1
00:00:06,469 --> 00:00:09,469
I CAN'T IMAGINE YOU
WITHOUT MOONS OR GEARS

2
00:00:09,494 --> 00:00:12,505
I IMAGINE YOU ON YOUR
LONG NIGHT OF 29,

3
00:00:12,530 --> 00:00:15,530
STANDING IN YOUR TIME OF DISTRESS
SO CERTAIN IN YOUR CERTAINTY.

4
00:00:15,819 --> 00:00:17,819
ODE TO THE WORKER
MANUEL CAPELLA - 1973

5
00:00:19,022 --> 00:00:21,022
TO HIS FATHER,
TWO DAYS AFTER THE COUP

6
00:00:27,622 --> 00:00:30,629
GALICIAN - MANUEL CAPELLA

7
00:00:36,106 --> 00:00:38,478
A DOCUMENTARY
BY ALDO NOVICK

8
00:00:57,401 --> 00:01:01,809
<i>In the late 1960s, factory life
in the neighborhoods of Montevideo,</i>

9
00:01:02,226 --> 00:01:04,455
<i>was as intense as student life.</i>

10
00:01:05,064 --> 00:01:07,159
<i>In a factory near Maroñas,</i>

11
00:01:07,187 --> 00:01:10,693
<i>worked Don Manuel Capella,
Catalan by birth.</i>

12
00:01:11,419 --> 00:01:14,858
<i>Capella arrived in Montevideo
with his wife Juana María Hernández</i>

13
00:01:15,049 --> 00:01:19,232
<i>and their young son
Manuel, in 1949.</i>

14
00:01:20,051 --> 00:01:23,530
<i>La Unión, Villa Española,
Puerto Rico and Maroñas,</i>

15
00:01:23,737 --> 00:01:27,511
<i>are neighborhoods that beat
on the left side of 8 de Octubre Av.</i>

16
00:01:27,884 --> 00:01:29,794
<i>and in the heart of that family.</i>

17
00:01:32,062 --> 00:01:35,490
<i>20 years later, in 1969,</i>

18
00:01:35,910 --> 00:01:39,253
<i>Manuel Capella debuted
in the show "Uruguay Sings"</i>

19
00:01:39,656 --> 00:01:43,566
<i>along with Daniel Viglietti,
Washington Carrasco, Los Olimareños,</i>

20
00:01:43,867 --> 00:01:47,904
<i>Alfredo Zitarrosa, Marcos Velázquez
and Yamandú Palacios;</i>

21
00:01:48,233 --> 00:01:51,573
<i>the Artistic Director was
the Argentinean Omar Grasso,</i>

22
00:01:51,969 --> 00:01:54,104
<i>who would unite
the singing with the gesture.</i>

23
00:01:55,813 --> 00:01:57,639
<i>Those first steps of Manuel's,</i>

24
00:01:58,038 --> 00:02:01,314
<i>became known with the song
"Se trata de caminar".</i>

25
00:02:02,125 --> 00:02:03,830
♪ Here, and everywhere, ♪

26
00:02:03,854 --> 00:02:05,902
♪ look at what is happening: ♪

27
00:02:05,988 --> 00:02:08,409
♪ some doors are opening ♪

28
00:02:08,433 --> 00:02:10,854
♪ and others are closing. ♪

29
00:02:11,253 --> 00:02:13,255
♪ And Man slave to Man ♪

30
00:02:13,279 --> 00:02:15,030
♪ because of greed. ♪

31
00:02:15,279 --> 00:02:17,922
♪ We must be determined ♪

32
00:02:17,946 --> 00:02:20,165
♪ to end injustice! ♪

33
00:02:20,418 --> 00:02:23,925
♪ Now is the time to walk! ♪

34
00:02:24,286 --> 00:02:27,793
♪ Now is the time to walk! ♪

35
00:02:27,825 --> 00:02:29,188
A PEOPLE
UNDER CONSTRUCTION

36
00:02:29,473 --> 00:02:31,988
♪ Many people wrote <i>chamarritas</i>, ♪

37
00:02:32,331 --> 00:02:34,981
♪ and <i>chamarras</i> there are lots, ♪

38
00:02:35,242 --> 00:02:38,084
♪ but there was
one <i>chamarra</i> missing:♪

39
00:02:38,108 --> 00:02:40,950
♪ the <i>chamarrita</i>
of the elections. ♪

40
00:02:42,694 --> 00:02:45,079
♪ Hunger, almost too skinny, ♪

41
00:02:45,104 --> 00:02:47,562
♪ fiercely roams the tables ♪

42
00:02:47,587 --> 00:02:50,004
♪ and the people are already ♪

43
00:02:50,028 --> 00:02:52,444
♪ getting tired of promises. ♪

44
00:02:52,531 --> 00:02:54,839
♪ Many people wrote <i>chamarritas</i> ♪

45
00:02:54,863 --> 00:02:57,185
♪ and <i>chamarras</i> there are lots, ♪

46
00:02:57,275 --> 00:02:59,790
♪ but there was one
<i>chamarra</i> missing: ♪

47
00:02:59,814 --> 00:03:02,263
♪ the <i>chamarrita</i>
of the elections. ♪

48
00:03:02,588 --> 00:03:04,764
♪ Indecisive Doña María, ♪

49
00:03:04,788 --> 00:03:06,964
♪ careful where you go, ♪

50
00:03:07,038 --> 00:03:09,041
♪ because the
vote is something ♪

51
00:03:09,065 --> 00:03:11,635
♪ that can't be sold,
given or bought. ♪

52
00:03:11,726 --> 00:03:13,954
♪ Many people wrote <i>chamarritas</i>, ♪

53
00:03:14,007 --> 00:03:16,443
♪ and <i>chamarras</i> there are lots, ♪

54
00:03:16,500 --> 00:03:19,042
♪ but there was one
<i>chamarra</i> missing: ♪

55
00:03:19,066 --> 00:03:21,540
♪ the <i>chamarrita</i>
of the elections. ♪

56
00:03:23,159 --> 00:03:27,680
I met Manuel through
Alfredo (Zitarrosa),

57
00:03:28,075 --> 00:03:30,158
back in 1967.

58
00:03:30,791 --> 00:03:33,082
We only met a few times.

59
00:03:34,241 --> 00:03:38,132
It was a time when
pretty much all youngsters

60
00:03:38,157 --> 00:03:42,574
were deciding what to do
with our lives and building them.

61
00:03:43,449 --> 00:03:46,202
Manuel went to work
at Remington

62
00:03:46,280 --> 00:03:49,298
and I joined
the newspaper "El Popular"

63
00:03:49,705 --> 00:03:51,288
so we stopped seeing
each other.

64
00:03:52,277 --> 00:03:55,309
We met again after the exile,

65
00:03:55,771 --> 00:04:00,408
and we built a solid friendship,

66
00:04:00,433 --> 00:04:02,902
that lasted forever.

67
00:04:04,241 --> 00:04:08,006
♪ And in the quiet stares, ♪

68
00:04:08,771 --> 00:04:12,835
♪ silence is screaming. ♪

69
00:04:14,850 --> 00:04:17,956
♪ A student was killed. ♪

70
00:04:18,582 --> 00:04:21,505
♪ They thought
that they could stop ♪

71
00:04:22,291 --> 00:04:25,350
♪ with just one bullet, ♪

72
00:04:26,056 --> 00:04:28,998
♪ the whole cry for justice. ♪

73
00:04:29,712 --> 00:04:32,602
♪ With just one bullet, ♪

74
00:04:33,408 --> 00:04:36,278
♪ the whole cry for justice. ♪

75
00:04:37,682 --> 00:04:41,009
♪ Let the criminals know ♪

76
00:04:41,259 --> 00:04:45,356
♪ the people have memory. ♪

77
00:04:45,381 --> 00:04:47,673
♪ They have the
people face to face ♪

78
00:04:47,697 --> 00:04:49,988
♪ with their living
and their dead. ♪

79
00:04:50,028 --> 00:04:54,371
♪ With their dead, still fighting, ♪
♪ with their name in the wind. ♪

80
00:04:54,513 --> 00:04:57,634
♪ Your name, which
is everyone's, ♪

81
00:04:57,658 --> 00:04:59,950
♪ comrade Heber Nieto. ♪

82
00:04:59,974 --> 00:05:04,044
♪ Your name, which is everyone's, ♪
♪ comrade Heber Nieto. ♪

83
00:05:04,199 --> 00:05:06,315
♪ We're joining
the fight with you, ♪

84
00:05:06,339 --> 00:05:08,219
♪ Líber Arce leading the way. ♪

85
00:05:08,306 --> 00:05:12,110
♪ Also with Hugo and Susana, ♪
♪ with all those who have left. ♪

86
00:05:13,438 --> 00:05:17,439
During the years of exile, Manuel,
like many Uruguayans,

87
00:05:17,890 --> 00:05:21,240
sent his letters through people
who traveled to Uruguay.

88
00:05:21,926 --> 00:05:24,306
Some reached their
destination several months

89
00:05:24,330 --> 00:05:26,387
after they were written.

90
00:05:27,307 --> 00:05:30,114
It was the safest,
and probably the only way

91
00:05:30,490 --> 00:05:32,943
to avoid the censorship
of regular mail.

92
00:05:34,224 --> 00:05:38,449
Next are some fragments of letters
received by his friends,

93
00:05:38,785 --> 00:05:41,630
Julio Garategui
and Nelly Segovia.

94
00:05:42,862 --> 00:05:45,979
A story penned
by Capella the Galician.

95
00:05:46,349 --> 00:05:49,675
The other night we listened
to some recordings that arrived

96
00:05:49,700 --> 00:05:53,480
and I am glad to hear my people
continue to sing beautiful,

97
00:05:53,815 --> 00:05:55,114
and very positive things.

98
00:05:55,364 --> 00:05:57,404
It's inspiring to see that
we leave our mark

99
00:05:57,574 --> 00:05:59,504
and that we continue
to move forward.

100
00:05:59,651 --> 00:06:02,595
As for me, I sometimes
get some things written,

101
00:06:02,956 --> 00:06:05,147
and we'll see if we get lucky.

102
00:06:05,223 --> 00:06:09,718
I'll try to send you a tape,
even if it's a homemade one,

103
00:06:10,014 --> 00:06:12,359
with some song
for you to criticize.

104
00:06:12,383 --> 00:06:17,780
As for the record, it's almost ready
despite some inconveniences.

105
00:06:17,824 --> 00:06:20,857
I heard the Quilapayún's--
I already knew them,

106
00:06:20,882 --> 00:06:23,849
but I heard their cover of the
"Santa María de Iquique" cantata,

107
00:06:23,874 --> 00:06:27,393
and thought it was a wonderful
story, told through poetry, music,

108
00:06:28,130 --> 00:06:30,303
and I proposed we did
"América Vive".

109
00:06:31,176 --> 00:06:33,364
We put together an
amazing group,

110
00:06:33,388 --> 00:06:35,882
with the advice of the folks
at El Galpón.

111
00:06:36,898 --> 00:06:38,898
To tell the history
of America,

112
00:06:39,330 --> 00:06:41,934
with texts from Ernesto Cardenal,
among others,

113
00:06:42,430 --> 00:06:46,497
and advice from
Atahualpa del Cioppo.

114
00:06:46,835 --> 00:06:49,552
<i>With the emancipatory cry
of Artigas defeated,</i>

115
00:06:50,146 --> 00:06:52,146
<i>on the ruins of Paysandú,</i>

116
00:06:52,439 --> 00:06:54,439
<i>and the corpse of Leandro Gómez,</i>

117
00:06:54,814 --> 00:06:57,194
<i>the invasion of Paraguay
is implemented.</i>

118
00:06:57,639 --> 00:07:01,337
<i>The last ray of light
in such great darkness,</i>

119
00:07:01,499 --> 00:07:02,673
<i>the Triple Alliance.</i>

120
00:07:03,498 --> 00:07:07,122
♪ In the heroic defense ♪
♪ of that people, ♪

121
00:07:07,359 --> 00:07:12,751
♪ that fought to death, ♪

122
00:07:12,832 --> 00:07:14,772
♪ for the right to life. ♪

123
00:07:14,797 --> 00:07:16,584
I met Manolito...

124
00:07:17,210 --> 00:07:20,362
back in the 1960s,
the mid 60s.

125
00:07:21,521 --> 00:07:24,334
Because we lived a block
away from each other.

126
00:07:24,667 --> 00:07:28,914
Manuel, Eduardo Nogareda,
Julio Garategui,

127
00:07:30,373 --> 00:07:33,104
Blas Nelson and Jorge Estela.

128
00:07:33,895 --> 00:07:39,643
We put on a show based on...
it's the 50th anniversary now,

129
00:07:39,993 --> 00:07:43,572
of the book "Las venas abiertas"
by Eduardo Galeano.

130
00:07:45,261 --> 00:07:49,197
Based on that book, we did a show
called América Vive.

131
00:07:49,896 --> 00:07:51,767
And later we also did...

132
00:07:52,872 --> 00:07:57,067
at the foundation of the center
for Protest Songs, CPU,

133
00:07:58,046 --> 00:08:03,610
there was a show,
that was exactly in 1968,

134
00:08:04,121 --> 00:08:05,921
held at the Odeon Theater.

135
00:08:06,164 --> 00:08:11,304
He premiered -I remember-
Alfredo premiered Peludo.

136
00:08:12,039 --> 00:08:14,732
Daniel Viglietti premiered
"A desalambrar".

137
00:08:15,352 --> 00:08:18,892
There was Manuel,
Yamandú Palacios,

138
00:08:18,917 --> 00:08:20,542
Sabalero,

139
00:08:20,900 --> 00:08:24,937
and Marcos Velázquez… I think.
Yes, Marcos Velázquez was there too.

140
00:08:25,360 --> 00:08:29,378
I met you, Manolo, in 1972.

141
00:08:30,121 --> 00:08:33,158
And not necessarily for the album
"Se trata de caminar"

142
00:08:33,760 --> 00:08:35,604
but because of
a previous record,

143
00:08:35,628 --> 00:08:37,819
which you had made
with Paco Trelles.

144
00:08:39,076 --> 00:08:43,201
I've spent years telling you
that the album is a testimony,

145
00:08:43,728 --> 00:08:48,635
of what traditions, legends,
superstitions are,

146
00:08:48,755 --> 00:08:50,021
which are also memory.

147
00:08:50,279 --> 00:08:52,873
Like a stone crossed viper
sizzling at the Pampero,

148
00:08:53,743 --> 00:08:55,743
it goes blocking rock by rock,

149
00:08:56,257 --> 00:08:58,284
through slopes,
valleys and hills.

150
00:08:59,201 --> 00:09:02,918
Who knows when the Quebrada
de los Cuervos gave birth to her,

151
00:09:04,077 --> 00:09:05,690
and she comes to die
for no reason,

152
00:09:06,618 --> 00:09:08,345
over at Fraile Muerto.

153
00:09:09,774 --> 00:09:11,330
The devil knows his story.

154
00:09:11,994 --> 00:09:13,416
History of black arms.

155
00:09:14,139 --> 00:09:18,406
History from stone to stone,
to play the flute to the wind.

156
00:09:19,620 --> 00:09:22,692
♪ He knows ♪

157
00:09:22,716 --> 00:09:26,944
♪ no borders, ♪

158
00:09:27,933 --> 00:09:33,023
♪ and knows no paths... ♪

159
00:09:33,156 --> 00:09:34,227
Things were going bad.

160
00:09:34,252 --> 00:09:37,704
It was a tragic moment
for Montevideo,

161
00:09:37,729 --> 00:09:40,746
for all of Uruguay.
Emergency Measures, violence.

162
00:09:41,076 --> 00:09:44,416
Galician was identified because
he was a protester,

163
00:09:44,482 --> 00:09:47,737
and the authorities didn't like
my poetry very much.

164
00:09:48,040 --> 00:09:49,633
So the time came
when we said:

165
00:09:49,658 --> 00:09:51,625
"if we don't leave,
we won't make it".

166
00:09:52,357 --> 00:09:53,690
We crossed the Uruguay River.

167
00:09:54,272 --> 00:09:56,784
We meet in Colon and from there,
went to Cordoba,

168
00:09:56,809 --> 00:10:01,038
from Cordoba we crossed Bolivia,
and arrived in Lima.

169
00:10:02,293 --> 00:10:05,865
We went to Walter Tournier's
and waited at the door.

170
00:10:07,241 --> 00:10:10,412
He opens the door for us
and Galician pulls out a label

171
00:10:10,960 --> 00:10:12,780
from a salami,

172
00:10:13,063 --> 00:10:14,670
and another from
some cheese,

173
00:10:14,694 --> 00:10:16,555
and says "Here, your
mum sent these".

174
00:10:16,580 --> 00:10:19,571
His mother had sent him
a salami and a cheese

175
00:10:19,836 --> 00:10:23,337
but we were so hungry that
we ate both things on the way.

176
00:10:23,756 --> 00:10:28,153
In 1996 we ran for Congress.

177
00:10:28,592 --> 00:10:29,761
Luckily we didn't win.

178
00:10:30,071 --> 00:10:32,950
But we had to raise some money,

179
00:10:32,974 --> 00:10:36,497
even if it was to buy paint.

180
00:10:37,252 --> 00:10:38,824
And at the Lamas house,

181
00:10:39,805 --> 00:10:42,546
I organized a small club
to raise some money.

182
00:10:43,326 --> 00:10:45,392
Carlitos Benavides,
of course, showed up,

183
00:10:45,416 --> 00:10:48,105
and offered to help
as always.

184
00:10:49,030 --> 00:10:50,235
Pablo Estramín…

185
00:10:51,160 --> 00:10:53,615
But what surprised me the most,

186
00:10:54,235 --> 00:10:56,491
what really moved me,

187
00:10:57,082 --> 00:11:00,153
was that when we were about
to start the event,

188
00:11:00,724 --> 00:11:03,515
the door opened
and Manuel appeared,

189
00:11:04,239 --> 00:11:06,251
Manuel Capella,
with his guitar.

190
00:11:06,905 --> 00:11:08,359
I hadn't invited him.

191
00:11:09,738 --> 00:11:11,947
He hugged me and
said, "I heard about this",

192
00:11:11,972 --> 00:11:13,415
"here I am,
to support you."

193
00:11:14,038 --> 00:11:15,057
Go for it.

194
00:11:18,122 --> 00:11:20,517
♪ From Bagé to Lapuente, ♪

195
00:11:20,541 --> 00:11:22,935
♪ passing through Piraí, ♪

196
00:11:23,408 --> 00:11:25,804
♪ From Bagé to Lapuente, ♪

197
00:11:25,828 --> 00:11:28,224
♪ passing through Piraí, ♪

198
00:11:28,515 --> 00:11:31,284
♪ La Chilca Hospital, Melo ♪

199
00:11:31,308 --> 00:11:33,790
♪ and finally Cebollatí. ♪

200
00:11:33,920 --> 00:11:36,982
♪ And in the marshlands of Rocha ♪

201
00:11:37,006 --> 00:11:40,453
♪ I drank water
from the San Luis. ♪

202
00:11:41,388 --> 00:11:44,053
♪ I drank water from the San Luis. ♪

203
00:11:44,181 --> 00:11:46,646
♪ it made me sick to the tummy ♪

204
00:11:46,670 --> 00:11:49,135
♪ so I went to Chuy to heal. ♪

205
00:11:49,502 --> 00:11:54,419
♪ And I took advantage and loaded ♪
♪ as much as I could. ♪

206
00:11:54,746 --> 00:11:56,830
♪ But they ripped me off♪

207
00:11:56,854 --> 00:11:59,525
♪ when I went by San Miguel. ♪

208
00:11:59,900 --> 00:12:03,745
♪ And in the end,
through Villa Indart ♪

209
00:12:03,769 --> 00:12:06,329
♪ I went to Livramento. ♪

210
00:12:07,307 --> 00:12:10,057
♪ I went to Livramento. ♪

211
00:12:10,203 --> 00:12:12,709
♪ And that's when ♪
♪ I changed professions, ♪

212
00:12:12,733 --> 00:12:17,684
♪ and became a guitar player. ♪

213
00:12:18,472 --> 00:12:20,151
♪ That's why... ♪

214
00:12:21,434 --> 00:12:24,037
♪ to the stride I'm going singing, ♪

215
00:12:24,062 --> 00:12:26,768
♪ my border chamarra, ♪

216
00:12:27,016 --> 00:12:32,019
♪ on one side it's Spanish, ♪
♪ on the other, it's Brazilian. ♪

217
00:12:32,316 --> 00:12:34,859
♪ Smuggling Chamarrita ♪

218
00:12:34,883 --> 00:12:37,425
♪ bordering along, ♪

219
00:12:37,604 --> 00:12:40,245
♪ due a customs oversight ♪

220
00:12:40,343 --> 00:12:46,021
♪ I smuggled her right in. ♪

221
00:12:47,622 --> 00:12:50,757
Morales-Moralito:
traveling on that bus to Cusco,

222
00:12:51,230 --> 00:12:54,829
is worse than being in the Caribbean
infested with pirates.

