Shalom, Maria: Brazilian Catholic Cute Song

Shalom, Maria, shalom, shalom

You are so happy, happy like no one else

You were the chosen one, Our God has called you

And you replied, My God I love you too

You are so happy, Maria

You were so humble indeed

And today you are the queen of what is on earth and in heavens

Chalice: A Miraculous Song by Chico Buarque and Gilberto Gil

I get the impression that this song might have been written by the originals, so Chico Buarque as born and Milton Nascimento as born, so absolutely connected to the Holy Ghost thinking it is: this is exactly the right idea of all that is involved in drinking the wine at the church and saying that is the blood of Christ when you are a person of Our God. This is obviously how we show what it is for real, sort of 'king is naked' thing: please put away this chalice, can only be joking, this is then poisoned blood, for Christ was in deepest pain and suffering, and who should be drinking blood anyway? It is absurd! The satanic invented all this, as now said many times in our other blog, Religion. He is saying 'bitter drink', sip from pain, swallow toil: Jesus had toil here and we shouldn't swallow his toil, we should praise his presence among us instead, show we saw value in his work, so describe how it felt, exhibit it, instead of hiding it or disappearing with it through the act of swallowing. Even if we shut our mouth, as the churches demand, we still feel it inside. The (town) people around are making noise all the time, so they are protesting somehow. What value does it have in Jesus' mother having been a saint if he ended up like that, so better being son of another, since there he would have had more life. In this case, I don't want my mother to be a saint. So many lies of the satanic, so much crime, so brute force, violence. Father, so God, put this thing away from me, so the blood of Christ, like we are not vampires, therefore creatures of darkness, or hell. How it is hard for Jesus to wake up and say nothing if during the night the Roman Empire was there attacking him, so I feel like Jesus there, what he felt, which is obviously what we should be doing if wanting to learn about spirit and God from the Holy Ghost, like if we want to sync with the vibes from the Holy Ghost so that we can be given wisdom from God. Jesus should have screamed in a less-human way, since only then we would have heard. People don't care, so that Jesus was tormented, but his torment kept him awake, so alive. Waiting for the next monster's appearance, so for the next Pilates, for the next Caiaphas, for the next Longinus (perhaps he was already dead at that stage?). The pig is where the satanic say Jesus put the demons he expelled from people, so that the authors refer to several demons having been put in the same female pig, way too many, so that she cannot walk, just meaning too much sin around, so they see sin around them all the time. From so much using the exorcist, he cannot cast the demon away anymore (the knife). It is so unlikely that we will ever open the doors of heavens: we keep on drinking and offering the blood of Christ! I do know the right Word but I cannot say it (stuck in the throat), so, for some reason, they felt as if something was preventing them from telling others what they know about Our God. People are all drunken from sipping from Jesus' blood, so that they feel as if everyone is adoring that thing, of pure sin, of drinking from the blood of the innocent as if they were the aboriginal who has beaten the enemy (since those sometimes even eat their hearts), so that perhaps they are so sensitive they can tell, before trying to speak, that they will never accept that is wrongest thing, completely against what Our God expects from us in terms of reactions to those so shocking memories. They may wish for doing that but they don't see that if the chest is silent (they had previously said that even if the mouth is shut, there was still the chest and now they say that the chest is also silent, so the heart doesn't pump for Jesus' suffering, it doesn't shock them) those people would still reflect about things apart from possibly the so few ones that group in the CBD and are adoring all that blood festival that far. Perhaps there are more places in the world where they could go and perhaps it is not what it looks like, so as if it is all supposed to be in that way always everywhere. I am sorry, but, if I am supposed to sin, I want to do it without being forced by you to do it, like drinking that is a sin, I am sure, so I really don't want any part in that. I want to travel in the valley of death because I chose so, not because you made me sync with the moment of his death (drinking his blood) instead of of his life. I want to get rid of your rhetoric, I want to see this my own way, which I believe is the correct way, I want to go to as far as I can (road then car), so that you won't be able to reach me or the people who adore this thing of the blood of Christ in a cup.

Calice

Pai, afasta de mim esse cálice (Father, put this chalice away from me)

Pai, afasta de mim esse cálice (Father, put this chalice away from me)

Pai, afasta de mim esse cálice (Father, put this chalice away from me)

De vinho tinto de sangue (Of tinted wine of blood)

Pai, afasta de mim esse cálice, pai (Father, put this chalice away from me, father)

Afasta de mim esse cálice (Put this chalice away from me)

Pai, afasta de mim esse cálice (Father, put this chalice away from me)

De vinho tinto de sangue (Of tinted wine of blood)

Como beber dessa bebida amarga (How to sip from this bitter beverage?)

