Nepal.

G: I’ve been there. It’s a lovely place.

J: Is it?

G: It’s a little bit scary when you land but’s a lovely place.

J: Ok. But, anyway, so, here just to have some idea. Until recently, or actually until today, it’’’s a taboo for a woman to touch a dead body, in Nepal.

G: Well, why would she want to?

J: That’s a different question.

G: Oh, ok.

J: But wo...women are prohibited fro...from touching dead bodies.

G: It is strange the taboos about women, isn’t it? Especially in places like Afghanistan and...yes.

J: Oh, ok, it’’s som..

G: What...what they are not allowed to do ridiculous, really.

J: Don’t ask me why but it’s just something they’re not supposed to do. Anyway, in the middle of pandemic that has forced, let’s say, on the native new outlook, and now you do actually have women in protective gear that are allowed take the dead out and remove the dead where they are. And that was, let’s say, even like three or four years ago that would have been unimaginable.

G: So, what...what is this reason, do you think? it that men are more spiritually enlightened or they take better care of the body’s spirit, or what?

J: Well, actually, I...I don’t know about that. Er...the...the typical idea was that the past, they had...had a different role and taking care of, let’s say, th...the dead bodies just wasn’t part of it.

G: But are they allowed to collect garbage?

J: I don’t know. That’s a good question. I don’t know if they can collect garbage.

G: Maybe it’s a cleanliness thing. Maybe they’re not allowed to contaminate their bodies. Cos they...they get very upset about things like the menstrual cycle and stuff, don’ t they...

J: Right.

G: some countries.

J: perhaps linked to that then they thought that a dead body might have certain, let’s say, enzymes, or spirits, or just bad Juju in general.

G: Yes.

J: So...but now, in that particular country, since 2006...since the change in government...and there was also a conflict in the country, and that has, kind of, resolved in, let’s say, a little bit more modernizing the...the country., now women are allowed but the women are soldiers, by the way.

G: Ah, ok.

J: So, it’’s kind of strange. The women can go off to war and they can kill and get killed, but they’re not supposed to touch a (sic) dead bodies. God prohibit.

G: Well, in some countries they are not allowed to become soldiers either, are they, so...?

J: Well, I guess that in Nepal they...they’re totally fine with that.

G: I...I’m sure women in Nepal are delighted that the government have given this wonderful concession that they can now touch dead bodies.

J: Yes.

G: They must be delighted with that.

J: They’re allowed.

G: Things are improving for women everywhere. In space, they now have a nice toilet. So, I mean, you know, what more do they want?

J: Equal rights? Of course they’ve got equal rights!

G: Exactly.  

                                                            End of Part 1


Episode 18 - Transcript: Text

G: So, today I am delighted to welcome to Studio Y the driving force and founder of São Paulo’s favorite rock band, King Bird! Silvio Lopes!

J: King Bird.

G: Welcome.

J: Congratulations!

S: Yeah, thank you guys, thank you. I...I appreciate to be here to talk about Rock n Roll, about King Bird and whatever you want to talk about. Thank you. Thank you very much.

J: So, I...I do have one question, straight off.

S: Yeah. Ok.

J: How is it possible to create...that a musician works in IT?

S: Yeah, I interesting thing about this...this two sides of me, let’s mathematical and technological side, and the musician and, let’s say, er, is I think they...they got me some kind of balance, you know? I think the music brings, some...some different ways of thinking in terms of working and in the other hand because I’m a guitar player, so I deal with guitars...I deal with...with equipments (sic) and recording things, so the other, let’s say, technological skills helps me. So, it kind of brings some balance to The Force.

J: Nice. Nice.

G: So, tell us about rock n roll. Enough of this IT nonsense. did you get into rock n roll?

S: Well, ee...I...I cannot say when I started to love rock n roll because it’s since I was a little boy, you know? I remember buying my first vinyl a Brazilian band called Blitz. It’s a very,, Brazilian band, in Portuguese. But then I met The Blues, you know?

J: Ah, The Blues.

S: Then I met The Blues, yes.

J: And The Blues changed your life.

S: Er, I think this was...was the point when I decided to really to play guitar, how to play Blues, Rock Roll. It was...was a...

J: Right.

S:’s say, a very important moment in my life.

J: There’s a quote that I think...that I think about Blues that I like. Somebody said once that ‘I never felt so good feeling bad.’

S: Yeah, it’s good to feel bad! If you are sad. If you are in a bad situation but you are able to express that somehow,’s a way to express yourself. So, it’s good also to be bad, also to be sad, when you are able to express that.

J: You talk about balance.