223
00:12:55,240 --> 00:12:57,374
You had to push it over every bump.

224
00:12:57,491 --> 00:13:02,393
It was impossible to imagine
the chaos that was that bus.

225
00:13:02,741 --> 00:13:06,857
We were sitting near
the door of the bus,

226
00:13:07,291 --> 00:13:09,919
and a couple gets on,
both indigenous;

227
00:13:10,344 --> 00:13:12,701
she was a young native
with a sad face,

228
00:13:13,046 --> 00:13:17,019
and we noticed she had
some blood clot on her lips.

229
00:13:17,453 --> 00:13:19,201
And behind her, the man
speaking to her

230
00:13:19,226 --> 00:13:20,873
in Quechua,
but being very mean.

231
00:13:21,450 --> 00:13:23,905
And the he pushed her
and said something to her.

232
00:13:24,133 --> 00:13:25,961
The Galician
jumped like a spring.

233
00:13:26,393 --> 00:13:29,312
"Why don't you hit me?"
And he grabbed him by the neck.

234
00:13:29,529 --> 00:13:31,478
He yelled at the driver
to open the door,

235
00:13:31,573 --> 00:13:33,886
the driver pulled over,
opened the door,

236
00:13:34,669 --> 00:13:36,407
and the native
flew out the door,

237
00:13:36,431 --> 00:13:39,201
as Galician taunted him:
"I'll get off, so you can hit me."

238
00:13:40,222 --> 00:13:41,586
I told him to let it go,

239
00:13:41,691 --> 00:13:44,071
and everyone else went
"let him go, let him go".

240
00:13:44,533 --> 00:13:45,946
The door closed and we left.

241
00:13:46,188 --> 00:13:48,548
When we were halfway through,
the driver told him:

242
00:13:48,593 --> 00:13:51,473
"It'll be worse now,
he'll take it out on her".

243
00:13:52,385 --> 00:13:54,013
Hey, Galician, come here.

244
00:13:55,589 --> 00:13:59,273
Come to the counter one more time,
brother, let's talk,

245
00:14:00,381 --> 00:14:03,513
between two drinks,
the night and the silence.

246
00:14:04,609 --> 00:14:07,798
Hear what my heart
wants to say to yours,

247
00:14:08,297 --> 00:14:10,900
the luminous shadows,
like two young brothers,

248
00:14:11,365 --> 00:14:13,728
cradled, asleep in the guitar.

249
00:14:14,701 --> 00:14:16,313
This is very serious, brother,

250
00:14:16,804 --> 00:14:18,234
we look like two mad guys,

251
00:14:18,468 --> 00:14:22,205
maybe we all are.

252
00:14:22,956 --> 00:14:26,331
The baker at the corner,
the poet, the crazy ones.

253
00:14:26,781 --> 00:14:29,902
The <i>murguistas</i>, the girls
from the neighborhood.

254
00:14:31,092 --> 00:14:32,777
But crazy in love.

255
00:14:34,235 --> 00:14:39,846
Crazy with life and sometimes
crazy from so much deranged sanity,

256
00:14:40,135 --> 00:14:43,511
useless, monotonous
routine.

257
00:14:44,408 --> 00:14:49,477
We left Lima, and headed to Cusco,
with an unclear destination,

258
00:14:49,502 --> 00:14:53,234
but luckily Nicomedes Santa Cruz,
that wonderful black man,

259
00:14:53,574 --> 00:14:55,894
had given us a letter
of recommendation

260
00:14:56,043 --> 00:14:58,855
to meet in a convent,

261
00:14:59,276 --> 00:15:03,896
and we stayed there until,
thanks to that good monk,

262
00:15:04,195 --> 00:15:07,590
we got in touch with the Mayor,
who, in turn, contacted the union,

263
00:15:07,938 --> 00:15:12,539
and Galician and I did a concert
for the railway union.

264
00:15:12,579 --> 00:15:13,664
Unforgettable.

265
00:15:14,328 --> 00:15:17,072
And when we opened our eyes
we were in Machu Picchu.

266
00:15:28,190 --> 00:15:30,698
The painted woman
turning her back to me,

267
00:15:30,825 --> 00:15:34,372
hangs from a portrait
alone and drawn.

268
00:15:35,744 --> 00:15:38,618
The woman in the painting
with a pink back,

269
00:15:38,936 --> 00:15:42,460
stops my eyes,
fixes my gaze.

270
00:15:43,442 --> 00:15:45,927
She is almost transparent,
she walks in nothing,

271
00:15:46,234 --> 00:15:49,284
like a cloud where
there are no footprints.

272
00:15:51,178 --> 00:15:53,510
The woman tells me
to imagine her...

273
00:15:53,955 --> 00:15:57,343
and I imagine her
among jasmines.

274
00:15:58,809 --> 00:16:01,504
She is always leaving
and she always stays,

275
00:16:02,315 --> 00:16:05,126
and I always come back
to fill her wait.

276
00:16:07,200 --> 00:16:09,649
All her silence
has my words,

277
00:16:09,706 --> 00:16:12,798
and to my fantasy,
she quietly responds.

278
00:16:14,852 --> 00:16:18,119
Her voice in white,
hugs me and whispers.

279
00:16:18,417 --> 00:16:22,030
And my voice embraces
her entire waist…

280
00:16:23,559 --> 00:16:26,592
But it doesn't capture her,
although it does hold her,

281
00:16:27,357 --> 00:16:31,061
like a pink dream
that comes and that goes.

282
00:16:33,219 --> 00:16:35,837
The wall swallows her
and in it she sinks,

283
00:16:36,665 --> 00:16:40,118
and I sink into her,
swallowed in her cloud...

284
00:16:42,194 --> 00:16:44,662
The hanging woman
who has no name,

285
00:16:44,794 --> 00:16:47,928
says I should call her
whatever I want...

286
00:16:49,044 --> 00:16:52,841
And I call her soul,
naked and golden,

287
00:16:53,739 --> 00:16:57,450
and I call her night,
woman, stay.

288
00:16:59,757 --> 00:17:04,281
Almost undressed, she walks away
asks me to undress her,

289
00:17:06,382 --> 00:17:07,629
and not to forget her.

290
00:17:17,118 --> 00:17:18,367
While in Ecuador,

291
00:17:19,274 --> 00:17:21,804
he invited me to visit
his great friend,

292
00:17:22,008 --> 00:17:23,657
the painter Guayasamín.

293
00:17:24,492 --> 00:17:28,444
And in the conversation,
which was pleasant,

294
00:17:28,444 --> 00:17:30,815
brotherly, fraternal,
at the time,

295
00:17:31,013 --> 00:17:36,742
we came up with the idea
of holding a concert at his museum.

296
00:17:37,593 --> 00:17:40,759
There, Manuel sang along
with other great artists,

297
00:17:41,519 --> 00:17:47,235
and serial works of Guayasamin's
Black Paintings were sold,

298
00:17:47,454 --> 00:17:48,962
in solidarity with Uruguay.

299
00:17:49,012 --> 00:17:50,332
I'm still moved.

300
00:17:52,237 --> 00:17:53,358
Ecuador,

301
00:17:54,108 --> 00:17:59,294
Monday, 27 September, 1976.

302
00:18:00,854 --> 00:18:01,857
It's cold.

303
00:18:03,769 --> 00:18:06,964
I'm composing The Man in Blue
("El hombre de azul"),

304
00:18:07,880 --> 00:18:09,172
dedicated to my father.

305
00:18:11,064 --> 00:18:13,368
A song I finished this afternoon,

306
00:18:13,893 --> 00:18:17,521
and that, after singing it,
I confess,

307
00:18:19,151 --> 00:18:21,151
made me shed
a couple of tears.

308
00:18:23,620 --> 00:18:26,845
Dad, when will I
see you again?

309
00:18:48,434 --> 00:18:51,999
♪ The small streets of the port, ♪

310
00:18:52,494 --> 00:18:55,524
♪ with their news of cats, ♪

311
00:18:55,870 --> 00:18:59,063
♪ remember María Sueño, ♪

312
00:18:59,551 --> 00:19:04,428
♪ as a flower in the mud. ♪

313
00:19:04,868 --> 00:19:08,204
♪ María, the one who sang, ♪

314
00:19:08,300 --> 00:19:12,032
♪ with a miraculous voice, ♪

315
00:19:12,805 --> 00:19:16,027
♪ placing on the shoulders, ♪

316
00:19:16,360 --> 00:19:21,047
♪ the tenderness of her hand. ♪

317
00:19:42,376 --> 00:19:45,799
♪ In yellow bars, ♪

318
00:19:46,363 --> 00:19:49,425
♪ with men torn in pieces, ♪

319
00:19:49,814 --> 00:19:53,005
♪ the wound of the red wine, ♪

320
00:19:53,339 --> 00:19:58,378
♪ is on the wet lips. ♪

321
00:19:58,879 --> 00:20:02,026
♪ Talking about a girl, ♪

322
00:20:02,051 --> 00:20:05,727
♪ loved like a brother, ♪

323
00:20:06,166 --> 00:20:09,542
♪ always talking of flowers,
Maria, ♪

324
00:20:10,096 --> 00:20:15,616
♪ and of flying sparrows. ♪

325
00:20:18,578 --> 00:20:21,976
♪ María... ♪

326
00:20:22,052 --> 00:20:25,993
♪ the lover... ♪

327
00:20:26,634 --> 00:20:29,880
♪ of thieves and bums, ♪

328
00:20:30,003 --> 00:20:33,408
♪ of tired prostitutes, ♪

329
00:20:33,894 --> 00:20:40,145
♪ and forgotten singers. ♪

330
00:20:58,986 --> 00:21:02,880
♪ One day she left ♪
♪ into the mist, ♪

331
00:21:03,374 --> 00:21:06,459
♪ God knows in what direction, ♪

332
00:21:07,043 --> 00:21:10,009
♪ with a man or with an angel, ♪

333
00:21:10,471 --> 00:21:15,368
♪ who carried her in her arms. ♪

334
00:21:15,774 --> 00:21:19,031
♪ Perhaps so that, ♪
♪ in her place, ♪

335
00:21:19,056 --> 00:21:22,809
♪ comes that dreamed of child, ♪

336
00:21:23,261 --> 00:21:26,155
♪ part of all of us, ♪

337
00:21:26,709 --> 00:21:30,405
♪ with the memory of a tango. ♪

338
00:21:31,366 --> 00:21:32,532
By the way,

339
00:21:32,868 --> 00:21:36,821
if you see Nelbia, tell her Pepe,
Imilce and Heber send her a hug.

340
00:21:37,946 --> 00:21:40,797
Oh, one more thing:
With regard to greetings,

341
00:21:41,241 --> 00:21:44,553
I was in Lima a while ago,
about four months ago,

342
00:21:44,949 --> 00:21:47,943
and "Cofla" Tournier made his debut,
always doing things:

343
00:21:47,968 --> 00:21:51,636
audiovisuals, movies,
cartoons, advertising, etc.

344
00:21:52,273 --> 00:21:53,845
And also remembering you.

345
00:21:54,749 --> 00:21:56,370
And waiting for the day
we can hug.

346
00:21:57,900 --> 00:21:59,900
I have been absent.

347
00:22:00,936 --> 00:22:02,798
Today I have written again,

348
00:22:03,637 --> 00:22:05,357
I have returned to my eyes,

349
00:22:06,021 --> 00:22:09,931
and I discovered
that absence is loneliness.

350
00:22:10,773 --> 00:22:11,883
Loneliness,

351
00:22:12,473 --> 00:22:15,114
is a time of my land.

352
00:22:16,324 --> 00:22:20,406
I have walked the streets.
My young people,

353
00:22:20,642 --> 00:22:23,711
the comrades with their laughter
and their wine,

354
00:22:23,748 --> 00:22:27,955
hanging late at night,
carrying dreams in their pockets,

355
00:22:28,217 --> 00:22:31,301
gambling their youth
in Autumn,

356
00:22:32,020 --> 00:22:35,161
no longer inhabit my time.

357
00:22:35,834 --> 00:22:39,908
<i>Milonga</i>, that is naming,

358
00:22:40,589 --> 00:22:43,948
the open hearts,

359
00:22:44,590 --> 00:22:48,011
sister, flower
of the night,

360
00:22:48,568 --> 00:22:52,215
growing from the silence...

361
00:22:52,466 --> 00:22:55,397
I just got back
from Channel 8.

362
00:22:55,995 --> 00:22:57,576
We recorded the Special.

363
00:22:58,418 --> 00:22:59,422
It went very well.

364
00:23:00,347 --> 00:23:02,520
I think reception will be good.

365
00:23:03,575 --> 00:23:04,987
I was really nervous.

366
00:23:05,769 --> 00:23:07,484
But I think it was acceptable,

367
00:23:08,063 --> 00:23:10,127
and, as the producers said,

368
00:23:10,876 --> 00:23:12,436
"it was excellent".

369
00:23:13,614 --> 00:23:15,587
Let's hope
the effort pays off.

370
00:23:16,461 --> 00:23:19,550
My memory remembers that day,

371
00:23:19,788 --> 00:23:23,993
about five or six years ago,

372
00:23:24,324 --> 00:23:27,855
when we recorded "El show de los 9",
with Discodromo Show.

373
00:23:28,867 --> 00:23:30,028
But it was different,

374
00:23:30,801 --> 00:23:34,185
because there I was
part of a team,

375
00:23:34,568 --> 00:23:38,938
and here, it was just me
and my soul.

376
00:23:39,808 --> 00:23:44,054
Besides, it's been
so many years,

377
00:23:45,202 --> 00:23:47,311
that I had already
lost the habit.

378
00:23:48,458 --> 00:23:52,895
A very important period in Uruguayan
music was the Discodromo Show era.

379
00:23:53,706 --> 00:23:56,347
There, we were partners
with Manuel Capella,

380
00:23:56,515 --> 00:23:59,316
I was a member
of Frade's orchestra,

381
00:23:59,998 --> 00:24:05,073
and Manuel had a very important
participation in the program.

382
00:24:05,995 --> 00:24:07,057
Years later,

383
00:24:07,828 --> 00:24:11,367
we met again at the Uruguayan
Authors Association.

384
00:24:12,468 --> 00:24:13,882
There, Manuel,

385
00:24:14,938 --> 00:24:20,694
was a member of the Board
which I was honored to chair,

386
00:24:21,694 --> 00:24:23,747
and it was a very nice reunion,

387
00:24:24,417 --> 00:24:26,870
in another aspect
of music and of life,

388
00:24:26,895 --> 00:24:29,776
such as working
for authors' Copyright.

389
00:24:32,449 --> 00:24:36,430
My colleagues and I had
a band here in Ecuador,

390
00:24:36,900 --> 00:24:38,270
it was called Jatari.

391
00:24:38,952 --> 00:24:40,952
That <i>peña</i> was ours, Jatari's;

392
00:24:41,692 --> 00:24:44,587
When we contacted Manuel,

393
00:24:45,220 --> 00:24:48,618
Manuel gave us some suggestions
to improve,

394
00:24:49,179 --> 00:24:55,117
to improve the quality of our
artistic activities there.

395
00:24:55,522 --> 00:24:58,721
He put in a good word for us,

396
00:24:58,908 --> 00:25:03,363
the house we rented,

397
00:25:03,387 --> 00:25:05,128
he repaired it,
made renovations,

398
00:25:05,547 --> 00:25:07,679
he performed on stage
together with us.

399
00:25:07,704 --> 00:25:11,299
We took all his ideas and went
fully on board with them,

400
00:25:11,619 --> 00:25:15,937
and his first suggestion to us was
to go somewhere a little bigger.

401
00:25:16,341 --> 00:25:17,624
And we moved.

402
00:25:17,922 --> 00:25:22,135
All the university people
who already knew us,

403
00:25:22,351 --> 00:25:27,038
were the ones who began
to come down from Católica,

404
00:25:27,320 --> 00:25:30,708
and it was also a few blocks
from the Central University.

405
00:25:30,733 --> 00:25:34,592
So it was a much more
central location,

406
00:25:34,807 --> 00:25:37,058
to academic activities.

407
00:25:38,342 --> 00:25:41,725
♪ …and the bread
cleaner for children ♪

408
00:25:41,749 --> 00:25:44,328
♪ who were born shirtless. ♪

409
00:25:44,353 --> 00:25:48,862
The best memory that we have
and I understand that everyone has,

410
00:25:49,314 --> 00:25:52,053
is that he was a very
supportive man,

411
00:25:52,077 --> 00:25:54,815
greatly devoted
to the cause...

412
00:25:55,065 --> 00:25:56,565
He did everything;

413
00:25:56,720 --> 00:26:01,103
if something had to be carried,
he was there helping,

414
00:26:01,359 --> 00:26:05,026
raising the stage himself…

415
00:26:05,893 --> 00:26:09,978
To us, he provided
that healthy contribution...

416
00:26:10,166 --> 00:26:12,422
to our musical life.

417
00:26:12,618 --> 00:26:16,008
And I understand that when
people refer to him,

418
00:26:16,151 --> 00:26:20,892
I have friends who still
have bands, after all this,

419
00:26:20,917 --> 00:26:24,842
that remember him
and talk about Manuel Capella.

420
00:26:28,020 --> 00:26:33,247
♪ The small river horses ♪
♪ run along the banks, ♪

421
00:26:33,584 --> 00:26:38,749
♪ for fatherless children ♪
♪ and badly injured mothers. ♪

422
00:26:38,968 --> 00:26:41,447
♪ Songs of laundresses, ♪

423
00:26:41,471 --> 00:26:44,333
♪ nightgowns, little shirts, ♪

424
00:26:44,598 --> 00:26:50,165
♪ and the clean bread of children ♪
♪ who were born without a shirt. ♪

425
00:27:28,616 --> 00:27:31,672
Well, I met Manuel...

426
00:27:32,080 --> 00:27:33,712
in Ecuador, in Quito.

427
00:27:34,266 --> 00:27:39,510
There, we both began
to write a script.

428
00:27:39,831 --> 00:27:44,448
We did a show called "Cantopoemas
del Amor de la Tierra y del Hombre"

429
00:27:44,988 --> 00:27:48,273
and we began to tour Latin America.

430
00:27:48,632 --> 00:27:52,915
We arrived in Mexico and there
just happened to be a festival,

431
00:27:52,940 --> 00:27:57,364
organized by the FEUU,
the Uruguayan Student Federation,

432
00:27:58,056 --> 00:28:00,204
with, among many others,

433
00:28:00,602 --> 00:28:03,975
performances from Alfredo Zitarrosa
and Los Olimareños.

434
00:28:04,344 --> 00:28:07,481
There was also the Mexican
band Víctor Jara,

435
00:28:07,506 --> 00:28:11,870
a musical group named after
this great singer, as a tribute.

436
00:28:12,696 --> 00:28:14,696
Then we toured

437
00:28:15,948 --> 00:28:19,170
different states in
the Mexican Republic.

438
00:28:20,406 --> 00:28:24,881
That was in September, 1979.

439
00:28:25,433 --> 00:28:27,433
At the end of this,

440
00:28:28,556 --> 00:28:30,621
he decided
to return to Ecuador.

441
00:28:31,278 --> 00:28:34,603
He always missed his land very much,
his beloved Uruguay.

442
00:28:35,154 --> 00:28:38,695
And I decided
to stay in Mexico.

443
00:28:41,351 --> 00:28:42,359
In Ecuador,

444
00:28:42,997 --> 00:28:47,162
Manuel Capella organized
activities in support of Uruguay.

445
00:28:47,891 --> 00:28:49,594
In 1980,

446
00:28:49,901 --> 00:28:55,214
as part of the Ecuadorian
Days of Solidarity with Uruguay,

447
00:28:55,666 --> 00:28:59,290
Alfredo Zitarrosa performed
in theaters in Quito,

448
00:28:59,315 --> 00:29:02,023
Ambato and Guayaquil.

449
00:29:03,237 --> 00:29:05,866
Along Zitarrosa, other artists
performed, taking turns:

450
00:29:06,161 --> 00:29:11,053
Manuel Capella, El Galpón,
and Camerata Punta del Este.

451
00:29:12,112 --> 00:29:16,734
Wilson Ferreira Aldunate also
participated in the events.

452
00:29:46,912 --> 00:29:50,655
Oh, to the red scarf dreaming
on top of a four,

453
00:29:51,663 --> 00:29:55,278
Oh, to the red scarf
like a bleeding dove.

454
00:29:56,343 --> 00:30:00,220
With red eyes, a red scarf crying

455
00:30:00,425 --> 00:30:05,436
and biting the doubt,
the death that is doubting.