Tragar a dor, engolir a labuta (Sip from pain, swallow toil)

Mesmo calada a boca, resta o peito (Even if the mouth is shut, we still have the chest)

Silêncio na cidade não se escuta (We don't hear silence in the town)

De que me vale ser filho da santa (What is worth being the son of the saint)

Melhor seria ser filho da outra (Better being the son of another woman)

Outra realidade menos morta (Another reality, less deceased)

Tanta mentira, tanta força bruta (So many lies, so much brute force)

Pai (pai) (Father)

Afasta de mim esse cálice (pai) (Put this chalice away from me (Father))

Afasta de mim esse cálice (pai) (Put this chalice away from me (Father))

Afasta de mim esse cálice (Put this chalice away from me)

De vinho tinto de sangue (Of tinted wine of blood)

Como é difícil acordar calado (How it is hard to raise mouth shut)

Se na calada da noite eu me dano (If in the late hours of the night I get damned)

Quero lançar um grito desumano (I want to throw a inhumane scream)

Que é uma maneira de ser escutado (which is the way to get heard)

Esse silêncio todo me atordoa (This silence torments me)

Atordoado eu permaneço atento (Tormented, I remain alert)

Na arquibancada pra qualquer momento (In the bleachers, so that at any moment)

Ver emergir o monstro da lagoa (I will see the lagoon monster emerge)

Pai (pai) (Father)

Afasta de mim esse cálice (pai) (Put this chalice away from me (Father))

Afasta de mim esse cálice (pai) (Put this chalice away from me (Father))

Afasta de mim esse cálice (Put this chalice away from me)

De vinho tinto de sangue (Of tinted wine of blood)

De muito gorda a porca já não anda (cálice) (From being too fat the female pig doesn't move anymore)(chalice)

De muito usada a faca já não corta (From too much use, the knife doesn't cut anymore)

Como é difícil, pai (pai), abrir a porta (cálice) (How it is hard, Father (Father), opening that door (chalice)

Essa palavra presa na garganta (The word stuck in the throat)

Esse pileque homérico no mundo (This Homeric bender in humanity)

De que adianta ter boa vontade (In what does it help having good will)

Mesmo calado o peito, resta a cuca (Even if the chest is shut, we still have the noggin)

Dos bêbados do centro da cidade (Of the drunken downtown)

Pai (pai) (Father (Father)

Afasta de mim esse cálice (pai) (Put this chalice away from me (Father)

Afasta de mim esse cálice (pai) (Put this chalice away from me (Father)

Afasta de mim esse cálice (Put this chalice away from me)

De vinho tinto de sangue (Of tinted wine of blood)

Talvez o mundo não seja pequeno (cálice) (Perhaps the world is not small (chalice)

Nem seja a vida um fato consumado (cálice, cálice) (Or life a fait accompli)

Quero inventar o meu próprio pecado (I want to invent my own sin)

(Cálice, cálice, cálice) (Chalice, chalice, chalice)

Quero morrer do meu próprio veneno (I want to die from my own poison)

(Pai, cálice, cálice, cálice) (Chalice, chalice, chalice)

Quero perder de vez tua cabeça (cálice) (I want to let go of your thinking forever (chalice)

Minha cabeça perder teu juízo (cálice) (I want my head to let go of your judgement (chalice)

Quero cheirar fumaça de óleo diesel (cálice) (I want to snif diesel smoke (chalice)

Me embriagar até que alguém me esqueça (cálice) (Get drunk on the smoke until people forget me (chalice)

Here 'Chico' and 'Milton Nascimento' sing it: https://www.youtube.com/watch?v=RzlniinsBeY

Chico Buarque got usurped quite a few times from what we see on a quick Google search, in terms of pictures. Remarkable is the fact that his first album brings 2 versions of 'himself', like at least one has to be a usurper, but we actually think, all together analyzing it, like the most aggressive/harmful beasts from Rio, who attack 24/7 with voice and image, with me, that none of the images on the cover of this album are of the original guy, who would have composed Calice. We don't feel the depth of thinking shown by that song in any of those two. We then imagine that, by the time of the first usurpation, this man had already composed many songs, which is what happened to me after I had 'my' 'Tom Cruise' in my head in image when I was staying at the backpackers in Sydney CBD called Maze: I started composing those there and never stopped until I had enough, which I think was about 100 songs later. I didn't even think of recording those professionally until it was over and some time passed. Al Qaeda did that several times, we accompanied them, they even put an ad in a local newspaper or something while they were with 'me' in Enmore back in 1972 or 3: people who had original inventions would come to them for sponsorship/management. They then would make them lecture them/show them what it was and then would kill them to usurp the art/creation, which would then appear maybe many years later in the media as belonging to their usurper of the time. We mentioned one of those, which was the Internet Explorer, stolen from an Enmore resident, who probably was a native, back then. Yet, the IE appeared in the public domain only in 1995, so 23 years later. See the cover of the album yourself and 'marvel' at the capacity of Al Qaeda of exposing it all to the public like that and, even so, remain unnoticed in their atrocity. The nose is completely different (one nose opens to the sides in the end and the other is way less wide), so are the chins (one has a curve to inside of it close to the mouth, the other doesn't) and the eyes (pockets, for instance). Here you see the cover we talk about: https://www.conjur.com.br/2021-set-29/chico-buarque-indenizado-uso-capa-album-anuncio/