S: Yeah.

J: There’s a certain kind of yoga – I believe it’s called Hatha Yoga, I might have the name wrong – but it’s the yoga of sound.

S: Interesting.

J: And what they try to do is they believe that any object that you see has a sound. And in this I think it’s interesting because talk about expression a...about, let’s say, feelings and perhaps Blues is an expression of a feeling that you can’t necessarily describe but you can give a sound to.

S: Exactly. I think you got the point. try to express your feeling with...with sounds, because you cannot explain that, right? Maybe in words, or in, you cannot in writing, right?

G: So, talking about the São Paulo music scene. You’ve been playing live music here for quite a few years.

J: Yeah.

G: Um, it seems to me that most live bands – the most popular ones – play cover versions of famous songs, and that seems to do very well. And you, with your band, King Bird, you’ve mostly stuck to your own music. Um, how much of a disadvantage has that been and have you seen the music scene change in this respect over the last twenty years here in the city?

S: Yeah. It’s a good point because, I see also a change but, I don’t know – maybe it’s a mix from the...from the people who goes to the bar, to go places where there is live music. It’s one side, I way that people are enjoying music and the other side is the, let’s say, the music business itself. I remember when I was younger, you know? I’m not so old but I was younger! So, er, it was kind of a party when we know (sic) for example that a local band....a Brazilian band...a new band was playing around in the city. “Oh, let’s...let’s see what they want to offer...

J: Right.

S: ...because we wanted to know new things. In this last years (sic), I people got more lazy, let’s say. They...or...or they want to hear things, to listen to bands that they already know. That’s why I think the tribute and the cover bands are so popular today.

G: Do you government or the prefeitura could do more to promote opportunities for new bands?

S: For sure. They...they should do it, because what they do today is only promote the famous ones. Let’s say, when you have, for example, a festival...

G: So, who...who...who are the famous ones then?

S: Er, in Brazil, I don’t know too much because I don’t like it but like Anita and this funk stuff and also, let’s say, the country – this new – what they call ‘Universitary Country’, I don’t know. Portuguese it Universitário. For me, this is not country music, in fact. Just the name. It’s a pop song – a romantic song – that...that they put the name of country but it’s not country, because....because, for me, it’s not linked with, let’s say, the country and the root music of Brazil. But what...what I feel is that I see some...some very young guys, boys and maybe girls also, interes...interested in Rock n Roll when they....when they have contact with that. Because I think the energy of Rock n Roll it’s something that’s contagious, you know?

G: Yes.

J: Right. But...but couldn’t you say that – to be fair – couldn’t you say the same thing for Classical Music – that...that the music industry isn’t necessarily pushing Classical Music? Therefore people aren’t exposed to it, and they don’t know it and they’re not going to choose it preference.

S: For sure. I think...I think it happens the same. But on the other hand, the classical music is, let’s say, it’’ a lot it’s a very, let’s say, ancient music. Er, music schools...

G: Right.

S:, we should have space for all kinds of music – all styles of music – and then...and then people choose what they want. But...but now, I think we have only, for example, in Brazil, these two main styles, th...this...this country I said, this UniversitárioSertanejo Universitário and this kind of New Funk, which is not related to the real funk and For..., I don’t like it because, ok, there is some kind of beat or rhythm that...that calls people for dancing but I think the lyrics are pretty bad. We’re just seeing the government promoting the famous ones because they want to be popular. It’s different from...maybe from twenty or thirty years ago.

G: important do you think it is to have a...a manager or a financial backer behind your project?

S: It’s interesting. Important to have a manager who understands the music business, who is able to deal with, you know, with contracts, with shows, companies because then he is taking care of the business while someone is taking care artistic thing.

G: So, what’s the best way to go after getting a manager like that?

S: Not so easy. As we were talking don’t have too much investment. So, it is hard to find a manager because where is the money? Bands are taking care of the music stuff and the business at the same time. It means you have less time to deal with music, which should be the focus, you know?

J: Right. Right.

G: Alright. Let’s take it back. What...what’s the craziest thing that’s happened to you when you’ve been playing on...on a gig one night?

S: Oh, man.

G: What’s the funniest thing that’s happened?

S: Well, you know, João Luiz used...had this...this very long hair.

G: Yes.

S: And...

G: I remember.

S: A...a...and one day we were playing and, I don’t know, somehow the hair was – how can I say? – it was...    

J: Wrapped around the guitar?

S: Yeah...the guitar...and I started to – ‘Come on, I want to play!’ ‘Come on. Leave my hair.’

J: You started to pull his head back and forth with the guitar?