456
00:30:09,491 --> 00:30:12,484
Not always does the dead die,

457
00:30:12,508 --> 00:30:15,955
the dead doesn't always die.

458
00:30:16,579 --> 00:30:19,629
It doesn't die, nobody kills,

459
00:30:19,653 --> 00:30:23,487
when the people don't want it.

460
00:30:23,532 --> 00:30:26,334
Oh, oh, oh the red scarf,

461
00:30:26,359 --> 00:30:30,403
dreaming on top of a four.

462
00:30:30,551 --> 00:30:33,466
Oh, oh, oh to the red scarf,

463
00:30:33,491 --> 00:30:37,552
like a bleeding dove.

464
00:30:37,863 --> 00:30:40,796
Gray-haired brown hair,

465
00:30:41,287 --> 00:30:44,438
with a Venezuelan wind,

466
00:30:44,827 --> 00:30:47,481
like a flag in the sky,

467
00:30:47,505 --> 00:30:51,462
next to the sister skies.

468
00:30:51,811 --> 00:30:54,373
Like a flag in the sky,

469
00:30:54,398 --> 00:30:58,181
like wood here below,

470
00:30:58,674 --> 00:31:01,606
in the middle of the voices,

471
00:31:01,630 --> 00:31:05,233
that carry him away.

472
00:31:05,353 --> 00:31:08,258
Oh, oh, oh to the red scarf,

473
00:31:08,283 --> 00:31:11,996
dreaming on top of a four.

474
00:31:12,396 --> 00:31:15,342
Oh, oh, oh to the red scarf,

475
00:31:15,367 --> 00:31:19,430
like a bleeding dove.

476
00:31:19,707 --> 00:31:22,984
News with a hoarse voice,

477
00:31:23,257 --> 00:31:26,344
and an unbuttoned shirt,

478
00:31:26,762 --> 00:31:29,915
saying the foot has died,

479
00:31:30,058 --> 00:31:33,193
but the boots still walk.

480
00:31:33,727 --> 00:31:36,817
Neighbor, pour me a "stick",

481
00:31:36,842 --> 00:31:40,051
to sink into my chest,

482
00:31:40,657 --> 00:31:43,066
here a singer sings to me,

483
00:31:43,090 --> 00:31:47,363
his chest in my open chest.

484
00:32:00,692 --> 00:32:03,626
Oh, oh, oh to the red scarf,

485
00:32:03,651 --> 00:32:07,345
dreaming on top of a four.

486
00:32:07,671 --> 00:32:10,503
Oh, oh, oh to the red scarf,

487
00:32:10,564 --> 00:32:14,592
like a bleeding dove.

488
00:32:14,823 --> 00:32:18,087
Red scarf with dreams,

489
00:32:18,611 --> 00:32:21,703
a four and a song
of heritage,

490
00:32:22,025 --> 00:32:24,417
for all the scarves,

491
00:32:24,442 --> 00:32:28,106
that are forming the fire!

492
00:32:28,735 --> 00:32:31,715
Not always does the dead die,

493
00:32:31,740 --> 00:32:35,217
the dead doesn't always die.

494
00:32:35,650 --> 00:32:38,475
It doesn't die, nobody kills,

495
00:32:38,475 --> 00:32:42,129
when the people don't want it.

496
00:32:42,154 --> 00:32:45,063
Oh, oh, oh the red scarf,

497
00:32:45,088 --> 00:32:48,883
bleeding out in the spring.

498
00:32:49,282 --> 00:32:54,842
Oh, oh, oh to the red scarf.

499
00:32:55,523 --> 00:32:57,632
And the four,

500
00:32:57,656 --> 00:33:05,515
Ali Primera's.

501
00:33:11,054 --> 00:33:16,107
Manuel arrived in Guayaquil.
It was one of those things in life,

502
00:33:17,458 --> 00:33:22,254
the person who introduced me
or who first told me about Manuel,

503
00:33:22,562 --> 00:33:25,769
was a former president
of Ecuador, Jamil Mahuad,

504
00:33:26,221 --> 00:33:28,221
that's how my friendship
with Manuel began.

505
00:33:28,830 --> 00:33:32,579
I sang in a club where
we played Latin American music,

506
00:33:33,183 --> 00:33:36,119
and Jamil Mahuad took Manuel
and introduced me.

507
00:33:36,144 --> 00:33:39,133
That was the beginning
of a friendship,

508
00:33:39,157 --> 00:33:40,725
a strong fraternity.

509
00:33:41,445 --> 00:33:45,344
I'm talking about 1976,

510
00:33:45,369 --> 00:33:48,042
something like that,
'75 or '76

511
00:33:48,475 --> 00:33:53,506
and that allowed us to create
the <i>peña</i> Our America".

512
00:33:54,835 --> 00:33:57,233
Many artists were a part of that,

513
00:33:57,258 --> 00:34:01,437
Alfredo Zitarrosa himself,
Tito Fernández, from Chile,

514
00:34:01,720 --> 00:34:04,374
Illapu were there too,
well...

515
00:34:05,264 --> 00:34:09,265
the main acts,
Los Olimareños too.

516
00:34:10,164 --> 00:34:12,665
At that time, the <i>Peñas</i>
began in Ecuador,

517
00:34:12,690 --> 00:34:15,161
starting more or less
after Manuel's arrival.

518
00:34:15,185 --> 00:34:17,816
Manuel arrived in Ecuador in '76.

519
00:34:18,619 --> 00:34:23,455
And almost everyone who was in exile
at that time sang there,

520
00:34:23,480 --> 00:34:25,575
well, it was terrible,

521
00:34:25,599 --> 00:34:30,059
Chileans, Uruguayans,
Argentineans, Bolivians.

522
00:34:30,355 --> 00:34:33,412
We had met him in '76,

523
00:34:33,561 --> 00:34:38,525
and as "Pueblo Nuevo" we played
clubs in Loja -our city of origin-

524
00:34:38,836 --> 00:34:43,683
and the first time I met Manuel,
it was because we took him to Loja.

525
00:34:43,708 --> 00:34:48,613
He sang in Loja many times,
that's how our friendship began.

526
00:34:48,638 --> 00:34:51,827
We started recording
songs by him.

527
00:34:52,333 --> 00:34:57,705
On our first album, in 1981,
we recorded "La guitarra pueblera".

528
00:35:00,186 --> 00:35:02,627
Your sign as a savior...

529
00:35:02,652 --> 00:35:06,445
With Manuel, we played
some international festivals.

530
00:35:06,916 --> 00:35:11,105
We went to Venezuela for
the Bolivarian Song Festival.

531
00:35:11,841 --> 00:35:13,218
We went to Nicaragua,

532
00:35:13,242 --> 00:35:18,157
for the Second Festival of the
New Latin American Song.

533
00:35:18,480 --> 00:35:23,910
He was also here in 1984
in the third festival held in Quito.

534
00:35:26,265 --> 00:35:30,658
Manuel Capella participated in
the Solidarity Days with Uruguay,

535
00:35:30,683 --> 00:35:34,655
in the May Cultural Days of the
Provincial Council of Pichincha,

536
00:35:34,830 --> 00:35:39,420
at  Sucre, Bolívar
and Universitario theaters.

537
00:35:39,787 --> 00:35:44,218
That included Alfredo Zitarrosa,
Los Olimareños,

538
00:35:44,243 --> 00:35:48,751
Camerata Punta del Este and
El Galpón Drama Company.

539
00:35:49,037 --> 00:35:53,485
♪ And no one is surprised, ♪

540
00:35:53,633 --> 00:35:57,729
♪ by your immortal projection. ♪

541
00:35:57,970 --> 00:36:01,757
♪ Because the revolution, ♪

542
00:36:02,230 --> 00:36:06,138
♪ that wanted to be led by you, ♪

543
00:36:06,235 --> 00:36:10,493
♪ is much greater than your death, ♪

544
00:36:10,800 --> 00:36:16,567
♪ your beautiful resurrection. ♪

545
00:36:21,197 --> 00:36:23,197
Friends will have
a few more wrinkles,

546
00:36:23,798 --> 00:36:26,489
their soles possibly
more worn,

547
00:36:27,115 --> 00:36:29,321
which means they learned more
along the road.

548
00:36:30,107 --> 00:36:33,780
I still keep the old shoes
that once took a walk with you

549
00:36:34,273 --> 00:36:36,372
to discover together,
a bit more of life,

550
00:36:36,953 --> 00:36:39,117
leaving February behind,
carrying inside

551
00:36:39,148 --> 00:36:40,179
some unfinished wine,

552
00:36:40,565 --> 00:36:43,096
for when our lips
return from the desert.

553
00:36:44,143 --> 00:36:46,297
Perhaps one day
the Book Fair will be held

554
00:36:46,322 --> 00:36:47,851
at the Municipality again.

555
00:36:48,608 --> 00:36:50,608
Our kids all grown up,
perhaps we'll say:

556
00:36:51,208 --> 00:36:52,508
"Hey, there, old man".

557
00:36:53,228 --> 00:36:54,389
"Staying young, uh?"

558
00:36:55,773 --> 00:36:56,811
I don't know.

559
00:36:58,142 --> 00:36:59,674
Life gives us new people.

560
00:37:00,123 --> 00:37:01,505
But old people don't leave.

561
00:37:02,796 --> 00:37:04,618
We keep each other,
just with our hearts,

562
00:37:04,643 --> 00:37:06,830
and if we have
an inclination towards grey,

563
00:37:07,288 --> 00:37:08,814
let it be the grey of tango,

564
00:37:09,712 --> 00:37:10,996
not that of the fog.

565
00:37:13,654 --> 00:37:15,603
It must be hot there
these days.

566
00:37:16,966 --> 00:37:18,954
Here I come,
to tell you,

567
00:37:19,706 --> 00:37:23,735
that exiles
are part of nostalgia,

568
00:37:25,489 --> 00:37:28,660
but that even behind
the black color of death,

569
00:37:29,299 --> 00:37:34,088
the brides still wait
for the eternal youth of justice,

570
00:37:35,903 --> 00:37:40,033
and that, step by step,
man by man, country by country,

571
00:37:40,371 --> 00:37:42,287
we will recover,

572
00:37:43,270 --> 00:37:44,800
the time of wine,

573
00:37:45,999 --> 00:37:47,719
of roses,

574
00:37:48,026 --> 00:37:50,957
of friends, of love,

575
00:37:51,970 --> 00:37:53,413
of freedom.

576
00:37:55,088 --> 00:37:56,089
Quito,

577
00:37:56,805 --> 00:37:59,241
November, 1976.

578
00:38:00,235 --> 00:38:02,942
That time doesn't pass us by
is such a beautiful thing.

579
00:38:04,359 --> 00:38:08,299
May it stay in us forever,
may go ahead and live,

580
00:38:08,901 --> 00:38:09,999
in tenderness.

581
00:38:11,616 --> 00:38:13,093
I'm looking for a port.

582
00:38:13,744 --> 00:38:15,077
Who are they?

583
00:38:15,670 --> 00:38:16,994
♪ I want to return, ♪

584
00:38:18,147 --> 00:38:20,349
♪ to your bars. ♪

585
00:38:21,507 --> 00:38:23,276
♪ I want to return, ♪

586
00:38:24,178 --> 00:38:26,815
♪ to your Carnival. ♪

587
00:38:27,783 --> 00:38:30,858
In 1971, my second album
was released,

588
00:38:31,091 --> 00:38:34,866
the first one as a soloist:
Se trata de caminar.

589
00:38:36,071 --> 00:38:39,635
Then I began recording another one
with Víctor Manuel Pedemonte,

590
00:38:39,660 --> 00:38:42,672
that was going to be called
"Canciones para habitantes".

591
00:38:43,747 --> 00:38:45,992
But the inhabitants were left
without songs,

592
00:38:47,080 --> 00:38:49,402
because the master tape
disappeared.

593
00:38:49,891 --> 00:38:53,007
I was in Cuba,
at the Youth Festival.

594
00:38:54,071 --> 00:38:55,243
In Central America.

595
00:38:56,493 --> 00:38:58,769
In December, 1978 in Panama,

596
00:38:59,284 --> 00:39:01,750
with Numa Moraes
and Zitarrosa.

597
00:39:02,154 --> 00:39:05,920
♪ Now is the time to walk. ♪

598
00:39:06,275 --> 00:39:09,932
♪ Now it's about walking the walk. ♪

599
00:39:10,476 --> 00:39:15,004
♪ Now is the time to walk. ♪

600
00:39:16,074 --> 00:39:22,139
♪ Now it's about walking the walk. ♪

601
00:39:24,899 --> 00:39:27,608
Remember that little job
we did in Lima,

602
00:39:28,119 --> 00:39:31,423
when you said
a lot of nice things,

603
00:39:31,827 --> 00:39:33,812
and I went about
the <i>milongas</i>?

604
00:39:34,262 --> 00:39:35,571
Of course you remember!

605
00:39:36,222 --> 00:39:39,952
Well, it so happens that I,
the nostalgia archivist,

606
00:39:40,351 --> 00:39:43,291
relaunched it,
and the anecdote follows:

607
00:39:44,009 --> 00:39:47,354
The Argentinean band Siripo
spent some time here.

608
00:39:47,784 --> 00:39:49,723
We started to work together,

609
00:39:50,320 --> 00:39:53,928
with the work we called,
actually, I called

610
00:39:54,327 --> 00:39:56,306
"To hit on silences".

611
00:39:57,041 --> 00:39:58,651
But it didn't end there.

612
00:39:59,264 --> 00:40:01,412
We recorded it on tape,

613
00:40:01,666 --> 00:40:06,296
which is now going around the world,
hoping to become a record.

614
00:40:08,274 --> 00:40:09,378
The city...

615
00:40:09,964 --> 00:40:11,544
is a huge monster,

616
00:40:11,804 --> 00:40:13,910
where people
lose their horizon.

617
00:40:14,640 --> 00:40:19,013
The city with its icy lights,
many buildings and little sky.

618
00:40:19,648 --> 00:40:21,954
The city with its lives,
marked,

619
00:40:22,375 --> 00:40:25,829
is sometimes found
in the gaze of blue girls,

620
00:40:26,023 --> 00:40:27,348
with grey men,

621
00:40:27,722 --> 00:40:29,853
of old retirees
with kids.

622
00:40:30,658 --> 00:40:31,716
The city,

623
00:40:31,903 --> 00:40:33,692
employees and workers,

624
00:40:34,287 --> 00:40:36,903
is like a ship
seeking a port.

625
00:40:37,792 --> 00:40:40,099
The city breathing hope,

626
00:40:40,359 --> 00:40:42,359
eyes set on each house.

627
00:40:43,128 --> 00:40:45,291
The city hides when it rains,

628
00:40:45,659 --> 00:40:47,991
and then it's sadness
what moves,

629
00:40:48,215 --> 00:40:52,013
traveler of nightclubs
and suburbs of rats,

630
00:40:52,567 --> 00:40:56,549
where some child
dreams under a sky of tin.

631
00:40:57,435 --> 00:40:58,603
The city...

632
00:40:59,132 --> 00:41:00,535
is a history book:

633
00:41:01,217 --> 00:41:04,379
much reminiscing,
not much memory.

634
00:41:05,119 --> 00:41:08,665
File made of dust,
where so many wait,

635
00:41:08,926 --> 00:41:10,926
after a hundred winters,

636
00:41:11,762 --> 00:41:12,878
the return of spring.

637
00:41:13,743 --> 00:41:16,839
The truth is I'm traveling
to the coast often.

638
00:41:17,345 --> 00:41:19,339
In other words,
as I say, to Guayaquil,

639
00:41:19,439 --> 00:41:21,520
with better options
for this sad singer

640
00:41:21,544 --> 00:41:23,625
somewhat exhausted
in this area.

641
00:41:24,665 --> 00:41:26,581
There are rough winds around here,

642
00:41:26,999 --> 00:41:28,612
when it comes to work.

643
00:41:29,698 --> 00:41:32,645
I was working in the old <i>Peña</i>
"Nuestra América",

644
00:41:32,822 --> 00:41:35,862
but things got messed up
and there is no money to spare,

645
00:41:36,222 --> 00:41:37,963
so from this month on,
I decided

646
00:41:38,411 --> 00:41:40,568
to return to my privilege
as a recital singer,

647
00:41:41,531 --> 00:41:43,185
and that helped me recharge,

648
00:41:43,575 --> 00:41:45,536
and I already have
something sorted out.

649
00:41:46,545 --> 00:41:48,003
The last one was in Ambato,

650
00:41:48,629 --> 00:41:51,497
a city near Quito, where I sang
a couple of days ago.

651
00:41:52,511 --> 00:41:55,891
The question is whether or not
one can make a living with music.

652
00:41:56,572 --> 00:41:58,462
We'll see what fate
has in store for us.

653
00:41:59,424 --> 00:42:01,178
Then the other possibility
is to work

654
00:42:01,202 --> 00:42:03,127
on something that
doesn't suck too much

655
00:42:03,324 --> 00:42:06,896
and keep singing as the usual
big extra income.

656
00:42:08,260 --> 00:42:09,721
More or less like in Uruguay.

657
00:42:12,213 --> 00:42:14,556
♪ I am from the south, ♪

658
00:42:14,803 --> 00:42:19,123
♪ of the American continent. ♪

659
00:42:21,100 --> 00:42:23,793
♪ I carry in my voice, ♪

660
00:42:23,948 --> 00:42:28,686
♪ the song of my brothers. ♪

661
00:42:29,875 --> 00:42:32,433
♪ People who go, ♪

662
00:42:32,531 --> 00:42:37,931
♪ their eyes set on the future, ♪

663
00:42:38,772 --> 00:42:41,308
♪ knowing that ♪

664
00:42:41,565 --> 00:42:45,927
♪ borders are not walls. ♪

665
00:42:46,256 --> 00:42:48,096
In Venezuela,
he also recorded

666
00:42:48,120 --> 00:42:50,726
"Cuentocanto of Da. Manuela
and Dn. Simón",

667
00:42:51,508 --> 00:42:55,303
dedicated to Manuela Sáenz,

668
00:42:55,836 --> 00:42:58,168
and Simón Bolívar,

669
00:42:58,380 --> 00:42:59,944
which was recorded
in Venezuela.

670
00:43:00,571 --> 00:43:02,571
Manuel did research,

671
00:43:02,914 --> 00:43:06,395
both on Manuela Sáenz
and Simón Bolívar.

672
00:43:06,726 --> 00:43:09,887
♪ They tell that they tell, ♪

673
00:43:10,776 --> 00:43:13,137
♪ what history books ♪

674
00:43:13,206 --> 00:43:17,840
♪ don't tell, which also tell. ♪

675
00:43:18,524 --> 00:43:22,741
♪ They say they say, ♪
♪ people say, ♪

676
00:43:23,111 --> 00:43:27,423
♪ that it was around ♪
♪ June '22. ♪

677
00:43:27,838 --> 00:43:32,291
♪ when at a dance ♪
♪ with great grace, ♪

678
00:43:32,470 --> 00:43:36,937
♪ Manuela was seen ♪
♪ with Don Simón. ♪

679
00:43:37,292 --> 00:43:41,744
♪ He was a dream ♪
♪ full of commitment, ♪

680
00:43:41,962 --> 00:43:46,205
♪ a dazzling man ♪
♪ from Caracas; ♪

681
00:43:46,640 --> 00:43:51,036
♪ and she, the beautiful, ♪
♪ crazy star, ♪

682
00:43:51,257 --> 00:43:54,861
♪ that entered his sky ♪
♪ and dazzled him. ♪

683
00:43:54,886 --> 00:43:59,311
The Outes was a bar
that really left a mark on us.

684
00:43:59,824 --> 00:44:02,333
It was at the corner of Mercedes
and Yaguarón St.

685
00:44:02,873 --> 00:44:04,845
That was where
some key characters

686
00:44:05,323 --> 00:44:07,789
in culture and music
would hang out.

687
00:44:08,482 --> 00:44:11,439
You could meet Alfredo
Zitarrosa, or Capagorry,

688
00:44:12,409 --> 00:44:15,557
Nacho Suárez, or Juceca…

689
00:44:15,981 --> 00:44:18,300
It was something
really wonderful.

690
00:44:18,651 --> 00:44:20,324
Many friendships.

691
00:44:20,532 --> 00:44:24,961
And well, that definitely marked us
for the rest of our lives.