I theorize that the original guy is this one, even though I would need a picture of when he was a baby to be able to tell for sure: https://www1.folha.uol.com.br/ilustrada/2019/11/pequeno-grande-romance-escrito-por-chico-buarque-resume-o-estado-do-pais.shtml

I now remember Leinha telling me that they were going to put the original and the usurper side to side on a cover to see what people thought. That they had done that before once, so that she was referring to the 1966 album of Chico (that means they usurped in Brazil before 'we' get there the first time, as if they had never been there, arrival point being Rio Grande, RS, a house close to the slums but also away from those, in a very clean spot and clean in all, while the slums was surrounded by garbage, it is a horrendous area, where I went with a fellow from FURG. That was about 1973. As for Australia, they said they had already usurped the same school once, the one in Enmore or closest to there), I now reckon, and she was then anouncing that they were going to do that again at that time, so by 1972 or 3, therefore there would be another singer whose cover had 2 pictures of himself and those were, according to her, usurper and original. Yet, I theorize she lied about the 1966 one having been with one original, as said in the previous paragraph. Then, I don't have much memory and she may have said that one was going to be like that in the future and the other were two usurpers.

I am trying to locate a picture of chico where he is a baby but I am not really suceeding. That would tell us if one of those two men on that cover could be an original. I tried Co-pilot for cover with 2 pictures of male singer from back then but it gave me Paul Simon and Elton John (Good Bye Yellow Brick Road) and I don't see the back of the covers but the front doesn't seem to show two different pictures of the same men.

https://www.dw.com/pt-br/a-roma-da-inf%C3%A2ncia-de-chico-buarque/a-69936128 shows 'Chico' when little, perhaps 10 yo and close to that. It says they lived in Italy when he was little. We then see 2 different boys and a 3rd version of him, much older, on the same website. The color of the skin and the nose are different, for instance. The top picture on this page, https://thebackstage-deezer.com/br/musica/chico-buarque/, is yet another version of 'Chico'. I saw the eyes of this boy and went: oh, then Brazilian people looked even similar to the American people, but I then observed that the eye was a bit too uniform, with a color that was exotic, and I then go, they changed his original eye color through bug. Indeed, you can see, on the first website link provided in this paragraph, that the eye color and even color of skin has changed from when he was 10yo and before that (I take the first picture to be older). This one, https://entretenimento.r7.com/famosos-e-tv/com-cancer-silvia-buarque-e-internada-as-pressas-com-depressao-profunda-06102019/, contains yet another version of him (the youngest guy in the pictures).

Notice that, in this case, I was wrong about the original, since he got replaced much earlier than that age. We now theorize he would be like us two, so probably got either usurped or swapped by birth even. If we are right now, usurpation of Al Qaeda in Brazil starts at most in 1944, which is before the end of the 2nd World War. Since the usurper would be a satanic, he wouldn't have composed such a beautiful and deep song, so that, in this case, Al Qaeda probably stole this song from completely different people and gave to the usurper.

https://www.youtube.com/watch?v=ZiT_YHvUThw brings what should be the original version with Gilberto Gil and Chico Buarque, but it is clearly just a farce, like a song like this one would always be sung by its authors in full when it comes to the lyrics, since the lyrics is a wonder, teaches us things that are very valuable, means something important to the author, so that here I immediately knew that those could not be the originals. Yet, as I got to this one, I noticed the opening screen, which says 'the dream is over' (O Sonho Acabou) and I then think that means I cannot even dream anymore that I will someday be free, as for message intended, like I already went through 'Hermolga's' bit and everything else. May God bless!

March of the Mission: A Wonderful Seicho Song

I now believe Seicho comes from Shinto because of the goddess involved, Amaterasu, and some quick research incursions of mine into the topic. Yet this particular song, just like the other one from Seicho I here published, does not mention her name and it says 'god', so that it is more than OK to be sung by us. As another point, I have the impression that whoever created these two songs from Seicho that I published here studied sounds and harmony and vibrations and had a very high spiritual sychronicity with the Holy Ghost. I deeply believe that was the original Masaharu Taniguchi. Please do research on him, following the pattern we here established, so through the pictures of his past, to prove his usurpation, then find out when these two songs were written and prove that they were written by the original person. He was a married man, so that he did follow the Diamond Rule of Our God: only instructing after marrying if you are a man. Singing these songs with the rhythm and intonation of Seicho from Brazil by the time I attend those churches, one in Catete and another in Florianopolis CBD, if possible still doing their clapping, makes us feel the kindness of the Holy Ghost and therefore make us feel positive and heavenly. We can probably prove that in Marcia Hope, so through science. May God bless!

Marcha da Missao (March of the Mission)

Esta vida que objetivo terá? (This life, (strength!) what objective it may have?)

Esta humanidade que significa? (This humanity, what does it mean?)

Sem conhecermos a finalidade, (Without us knowing the purpose)

Que valor tem a nossa vida? (What value has our life indeed)

Que valor tem a nossa vida? (What value has our life indeed)

De Deus nosso Senhor esta vida recebemos (From God Our Lord (strength!) this life we receive)

Para a mais alta realização. (For the highest achievement)

Nós nascemos com uma finalidade, (We were all born with a purpose)

Que valor teremos se não a cumprirmos? (What value will we have if we don't fulfill it?)