G: A headbanger.

S: Wh...when the music...when that song stopped, we had to... ‘Ok, let’s...let’s set the things up, right now. Sorry...sorry guys, we need a minute fix things on the...on the stage.’

G: So when he...when he carried on, he only had half of his hair, did he?

S: Yeah. And now, he don’t (sic) have too much long hair anymore!

G: You’ve’ve been with King Bird now for how many years? How many?

S: In this years.

J: Eighteen?

S: Eighteen years we have this band.

J: My god.

G: So, have you managed to keep the band together this length of time? What’s...what’s the hardest part about being in a rock band?

S: Ok. I gonna tell you a secret. Please, don’t...don’t tell anyone that the secret to keep a band...a rock band together is called beer!

G: Good!

S: As long as you have beers, the band is together!

G: It’s the answer to all questions!

J: But, what...what about the alternative drugs like, I don’t know, heroine, cocaine? Is that going to unite the band or is that going to divide it. Because there’s been many bands

S: Yeah, again, I think we...we go back to’s say, subject of balance.

J: Ok.

S: long as your mixture balanced, I think it’s good.

J: me ask you something different. You said you married. How long have you been married?

S: We are...we...we are (sic) together for 22 years.

J: Ok.

S: Er...

J: Ok, so you are together for 22 years.

S: Since the beginning.

J: So, you were together since before you started the band?

S: Yes. Exactly.

J: So, how is it then that you go to a gig and of...of course, you’re going to have some, like, some fans out there - adoring fans that are going to do – I don’t know. They want your signature and perhaps a little bit more, don’t know. do you deal with that with...with a wife?

S: Not so easy. But...but I think the...the interesting thing is that we had this relationship before the band.

J: Ok. Right.

S: So, er...when I...when I met her and when we started was already playing with other bands, appreciated. Sorry, she. No, no, no.

J: No, it’s completely possible. I...non-judgmental here!

S: Yeah. Not for me!

G: No, I have met his wife. I can vouch that it’s a she.

S: Er, Gee know...knows her.

G: I know Bianca, yes. Yes.

S: So, she...she appreciated to go to the shows watch the gigs, so...

G: But she doesn’t go to every show, does she?

S: No, because it’’s not possible, maybe sometimes.

G: Cos they go on until 2-3 in the morning, sometimes, no?

S: So, I have to behave myself, right, when she is not there. That...that’s my commitment.

G: Um, so let’s talk a little bit about your recent album. You’ve just launched an album, haven’t you?

S: Yes, exactly.

G: And there’s a connection with a band – sorry – with a recording label in Europe. Tell us about that.

S: Ah, good. Er...this something interesting also. Er...they approached Facebook. They....they....they list...they have listened to some songs of...some King Bird songs. And they told us that they were investing bands from different parts of the world – from India, from, I don’t know, Israel, from Africa and also they wanted some artists from Brazil. They already... er...launched....launched some Brazilian rock bands. They are a’s say, Hard Rock oriented label. wanted...they want to launch the new album. So, we are now composing a new album from the next...the next year.

G: Ah, so this is for another album. It’s not the live one, then?

S: Yeah, this is for another album.

J: Ah, so it’’s...

S: With new songs.

G: Ah, ok. Nice!

J: Right.

S: With new compositions, yeah.

G: So, they are going to finance that, then, are they or...?

S: We had...we had, let’s say, a deal that we...we are going to deal with the recording things and they want....they will deal with the marketing things.

J: The d...d...distribution.

S: Yeah.

J: Nice.

S: Exactly, the distribution, because we don’t have a distribution in Europe, right now, and they...they will be able to do it worldwide, what we don’t have today. So, it’s’s a...

J: That’s great. And if that works out, then hopefully, because you have so much, let’s say, material, you can start using...reusing some of your old material, perhaps, mixing that up. Who knows?

S: For sure.

J: Lots of opportunities.

S: Yes.

J: If that...might it work out.

S: For sure. Yes, the same label, or other labels, maybe want to relaunch this...this...this the country. Let’s pray for that!

J: And it’s nice...and it’s nice that you have your own original music and that’’s not just, let’s say, a cover for somebody else.

S: Exactly.

J: Nice.

S: Exactly.

G: Um, alright – my last question. I don’t know if you’ve got any more, Jay, but my last question You’ve been doing this for 18 years, you say...

S: Yeah.

G: there anything you would have done differently, looking back?