692
00:44:26,335 --> 00:44:28,938
♪ Today the veteran, ♪

693
00:44:29,194 --> 00:44:33,231
♪ the face painted ♪
♪ in the colors of February ♪

694
00:44:33,256 --> 00:44:36,141
♪ says goodbye. ♪

695
00:44:36,277 --> 00:44:40,030
♪ The <i>murga</i> embraces his song: ♪

696
00:44:40,269 --> 00:44:44,082
♪ the farewell of his voice. ♪

697
00:44:44,163 --> 00:44:46,552
♪ And here, in the front row, ♪

698
00:44:46,673 --> 00:44:51,501
♪ there is a kid dreaming ♪
♪ of a song, ♪

699
00:44:51,787 --> 00:44:54,335
♪ dreaming of becoming ♪
♪ a <i>murguista</i>, ♪

700
00:44:54,565 --> 00:44:57,018
♪ just like his father, ♪

701
00:44:57,043 --> 00:45:02,046
♪ who never took the paint ♪
♪ off his face. ♪

702
00:45:02,323 --> 00:45:07,249
♪ And the painted face looks ♪
♪ at him from inside, ♪

703
00:45:07,356 --> 00:45:09,856
♪ and does not follow ♪
♪ the script, ♪

704
00:45:09,941 --> 00:45:13,693
♪ and invites him ♪
♪ up on stage: ♪

705
00:45:13,718 --> 00:45:18,186
♪ "Come, kid, sing with your dad" ♪

706
00:45:18,538 --> 00:45:21,059
♪ "The one with the <i>murga</i>, ♪
♪ the one leaving now" ♪

707
00:45:21,140 --> 00:45:25,043
♪ "the one leaving his place ♪
♪ to you". ♪

708
00:45:25,313 --> 00:45:29,940
♪ Come, let Carnival never die. ♪

709
00:45:30,075 --> 00:45:31,075
More news:

710
00:45:31,490 --> 00:45:33,772
we moved houses and now,

711
00:45:34,467 --> 00:45:36,903
we have space
and no stairs to climb.

712
00:45:37,502 --> 00:45:39,566
But do you know how hard it was
to get set up?

713
00:45:40,371 --> 00:45:42,442
Here we are, with
the reverse fat man,

714
00:45:42,466 --> 00:45:44,480
working hard at
the hammer and the rasp,

715
00:45:44,548 --> 00:45:49,670
screwdriver and other utensils
of the post-Inca culture.

716
00:45:50,138 --> 00:45:51,947
News came from Germany,

717
00:45:51,971 --> 00:45:56,088
praising Uruguay for the exhibition
of Walter Tournier's short film.

718
00:45:56,392 --> 00:45:58,392
We were really happy,
and bought some wine.

719
00:45:59,131 --> 00:46:02,991
Now he got me to type
his University notes,

720
00:46:03,016 --> 00:46:05,205
and here I am,
working my fingers off.

721
00:46:06,470 --> 00:46:08,897
We made a table that looks
like the Kon-tiki.

722
00:46:09,268 --> 00:46:12,984
It's huge and to ask for salt,
you need a megaphone.

723
00:46:13,781 --> 00:46:18,288
Yesterday, Rafael came and with
the cockroaches, spiders,

724
00:46:18,313 --> 00:46:21,703
centipedes and other domestic
species so abundant here,

725
00:46:22,159 --> 00:46:25,839
we hit hard on beer, wine,
pisco, vermouth, bleach,

726
00:46:26,082 --> 00:46:29,333
and other spirits
we found on our way.

727
00:46:29,795 --> 00:46:34,124
After the Coup
on 27 June 1973,

728
00:46:34,769 --> 00:46:36,653
Capella left our country,

729
00:46:36,653 --> 00:46:40,014
and traveled to various countries
in Europe and Latin America,

730
00:46:40,404 --> 00:46:42,936
settling permanently
in Ecuador,

731
00:46:43,366 --> 00:46:45,605
in 1976.

732
00:46:46,203 --> 00:46:49,127
In the middle of our exile
I met him in Managua,

733
00:46:49,152 --> 00:46:52,723
in Sandinista Nicaragua
back in April 1983,

734
00:46:52,954 --> 00:46:54,216
that Nicaragua,

735
00:46:54,593 --> 00:46:57,709
where during a work break
we were able to talk.

736
00:46:57,929 --> 00:47:01,886
From Nicaragua, a thought from
you for our country, Uruguay.

737
00:47:03,535 --> 00:47:07,752
From Nicaragua and from any point
in Latin America and the world,

738
00:47:08,611 --> 00:47:12,719
I could think that, like you
or any other Uruguayan,

739
00:47:13,230 --> 00:47:15,912
I'd say we are convinced,
we have the certainty

740
00:47:16,286 --> 00:47:18,579
that, again, sooner
rather than later,

741
00:47:18,604 --> 00:47:20,282
we'll return
to our country,

742
00:47:20,307 --> 00:47:23,243
we'll return to our native land,
we'll join the fight there,

743
00:47:23,415 --> 00:47:26,212
whatever forms of struggle
we may have to face,

744
00:47:26,809 --> 00:47:29,262
to try to recover
our lost freedom,

745
00:47:29,287 --> 00:47:34,031
our rights, our democracy,
our justice, our heritage,

746
00:47:34,056 --> 00:47:37,282
that continues to exist
despite these hard years of fascism,

747
00:47:37,515 --> 00:47:39,541
our culture, which they
weren't able to destroy,

748
00:47:39,566 --> 00:47:41,932
our singing,
which has not ceased,

749
00:47:41,957 --> 00:47:45,692
and that continues to stand firm,
upright, more certain than ever.

750
00:47:47,119 --> 00:47:50,757
♪ From the bottom of Las Segovias, ♪

751
00:47:50,914 --> 00:47:54,537
♪ the General ♪
♪ of steel returns. ♪

752
00:47:54,971 --> 00:47:58,501
♪ He carries a star ♪
♪ on his shoulder, ♪

753
00:47:58,662 --> 00:48:02,452
♪ and in his hand ♪
♪ a well-aimed rifle. ♪

754
00:48:03,612 --> 00:48:04,626
You see,

755
00:48:05,299 --> 00:48:07,576
only now I get the energy,

756
00:48:07,952 --> 00:48:11,479
to attempt a proper letter.

757
00:48:12,874 --> 00:48:13,883
Here,

758
00:48:14,759 --> 00:48:17,191
already at the end
of this 1980,

759
00:48:18,698 --> 00:48:21,744
which showed
its sharp teeth,

760
00:48:23,002 --> 00:48:26,312
I try to overcome
the traditional nostalgia

761
00:48:26,773 --> 00:48:29,092
of the so-called
traditional festivities.

762
00:48:29,968 --> 00:48:32,859
And among so many dear things,

763
00:48:33,480 --> 00:48:36,829
still hanging on the back
of our small country,

764
00:48:37,684 --> 00:48:39,032
I remember them often.

765
00:48:40,271 --> 00:48:42,187
Because it so happens
that we,

766
00:48:42,493 --> 00:48:46,889
who don't have a country
used to long distances,

767
00:48:47,311 --> 00:48:51,028
when kilometers are counted
by the thousands,

768
00:48:51,622 --> 00:48:55,380
we begin to want
more and more,

769
00:48:55,985 --> 00:49:00,709
and the people fundamental
to us grow bigger and bigger,

770
00:49:01,365 --> 00:49:03,000
and longing for a hug.

771
00:49:14,655 --> 00:49:16,123
♪ Pablo, ♪

772
00:49:16,684 --> 00:49:19,724
♪ if I tell you I've been singing ♪
♪ to you for a long time, ♪

773
00:49:19,749 --> 00:49:24,309
♪ however, I don't get tired ♪
♪ of naming you in my song. ♪

774
00:49:25,639 --> 00:49:27,354
♪ You know? ♪

775
00:49:27,990 --> 00:49:31,943
♪ Only sometimes I am the wind ♪
♪ when I sing for your breath, ♪

776
00:49:31,968 --> 00:49:35,021
♪ and I'm in your heart. ♪

777
00:49:36,239 --> 00:49:38,093
♪ Little friend, ♪

778
00:49:39,303 --> 00:49:42,261
♪ who is always with me, ♪

779
00:49:42,748 --> 00:49:45,911
♪ a shadow within me, ♪

780
00:49:46,489 --> 00:49:49,662
♪ a shadow like a sun, ♪

781
00:49:50,340 --> 00:49:53,496
♪ and a path, ♪

782
00:49:53,796 --> 00:49:57,160
♪ beyond my destination, ♪

783
00:49:57,402 --> 00:50:01,159
♪ the beginning of my end, ♪

784
00:50:02,111 --> 00:50:04,795
♪ Pablo Martín. ♪

785
00:50:15,525 --> 00:50:16,682
♪ I dream... ♪

786
00:50:17,708 --> 00:50:20,386
♪ of your river
entering my blood, ♪

787
00:50:20,459 --> 00:50:24,333
♪ in a toy boat, carrying♪
♪ happiness away. ♪

788
00:50:26,292 --> 00:50:27,546
♪ Pablo... ♪

789
00:50:28,538 --> 00:50:32,944
♪ you will become the horizon, ♪
and my voice, tenderness trembles ♪

790
00:50:33,109 --> 00:50:35,439
♪ when you call me: dad! ♪

791
00:50:36,635 --> 00:50:38,677
♪ Little friend, ♪

792
00:50:39,569 --> 00:50:42,421
♪ who is always with me, ♪

793
00:50:43,176 --> 00:50:46,316
♪ a shadow within me, ♪

794
00:50:46,782 --> 00:50:49,818
♪ a shadow like a sun, ♪

795
00:50:50,649 --> 00:50:53,767
♪ and a path, ♪

796
00:50:54,006 --> 00:50:57,323
♪ beyond my destination, ♪

797
00:50:57,681 --> 00:51:01,868
♪ the beginning of my end: ♪

798
00:51:02,424 --> 00:51:06,304
♪ Pablo Martin. ♪

799
00:51:11,031 --> 00:51:14,023
What the heck,
we moved again,

800
00:51:14,223 --> 00:51:17,265
and now we are
in this unbelievable apartment

801
00:51:17,523 --> 00:51:19,179
with a fireplace and all,

802
00:51:19,252 --> 00:51:22,515
bedrooms everywhere,
water leaks, cockroaches,

803
00:51:22,540 --> 00:51:25,386
doors that don't close
and lots of broken glass.

804
00:51:25,534 --> 00:51:27,603
Very, very cute,
very human.

805
00:51:28,196 --> 00:51:30,884
For now, it's a return trip,
but not to Uruguay.

806
00:51:30,909 --> 00:51:32,587
Where are you
returning to, Manuel?

807
00:51:32,644 --> 00:51:34,695
I'm residing in
Ecuador, Daniel,

808
00:51:34,719 --> 00:51:36,712
I've been there
for almost seven years.

809
00:51:37,184 --> 00:51:40,181
Maybe it was a coincidence,
when I left Uruguay,

810
00:51:40,206 --> 00:51:42,664
I was in Argentina, in Bolivia,
I went up to Peru,

811
00:51:43,079 --> 00:51:46,102
I went to Ecuador.
I intended to continue,

812
00:51:46,127 --> 00:51:48,757
but well, life has its own way,
and I stayed there.

813
00:51:48,782 --> 00:51:50,859
A beautiful place,
dear people, really.

814
00:51:50,884 --> 00:51:54,017
At this point,
to put it frankly,

815
00:51:54,042 --> 00:51:56,149
I had some roots there,

816
00:51:56,485 --> 00:52:00,981
but in any case, and not to dismiss
this great act of solidarity

817
00:52:01,005 --> 00:52:03,989
the Ecuadorian people had for me,
the country where I live,

818
00:52:04,446 --> 00:52:06,875
I will return, I will return
to Ecuador for now,

819
00:52:07,080 --> 00:52:09,726
but my goal
is definitely Uruguay,

820
00:52:09,751 --> 00:52:12,135
our beloved,
ever closer Uruguay.

821
00:52:13,002 --> 00:52:16,343
In Ecuador, Manuel Capella
spent nine years.

822
00:52:16,886 --> 00:52:19,914
He created numerous works
and did several recordings,

823
00:52:20,186 --> 00:52:23,122
he created bonds
with many local musicians.

824
00:52:23,423 --> 00:52:26,467
Galician, in some other life,

825
00:52:27,014 --> 00:52:28,495
must have been
Guayasamín's son,

826
00:52:28,520 --> 00:52:30,184
because his affection for him,

827
00:52:30,209 --> 00:52:33,473
and the tolerance he had
with Galician knew no bounds.

828
00:52:33,498 --> 00:52:37,524
Guayasamín, knowing Galician
was about to make a record,

829
00:52:37,719 --> 00:52:40,506
said to him: "Manolito,
let me make the cover."

830
00:52:41,380 --> 00:52:43,607
Galician asked if he could make
a set of drums.

831
00:52:44,161 --> 00:52:47,403
Guayasamin said he could not.
"Thanks, let's leave it at that."

832
00:52:48,201 --> 00:52:51,124
I look at him:
"Galician, you're crazy".

833
00:52:51,736 --> 00:52:55,588
"If he can't draw drums,
he can stick to his doodles".

834
00:52:55,979 --> 00:52:56,979
No, no.

835
00:52:57,388 --> 00:52:59,296
That was Manuel Capella.

836
00:52:59,501 --> 00:53:01,960
If Manolito were here
to talk to him,

837
00:53:02,756 --> 00:53:05,007
because one can't
just talk to anyone,

838
00:53:06,126 --> 00:53:09,793
expose yourself
completely,

839
00:53:10,568 --> 00:53:11,568
you know?

840
00:53:11,975 --> 00:53:14,246
So I say, musicians,
there are many.

841
00:53:15,121 --> 00:53:18,637
People who listen to you, love you,
open their heart to you,

842
00:53:18,662 --> 00:53:21,536
who...

843
00:53:22,420 --> 00:53:25,976
who open the doors of their house
to you like Manolo and Gilda did,

844
00:53:26,685 --> 00:53:27,701
there aren't many.

845
00:53:29,909 --> 00:53:31,659
You can count them
with your fingers,

846
00:53:32,513 --> 00:53:33,651
if you're lucky.

847
00:53:40,029 --> 00:53:41,368
Laying next to you,

848
00:53:42,142 --> 00:53:44,649
and seeing the road
has blooming jasmines;

849
00:53:45,769 --> 00:53:47,248
feeling in your hands,

850
00:53:48,028 --> 00:53:51,158
the nests of five bright stars.

851
00:53:51,934 --> 00:53:55,271
And in your mature word, the music,

852
00:53:55,473 --> 00:53:58,641
where the blowing wind matures,
and erases the tracks.

853
00:53:59,304 --> 00:54:01,215
The scars of the old tree.

854
00:54:02,546 --> 00:54:04,143
Friend of my hope,

855
00:54:04,486 --> 00:54:06,282
dove showing the sky:

856
00:54:07,099 --> 00:54:11,329
Your singing with the joy
of a sailor reaching port,

857
00:54:13,310 --> 00:54:16,811
leaving behind my shoes
the alleys filled with fear,

858
00:54:17,393 --> 00:54:20,937
where the night stumbles
with the ghosts of dead loves,

859
00:54:22,008 --> 00:54:25,835
and walking under your touch that
rescues me from so much winter

860
00:54:26,633 --> 00:54:30,782
to take me towards the river
reflected in your kind eyes.

861
00:54:31,708 --> 00:54:33,353
Friend of my hope,

862
00:54:33,918 --> 00:54:35,810
dove showing the sky:

863
00:54:36,475 --> 00:54:41,163
Your singing, with the joy
of a sailor touching port,

864
00:54:42,711 --> 00:54:43,898
your name,

865
00:54:44,374 --> 00:54:48,011
is like a sun burning sadness
into handkerchiefs.

866
00:54:49,304 --> 00:54:51,580
Your name, girl, friend,

867
00:54:52,152 --> 00:54:54,478
opens up for me
futures of an open sea,

868
00:54:55,476 --> 00:55:00,090
and in your smile, I discover
the horizon becomes whole,

869
00:55:01,007 --> 00:55:05,285
to show me the sunrise
where life is dawning.

870
00:55:06,358 --> 00:55:10,729
Friend of my hope,
dove showing the sky.

871
00:55:11,512 --> 00:55:16,173
Your singing, with the joy
of a sailor touching port.

872
00:55:22,355 --> 00:55:23,977
Manuel tells me:

873
00:55:24,047 --> 00:55:27,362
“Tomorrow night,
we're meeting here".

874
00:55:27,918 --> 00:55:30,064
"Alfredo Zitarrosa is coming".

875
00:55:30,088 --> 00:55:33,512
"A small thing, just
a few of us, that's all".

876
00:55:34,450 --> 00:55:36,258
At that time,

877
00:55:36,518 --> 00:55:40,458
we are talking about
1982, 1983,

878
00:55:40,728 --> 00:55:45,338
through Manuel, I met
Los Olimareños and Zitarrosa,

879
00:55:46,490 --> 00:55:51,086
the folks from El Galpón,
all those people there.

880
00:55:51,121 --> 00:55:52,160
So he tells me

881
00:55:53,219 --> 00:55:57,350
Alfredo doesn't like crowds,
or any of that stuff,

882
00:55:57,375 --> 00:56:00,247
so it will be brief,
and I say that's fine.

883
00:56:00,272 --> 00:56:01,581
We got there,

884
00:56:02,076 --> 00:56:05,491
and I told Negro Coco
to keep watch at the door,

885
00:56:06,980 --> 00:56:12,480
because as soon
as people there found out

886
00:56:12,761 --> 00:56:14,623
Zitarrosa was coming,

887
00:56:14,851 --> 00:56:17,994
everyone would want to get in,
so he shouldn't let anyone in.

888
00:56:18,519 --> 00:56:22,033
 "Don't let anyone in", says Manuel.
So all was fine.

889
00:56:22,907 --> 00:56:25,582
And suddenly, Coco
calls me: "Mosquito!"

890
00:56:26,966 --> 00:56:28,876
He tells me to come.
I ask what happened.

891
00:56:29,522 --> 00:56:31,774
He says there was a man outside,

892
00:56:32,751 --> 00:56:37,070
with a bottle of Ballantine's,
a gallon of Ballantine's,

893
00:56:37,095 --> 00:56:41,421
and that he can't tell him to go,
that we should let him in.

894
00:56:41,722 --> 00:56:44,216
I asked who he was,
and he shows me:

895
00:56:44,833 --> 00:56:49,423
A short gentleman,
in a suit, with a big green tie.

896
00:56:50,686 --> 00:56:54,577
There he was,
holding the gallon.

897
00:56:54,703 --> 00:56:58,014
So Coco tells him
we'll let him in,

898
00:56:58,823 --> 00:57:01,407
but he had to stay put
and keep quiet.

899
00:57:01,620 --> 00:57:05,481
And he says that perhaps
he might sing some tango,

900
00:57:05,506 --> 00:57:08,471
and Coco tells him there's
no way, no tango, no nothing.

901
00:57:08,496 --> 00:57:10,815
That he must go in
and stay quiet.

902
00:57:10,913 --> 00:57:13,859
Those were the terms,
he could take it or leave it.

903
00:57:14,358 --> 00:57:15,758
So he agreed,
said it was fine,

904
00:57:15,783 --> 00:57:18,321
and walked in,
and just stayed there.

905
00:57:18,361 --> 00:57:22,066
That Ballantines was not
an opportunity to miss.

906
00:57:23,168 --> 00:57:24,420
The next day,

907
00:57:24,918 --> 00:57:27,346
Zitarrosa performed
with his guitarists,

908
00:57:27,546 --> 00:57:30,776
at the theater square in Quito,
at the Sucre theater.

909
00:57:31,177 --> 00:57:33,177
I went with my family.

910
00:57:33,826 --> 00:57:35,444
We were all there.

911
00:57:36,526 --> 00:57:38,795
And it's time
for introductions.

912
00:57:38,980 --> 00:57:42,278
They announce Maestro Zitarrosa
will be introduced

913
00:57:42,659 --> 00:57:46,883
by the Bolivian ambassador,
who'll do the honors.

914
00:57:47,009 --> 00:57:49,404
And the man appears,

915
00:57:49,533 --> 00:57:53,358
the same man we refused
to let in the night before,

916
00:57:53,608 --> 00:57:55,939
and we told him off and all,

917
00:57:55,964 --> 00:58:00,031
that he could only get in if he kept
his mouth shut and didn't say a word.

918
00:58:00,122 --> 00:58:04,400
There are many of us who owe
a debt of gratitude,

919
00:58:04,461 --> 00:58:07,130
for what popular protest
music meant,

920
00:58:07,629 --> 00:58:09,858
as an artistic expression
of our people,

921
00:58:10,005 --> 00:58:12,530
and as a factor of resistance,

922
00:58:12,871 --> 00:58:16,228
in such hard, difficult years.

923
00:58:17,231 --> 00:58:19,814
I had the joy of knowing him,

924
00:58:20,111 --> 00:58:23,910
and another great one,
that was Wilmar López.

925
00:58:24,532 --> 00:58:27,638
Wilmar was, according to experts,

926
00:58:27,977 --> 00:58:32,417
one of the best
watercolorists in our country,

927
00:58:33,692 --> 00:58:36,788
and in his modest apartment
at the Euskal Erria complex,

928
00:58:37,098 --> 00:58:40,831
we had a <i>peña</i>
that we shared with Manuel.