Que valor teremos se não a cumprirmos? (What value will we have if we don't fulfill it?)

A caridade é o ato de nosso dever. (Charity is (strength!) an act of our duty)

Deus é o amor que somente dá, (God is the love that solely gives)

Seu ensinamento nós seguiremos, (His teaching we will follow indeed)

Dedicando-nos a caridade. (Dedicating ourselves to charity)

Dedicando-nos a caridade. (Dedicating ourselves to charity)

Somente os que vivem Para esta missão (Only those who live (strength!) for this mission indeed)

Conhecem o prazer que nós recebemos. (Get to know the pleasure that we all receive)

A fé fortificando levantemos, (Strengthening the Faith Let's raise Let's raise)

Purificando a alma avante. (Purifying the soul ahead we all go)

Purificando a alma avante (Purifying the soul ahead we all go)

Here some singing in the style they sang in my Seicho churches in Brazil: https://www.google.com/search?q=marcha+da+missao+youtube&oq=marcha+da+missao+youtube&ie=UTF-8#fpstate=ive&vld=cid:152ccddd,vid:i5OU766i4Gc,st:0

When the lyrics above says, strength!, we must raise a fist to the sky with the right hand if we are right-handed and put all energy into declaring that.

Here the lyrics in Portuguese: https://www.letras.com/seicho-no-ie/1192014/

Let There Be Love: A Song from Bahia, Brazil

This song was composed by Luiz Caldas, a man from Bahia, Brazil. Each state of Brazil represents a different culture, as if it were another Country: food, rhythms, dances, clothes, slangs and accent change dramatically from one state to another. Bahia likes fat food and spices, Rio de Janeiro likes white rice with black beans as staple food and Rio Grande do Sul likes barbeque, red wine and pizza, just to mention a few differences and a few states.

Haja Amor (Let there be love)

Eu queria ser uma abelha pra pousar na tua flor (I'd like to be a bee to land over your flower)

Haja amor, haja amor(Let there be love, let there be love)

Fazer zum-zum na cama e gemer sem sentir dor (Making zum-zum in bed and moaning without feeling pain)

Haja amor, haja amor (Let there be love, let there be love)

Na colmeia dos teus sonhos quero ser teu cantador (In the beehive of your dreams, I want to be your chanter)

Haja amor, haja amor (Let there be love, let there be love)

Pois batuqueiro é batuqueiro e cantador é cantador (Because a drum beater is a drum beater and a chanter is a chanter)

Haja amor, haja amor (Let there be love, let there be love)

Haja amor pra plantar (Let there be love for planting)

Haja amor pra sorrir (Let there be love for smiling)

Haja amor pra viver (Let there be love for living)

Haja amor, seja flor, anjo no céu (Let there be love, be a flower, angel in the sky)

Eu queria ser uma abelha pra pousar na tua flor (I'd like to be a bee to land over your flower)

Haja amor, haja amor(Let there be love, let there be love)

Fazer zum-zum na cama e gemer sem sentir dor (Making zum-zum in bed and moaning without feeling pain)

Haja amor, haja amor (Let there be love, let there be love)

Na colmeia dos teus sonhos quero ser teu cantador (In the beehive of your dreams, I want to be your chanter)

Haja amor, haja amor (Let there be love, let there be love)

Pois batuqueiro é batuqueiro e cantador é cantador (Because a drum beater is a drum beater and a chanter is a chanter)

Haja amor, haja amor (Let there be love, let there be love)

Haja amor pra crescer (Let there be love for growing)

Haja amor pra subir (Let there be love for climbing up)

Haja amor pra vencer (Let there be love for winning)

Haja amor, seja flor, anjo no céu (Let there be love, be a flower, angel in the sky)

Eu queria ser uma abelha pra pousar na tua flor (I'd like to be a bee to land over your flower)

Haja amor, haja amor(Let there be love, let there be love)

Fazer zum-zum na cama e gemer sem sentir dor (Making zum-zum in bed and moaning without feeling pain)

Haja amor, haja amor(Let there be love, let there be love)

Haja amor pra plantar (Let there be love for planting)

Haja amor pra sorrir (Let there be love for smiling)

Haja amor pra viver (Let there be love for living)

Haja amor, seja flor, anjo no céu (Let there be love, be a flower, angel in the sky)

Eu queria ser uma abelha pra pousar na tua flor (I'd like to be a bee to land over your flower)

Haja amor, haja amor(Let there be love, let there be love)

Fazer zum-zum na cama e gemer sem sentir dor (Making zum-zum in bed and moaning without feeling pain)

Haja amor, haja amor (Let there be love, let there be love)

Na colmeia dos teus sonhos quero ser teu cantador (In the beehive of your dreams, I want to be your chanter)

Haja amor, haja amor (Let there be love, let there be love)

Pois batuqueiro é batuqueiro e cantador é cantador (Because a drum beater is a drum beater and a chanter is a chanter)