S: Yeah. It’’s hard think about it because, for sure, that we have more experience in the music business, maybe...maybe something in the beginning we...we could do it differently. On the other hand, as we got here, 18 years after, no, so we are still here. So, even if we didn’t...even if we could do something different in the past, so it’s already past. So, I don’t know. I don’t know. I’m not sure. Wh...what I can maybe...what I can give some...some tips for new bands, for new guys, is that from the start, it is very important go as much professional as possible, you know, find people who wants (sic) to work seriously with you, and not guys...because there is a lot of guys...excited guys – ‘Oh, let’s work together! Let’s do some gigs,’ and things like that but then...then find out that this guys are just are, let’s! So, it’s important to work with people who has (sic) experience to help you. Because if you are unexperienced (sic) guy, you need the experienced ones to help you, right?

J: Nice!

G: Well, thank you very much for coming in.

J: Yes. Thanks. Thanks very much. I appreciate.

G: And, I believe, you are going to play something for us. Wh...what are you going to play for us? I see you’ve got your guitar there.

S: Yeah, you were talking about King Bird, let’s play some King Bird, right? Songs.

J: Ok. Great.

G: Alright. We’ll look forward to that.

S: Yeah.     


                                                            End of Part 2


G: I believe you’ve got some guru for us, haven’t you Jay?

J: I definitely have some guru. Got my guru going. Today I would like to talk a little bit about the difference between ‘each’ and ‘every’.

G: Ok.

J: Because they are actually quite similar in meaning. And many times you can use either ‘each’ or ‘every’ but not every time.

G: Or each time.

J: So, erm, for some of the ways they...they’re very similar in meaning: You could say, ‘Each time I see you, you look different.’ Or...

G: Or, ‘Every time I see you, you look different.’

J: There you go. That’s it. That...that’s the same in meaning. Erm, however, we use each typically when we think of things separately, like, one by one. Er...for example, I can say that ‘Each book was different from the other.’

G: Ok.

J: Ok, now if I were referring the total of books, then I would probably u..use ‘every’. So, ‘I read every book in the entire library.’

G: Right. Ok.

J: Ok? Erm, now there are some other small differences between the two. I’ll give a couple of examples. You can use ‘each’ but not ‘every’ if you are referring to two things. For example, in a football match, each team has eleven players.

G: Each team has eleven players.

J: That would be...that would be like a cada...cada equipe, yeah?

G: Yes. And each player is wearing football boots.

J: There you go. Ok, erm, but if I...I am referring to, let’s say, frequency, then you would probably use ‘every’.

G: Ok.

J: Ok. Er...if...if you are referring to how often something happens. So, ‘there’s a bus every ten minutes.’

G: Right.

J: Ok? You wouldn’t say there’s a...there’s a bus each ten minutes.

G: Right.

J: That just...that just sounds totally strange.

G: Is the because Time is a period rather than a single event?

J: Right. And that...that...I think that kind of comes back to the general thing is that ‘every’ you are thinking about groups as a whole.

G: Right.

J: Whereas ‘each’ might be separate.

G: Ok.

J: If anybody has any questions about this, an email very quickly, and we will respond to each email that we receive.

G: We will respond to every email!

J: There we go. So, that pretty much wraps up another edition of...

G: The Samba Buzz.

J: That’s Buzz with two zees.

G: Or two zeds.

J: If you will.

G: Um, so, yes, that was fun. And what have we got next time? When are we back, by the way? Are we back soon?

J: We...we should be back quite within the next ten days, we should be back with another one.

G: Good.

J: If all our way. Er...

G: Well, I don’t want all things to fall my way but...

J: Well, not everything, no. But, we do have some more guests lined up but usual, of course, these are the mystery guests.

G: Yes.

J: And we like to keep that shrouded in mystery. That’s what makes a mystery guest a mystery. you have any questions, please feel free write and to give if you have any doubts regarding grammar or English customs in general.

G: Yes. Or if you’d like to come on the pod, be a guest.

J: And please, don’t forget to visit the...the website at because that website has all of the...the complete transcript from every pod that we’ve had and it also has... it gives a little bit more information about our guests that are so willing to share their time with us.

G: And links to their own projects.

J: Exactly.

G: And all sorts of good stuff on there too about grammar, and all sorts, guru. Everything.

J: Or if you need a lawyer...there...he’s also there.

G: Yes. So, we’ll see you next time.

J: Ok. Thank you. Thank you very much!

G: Are we gonna be...are you gonna be singing or are you us that?

S:, I will try to sing just a little bit.

G: Alright.

S: Just...just for you to understand the lyrics.

G: Just so we can get the impression of the song. Ok. Let’s go!

J: Ok. Here we go!



The End

Episode 18 - Transcript: Text
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