929
00:58:40,959 --> 00:58:45,420
My contribution
was some occasional reading,

930
00:58:45,445 --> 00:58:50,236
of some poems
from our creole nativist poets,

931
00:58:50,466 --> 00:58:54,362
but the heart and soul
of the <i>peña</i> were Wilmar,

932
00:58:54,998 --> 00:59:00,517
drawing wonderful things,
the painter of the <i>gaucho</i> homeland,

933
00:59:01,054 --> 00:59:02,349
Manuel and me.

934
00:59:02,800 --> 00:59:05,841
Two of us supported Liverpool,
one supported Danubio.

935
00:59:06,108 --> 00:59:10,156
I was studying Archeology
in San Marcos,

936
00:59:10,627 --> 00:59:13,327
and it turns out one
of the professors,

937
00:59:13,358 --> 00:59:14,608
an Anthropologist,

938
00:59:15,399 --> 00:59:19,312
told us about
this isolated community,

939
00:59:19,337 --> 00:59:23,461
close to Lima,
but in the mountains,

940
00:59:24,051 --> 00:59:28,928
so isolated that
it had its own language:

941
00:59:29,282 --> 00:59:31,030
Jaqaru.

942
00:59:32,100 --> 00:59:36,377
Manuel and I decided
to go to that community.

943
00:59:36,931 --> 00:59:41,671
We got off at about 80, 100 km.
from Lima, in a small town.

944
00:59:41,696 --> 00:59:45,801
And from there we walked
for hours through the mountains,

945
00:59:46,141 --> 00:59:48,821
because there was
only one possible path,

946
00:59:50,062 --> 00:59:52,490
until we reached those
three small towns.

947
00:59:53,335 --> 00:59:55,796
I think the experience
Manuel and I shared,

948
00:59:56,759 --> 00:59:58,971
left a mark on us both.

949
00:59:59,468 --> 01:00:04,213
They didn't even have doctors,
no pharmacy, nothing like that.

950
01:00:04,751 --> 01:00:08,329
People approached us, Manuel and I,
with their children,

951
01:00:08,834 --> 01:00:11,654
to ask us what we could do,
if there was anything

952
01:00:11,709 --> 01:00:13,326
if there was anything
to be done,

953
01:00:13,351 --> 01:00:17,527
about the children who were dying,
for some unknown reason.

954
01:00:19,027 --> 01:00:23,767
Our helplessness, not being doctors,
was deeply moving for us,

955
01:00:23,792 --> 01:00:27,930
because we knew nothing,
we had no idea,

956
01:00:28,339 --> 01:00:32,990
we thought it could be the water
they drank from the sewers

957
01:00:33,015 --> 01:00:37,212
because there'd been a mudslide,
and the water was brownish.

958
01:00:37,578 --> 01:00:40,312
But that was the conclusion
Manuel and I came up with,

959
01:00:40,351 --> 01:00:43,187
we didn't have the slightest clue

960
01:00:43,480 --> 01:00:47,183
of what might be happening.

961
01:00:47,926 --> 01:00:49,640
And that helplessness...

962
01:00:50,261 --> 01:00:55,425
left a mark on us both,
I think, for the rest of our lives.

963
01:00:55,737 --> 01:00:57,292
Of the people we met there,

964
01:00:57,527 --> 01:01:00,891
most have dispersed
and many are in Europe.

965
01:01:02,015 --> 01:01:04,395
Víctor always writes to me
from Barcelona.

966
01:01:05,096 --> 01:01:07,096
It seems there's a great gang
over there,

967
01:01:07,416 --> 01:01:10,431
but the survival thing
looks rough, too.

968
01:01:11,477 --> 01:01:12,681
Alfredo is in Madrid,

969
01:01:13,364 --> 01:01:14,775
but feeling like Mexico.

970
01:01:15,438 --> 01:01:18,587
José is in Paris,
like Marcos and Roberto.

971
01:01:19,464 --> 01:01:22,241
Numa is in Amsterdam,
and Daniel is also in Paris.

972
01:01:22,307 --> 01:01:25,872
And here, we are all scattered,
though we meet from time to time.

973
01:01:26,946 --> 01:01:28,181
Well, dear people,

974
01:01:28,806 --> 01:01:29,834
that would be all.

975
01:01:30,806 --> 01:01:34,538
There was a lot in there,
and I feel something remains unsaid.

976
01:01:35,524 --> 01:01:37,231
An immense hug.

977
01:01:38,118 --> 01:01:39,874
We should write
more often, right?

978
01:01:40,774 --> 01:01:41,922
I love you so much.

979
01:01:42,863 --> 01:01:43,905
Manuel.

980
01:01:45,403 --> 01:01:49,459
The match is broadcast live
from Montevideo.

981
01:01:50,080 --> 01:01:53,250
Seeing the Centenario again
can give me a heart attack.

982
01:01:53,947 --> 01:01:56,438
In a few hours, we'll get together
with the gang,

983
01:01:56,697 --> 01:01:59,137
to watch the match
in full color,

984
01:01:59,432 --> 01:02:03,916
so surely there'll be
a party tonight too.

985
01:02:04,671 --> 01:02:05,671
See you later.

986
01:02:06,420 --> 01:02:10,192
Manuel resumes writing his letter
after the match.

987
01:02:11,045 --> 01:02:13,253
And here, with the victory
for the sky blue,

988
01:02:13,618 --> 01:02:18,143
night has fallen, and the rain
falls too, of course it would.

989
01:02:18,168 --> 01:02:23,188
Hey, that Paz was great.
Venancio Ramos is not far behind.

990
01:02:23,957 --> 01:02:27,317
Well, any excuse is good
to celebrate.

991
01:02:27,697 --> 01:02:30,653
We began on the 7th,
at midnight,

992
01:02:31,076 --> 01:02:34,129
and continued
on the 8th at noon.

993
01:02:34,742 --> 01:02:37,360
We're already high about
this triumph of the sky blue,

994
01:02:37,385 --> 01:02:40,847
with me, Negro Coco
and Don Gabriel,

995
01:02:41,280 --> 01:02:46,009
everyone eager for some silly
candombe, made with pots.

996
01:02:46,810 --> 01:02:51,374
All our pots here are damaged,
with all sorts of bruises and marks,

997
01:02:51,882 --> 01:02:54,996
the result of several
candombe sessions,

998
01:02:55,416 --> 01:02:57,368
stews turn out better anyway,

999
01:02:57,759 --> 01:03:00,462
and we usually scratch
the bottom of the pot,

1000
01:03:00,486 --> 01:03:03,188
with some special
sticks we made.

1001
01:03:03,714 --> 01:03:07,817
It's always like this, like today.
We were quiet watching the match,

1002
01:03:07,873 --> 01:03:10,337
when the first goal came,

1003
01:03:10,611 --> 01:03:14,525
and the liquid celebration began.

1004
01:03:15,172 --> 01:03:17,393
Immediately afterwards,
it starts to rain,

1005
01:03:17,803 --> 01:03:20,365
the lady of the house,
classic creole style,

1006
01:03:20,670 --> 01:03:22,615
begins to work
on her <i>tortafritas</i>.

1007
01:03:23,011 --> 01:03:26,191
By the second goal,
we finished the other bottle,

1008
01:03:26,553 --> 01:03:29,804
so for the second half,
we saw double.

1009
01:03:30,060 --> 01:03:33,393
Meanwhile, out there,
we exchange the daytime sun,

1010
01:03:33,418 --> 01:03:38,092
for this nostalgic, persistent
rain, persevering on the window.

1011
01:03:39,116 --> 01:03:42,464
The other member
of the household, the guitar,

1012
01:03:43,179 --> 01:03:45,648
can already see it coming,
and stares at me.

1013
01:03:46,007 --> 01:03:50,010
She looks at me mercifully,
from the traditional unmade bed,

1014
01:03:50,841 --> 01:03:53,271
for some suspicious reason
no one knows.

1015
01:03:53,697 --> 01:03:54,728
For now,

1016
01:03:54,998 --> 01:03:59,663
I'm having an exquisite,
very instant, plastic coffee.

1017
01:04:00,389 --> 01:04:03,558
Heat is coming down hard.

1018
01:04:07,230 --> 01:04:10,203
Ecuador. October,

1019
01:04:10,901 --> 01:04:13,121
1976.

1020
01:04:14,371 --> 01:04:16,371
It's 11:30 p.m.

1021
01:04:19,311 --> 01:04:22,084
Quito doesn't want to know anything
about single steps.

1022
01:04:23,884 --> 01:04:27,070
I'd been walking empty streets
and then ran into Manuel.

1023
01:04:28,782 --> 01:04:30,612
Walking through loneliness,

1024
01:04:31,543 --> 01:04:35,186
that sometimes takes the shape
of an avenue, or a memory.

1025
01:04:37,227 --> 01:04:41,529
He told me he just realized
memory is measured in blocks,

1026
01:04:42,434 --> 01:04:45,494
and that, since the city
returned his steps to him,

1027
01:04:46,536 --> 01:04:50,024
he felt selfishly happy,

1028
01:04:50,049 --> 01:04:51,912
to have, just for himself,

1029
01:04:52,705 --> 01:04:55,912
the fatigue of a stranger
on a Sunday,

1030
01:04:56,410 --> 01:04:58,121
as if it were a toy.

1031
01:05:00,258 --> 01:05:05,638
The man walked and heard a cat
meow, calling out for love.

1032
01:05:06,994 --> 01:05:08,787
He was a cat too,

1033
01:05:10,316 --> 01:05:13,134
but didn't meow.
He screamed.

1034
01:05:13,682 --> 01:05:15,959
Because that's the voice
of the lonely.

1035
01:05:16,977 --> 01:05:18,445
And to say alone,

1036
01:05:19,774 --> 01:05:20,898
and loneliness,

1037
01:05:22,083 --> 01:05:23,944
is to see, in one hand,
the void,

1038
01:05:23,968 --> 01:05:26,246
or habit of the pocket,

1039
01:05:26,271 --> 01:05:29,291
and in the other,
the cigarette,

1040
01:05:29,810 --> 01:05:32,718
that knows the path
to some lips,

1041
01:05:33,965 --> 01:05:35,261
that miss...

1042
01:05:36,417 --> 01:05:37,876
other lips.

1043
01:05:38,768 --> 01:05:40,959
I toured the countryside
in Ecuador,

1044
01:05:41,086 --> 01:05:42,878
released a record in 1981,

1045
01:05:43,268 --> 01:05:44,344
went to Colombia,

1046
01:05:44,573 --> 01:05:47,253
to Nicaragua in 1983
with Viglietti,

1047
01:05:47,594 --> 01:05:49,260
to La Paz with El Galpón,

1048
01:05:49,560 --> 01:05:50,916
and also to Venezuela,

1049
01:05:51,377 --> 01:05:55,662
where I got back in touch with
a great friend who recently died,

1050
01:05:55,997 --> 01:05:58,769
singer Ali Primera.

1051
01:05:59,546 --> 01:06:01,520
In 1984, I came to Buenos Aires,

1052
01:06:01,944 --> 01:06:03,213
but I couldn't get in.

1053
01:06:03,656 --> 01:06:05,523
I returned to Ecuador,
to Colombia,

1054
01:06:05,807 --> 01:06:10,119
and after many comings and goings,
finally set foot in Uruguay,

1055
01:06:10,536 --> 01:06:12,307
in 1985.

1056
01:06:12,356 --> 01:06:14,782
What I value most about
Capella is not only

1057
01:06:14,806 --> 01:06:17,231
his musical talent, but his
great sense of humor.

1058
01:06:17,732 --> 01:06:19,880
 He was a guy who had…

1059
01:06:19,905 --> 01:06:22,780
he was a bit like Darno
(Eduardo Darnauchans) that way,

1060
01:06:23,419 --> 01:06:25,482
he'd come up with great things
in minutes,

1061
01:06:25,593 --> 01:06:27,374
he had wonderful replies.

1062
01:06:28,641 --> 01:06:31,286
One time we were leaving IFU,
we'd been recording his album,

1063
01:06:31,311 --> 01:06:33,596
we'd brought in
some violins and cellos.

1064
01:06:34,500 --> 01:06:39,715
We went to a bar, for drinks,
next to Congress,

1065
01:06:40,175 --> 01:06:42,588
and we sat by a window,
it was a very nice bar.

1066
01:06:43,194 --> 01:06:46,317
The Berlin Wall had just fallen,
it had all been a disaster.

1067
01:06:47,255 --> 01:06:49,035
We were discussing
the record,

1068
01:06:49,757 --> 01:06:52,244
and we were happy because
it had gone well...

1069
01:06:53,341 --> 01:06:55,801
I think Cabrera had also
recorded on that album,

1070
01:06:55,915 --> 01:06:57,983
I think he did Mateo Azul,
or one of those.

1071
01:06:59,071 --> 01:07:02,248
At one point a guy shows up,

1072
01:07:02,273 --> 01:07:05,001
we were by the window.
A white van pulled over,

1073
01:07:05,789 --> 01:07:08,193
and this guy sticks half
his body out the window

1074
01:07:08,218 --> 01:07:09,691
and yells at Manuel:

1075
01:07:10,223 --> 01:07:12,803
"Galician, you left the Party!"

1076
01:07:13,600 --> 01:07:15,365
And Galician looks at him
and says:

1077
01:07:15,554 --> 01:07:18,504
"No, brother.
The Party left me."

1078
01:07:20,155 --> 01:07:22,248
You, climbing buildings
up to the sky.

1079
01:07:23,371 --> 01:07:25,589
You, sowing hope
in the fields.

1080
01:07:26,531 --> 01:07:28,583
You, melting
manufacturing metals.

1081
01:07:29,689 --> 01:07:31,795
You, stunning the ear
in factories.

1082
01:07:33,498 --> 01:07:35,509
You, kneading bakery flours.

1083
01:07:36,111 --> 01:07:38,371
You, shipping riches in the ports.

1084
01:07:39,048 --> 01:07:41,297
You, starting engines
in industries,

1085
01:07:41,497 --> 01:07:43,411
with your textile
metallurgical hand:

1086
01:07:44,020 --> 01:07:45,223
continue to the end!

1087
01:07:46,407 --> 01:07:48,468
You, fighting
in the womb of the sea.

1088
01:07:49,123 --> 01:07:51,199
You, exploding dynamite
in the mines.

1089
01:07:51,903 --> 01:07:54,129
You, knowing adventure
in your own flesh,

1090
01:07:54,536 --> 01:07:56,389
it's about making ends meet:

1091
01:07:57,008 --> 01:07:58,101
go on again.

1092
01:07:59,335 --> 01:08:01,258
You, whose memory has been hurt,

1093
01:08:01,364 --> 01:08:03,364
by brothers who will never return,

1094
01:08:04,306 --> 01:08:06,377
in the name
of their generous blood:

1095
01:08:06,833 --> 01:08:07,868
remain standing.

1096
01:08:11,450 --> 01:08:16,404
1985: back in Uruguay, he performs
with Y. Palacios and A. Zitarrosa

1097
01:08:16,429 --> 01:08:20,976
in "Como Hablábamos Ayer",
at Montevideo's Teatro de Verano.

1098
01:08:22,315 --> 01:08:26,334
We were constantly amazed at how,
just with four or five words,

1099
01:08:26,359 --> 01:08:30,208
he could weave and write things.

1100
01:08:30,305 --> 01:08:32,897
He had an amazing memory.

1101
01:08:33,389 --> 01:08:36,061
He was a well-read person,

1102
01:08:36,763 --> 01:08:38,763
very, very educated,

1103
01:08:38,939 --> 01:08:42,205
as is the common in people
who write like that,

1104
01:08:42,205 --> 01:08:46,808
who are sudden, who suddenly
write something incredible.

1105
01:08:47,187 --> 01:08:50,984
And the other thing
that caught our attention,

1106
01:08:51,626 --> 01:08:55,613
was how he'd lean on a table,
not really comfortable,

1107
01:08:55,883 --> 01:08:59,264
and still have
this impressive handwriting.

1108
01:08:59,482 --> 01:09:01,033
Obviously, I don't know,

1109
01:09:01,494 --> 01:09:07,049
maybe when Manuel was at school
he did calligraphy or something,

1110
01:09:07,280 --> 01:09:11,941
but it was very difficult to have
the handwriting Manuel had.

1111
01:10:41,958 --> 01:10:46,201
Pepe Sasía had made
one of his dreams come true:

1112
01:10:46,931 --> 01:10:48,989
he had bought a bar.

1113
01:10:49,527 --> 01:10:51,043
"Yamandú", he named it.

1114
01:10:52,729 --> 01:10:55,885
Manolo, Canario, Picho,

1115
01:10:56,068 --> 01:10:58,600
Todesca,
Gallo Todeschini,

1116
01:10:59,036 --> 01:11:03,015
and me, all the guys
from Falta, the gang,

1117
01:11:04,565 --> 01:11:06,883
we wanted to throw
an end of year party that day.

1118
01:11:08,891 --> 01:11:12,864
The shooting was running deep
and the bullets kept stinging:

1119
01:11:12,889 --> 01:11:14,878
"Pour one here, another there"...

1120
01:11:15,454 --> 01:11:18,674
The glasses were full,
filled up with whiskey.

1121
01:11:18,961 --> 01:11:21,845
Except for Manolo's,

1122
01:11:22,431 --> 01:11:24,836
who wanted to drink
<i>caña</i> that day.

1123
01:11:25,520 --> 01:11:26,988
"Hold the ice on the <i>caña</i>".

1124
01:11:27,662 --> 01:11:29,185
"I like my <i>caña</i> neat."

1125
01:11:29,522 --> 01:11:31,743
The glass filled
up to the top.

1126
01:11:32,565 --> 01:11:34,237
Pepe would turn around,

1127
01:11:34,763 --> 01:11:36,110
and stay with us.

1128
01:11:36,252 --> 01:11:40,704
He said, "I can't be behind the
counter if my friends are there."

1129
01:11:40,948 --> 01:11:43,384
And the guy,
who had been left alone,

1130
01:11:44,189 --> 01:11:47,854
couldn't cope with all
the "population",

1131
01:11:48,182 --> 01:11:52,265
at the bar and nearby tables
at that time.

1132
01:11:52,989 --> 01:11:56,296
Galician said
"Hey, look at that guy",

1133
01:11:56,833 --> 01:11:59,211
Look at that guy, Pepe.

1134
01:11:59,575 --> 01:12:00,987
I'll help him out.

1135
01:12:01,326 --> 01:12:04,933
He quickly took his glass of <i>caña</i>
in his right hand,

1136
01:12:05,461 --> 01:12:07,816
and went gulp, gulp, gulp,

1137
01:12:08,117 --> 01:12:11,698
and drank the whole glass
of <i>caña</i>, neat.

1138
01:12:11,838 --> 01:12:14,109
In one gulp.

1139
01:12:14,334 --> 01:12:18,158
Pepe says to him:
"Manolo, are you crazy?"

1140
01:12:18,562 --> 01:12:20,255
"The thing is that
I'm going to work,"

1141
01:12:20,577 --> 01:12:23,423
"and when you work,
you can't drink."

1142
01:12:23,924 --> 01:12:24,924
Ineffable.

1143
01:12:26,278 --> 01:12:28,270
<i>Cheers, Manolito!
Cheers, Pablo!</i>

1144
01:12:28,370 --> 01:12:29,541
<i>Cheers.</i>

1145
01:12:31,057 --> 01:12:35,265
<i>Look what I found
in an old folder at home.</i>

1146
01:12:35,368 --> 01:12:36,445
<i>Do you remember...</i>

1147
01:12:37,047 --> 01:12:39,532
<i>a letter you wrote to Alfredo
back at the old Outes?</i>

1148
01:12:40,946 --> 01:12:43,105
Wow, back in '85.

1149
01:12:43,191 --> 01:12:45,527
♪ But love until we win back ♪

1150
01:12:45,812 --> 01:12:50,148
♪ what so much heartbreak ♪
♪ has denied us, ♪

1151
01:12:51,170 --> 01:12:53,752
♪ but love until we achieve ♪

1152
01:12:54,028 --> 01:12:58,414
♪ a better management ♪
♪ of affection, ♪

1153
01:12:59,350 --> 01:13:02,164
♪ but love until we know ♪

1154
01:13:02,243 --> 01:13:06,400
♪ that the wound ♪
♪ does not fall into oblivion, ♪

1155
01:13:07,489 --> 01:13:10,152
♪ but love that puts some bread ♪

1156
01:13:10,250 --> 01:13:14,721
♪ on the tables of parents ♪
♪ and their children ♪

1157
01:13:19,171 --> 01:13:22,428
1997: He performs
at the Tribute to Zitarrosa

1158
01:13:22,453 --> 01:13:24,892
held in Buenos Aires
Opera Theater

1159
01:13:24,917 --> 01:13:29,797
with Mercedes Sosa, Víctor Heredia,
Teresa Parodi, Eduardo Galeano,

1160
01:13:29,822 --> 01:13:31,958
José Carbajal,
Grupo Sanampay,

1161
01:13:31,983 --> 01:13:34,633
Larbanois-Carrero
and Pablo Estramín.