Haja amor, haja amor (Let there be love, let there be love)

Haja amor pra plantar (Let there be love for planting)

Haja amor pra sorrir (Let there be love for smiling)

Haja amor pra viver (Let there be love for living)

Haja amor, seja flor, anjo no céu (Let there be love, be a flower, angel in the sky)

Eu queria ser uma abelha pra pousar na tua flor (I'd like to be a bee to land over your flower)

Haja amor, haja amor(Let there be love, let there be love)

Fazer zum-zum na cama e gemer sem sentir dor (Making zum-zum in bed and moaning without feeling pain)

Haja amor, haja amor (Let there be love, let there be love)

Na colmeia dos teus sonhos quero ser teu cantador (In the beehive of your dreams, I want to be your chanter)

Haja amor, haja amor (Let there be love, let there be love)

Pois batuqueiro é batuqueiro e cantador é cantador (Because a drum beater is a drum beater and a chanter is a chanter)

Haja amor, haja amor (Let there be love, let there be love)

Poder te dar uma picada e sentir o teu sabor (Be able to sting you and feel your flavor)

Haja amor, haja amor (Let there be love, let there be love)

Nas estradas do teu corpo, teu tesouro é teu calor (On the roads of your body, your treasure is your heat)

Haja amor, haja amor (Let there be love, let there be love)

Here he sings it: https://www.youtube.com/watch?v=an3geFoWQf8

I tried to find a YouTube where 'he' would sing it with a 'trio eletrico' (electrical triad), since that is the best of Bahia, but I couldn't. Bahia invented the electrical triad (Wikipedia says it was Dodo and Osmar). I found it awesome to spend one carnival like that, behind one. You go promenading on the street and dancing at the same time while a truck with musicians on the top of it goes moving slowly. To me, that is true carnival, even though I myself chose the military clubs for those dates almost all the time. Here the women don't go naked, very different from Rio and the emphasis is usually on the most energetic or charismatic person. Also, very different from Rio, people don't report having many losses during such experience, so not many thefts, for instance, if any. I recommend that as one of the many things you can do in Brazil while visiting. May God bless!

Passing Cloud: A Cute Gaucho Song

An interesting (and cute) Brazilian song. The author is 'Hermes Aquino', a gaucho (born in Rio Grande do Sul, place of birth of Marcia Ricci Pinheiro, the girl whose ID I usurped in Brazil).

Nuvem Passageira (Passing Cloud)

Eu sou nuvem passageira (I am a passing cloud)

Que com o vento se vai (That with the wind goes)

Eu sou como um cristal bonito (I am like a beautiful crystal)

Que se quebra quando cai (That breaks as it falls)

Não adianta escrever meu nome numa pedra (It doesn't help writing my name on a stone)

Pois essa pedra em pó vai se transformar (For this stone, into dust, will change)

Você não vê que a vida corre contra o tempo (You don't see that life runs against the clock)

Sou um castelo de areia na beira do mar (I am a sand castle on the shore)

Eu sou nuvem passageira (I am a passing cloud)

Que com o vento se vai (That with the wind goes)

Eu sou como um cristal bonito (I am like a beautiful crystal)

Que se quebra quando cai (That breaks as it falls)

A lua cheia convida para um longo beijo (The full moon invites us to a long kiss)

Mas o relógio te cobra o dia de amanhã (But the watch charges us on tomorrow)

Estou sozinho, perdido e louco no meu leito (I am lonely, lost and mad in my bed)

E a namorada analisada por sobre o divã (And the girlfriend being analyzed on the couch)

Eu sou nuvem passageira (I am a passing cloud)

Que com o vento se vai (That with the wind goes)

Eu sou como um cristal bonito (I am like a beautiful crystal)

Que se quebra quando cai (That breaks as it falls)

Por isso agora o que eu quero é dançar na chuva (Because of that now what I want is dancing in the rain)

Não quero nem saber de me fazer ou me matar (I don't wanna know of making me be or killing myself)

Eu vou deixar em dia a vida e a minha energia (I will refresh my life and recharge my energy)

Sou um castelo de areia na beira do mar (I am a sand castle on the shore)

Eu sou nuvem passageira (I am a passing cloud)

Que com o vento se vai (That with the wind goes)

Eu sou como um cristal bonito (I am like a beautiful crystal)

Que se quebra quando cai (That breaks as it falls)

Eu sou nuvem passageira (I am a passing cloud)

Que com o vento se vai (That with the wind goes)

Eu sou como um cristal bonito (I am like a beautiful crystal)

Que se quebra quando cai (That breaks as it falls)

Eu sou nuvem passageira (I am a passing cloud)

Que com o vento se vai (That with the wind goes)

Eu como um cristal bonito (I am a passing cloud)

Que se quebra quando cai (That breaks as it falls)

Eu sou nuvem passageira (I am a passing cloud)

Que com o vento se vai (That with the wind goes)

Eu sou como um cristal bonito (I am like a beautiful crystal)

Que se quebra quando cai (That breaks as it falls)

Here the composer singing: https://www.youtube.com/watch?v=D6pI1rx8NIs

I am pretty sure there is a better version, sang by someone else, where they have inserted some electronic percussion with sounds of wind and cloud and things like that, but I couldn't find on this occasion, so forgive me. You can still get a good idea on how it goes in this way, I hope.

Cariocar O que ha de Bom

'Caetano' (https://www.google.com/search?q=caetano+veloso+fotos&oq=caetano+veloso+fotos&ie=UTF-8, please check the picture on the 5th row, 5th column, together with the picture on the 4th row, 4th column: the nose is strikingly different, please, the original is little and cute and his is enormous and ugly) and 'Djavan' (https://www.google.com/search?sca_esv=41801ce293e62d13&sxsrf=ADLYWIL381EZaoFpCb8Ta6FEvFVVNX9G6g:1736202344417&q=djavan+fotos&udm=2&source=univ&fir=nC3kZwGyrhfW7M%252CB2Kt8kz8B8XgqM%252C_%253BoXRUuUaK4W9TKM%252CB2Kt8kz8B8XgqM%252C_%253B2_nbINciMXTnjM%252CaQh1oyDZAOg9mM%252C_%253BH00NN1In2CWZeM%252C3pcZHBEV82Uk-M%252C_%253BkaN1ZjaM5bw29M%252Ccg3RhEulkUR4aM%252C_%253Bn1jEG-hsppMUvM%252Co70OGY6ajQGvPM%252C_%253BtJ65QWv8ejkdGM%252CFRYjq2t0Pxxj1M%252C_%253BkVdZbiCeQWGoxM%252CLqzRM49bYVIQlM%252C_%253BHOG3mvjfYkUw4M%252C15GwH87WsLsY4M%252C_%253B-JTBxka9Vx0p8M%252CB2Kt8kz8B8XgqM%252C_%253BlA-MOjySJWIAxM%252Cg4j2D7kPqIBlCM%252C_%253BE1RqRXFbeTFweM%252C8P-Ojv7J-ht7oM%252C_%253BKRuYEjmv6D5hmM%252Cy_T8R-MWjvtbXM%252C_%253BO94Gt8YpvjxEfM%252C6I0idcPfHvwW2M%252C_%253BiQQsOx1fWNXhtM%252Cdur6ZPmL-YWNgM%252C_%253B1Xalbgj_Y90aOM%252Cx8qrgsiUlc0wEM%252C_%253BEdiVCNb4MplhsM%252CtCeIUi5BYgNxNM%252C_%253Bt52Bg5y3uT4SlM%252Cz52k8N6bTb75SM%252C_%253Bn1em5wQy-RbFlM%252Cx3boFtAjO4TFxM%252C_%253BeJjdFztvmIgHaM%252Cf6vNUM42thbL2M%252C_%253B2P80O0UrMkyaoM%252C6HKa00vp5K7c5M%252C_%253BZdj_66uz3ZvtGM%252CP2U7SHpQZp4Z4M%252C_%253BxjZZhDWmHh21CM%252CyjUoc0_G8cVdRM%252C_%253BQuyME_h8UnFl8M%252CLqzRM49bYVIQlM%252C_%253BKpB7WdUMAVCElM%252CtcUJPTnyO0W_TM%252C_%253BLW4jfcSzVGefxM%252CKYvBhhnMSti6GM%252C_%253BBJKY6-nQ3CGoiM%252CYutvsizMA6wjOM%252C_%253B_z8JXW28HKeGeM%252CB2Kt8kz8B8XgqM%252C_%253BLS9jsmTEHBo3QM%252CvE9tcQuOFlPN4M%252C_%253B2jo0W112F4WlkM%252CrbIqtQWFSqbJJM%252C_%253BIUSdbqTGEOEJDM%252CMjtSJDjwlNXNOM%252C_%253BgTecT9RmWjqSJM%252CunN7A0uE-KxzWM%252C_%253B-9QHXc0LkGag5M%252CaqIQ8LClekyxuM%252C_%253BqVbAXZgRS067VM%252CcDH_cQxCukQ4RM%252C_%253BNgua1NYyPbZGWM%252CvE9tcQuOFlPN4M%252C_%253Bw525G_qfeQP4GM%252CB2Kt8kz8B8XgqM%252C_%253BAT_Yr6HtITNYTM%252CB2Kt8kz8B8XgqM%252C_%253BAkKJO3RMgNJ-5M%252CB2Kt8kz8B8XgqM%252C_%253B9VDV54vWmZUz9M%252CaqIQ8LClekyxuM%252C_%253BWZD5q0cBufRfzM%252CaqIQ8LClekyxuM%252C_%253B3X1g7yyjoXYxRM%252CB2Kt8kz8B8XgqM%252C_&usg=AI4_-kQIMEtLGHJixVtKYvvMEh4qjQVcjg&sa=X&ved=2ahUKEwig6vzfkeKKAxV8yjgGHdoaMooQ7Al6BAgYEAY&biw=1366&bih=651&dpr=1, Djavan seems to have undergone quite a few usurpations: Please compare those on the first row already. 2nd, 3rd and 4th columns: one of them is super black, so that the color of the skin already tells you that that is different from the others. Then observe the noses, all different. The forefront of the second is much longer than the others. Cheeks are also different for that one) composed this one. I remembered it because it is a song that really sticks to our minds but it probably appeared as if it were an emanation from their souls: they know what has been done to us. Even though they think it is a romantic song by the time they are writing and composing, I see it as a song of protest of their souls: we can easily replace 'caetanear' with 'cariocar' and take it to mean they ruined everything that was beautiful and good. It is called 'sina' (doom), which conveys the idea well.