1162
01:14:15,603 --> 01:14:19,479
♪ Montevideo at dawn, ♪

1163
01:14:19,955 --> 01:14:23,576
♪ loneliness was walking ♪
♪ on its own. ♪

1164
01:14:24,221 --> 01:14:27,993
♪ With its portrait of spent light, ♪

1165
01:14:28,358 --> 01:14:32,319
♪ the night on its shoulder, ♪
♪ isolated. ♪

1166
01:14:32,673 --> 01:14:36,709
♪ People not people, ♪
♪ diminished people, ♪

1167
01:14:36,858 --> 01:14:41,069
♪ staining scattered stains, ♪

1168
01:14:41,208 --> 01:14:45,327
♪ where do they come from? ♪
♪ where do they pass through? ♪

1169
01:14:45,417 --> 01:14:50,893
♪ Living inside, ♪
♪ and outside, nothing. ♪

1170
01:14:55,733 --> 01:14:59,679
♪ The voices remain ♪
♪ like they were hanging; ♪

1171
01:14:59,874 --> 01:15:03,447
♪ the manager leaves ♪
♪ with his employee, ♪

1172
01:15:03,929 --> 01:15:07,706
♪ lying letters on the bed: ♪

1173
01:15:08,102 --> 01:15:11,865
♪ Montevideo, weekend. ♪

1174
01:15:12,322 --> 01:15:16,343
♪ But it's not all <i>gauchos</i> ♪
♪ and stops, ♪

1175
01:15:16,635 --> 01:15:20,489
♪ full buses, ♪
♪ worn out skins: ♪

1176
01:15:20,762 --> 01:15:24,454
♪ there in the square, ♪
♪ under a burnt light, ♪

1177
01:15:24,955 --> 01:15:30,016
♪ Artigas-bronze ♪
♪ became gigantic. ♪

1178
01:15:50,147 --> 01:15:53,873
♪ Montevideo, at dawn, ♪

1179
01:15:54,127 --> 01:15:58,043
♪ is just a dream ♪
♪ about the morning, ♪

1180
01:15:58,068 --> 01:16:02,250
♪ of a dark man ♪
♪ who would wake up ♪

1181
01:16:02,685 --> 01:16:06,476
♪ over the ink left by others. ♪

1182
01:16:07,017 --> 01:16:10,781
♪ Night to day, the soul away, ♪

1183
01:16:11,316 --> 01:16:15,227
♪ man with man, ♪
♪ kept each other company, ♪

1184
01:16:15,531 --> 01:16:19,359
♪ together with many, ♪
♪ they organized, ♪

1185
01:16:19,583 --> 01:16:23,531
♪ and by the next day ♪
♪ they walked together. ♪

1186
01:16:23,849 --> 01:16:27,901
♪ Montevideo, ♪
♪ weeks together, ♪

1187
01:16:28,067 --> 01:16:32,127
♪ is no longer nostalgia, ♪
♪ it's hope now. ♪

1188
01:16:32,152 --> 01:16:36,095
♪ And although keeping ♪
♪ our hand up may hurt, ♪

1189
01:16:36,458 --> 01:16:41,317
♪ the clear man... ♪

1190
01:16:42,774 --> 01:16:48,065
♪ raised it high. ♪

1191
01:17:00,653 --> 01:17:05,017
Quito, 30 December, 1978.

1192
01:17:05,750 --> 01:17:08,219
We're not Friday people,

1193
01:17:08,455 --> 01:17:09,755
we're Saturday folk.

1194
01:17:10,405 --> 01:17:11,873
It's a matter of habits.

1195
01:17:12,189 --> 01:17:16,272
Around here, Fridays
are called Saint Friday,

1196
01:17:16,685 --> 01:17:21,133
a euphemism
for drink-until-you-drop.

1197
01:17:21,655 --> 01:17:24,123
And already in the prayer,

1198
01:17:24,148 --> 01:17:28,490
the idea of whiskey, vodka,
rum, brandy, etc.

1199
01:17:28,803 --> 01:17:31,665
begins to take shape.

1200
01:17:32,586 --> 01:17:34,821
All this washed down

1201
01:17:34,979 --> 01:17:39,079
with alcoholic and almost
subhuman pseudo-bohemians.

1202
01:17:40,639 --> 01:17:43,489
Oh, that old plonk wine of ours.

1203
01:17:44,414 --> 01:17:47,583
Our people, the miracle workers.

1204
01:17:47,999 --> 01:17:51,456
Saturdays go by
following time.

1205
01:17:51,889 --> 01:17:55,843
Today is Friday, 29th.
But I wrote 30,

1206
01:17:56,378 --> 01:17:59,393
because it occurs to me
there is no reason for 29s

1207
01:18:00,071 --> 01:18:02,035
to determine anything.

1208
01:18:02,660 --> 01:18:07,551
And this Saturday
means '78 is over,

1209
01:18:08,024 --> 01:18:12,738
which means the beginning
of our third year in absence,

1210
01:18:13,276 --> 01:18:15,916
one full of people and things,

1211
01:18:16,540 --> 01:18:19,609
of horizons and hopes.

1212
01:18:21,793 --> 01:18:23,990
♪ I will find... ♪

1213
01:18:26,514 --> 01:18:30,224
♪ some poem on the side ♪

1214
01:18:31,456 --> 01:18:34,161
♪ to reach your place ♪

1215
01:18:35,719 --> 01:18:37,698
♪ which almost became my home, ♪

1216
01:18:40,239 --> 01:18:42,448
♪ because there you are, ♪

1217
01:18:44,829 --> 01:18:47,908
♪ on the other side of the flower, ♪

1218
01:18:49,416 --> 01:18:52,076
♪ a stowaway on the side, ♪

1219
01:18:53,839 --> 01:18:55,987
♪ in my nostalgia. ♪

1220
01:19:00,142 --> 01:19:03,093
♪ Woman of May. ♪

1221
01:19:24,520 --> 01:19:26,033
♪ To see you again, ♪

1222
01:19:26,334 --> 01:19:29,794
♪ as if time was nothing more ♪
♪ than yesterday, ♪

1223
01:19:30,305 --> 01:19:33,479
♪ more mature in your eyes ♪
♪ when I return, ♪

1224
01:19:34,193 --> 01:19:37,477
♪ I feel nostalgic with ♪
♪ the rattle and the bells, ♪

1225
01:19:37,662 --> 01:19:41,474
♪ and a new world that begins ♪
♪ to comprehend, ♪

1226
01:19:41,914 --> 01:19:45,022
♪ that in my blood ♪
♪ a river runs towards you, ♪

1227
01:19:45,574 --> 01:19:49,326
♪ and my caress carries ♪
♪ your skin and memories, ♪

1228
01:19:49,782 --> 01:19:53,193
♪ and my words carry ♪
♪ in them a woman's name, ♪

1229
01:19:53,637 --> 01:19:56,929
♪ that is pronounced ♪
♪ almost as if by accident. ♪

1230
01:19:57,664 --> 01:20:01,269
♪ To see you again, ♪
♪ to see you again, ♪

1231
01:20:01,823 --> 01:20:05,696
♪ to see you again. ♪

1232
01:20:14,878 --> 01:20:16,706
♪ I find again, ♪

1233
01:20:17,353 --> 01:20:20,788
♪ in your tender hand, my place, ♪

1234
01:20:21,249 --> 01:20:24,663
♪ and in a notebook ♪
♪ that can't be forgotten, ♪

1235
01:20:25,232 --> 01:20:28,467
♪ that poem ♪
♪ that made us both cry. ♪

1236
01:20:29,270 --> 01:20:32,604
♪ With the rain, ♪
♪ crying in the window, ♪

1237
01:20:33,071 --> 01:20:36,892
♪ of that house ♪
♪ that once saw you move away, ♪

1238
01:20:37,126 --> 01:20:40,240
♪ after just one minute ♪
♪ of happiness. ♪

1239
01:20:41,093 --> 01:20:44,569
♪ Light from that sky, ♪
♪ that was a shooting star. ♪

1240
01:20:45,172 --> 01:20:49,447
♪ I find again, I find again, ♪

1241
01:20:49,472 --> 01:20:53,811
♪ I find again. ♪

1242
01:21:08,129 --> 01:21:09,157
Lima.

1243
01:21:10,009 --> 01:21:14,784
Wednesday, 26 May, 1976.

1244
01:21:16,116 --> 01:21:18,598
Julio, dear, brother.

1245
01:21:20,447 --> 01:21:23,021
Returned to the city of ashes,

1246
01:21:23,896 --> 01:21:26,540
I have devoted myself
to missing you a little,

1247
01:21:27,377 --> 01:21:30,441
and to try to regroup
and sort out what to do here.

1248
01:21:31,895 --> 01:21:35,132
Our hearts sigh in relief,

1249
01:21:35,413 --> 01:21:38,002
knowing you are already
back in our small homeland.

1250
01:21:39,513 --> 01:21:42,580
When it comes to me,
I can tell you

1251
01:21:42,766 --> 01:21:45,637
that you need to experience
the feeling of dawn

1252
01:21:46,023 --> 01:21:48,954
walking down Avenida
Del Sol, in Cusco,

1253
01:21:49,534 --> 01:21:51,945
somewhat alone
and surprised

1254
01:21:52,136 --> 01:21:55,828
by the distant sound of the train
taking my partner away.

1255
01:21:57,470 --> 01:22:00,330
At that moment, I felt
that I was flying sideways,

1256
01:22:00,958 --> 01:22:03,626
with my left wing missing.

1257
01:22:05,774 --> 01:22:09,974
Then I sat in the sun at "Plaza
de la Alegría", and said to myself:

1258
01:22:11,196 --> 01:22:12,249
Well, Manuel.

1259
01:22:13,477 --> 01:22:14,554
And now?

1260
01:22:15,520 --> 01:22:17,156
Who are you going to argue with?

1261
01:22:18,394 --> 01:22:22,742
The fact remains it's not the same
to be with or without Julio.

1262
01:22:24,322 --> 01:22:27,093
Obviously, discrepancies aside,

1263
01:22:27,527 --> 01:22:30,315
which are honest
as they are necessary,

1264
01:22:31,209 --> 01:22:34,205
what unites us is
a certain identity that,

1265
01:22:34,229 --> 01:22:37,004
human as we are,
we sometimes ignore.

1266
01:22:38,313 --> 01:22:40,100
I can say, brother,

1267
01:22:40,994 --> 01:22:43,846
that words are not needed
for us to understand each other.

1268
01:22:45,425 --> 01:22:49,697
The language we speak
is more sensitive than phonetic.

1269
01:22:50,696 --> 01:22:54,430
Citizen of two worlds,
with or without papers,

1270
01:22:54,510 --> 01:22:59,362
because the homeland of Man
is childhood and memory.

1271
01:22:59,685 --> 01:23:02,983
Then, maybe it's another story,

1272
01:23:03,229 --> 01:23:05,506
or another part of the tale.

1273
01:23:05,572 --> 01:23:08,611
Later, it was an emigrating ship,

1274
01:23:08,810 --> 01:23:11,636
or perhaps a fleeing ship,

1275
01:23:11,661 --> 01:23:14,460
and my parents traveled on it,

1276
01:23:14,669 --> 01:23:16,687
and I traveled with them,

1277
01:23:17,147 --> 01:23:20,239
and my life emigrated on it.

1278
01:23:20,642 --> 01:23:21,733
My life.

1279
01:23:22,477 --> 01:23:24,103
And I was unaware.

1280
01:23:24,361 --> 01:23:27,767
Citizen of two worlds,
with or without papers,

1281
01:23:27,809 --> 01:23:30,550
because the homeland of Man,

1282
01:23:30,647 --> 01:23:33,439
is childhood and memories.

1283
01:23:35,331 --> 01:23:38,695
I was talking to the baldy
from Las Venas Abiertas,

1284
01:23:38,921 --> 01:23:41,627
such a great writer
who was lecturing around here,

1285
01:23:42,267 --> 01:23:45,326
about not having tears in our
suitcases when we return,

1286
01:23:46,113 --> 01:23:48,551
about putting a ban
on smuggling sadness.

1287
01:23:49,309 --> 01:23:50,889
So that's the thing.

1288
01:23:52,797 --> 01:23:53,805
In any case,

1289
01:23:54,788 --> 01:23:56,491
here's to positive nostalgia.

1290
01:24:17,599 --> 01:24:18,976
Here I am.

1291
01:24:20,870 --> 01:24:23,445
In the south again

1292
01:24:25,384 --> 01:24:27,531
Again in the light,

1293
01:24:29,102 --> 01:24:31,522
that was my dawn.

1294
01:24:34,206 --> 01:24:35,915
Here at last,

1295
01:24:37,390 --> 01:24:39,947
longing for you more,

1296
01:24:41,701 --> 01:24:44,306
with more ground
under my feet,

1297
01:24:46,035 --> 01:24:48,288
with my best step.

1298
01:24:51,171 --> 01:24:52,373
What happened?

1299
01:24:54,094 --> 01:24:56,745
Don't tell me: 'I know'.

1300
01:24:58,311 --> 01:25:00,906
It's not just information,

1301
01:25:02,801 --> 01:25:05,244
it's the heart too.

1302
01:25:08,218 --> 01:25:09,416
Just like...

1303
01:25:10,891 --> 01:25:13,431
Don Miguel used to say:

1304
01:25:15,540 --> 01:25:17,642
"as we talked yesterday",

1305
01:25:19,565 --> 01:25:21,817
my song will speak.

1306
01:25:24,669 --> 01:25:26,630
I'm from the South,

1307
01:25:27,650 --> 01:25:30,125
from this South, yes sir,

1308
01:25:32,256 --> 01:25:34,535
my root and my flower,

1309
01:25:36,145 --> 01:25:38,315
death and resurrection.

1310
01:25:41,185 --> 01:25:43,290
Beyond...

1311
01:25:44,226 --> 01:25:47,171
the sorrow and the pain,

1312
01:25:48,321 --> 01:25:50,946
from horizon and border,

1313
01:25:52,411 --> 01:25:54,998
today I returned again,

1314
01:25:57,510 --> 01:25:59,099
to this sea,

1315
01:26:00,815 --> 01:26:03,485
of breakwater and fish,

1316
01:26:05,019 --> 01:26:07,360
of clinging colors,

1317
01:26:08,463 --> 01:26:11,596
of love and south wind.

1318
01:26:14,447 --> 01:26:16,740
Don't say,

1319
01:26:17,414 --> 01:26:20,699
old friend, that you,

1320
01:26:21,473 --> 01:26:24,381
aren't keeping my place,

1321
01:26:25,534 --> 01:26:28,796
for me to be again.

1322
01:26:30,854 --> 01:26:32,555
My song,

1323
01:26:33,944 --> 01:26:36,904
this veteran song,

1324
01:26:38,235 --> 01:26:40,535
another generation,

1325
01:26:42,412 --> 01:26:44,871
found your song.

1326
01:26:47,482 --> 01:26:49,139
Did you know?

1327
01:26:50,832 --> 01:26:53,566
I guess your age,

1328
01:26:55,030 --> 01:26:57,458
what was and what will be,

1329
01:26:58,920 --> 01:27:01,995
your smell of youth.

1330
01:27:04,193 --> 01:27:05,898
And I know,

1331
01:27:07,334 --> 01:27:10,380
that your deepest blue,

1332
01:27:11,718 --> 01:27:14,472
will be what is to come,

1333
01:27:15,870 --> 01:27:18,402
rescued from the grey.

1334
01:27:21,322 --> 01:27:23,380
Look closely, hey,

1335
01:27:24,014 --> 01:27:26,915
my guitar is at peace,

1336
01:27:28,072 --> 01:27:31,002
and it's also at war,

1337
01:27:32,151 --> 01:27:35,572
in tomorrow
and yesterday.

1338
01:27:37,400 --> 01:27:38,962
And on its skin,

1339
01:27:40,466 --> 01:27:43,647
where the sweat

1340
01:27:44,720 --> 01:27:47,309
of the work of singing shines,

1341
01:27:49,058 --> 01:27:51,391
I'll leave my carnation.

1342
01:27:54,038 --> 01:27:55,939
Always south.

1343
01:27:57,145 --> 01:27:59,820
Of course,
among so many talks,

1344
01:28:00,746 --> 01:28:04,080
always about Uruguay
because I didn't meet anyone,

1345
01:28:05,747 --> 01:28:08,468
who missed Uruguay
as much as Manuel.

1346
01:28:08,565 --> 01:28:10,048
Every time I came,

1347
01:28:10,305 --> 01:28:14,698
because I had a contract, I knew
when the contract would end.

1348
01:28:14,723 --> 01:28:17,368
I was based here,
so I'd return,

1349
01:28:17,393 --> 01:28:20,408
and every time we said goodbye,
it was a tragedy.

1350
01:28:22,256 --> 01:28:25,576
He was so homesick. Of course,
he told me about his life,

1351
01:28:25,601 --> 01:28:29,843
about his issues, and about Danubio.
He was a huge Danubio fan.

1352
01:28:31,629 --> 01:28:36,239
And then it so happens that
in 2004, I direct Danubio.

1353
01:28:37,571 --> 01:28:40,879
So one day we got together
with Manuel,

1354
01:28:41,934 --> 01:28:44,188
he already had some issues,

1355
01:28:44,212 --> 01:28:46,466
I remember we only had coffee,

1356
01:28:46,491 --> 01:28:50,572
and having just a coffee
with Manuel,

1357
01:28:50,597 --> 01:28:53,058
that wasn't the usual thing.

1358
01:28:53,441 --> 01:28:57,373
So he says to me:
"Listen, Mosquito",

1359
01:28:58,358 --> 01:29:00,228
"you know
how much I love you"

1360
01:29:00,670 --> 01:29:03,044
"but if you manage to make
Danubio champion"...

1361
01:29:08,591 --> 01:29:09,851
So he says to me:

1362
01:29:10,967 --> 01:29:12,432
"Listen, Mosquito," he says,

1363
01:29:12,457 --> 01:29:14,636
"if you want me
to love you all my life",

1364
01:29:15,145 --> 01:29:17,180
"make sure Danubio
wins the championship".

1365
01:29:17,907 --> 01:29:19,998
And I replied:
"Manuel,"

1366
01:29:20,023 --> 01:29:23,262
"Can you ask for anything easier?
Don't be like that!"

1367
01:29:24,558 --> 01:29:26,373
In an obvious joke.

1368
01:29:27,233 --> 01:29:32,062
And so the months go by,
and things are beginning to go well,

1369
01:29:32,087 --> 01:29:34,925
that team was truly
a football playing machine,

1370
01:29:34,949 --> 01:29:37,883
the kids, the players
in the team were extraordinary,

1371
01:29:38,397 --> 01:29:41,534
so long story short,
we become champions.

1372
01:29:42,308 --> 01:29:46,008
And when we won the championship,
I remembered Manuel.

1373
01:29:47,560 --> 01:29:50,390
So I got a T-shirt,

1374
01:29:51,009 --> 01:29:54,080
and I had it signed
by all the players,

1375
01:29:54,878 --> 01:29:59,032
and when I head off to Florida,
I take the shirt and go to Manuel's,

1376
01:29:59,851 --> 01:30:03,097
he was there with Gilda.
I surprised them.

1377
01:30:03,606 --> 01:30:05,731
"Hey, is this what you wanted?
There you are".

1378
01:30:06,722 --> 01:30:08,722
And I threw the shirt at him.

1379
01:30:14,196 --> 01:30:19,119
2004: Capella performs at the Teatro
ND/Ateneo in the city of Buenos Aires,

1380
01:30:19,144 --> 01:30:21,070
in a show with José Carbajal.

1381
01:30:29,616 --> 01:30:34,848
He was a violin in a scarf
and a wind that liked late-nights,

1382
01:30:37,100 --> 01:30:41,785
a swirl in a corner
dancing with a mailbox.

1383
01:30:43,767 --> 01:30:48,163
El Tito was a small coffee
on the counter,

1384
01:30:49,098 --> 01:30:51,884
a skinny angel of sorts,

1385
01:30:52,774 --> 01:30:55,760
silent and thoughtful.

1386
01:30:57,739 --> 01:31:01,356
Which was the piano where he'd play
the keys of the tango

1387
01:31:01,381 --> 01:31:05,278
that found seven notes
in his teeth,

1388
01:31:05,928 --> 01:31:08,515
and a verse in his soul?

1389
01:31:11,014 --> 01:31:15,282
You should have seen him,
both hands, drawing his color,

1390
01:31:16,186 --> 01:31:18,600
whistling a kiss,

1391
01:31:19,371 --> 01:31:21,628
such was Tito Cabano.