Sina (doom)

Pai e mãe (Father and mother)

Ouro de mina (Gold from the mines)

Coração (Heart)

Desejo e sina (Desire and doom: 'Braganca's fellow or himself would have had desire for the native American white woman and that then meant those were doomed)

Tudo mais (All else)

Pura rotina: "jazz" (Pure routine: jazz!)

Tocarei seu nome pra poder falar de amor (I will play your name to be able to speak of love: I'll have to put your actual name on a song to only then be able to speak of love, like loving the woman also means loving their original ID/name)

Minha princesa (My princess)

Art-nouveau (Art-nouveau)

Da natureza (of nature)

Tudo mais (All else)

Pura beleza: "jazz" (Pure beauty: "jazz")

A luz de um grande prazer (The light of an immense pleasure)

É irremediavel neón (Is unfixable neon)

Quando o grito do prazer (When the yell of pleasure)

Açoitar o ar (Whips the air)

Reveilon (Reveilon: not exactly Reveillon, since it means party, not dinner)

O luar (The moonlight)

Estrela (Star)

Do mar (Of the sea)

O Sol e o dom (The sun and the gift: reference to the 'gifts' they get via device/bug, so things such as super strength, eloquence in one language, perfect caligraphy, riding motorcycle perfectly well and so on)

Quiçá (Who knows?)

Um dia (Someday)

A fúria (The fury)

Desse front (Of this front: Of this face!)

Virá (Will come to)

Lapidar (Sculpt on stone: kill, reference to the stone in the cemetery)

O sonho (The dream: the never-lived life, all they hoped to achieve/do in life)

Até gerar o som (Until it generates the sound)

Como querer (As a wish of)

Caetanear (To make things be in the way Caetano likes: cariocar)

O que há de bom (Whatever is good)

O luar (The moonlight)

Estrela (Star)

Do mar (Of the sea)

O Sol e o dom (The sun and the gift)

Quiçá (Who knows?)

Um dia (Someday)

A fúria (The fury)

Desse front (Of this facade/face/front)

Virá (Will come to)

Lapidar (Sculpt on stone)

O sonho (The dream)

Até gerar o som (Until it generates the sound)

Como querer (As a wish of)

Caetanear (Cariocar)

O que há de bom (Whatever is good)

O luar (The moon)

Estrela (Star)

Do mar (Of the sea)

O Sol e o dom (The sun and the gift)

Quiçá (Who knows?)

Um dia (Someday)

A fúria (The fury)

Desse front (Of this facade)

Virá (Will come to)

Lapidar (Sculpt on stone)

O sonho (The dream)

Até gerar o som (Until it generates the sound)

Como querer (As a wish of)

Caetanear (Cariocar)

O que há de bom (Whatever is good)

I don't know, but I am getting the vibes that tell me Djavan was the one feeling the pain in place of all of us, victims/targets, since the song says 'the ways of Caetano' and because of the gifts received by them/him. In this case, the idea of usurping may have come from the whites, as we concluded before, this for Brazil. 'Braganca' told me it started with the carcerman from Rio giving the idea to those in jail back then. Slavery was over and the black Afrikans were getting their names from the public library to then embark on ships that would take them back to Afrika. The carcerman then suggests to those prisoners they had that they invaded the ship and usurped, so that all prisoners back then must have been black Afrikans/slaves or ex-slaves and the carcerman is very likely to have been white, like 90% of chance. This song was released in 1982.

Here they sing it: https://www.youtube.com/watch?v=9Xv_kmi5GuE

The 'gift' they talk about was probably singing, since I do believe even voice can be inserted/modified at will via device. I believe our voices have been modulated via device so that they would not be loud ever, majorly so that we couldn't scream. When I attempt to scream, my voice does not accompany my 'moves', like I actually get something similar to exasperation and pain in the throat whenever I try to yell. 'Hermolga' apparently tested me for that item once, like to confirm that I couldn't scream.

Gaucho Congrats

'Nelson' sings the first paragraph of this song to me every birthday 'of mine'. Only once did he forget and that was because the multiple came in, like was occupying 'Nelson's ID. I then spoke to him a bit upset next day or something, reminded him that he always did that, every year with no miss, and that is when he never forgot anymore. I am then convinced multiples don't share memories all the time not even when the ET is occupying the target ID. Yet, 'Tom' told me he has memories of all all the time: in this case, some set of multiples have perfect sharing, probably because none of them is an eternal (part of the select 144,000), and some don't.