1392
01:31:23,275 --> 01:31:26,200
They say Tito Cabano,
that night,

1393
01:31:26,225 --> 01:31:31,529
became an eternal angel,

1394
01:31:32,598 --> 01:31:35,166
with his bar and with his song.

1395
01:31:37,491 --> 01:31:42,198
He was a violin in a scarf
and a wind that liked late-nights,

1396
01:31:42,871 --> 01:31:46,072
a skinny angel of sorts,

1397
01:31:47,229 --> 01:31:49,773
chatting at the bar.

1398
01:31:50,752 --> 01:31:51,928
Tito!

1399
01:31:53,111 --> 01:31:56,174
Come on, the night is calling.

1400
01:31:58,433 --> 01:32:00,026
"Por la Unión y por la Blanca".

1401
01:32:00,854 --> 01:32:05,562
To us, that conveys a feeling,
a very special energy,

1402
01:32:06,482 --> 01:32:10,178
like that of any Uruguayan
in a winning goal,

1403
01:32:11,168 --> 01:32:13,380
especially at the last minute.

1404
01:32:14,917 --> 01:32:16,421
When I meet Manuel,

1405
01:32:16,893 --> 01:32:20,979
he shows me the song
so I can arrange the percussion.

1406
01:32:22,095 --> 01:32:23,715
The next night,

1407
01:32:23,943 --> 01:32:27,739
we were already in the studio,
we had no rehearsals.

1408
01:32:29,178 --> 01:32:33,229
About the success,
I have nothing to add,

1409
01:32:33,229 --> 01:32:34,377
you already know.

1410
01:32:34,877 --> 01:32:39,978
So much so, that when the CD
was reissued,

1411
01:32:41,189 --> 01:32:44,851
they changed the title
and called the whole thing:

1412
01:32:45,056 --> 01:32:49,641
Songs for "Por la Unión
y por la Blanca".

1413
01:33:04,495 --> 01:33:06,953
You went through
the throne of fame,

1414
01:33:07,026 --> 01:33:09,559
and your radiant light
left its traces.

1415
01:33:10,614 --> 01:33:14,116
You won't be able to climb higher
because you yourself are the summit.

1416
01:33:14,289 --> 01:33:15,855
Nor will you shine brighter

1417
01:33:15,879 --> 01:33:17,444
because you're a star.

1418
01:33:17,674 --> 01:33:19,822
On the grave where you rest,

1419
01:33:19,846 --> 01:33:22,354
an eternal harmony
of rumors vibrates.

1420
01:33:22,996 --> 01:33:25,615
They're our children who today
have become applause,

1421
01:33:25,828 --> 01:33:28,706
and their applause that
today become flowers.

1422
01:33:29,111 --> 01:33:30,609
Mute my lyre,

1423
01:33:30,984 --> 01:33:33,681
and my song to silence returns,

1424
01:33:33,706 --> 01:33:37,727
and as offering, like a trophy
I lift up my heart,

1425
01:33:38,093 --> 01:33:42,161
to place it on the camp
of that great troubadour,

1426
01:33:42,448 --> 01:33:44,087
who shook a town,

1427
01:33:44,379 --> 01:33:47,519
on memorable nights
of lyrical offerings.

1428
01:33:48,252 --> 01:33:50,995
Someone is approaching
with a radiant halo.

1429
01:33:51,244 --> 01:33:52,790
Stop, who's there?

1430
01:33:53,279 --> 01:33:55,521
It's Galiguayan, he's passing by,

1431
01:33:55,887 --> 01:33:58,364
sowing with triumphant accent,

1432
01:33:58,580 --> 01:34:01,521
the fertile seeds of a race,

1433
01:34:01,686 --> 01:34:05,489
that has conceived the love
I feel for the image of him.

1434
01:34:17,351 --> 01:34:19,862
♪ Candombe from Pan de Azúcar ♪

1435
01:34:19,886 --> 01:34:21,420
♪ and Avellaneda. ♪

1436
01:34:22,633 --> 01:34:25,660
♪ From Enrique
Clay, Fray Bentos ♪

1437
01:34:25,684 --> 01:34:27,237
♪ and Forteza. ♪

1438
01:34:27,956 --> 01:34:32,448
♪ It goes from Lucas Moreno ♪
♪ all the way to "Rousseau", ♪

1439
01:34:33,309 --> 01:34:35,028
♪ and from "La proa" ♪

1440
01:34:35,052 --> 01:34:37,400
♪ to the field in Joanicó. ♪

1441
01:34:38,656 --> 01:34:42,070
♪ Candombe of the debutant, ♪
♪ with the transparent ones, ♪

1442
01:34:43,901 --> 01:34:47,914
♪ tickles in the bellies ♪
♪ of teenagers, ♪

1443
01:34:49,192 --> 01:34:52,644
♪ legends of brothels ♪
♪ and slaughterers, ♪

1444
01:34:54,361 --> 01:34:56,547
♪ that are not really really ♪
♪ like that. ♪

1445
01:34:57,051 --> 01:34:58,727
♪ Rumor has it at "La Quince". ♪

1446
01:35:02,545 --> 01:35:06,584
♪ Candombera by "la Villa" ♪
♪ and "La Flota", ♪

1447
01:35:07,808 --> 01:35:10,646
♪ from Cipriano
Miró all the way ♪

1448
01:35:10,670 --> 01:35:12,212
♪ to Larravide. ♪

1449
01:35:13,143 --> 01:35:16,025
♪ For La Union and
for "La Blanca", ♪

1450
01:35:16,049 --> 01:35:18,046
♪ hopping and jogging, ♪

1451
01:35:18,194 --> 01:35:21,205
♪ and there is a
gig for Marcela ♪

1452
01:35:21,229 --> 01:35:23,141
♪ and for La Tota. ♪

1453
01:35:35,500 --> 01:35:38,664
For those of us from
the neighborhood, born and raised,

1454
01:35:38,689 --> 01:35:40,578
in Puerto Rico,
La Unión, Villa Española,

1455
01:35:41,024 --> 01:35:42,556
this was a tribute
he paid to us.

1456
01:35:43,281 --> 01:35:45,522
I remember as a child,
I used to sell bread

1457
01:35:45,547 --> 01:35:47,692
with my grandfather,
he delivered on horseback.

1458
01:35:49,049 --> 01:35:50,550
Mario...

1459
01:35:50,993 --> 01:35:52,993
The characters in the song,

1460
01:35:53,437 --> 01:35:57,521
large families that have lived
in the neighborhood for years.

1461
01:35:58,235 --> 01:36:01,960
And there was a code
of conduct in the neighborhood.

1462
01:36:03,342 --> 01:36:05,858
They were tough, but there was
a code, and respect

1463
01:36:05,883 --> 01:36:07,601
for families and neighbors,

1464
01:36:08,316 --> 01:36:09,626
and they also lent a hand,

1465
01:36:09,748 --> 01:36:13,329
because those were
the days of the slaughterers,

1466
01:36:13,574 --> 01:36:17,611
their clandestine meat operations,

1467
01:36:17,636 --> 01:36:21,403
and they distributed beef,
they took care of everyone.

1468
01:36:22,286 --> 01:36:24,569
Galician's song is beautiful.

1469
01:36:25,186 --> 01:36:26,954
Manuel and La Unión,

1470
01:36:27,403 --> 01:36:31,466
and, I would say,
the limit with Puerto Rico too.

1471
01:36:32,359 --> 01:36:36,821
Manuel...
I remember, I remember well,

1472
01:36:36,846 --> 01:36:39,652
in the 70s, Manuel was singing...

1473
01:36:39,985 --> 01:36:42,772
in that hall at IAVA
Secondary School,

1474
01:36:43,209 --> 01:36:47,872
when we all thought
the time had come to move.

1475
01:36:48,095 --> 01:36:49,799
Manuel was
from the neighborhood,

1476
01:36:49,850 --> 01:36:53,813
from the neighborhood nearby,
from Avellaneda,

1477
01:36:53,895 --> 01:36:56,127
back when Blanca
was just another neighbor,

1478
01:36:56,678 --> 01:36:59,329
who'd scold us for playing
football in the street.

1479
01:36:59,986 --> 01:37:01,747
And I remember his mother
very well,

1480
01:37:01,964 --> 01:37:05,239
same generosity
and solidarity as him,

1481
01:37:05,761 --> 01:37:07,595
who also got me in trouble once.

1482
01:37:07,955 --> 01:37:12,216
She got me in trouble because
she saw me wearing torn jeans,

1483
01:37:13,181 --> 01:37:14,572
and she asked my mother

1484
01:37:14,903 --> 01:37:18,067
if she'd take offense if she
bought me a new pair of jeans.

1485
01:37:18,448 --> 01:37:19,724
Go figure!

1486
01:37:21,485 --> 01:37:25,088
I took the scolding,
I took the beating...

1487
01:37:25,578 --> 01:37:29,614
but the love of that woman,
that endearing lady,

1488
01:37:30,068 --> 01:37:31,345
that mother,

1489
01:37:32,072 --> 01:37:33,718
that friend, that neighbor...

1490
01:37:34,263 --> 01:37:35,579
So no wonder Manuel

1491
01:37:36,407 --> 01:37:38,860
was and is the way he is.

1492
01:38:04,492 --> 01:38:07,237
♪ Tell me, spirit of the air, ♪

1493
01:38:08,665 --> 01:38:11,185
♪ of the color of its gaze, ♪

1494
01:38:12,378 --> 01:38:15,290
♪ Tell me, spirit of wine, ♪

1495
01:38:16,551 --> 01:38:19,440
♪ how far the soul hurts. ♪

1496
01:38:20,399 --> 01:38:23,753
♪ With the sound of footsteps, ♪

1497
01:38:24,574 --> 01:38:27,520
♪ I hear the voices of ghosts, ♪

1498
01:38:28,346 --> 01:38:32,320
♪ the early morning in the air, ♪

1499
01:38:32,778 --> 01:38:35,212
♪ brings back... ♪

1500
01:38:35,557 --> 01:38:38,991
♪ the tune. ♪

1501
01:38:48,685 --> 01:38:51,462
♪ Sad guitar in the frozen ♪

1502
01:38:52,783 --> 01:38:55,375
♪ wind of the soul, ♪

1503
01:38:56,430 --> 01:38:59,474
♪ loneliness, through <i>milonga</i>, ♪

1504
01:39:00,648 --> 01:39:03,321
♪ my face wants to wash. ♪

1505
01:39:04,303 --> 01:39:07,551
♪ Silence between the walls, ♪

1506
01:39:08,487 --> 01:39:11,464
♪ only the wind peeking at me, ♪

1507
01:39:12,341 --> 01:39:16,361
♪ flapping your name in the air, ♪

1508
01:39:16,718 --> 01:39:18,921
♪ brings back ♪

1509
01:39:19,562 --> 01:39:23,199
♪ the <i>milonga</i>. ♪

1510
01:39:34,526 --> 01:39:36,761
♪ The night looks like wine, ♪

1511
01:39:38,443 --> 01:39:41,272
♪ red, immemorial ghost, ♪

1512
01:39:42,069 --> 01:39:44,888
♪ blurring memories, ♪

1513
01:39:46,270 --> 01:39:48,692
♪ that I carry on my back. ♪

1514
01:39:49,968 --> 01:39:52,868
♪ The tree of your memory ♪

1515
01:39:54,119 --> 01:39:57,011
♪ is already sprouting branches, ♪

1516
01:39:57,763 --> 01:40:01,863
♪ while I'm walking. ♪

1517
01:40:02,010 --> 01:40:03,945
♪ I live and die... ♪

1518
01:40:04,529 --> 01:40:08,195
♪ in the tune. ♪

1519
01:40:18,199 --> 01:40:21,885
*When I was coming here,
something nice happened to me.

1520
01:40:22,530 --> 01:40:26,110
Something that made me
feel happy, really happy.

1521
01:40:26,135 --> 01:40:28,135
I was driving
on my way to FUNSA.

1522
01:40:29,220 --> 01:40:33,060
And I felt very nervous
along the way

1523
01:40:34,133 --> 01:40:37,074
because I've worked
for 42 years here.

1524
01:40:38,412 --> 01:40:41,991
The significance of being here,
in this place

1525
01:40:42,776 --> 01:40:45,635
experiencing the seize,
experiencing the strike

1526
01:40:46,059 --> 01:40:48,407
and the reason that brings us
together today

1527
01:40:49,549 --> 01:40:51,650
to honor our dear Gallego

1528
01:40:52,415 --> 01:40:56,192
and being part of all this,
so nice and so meaningful

1529
01:40:56,563 --> 01:40:58,438
as this music session,

1530
01:40:58,836 --> 01:41:04,664
so, to me it's like feeling alive
again and again.

1531
01:41:15,086 --> 01:41:17,395
♪ One story begins, ♪

1532
01:41:17,419 --> 01:41:19,728
♪ another one ends, ♪

1533
01:41:20,137 --> 01:41:24,913
♪ one remains, ♪
♪ the other one walks, ♪

1534
01:41:25,379 --> 01:41:30,228
♪ but the one that dies ♪
♪ isn't the one forgotten, ♪

1535
01:41:30,389 --> 01:41:35,262
♪ although pretended ♪
♪ to be defeated memories, ♪

1536
01:41:35,528 --> 01:41:40,091
♪ because the ages ♪
♪ come together some day, ♪

1537
01:41:40,473 --> 01:41:45,111
♪ life is round and history spins, ♪

1538
01:41:45,227 --> 01:41:50,264
♪ the owners of time ♪
♪ are the ones who make ♪

1539
01:41:50,398 --> 01:41:54,590
♪ men and women burning lies, ♪

1540
01:41:54,972 --> 01:41:59,972
♪ men and women burning lies. ♪

1541
01:42:07,035 --> 01:42:11,645
♪ One story keeps ♪
♪ roots that are dear, ♪

1542
01:42:11,890 --> 01:42:16,646
♪ and the eyes filled ♪
♪ with water resisted, ♪

1543
01:42:16,808 --> 01:42:21,501
♪ and a giant "why" ♪
♪ seeking a family, ♪

1544
01:42:21,652 --> 01:42:26,386
♪ and the mothers earth ♪
♪ overcoming their wound. ♪

1545
01:42:26,563 --> 01:42:31,238
♪ For a different story ♪
♪ lies beneath the ashes, ♪

1546
01:42:31,398 --> 01:42:35,883
♪ just like a star shining within. ♪

1547
01:42:36,045 --> 01:42:41,213
♪ And the fire that was sown ♪
♪ will become the seed, ♪

1548
01:42:41,418 --> 01:42:45,239
♪ that will burn tomorrow, ♪
♪ burning lies, ♪

1549
01:42:45,644 --> 01:42:51,014
♪ which will burn tomorrow, ♪
♪ burning lies. ♪

1550
01:42:57,527 --> 01:43:02,297
♪ A story has its hidden door, ♪

1551
01:43:02,378 --> 01:43:07,152
♪ and another story ♪
♪ joins hands to open it, ♪

1552
01:43:07,274 --> 01:43:12,049
♪ and, while different ♪
♪ scales are weighed, ♪

1553
01:43:12,087 --> 01:43:16,744
♪ the truth awaits ♪
♪ its hour of justice. ♪

1554
01:43:16,899 --> 01:43:21,606
♪ The story doesn't silence ♪
♪ its convinced voice, ♪

1555
01:43:21,664 --> 01:43:26,478
♪ when it's built ♪
♪ by those who cultivate it. ♪

1556
01:43:26,540 --> 01:43:31,364
♪ And the future is a child ♪
♪ who is just breathing, ♪

1557
01:43:31,620 --> 01:43:35,811
♪ and children grow up ♪
♪ burning lies, ♪

1558
01:43:36,111 --> 01:43:40,979
♪ and children grow up ♪
♪ burning lies. ♪

1559
01:43:44,917 --> 01:43:47,435
WHERE ARE THEY?
TRUTH REMAINS CAPTIVE

1560
01:43:47,460 --> 01:43:49,513
A RESPONSIBILITY OF THE STATE

1561
01:43:50,645 --> 01:43:52,877
♪ Friend and artist, ♪

1562
01:43:53,747 --> 01:43:55,991
♪ brother of neighborhood ♪
♪ and colors, ♪

1563
01:43:56,637 --> 01:43:58,498
♪ black and white, ♪

1564
01:43:59,004 --> 01:44:00,152
♪ no greys. ♪

1565
01:44:30,371 --> 01:44:32,886
♪ He goes for a walk ♪

1566
01:44:32,910 --> 01:44:35,425
♪ along the avenue, ♪

1567
01:44:35,631 --> 01:44:39,075
♪ with lonely blood, ♪

1568
01:44:39,515 --> 01:44:41,210
♪ and in the air ♪

1569
01:44:41,234 --> 01:44:42,929
♪ with his wound, ♪

1570
01:44:43,142 --> 01:44:44,443
♪ the young boy ♪

1571
01:44:44,467 --> 01:44:46,779
♪ goes out walking alone. ♪

1572
01:44:49,666 --> 01:44:54,649
♪ Noise breaks in his silence, ♪

1573
01:44:54,890 --> 01:44:58,285
♪ stealthy is the pain, ♪

1574
01:44:58,807 --> 01:45:02,347
♪ that hurts even in the wind. ♪

1575
01:45:02,541 --> 01:45:06,345
♪ Sad boy, walking slowly. ♪

1576
01:45:09,846 --> 01:45:13,299
♪ Land of birds, ♪

1577
01:45:13,324 --> 01:45:18,986
♪ thought that navigates the heart, ♪

1578
01:45:19,011 --> 01:45:23,090
♪ with foundations. ♪

1579
01:45:23,136 --> 01:45:26,627
♪ Companion stayed behind. ♪

1580
01:45:27,072 --> 01:45:30,581
♪ When death came, ♪

1581
01:45:30,942 --> 01:45:34,712
♪ with its lead seed, ♪

1582
01:45:34,954 --> 01:45:38,537
♪ and impregnated the womb. ♪

1583
01:45:38,789 --> 01:45:42,216
♪ She was a girlfriend, ♪
♪ she was a woman, ♪

1584
01:45:42,555 --> 01:45:46,203
♪ she was the light of dawn. ♪

1585
01:45:46,481 --> 01:45:50,107
♪ A fighter, dark and certain, ♪

1586
01:45:50,363 --> 01:45:54,163
♪ with a book and a carnation, ♪

1587
01:45:54,275 --> 01:45:57,639
♪ with a book and a carnation. ♪

1588
01:46:24,161 --> 01:46:28,165
♪ Land of birds, ♪

1589
01:46:28,190 --> 01:46:33,840
♪ thought that navigates reason, ♪

1590
01:46:33,865 --> 01:46:37,882
♪ with foundations. ♪

1591
01:46:37,923 --> 01:46:41,512
♪ Remember that she wanted, ♪

1592
01:46:41,787 --> 01:46:45,324
♪ to see the new day,
the new dawn, ♪

1593
01:46:45,571 --> 01:46:49,370
♪ as she died fighting, ♪

1594
01:46:49,450 --> 01:46:53,112
♪ a star shone in the sky. ♪

1595
01:46:53,248 --> 01:46:56,734
♪ And at that same place, ♪

1596
01:46:57,198 --> 01:47:00,990
♪ where the lifeless body lay, ♪

1597
01:47:01,137 --> 01:47:04,928
♪ on the communal wall, ♪

1598
01:47:05,159 --> 01:47:08,511
♪ someone wrote:
"Homeland or Death." ♪

1599
01:47:08,863 --> 01:47:13,844
Manuel and all of us
spent the darkest night,

1600
01:47:15,376 --> 01:47:17,934
and in the depths
of the darkest night,

1601
01:47:17,958 --> 01:47:21,230
there was always
the hope of the glow...

1602
01:47:22,391 --> 01:47:23,619
of freedom.

1603
01:47:26,283 --> 01:47:28,503
We also confirm,
through his work,

1604
01:47:31,986 --> 01:47:35,190
that inside the voice
of a mountain,

1605
01:47:36,881 --> 01:47:40,008
was the glow of tenderness.

1606
01:47:42,649 --> 01:47:44,381
For Pepe, who is here today,

1607
01:47:44,743 --> 01:47:47,233
with his whitest dove.

1608
01:47:48,356 --> 01:47:51,577
With more wings,
with more flight every day,

1609
01:47:51,996 --> 01:47:53,456
and with more wind.

1610
01:47:54,756 --> 01:47:57,567
With more mane
in his truth galloped.

1611
01:47:58,758 --> 01:48:02,070
For him, grown, pulmonary,

1612
01:48:02,437 --> 01:48:04,437
hoarse, and drowned.

1613
01:48:05,765 --> 01:48:07,765
A song of sheer people,

1614
01:48:08,188 --> 01:48:10,425
a song tall like a being.