This is a typical song from the south of Brazil, where the Germans and Italians established themselves: it is actually more typical of Rio Grande do Sul, a particular state in the south. It is the most beautiful birthday song I have ever heard, like really meaningful, with a Christian message, nicely crafted (rhymes, harmonious and innovative melody, eloquence and poetic levels, etc.). Just the fact that they mention God should mean better people, specially if it is in a way to praise or not offend. It says 'old God', but I think I am sure that is not offensive: it is old in the sense of us always counting on him and He existing for ages. See:

Parabens Crioulo (Gaucho Congrats)

Parabéns, parabéns, saúde e felicidade (Congrats, congrats, health and happiness)

Que tú colhas sempre todo o dia (That you collect always, every day)

Paz e alegria na lavoura da amizade (Peace and joy from the crop of friendship)

Parabéns, parabéns, saúde e felicidade (Congrats, congrats, health and friendship)

Que tú colhas sempre todo o dia (That you collect always, every day)

Paz e alegria na lavoura da amizade (Peace and joy from the crop of friendship)

Que Deus velho te conceda (That the old God gives you)

Com a sua benevolência (With all His benevolence)

Muitas e muitas campereadas (Lots and lots of country people groups)

Na invernada da existência (In the strong winter of existence)

Parabéns, parabéns saúde e felicidade (Congrats, congrats, health and happiness)

Que tú colhas sempre todo o dia (That you collect always every day)

Paz e alegria na lavoura da amizade (Peace and joy from the crop of friendship)

Reunidos no mesmo afeto (Gathering together in the same affection)

Te abraçamos neste dia (We hold you on this date)

E para que siga a festança (And so that the huge party keeps on going)

Repetimos com alegria (We repeat with joy)

Parabéns, parabéns saúde e felicidade (Congrats, congrats, health and happiness)

Que tú colhas sempre todo o dia (That you collect always every day)

Paz e alegria na lavoura da amizade (Peace and joy from the crop of friendship)

Que tu colhas sempre todo o dia (That you collect always every day)

Paz e alegria na lavoura da amizade (Peace and joy from the crop of friendship)

Paz e alegria na lavoura da amizade (Peace and joy from the crop of friendship)

A few versions here: https://www.youtube.com/watch?v=Ld26bJEmXvg (some symbols from the culture of the South of Brazil, such as the 'statue of the thrower/lace maker' (estatua do lancador/lacador), which is supposed to bring a perfect description of how a gaucho man should look like) and https://www.youtube.com/watch?v=xLWSj6j7QTM (where one can see a typical CTG gathering from probably Porto Alegre: a typical gaucho country party, with clothes they would still wear these days during those events).

The south of Brazil is the most feminist piece of Brazil: the males bother about dressing 'piuchado', which is a very complex way of dressing, and 'fighting' each other in challenges for the woman of their dreams (there are challenges with tapping and sticks, whips, horses, accordion/other instruments, knives, bolhadeiras (bubblers), singing while creating lyrics and melody on the spot and others). Men have to then show skills, passion, strength, fitness, romantic/artistic/poetic power (power to indulge with words, melodies, singing and playing instruments) and everything counts, including the way they 'piuch' themselves. After going through all those challenges, or a few of them, they still have to prove themselves in the dance hall, 'making an harmonious set' with the woman of their dreams while the typical songs are played, and they have many different typical rhythms. Women just have to worry about how they look, behave and dance, since even cooking is left to the men (they go through a very complex ritual of preparing barbeque, a science that only exists in the south of Brazil, which does give really special flavor to the meat, mostly because of their hearts/souls, we assume. Even the way they cut the meat is special, makes a difference. They worry about how to serve as well, like the Meat House Porcao, when starting in Rio, had only gauchos preparing and serving meat there (males from Rio Grande do Sul): not only were they physically beautiful, usually with green or blue eyes, polite to an extreme (no cursing, no offensive jokes, no offense or bad words about people or things), biblical (either no previous sexual experience or relationships that did not work, but pure heart and clean soul, so no perversions), healthy (they didn't smoke, do drugs or alcohol in excess), slim, clean (clean faces, so without beard or mustache, but also clean in terms of shower-clean, clean clothes) and tall, what is rare in the Country, but they had the art, the heart and skills it takes to prepare and serve meat in a truly special way.

They might not have those anymore, since the marginal goes killing them all and it all, like it is possible they don't even know how to prepare that meat anymore, and I don't see 'my typical' in the YouTubes or anywhere on the Internet. We must also remember that the marginal specializes in causing suffering, injury, loss and pain to human kind, so that whatever is beautiful or noble is what they most target. Leinha once asked me what they could do to say they care about the so many people they have killed. She gave me a few constraints, like she restricted my solution to what she could be giving, and I then suggested that she printed their faces as motifs or something. I then spiritually associated that request to the material they cover the train seats with in Australia, yet it doesn't really give the idea of that being different or personalized faces, so that I guess that I have found the first thing she did not do from those I advised her to do. I suppose she wouldn't remember their faces, since they are so many, first of all.