1615
01:48:11,610 --> 01:48:14,230
A song long like
a long hill and high,

1616
01:48:14,255 --> 01:48:18,240
very high, like a high hill,

1617
01:48:18,534 --> 01:48:21,706
and like a long, long hill.

1618
01:48:23,640 --> 01:48:27,665
For Tabaré Echeverry,
a song at the crest of the wave,

1619
01:48:29,150 --> 01:48:31,093
and at the top of the voice,

1620
01:48:31,878 --> 01:48:33,935
a song that brings him over,

1621
01:48:34,512 --> 01:48:36,686
that puts him here,
and here it leaves him.

1622
01:48:37,718 --> 01:48:40,154
A song that is sown with him,

1623
01:48:41,209 --> 01:48:42,587
and with him,

1624
01:48:43,258 --> 01:48:44,494
remains sown.

1625
01:48:50,000 --> 01:48:51,928
♪ To Carlos Da Ponte, ♪

1626
01:48:53,018 --> 01:48:54,598
♪ whom I barely knew, ♪

1627
01:48:55,958 --> 01:48:57,091
♪ but is my friend. ♪

1628
01:49:21,789 --> 01:49:23,623
♪ That drum, ♪

1629
01:49:26,318 --> 01:49:29,321
♪ that once began to beat, ♪

1630
01:49:32,253 --> 01:49:34,079
♪ no one could silence, ♪

1631
01:49:35,715 --> 01:49:39,463
♪ it still resonates. ♪

1632
01:49:40,326 --> 01:49:41,948
♪ Thundering, ♪

1633
01:49:44,874 --> 01:49:48,050
♪ with good sounding skin, ♪

1634
01:49:50,802 --> 01:49:52,720
♪ of hardened wood, ♪

1635
01:49:54,184 --> 01:49:57,131
♪ how good. ♪

1636
01:49:59,109 --> 01:50:00,565
♪ He didn't trust ♪

1637
01:50:03,312 --> 01:50:06,196
♪ in luck or in death, ♪

1638
01:50:09,437 --> 01:50:11,015
♪ and he appeared, ♪

1639
01:50:13,859 --> 01:50:16,469
♪ much bigger and much stronger. ♪

1640
01:50:19,852 --> 01:50:21,707
♪ And he joined ♪

1641
01:50:24,261 --> 01:50:27,368
♪ drums of a different color, ♪

1642
01:50:30,293 --> 01:50:32,047
♪ and thus was born, ♪

1643
01:50:34,751 --> 01:50:37,235
♪ his most thunderous beat, ♪

1644
01:50:37,375 --> 01:50:39,480
♪ his most thunderous beat. ♪

1645
01:50:39,712 --> 01:50:42,292
♪ Wood, wood, leather, and wood, ♪

1646
01:50:42,633 --> 01:50:45,018
♪ leather and wood ♪
♪ always resonate, ♪

1647
01:50:45,255 --> 01:50:47,611
♪ they resonate, ♪
♪ what a good thing, ♪

1648
01:50:47,884 --> 01:50:50,263
♪ what a good thing, ♪
♪ leather and wood. ♪

1649
01:50:50,288 --> 01:50:52,932
♪ Wood, wood, ♪
♪ leather, and wood, ♪

1650
01:50:53,269 --> 01:50:55,615
♪ leather and wood ♪
♪ always resonate, ♪

1651
01:50:55,856 --> 01:50:58,858
♪ they resonate, ♪
♪ what a good thing. ♪

1652
01:50:59,377 --> 01:51:03,596
♪ leather and wood. ♪

1653
01:51:26,060 --> 01:51:27,989
♪ That drum ♪

1654
01:51:30,559 --> 01:51:33,512
♪ that once started to bleed, ♪

1655
01:51:36,432 --> 01:51:38,487
♪ from beating the skin, ♪

1656
01:51:39,654 --> 01:51:42,293
♪ still resonates. ♪

1657
01:51:44,325 --> 01:51:45,988
♪ Resistant, ♪

1658
01:51:48,853 --> 01:51:51,871
♪ facing the fire
to temper the skin, ♪

1659
01:51:54,571 --> 01:51:56,415
♪ his voice grew as he matured, ♪

1660
01:51:58,113 --> 01:52:00,970
♪ how good. ♪

1661
01:52:02,843 --> 01:52:04,312
♪ Propagation ♪

1662
01:52:07,198 --> 01:52:10,487
♪ of his news and his justice, ♪

1663
01:52:13,376 --> 01:52:15,016
♪ and he woke up, ♪

1664
01:52:17,864 --> 01:52:21,700
♪ singing with the family. ♪

1665
01:52:23,907 --> 01:52:25,735
♪ And he discovered ♪

1666
01:52:28,296 --> 01:52:31,971
♪ new reasons to dream, ♪

1667
01:52:34,320 --> 01:52:36,499
♪ and so, he found, ♪

1668
01:52:38,768 --> 01:52:41,276
♪ another way to play, ♪

1669
01:52:41,400 --> 01:52:43,169
♪ another way to play. ♪

1670
01:52:43,203 --> 01:52:44,559
How are things going, Nelly?

1671
01:52:45,623 --> 01:52:48,500
Tell Álvaro to write to me,
and to lazy Daniel,

1672
01:52:48,855 --> 01:52:50,585
and tell the Eduardos
not to stay,

1673
01:52:50,730 --> 01:52:52,771
singers are needed
in America,

1674
01:52:53,026 --> 01:52:56,870
because although I'm great,
one day I'll be dead.

1675
01:52:57,676 --> 01:52:59,299
And that's all,

1676
01:52:59,777 --> 01:53:02,784
I ran out of paper,
so I'll be signing off.

1677
01:53:03,650 --> 01:53:05,425
A big, big hug,

1678
01:53:05,773 --> 01:53:06,773
Manuel.

1679
01:53:18,532 --> 01:53:20,868
♪ The young lady had ♪

1680
01:53:20,892 --> 01:53:23,750
♪ cinnamon-colored eyes, ♪

1681
01:53:23,775 --> 01:53:26,619
♪ and a girl in her blood ♪

1682
01:53:26,643 --> 01:53:28,618
♪ named innocence. ♪

1683
01:53:29,086 --> 01:53:33,741
♪ The lady had eyes like spring. ♪

1684
01:53:35,550 --> 01:53:37,026
♪ The lady had ♪

1685
01:53:37,050 --> 01:53:40,510
♪ a soul full of anticipation, ♪

1686
01:53:40,731 --> 01:53:43,401
♪ and sixteen concerns ♪

1687
01:53:43,425 --> 01:53:46,095
♪ made her legs shake. ♪

1688
01:53:46,640 --> 01:53:51,870
♪ The lady had impatient eyes. ♪

1689
01:53:53,281 --> 01:53:54,923
♪ The lady had ♪

1690
01:53:54,947 --> 01:53:58,932
♪ the same thirst as the earth, ♪

1691
01:53:58,957 --> 01:54:02,565
♪ and in her womb, a fertile ♪

1692
01:54:03,813 --> 01:54:06,268
♪ territory for sowing. ♪

1693
01:54:06,353 --> 01:54:08,556
♪ The lady had ♪

1694
01:54:08,580 --> 01:54:12,074
♪ eyes like bonfires, ♪

1695
01:54:23,853 --> 01:54:26,554
♪ and love, more than a rose, ♪

1696
01:54:26,681 --> 01:54:28,856
♪ the lady had ♪

1697
01:54:28,880 --> 01:54:32,330
♪ eyes like bonfires. ♪

1698
01:54:39,974 --> 01:54:41,970
♪ The lady had ♪

1699
01:54:41,994 --> 01:54:45,496
♪ a prince in her head, ♪

1700
01:54:45,630 --> 01:54:48,306
♪ and love, more than a rose, ♪

1701
01:54:48,330 --> 01:54:50,707
♪ was two warring warriors. ♪

1702
01:54:51,053 --> 01:54:53,096
♪ The lady had ♪

1703
01:54:53,120 --> 01:54:56,191
♪ eyes like a storm. ♪

1704
01:54:57,435 --> 01:54:59,721
♪ The lady suddenly ♪

1705
01:54:59,745 --> 01:55:02,977
♪ became a woman by force, ♪

1706
01:55:03,030 --> 01:55:05,270
♪ and in her happy eyes, ♪

1707
01:55:05,294 --> 01:55:07,944
♪ there's a hint of sadness. ♪

1708
01:55:08,081 --> 01:55:10,356
♪ The lady, a woman, ♪

1709
01:55:10,559 --> 01:55:14,798
♪ the one with innocence. ♪

1710
01:55:15,364 --> 01:55:17,003
♪ The lady had ♪

1711
01:55:17,027 --> 01:55:21,004
♪ the same thirst as the earth, ♪

1712
01:55:21,029 --> 01:55:24,348
♪ and in her womb, a fertile, ♪

1713
01:55:25,813 --> 01:55:28,107
♪ territory for sowing. ♪

1714
01:55:28,364 --> 01:55:33,955
♪ The lady had ♪
♪ eyes like bonfires, ♪

1715
01:55:45,866 --> 01:55:49,137
♪ and love, more than a rose, ♪

1716
01:55:49,185 --> 01:55:51,540
♪ the lady had ♪

1717
01:55:51,564 --> 01:55:55,300
♪ eyes like bonfires. ♪

1718
01:56:14,621 --> 01:56:17,310
♪ A <i>milonga</i>, ♪

1719
01:56:19,213 --> 01:56:22,488
♪ as if raining, ♪

1720
01:56:23,929 --> 01:56:26,682
♪ but in the hair ♪

1721
01:56:28,404 --> 01:56:30,719
♪ of the one I love. ♪

1722
01:56:32,612 --> 01:56:35,064
♪ That's what she sings, ♪

1723
01:56:36,883 --> 01:56:39,847
♪ what she sings to me, ♪

1724
01:56:41,370 --> 01:56:43,725
♪ as if from within. ♪

1725
01:56:45,136 --> 01:56:47,979
♪ Double drops, ♪

1726
01:56:49,770 --> 01:56:52,437
♪ with a downpour, ♪

1727
01:56:53,977 --> 01:56:56,980
♪ mixing glasses, ♪

1728
01:56:58,215 --> 01:57:01,209
♪ soaking kisses; ♪

1729
01:57:02,458 --> 01:57:05,169
♪ an assembly ♪

1730
01:57:06,117 --> 01:57:09,206
♪ of a bunch of crazies, ♪

1731
01:57:10,720 --> 01:57:13,403
♪ under a umbrella, ♪

1732
01:57:14,499 --> 01:57:17,503
♪ mad with wind. ♪

1733
01:57:23,425 --> 01:57:25,425
♪ The name resonated, ♪

1734
01:57:27,555 --> 01:57:30,030
♪ sounded like morning, ♪

1735
01:57:31,866 --> 01:57:34,798
♪ but it carried ♪

1736
01:57:36,022 --> 01:57:38,978
♪ rain from the past, ♪

1737
01:57:40,407 --> 01:57:42,563
♪ like mine, ♪

1738
01:57:44,444 --> 01:57:47,784
♪ and she also had ♪

1739
01:57:48,600 --> 01:57:52,127
♪ raindrops hanging. ♪

1740
01:57:52,900 --> 01:57:56,263
♪ There were no violins, ♪

1741
01:57:57,179 --> 01:58:00,069
♪ but there was "Becho" ♪

1742
01:58:01,199 --> 01:58:04,359
♪ and there was Outes Bar, ♪

1743
01:58:05,077 --> 01:58:08,136
♪ and I think Alfredo too, ♪

1744
01:58:09,317 --> 01:58:12,441
♪ and cigarettes, ♪

1745
01:58:12,917 --> 01:58:15,486
♪ blond and black, ♪

1746
01:58:16,611 --> 01:58:19,736
♪ and a couple of lovers, ♪

1747
01:58:21,534 --> 01:58:24,684
♪ in a lighter. ♪

1748
01:58:26,082 --> 01:58:29,601
♪ The mouth wide open, ♪

1749
01:58:30,432 --> 01:58:33,319
♪ the tongue wet, ♪

1750
01:58:34,817 --> 01:58:37,584
♪ drinking from the rain, ♪

1751
01:58:38,828 --> 01:58:41,696
♪ desperately, ♪

1752
01:58:43,149 --> 01:58:45,243
♪ with salt, with hunger, ♪

1753
01:58:46,321 --> 01:58:49,152
♪ for love and homeland, ♪

1754
01:58:50,724 --> 01:58:54,111
♪ with skin of soil ♪

1755
01:58:55,035 --> 01:58:58,182
♪ of reclaimed land. ♪

1756
01:58:59,674 --> 01:59:02,145
♪ And now it doesn't rain. ♪

1757
01:59:03,696 --> 01:59:06,848
♪ Bad <i>milonga</i>, ♪

1758
01:59:08,036 --> 01:59:10,830
♪ that doesn't have her, ♪

1759
01:59:12,364 --> 01:59:15,797
♪ under the umbrella; ♪

1760
01:59:16,521 --> 01:59:18,293
♪ but still carries, ♪

1761
01:59:20,112 --> 01:59:23,144
♪ beneath the soul, ♪

1762
01:59:24,188 --> 01:59:27,256
 ♪ like a storm, ♪

1763
01:59:28,008 --> 01:59:31,124
♪ under a shelter. ♪

1764
01:59:32,275 --> 01:59:34,719
♪ Flaco says: ♪

1765
01:59:36,749 --> 01:59:39,461
♪ "I know nothing" ♪

1766
01:59:40,845 --> 01:59:43,779
♪ but the afternoon ♪

1767
01:59:44,640 --> 01:59:47,826
♪ is filled with clouds, ♪

1768
01:59:48,930 --> 01:59:51,022
♪ and this bar, ♪

1769
01:59:52,340 --> 01:59:55,049
♪ has windows, ♪

1770
01:59:56,568 --> 01:59:59,500
♪ for your rains, ♪

1771
02:00:01,327 --> 02:00:04,362
♪ and for your love. ♪

1772
02:00:05,972 --> 02:00:08,640
♪ Come, Galician, ♪

1773
02:00:11,128 --> 02:00:14,252
♪ soak your wings ♪

1774
02:00:15,780 --> 02:00:19,583
♪ in this rain ♪

1775
02:00:20,556 --> 02:00:25,488
♪ colored ♪

1776
02:00:26,435 --> 02:00:30,878
♪ in amber. ♪

1777
02:00:44,306 --> 02:00:47,657
OCTOBER 2012: MARCOS FLACK OPENS
THE DOORS OF EL GALPÓN FOR HIM.

1778
02:00:47,682 --> 02:00:50,820
MANUEL GETS SICK,
AND THE CONCERT IS CANCELED.

1779
02:00:53,121 --> 02:00:57,328
MANUEL CAPELLA WAS BORN IN BÉJAR,
SALAMANCA, ON 8 DECEMBER, 1946.

1780
02:00:57,353 --> 02:01:00,205
HE PASSED AWAY IN MONTEVIDEO
ON 28 MAY, 2013.

1781
02:01:02,824 --> 02:01:05,148
♪ You are flying, ♪

1782
02:01:06,108 --> 02:01:08,097
♪ widow <i>milonga</i>, ♪

1783
02:01:08,122 --> 02:01:10,110
♪ you are flying, ♪

1784
02:01:12,579 --> 02:01:14,861
♪ as if singing, ♪

1785
02:01:15,717 --> 02:01:18,092
♪ biting at death. ♪

1786
02:01:19,424 --> 02:01:21,051
♪ The beloved song ♪

1787
02:01:21,075 --> 02:01:22,702
♪ keeps singing. ♪

1788
02:01:22,767 --> 02:01:24,950
♪ Magical rose, ♪

1789
02:01:25,902 --> 02:01:28,255
♪ flies and rests, ♪

1790
02:01:29,211 --> 02:01:31,379
♪ flies and rests, ♪

1791
02:01:31,404 --> 02:01:35,012
♪ widow <i>milonga</i> of Zitarrosa's. ♪

1792
02:01:36,113 --> 02:01:38,074
♪ Flies and rests... ♪

1793
02:01:38,141 --> 02:01:40,631
♪ What will the paths say, ♪

1794
02:01:41,578 --> 02:01:43,189
♪ when they no longer ♪

1795
02:01:43,213 --> 02:01:44,397
♪ see her go by? ♪

1796
02:01:53,679 --> 02:01:56,945
♪ How are we ♪

1797
02:01:57,159 --> 02:02:00,660
♪ to face that cruel reality? ♪

1798
02:02:01,856 --> 02:02:03,668
The last time
Manuel sees his father

1799
02:02:03,692 --> 02:02:05,347
is in Gualeguaychú, Entre Ríos,

1800
02:02:05,737 --> 02:02:07,071
in 1980.

1801
02:02:07,853 --> 02:02:10,678
At the hotel, he tells him
he wrote a song for him,

1802
02:02:11,776 --> 02:02:13,257
and sings "El hombre de azul".

1803
02:02:14,310 --> 02:02:16,815
His father is deeply moved
and starts to cry.

1804
02:02:17,576 --> 02:02:19,255
Manuel hugs him and says:

1805
02:02:19,965 --> 02:02:21,458
"Why are you crying, old man?"

1806
02:02:22,752 --> 02:02:23,987
The father responds:

1807
02:02:25,227 --> 02:02:28,210
"How can someone
fit 35 years of life

1808
02:02:29,207 --> 02:02:31,449
into a five minute song?"

1809
02:02:35,842 --> 02:02:38,327
♪ The man in blue ♪

1810
02:02:39,495 --> 02:02:41,312
♪ walks the streets, ♪

1811
02:02:42,545 --> 02:02:44,814
♪ carrying on his shoulders ♪

1812
02:02:45,344 --> 02:02:47,071
♪ the afternoon. ♪

1813
02:02:47,839 --> 02:02:49,743
♪ Over half a century, ♪

1814
02:02:50,634 --> 02:02:53,046
♪ he carries in his shoes, ♪

1815
02:02:53,491 --> 02:02:55,018
♪ and an eternity, ♪

1816
02:02:55,636 --> 02:02:58,111
♪ following the trail, ♪

1817
02:02:58,968 --> 02:03:01,168
♪ the track that follows ♪

1818
02:03:01,720 --> 02:03:04,076
♪ his proletarian journey, ♪

1819
02:03:04,756 --> 02:03:06,696
♪ from work to home, ♪

1820
02:03:08,015 --> 02:03:12,031
♪ from home to work. ♪

1821
02:03:14,906 --> 02:03:18,225
♪ The man in blue, ♪

1822
02:03:21,984 --> 02:03:24,795
♪ the man in blue, ♪

1823
02:03:27,707 --> 02:03:30,907
♪ the man in blue... ♪

1824
02:03:33,364 --> 02:03:35,887
♪ Old swallow, ♪

1825
02:03:36,896 --> 02:03:38,881
♪ seeking the summer, ♪

1826
02:03:40,016 --> 02:03:41,763
♪ with the brief flight ♪

1827
02:03:42,506 --> 02:03:45,056
♪ of his old hands. ♪

1828
02:03:45,723 --> 02:03:48,520
♪ He sometimes remembers, ♪

1829
02:03:48,544 --> 02:03:50,666
♪ with tired eyes, ♪

1830
02:03:51,268 --> 02:03:53,754
♪ green horizons ♪

1831
02:03:53,778 --> 02:03:56,264
♪ that date from way back. ♪

1832
02:03:56,879 --> 02:03:59,052
♪ When from Spain ♪

1833
02:03:59,729 --> 02:04:01,928
♪ he took a ship here, ♪

1834
02:04:02,706 --> 02:04:05,277
♪ he carried two hopes: ♪

1835
02:04:06,387 --> 02:04:10,517
♪ woman and boy. ♪

1836
02:04:13,306 --> 02:04:17,669
♪ The man in blue, ♪

1837
02:04:20,494 --> 02:04:23,482
♪ the man in blue, ♪

1838
02:04:26,087 --> 02:04:28,990
♪ the man in blue... ♪

1839
02:04:32,171 --> 02:04:35,013
♪ The grease of the day ♪

1840
02:04:35,826 --> 02:04:38,069
 ♪ hurts in his clothes, ♪

1841
02:04:38,894 --> 02:04:40,626
♪ while he drinks love, ♪

1842
02:04:41,327 --> 02:04:43,925
 ♪ from a soup bowl. ♪

1843
02:04:44,596 --> 02:04:46,474
♪ Only when he sleeps, ♪

1844
02:04:47,555 --> 02:04:49,839
♪ his tired dreams, ♪

1845
02:04:50,475 --> 02:04:52,304
♪ he leaves the hard job, ♪

1846
02:04:52,951 --> 02:04:55,929
♪ of renting his arms. ♪

1847
02:04:56,647 --> 02:04:58,797
♪ But the dawn comes, ♪

1848
02:04:59,560 --> 02:05:01,419
♪ of rushes and coffees, ♪

1849
02:05:02,445 --> 02:05:04,367
♪ and behind a kiss, ♪

1850
02:05:06,153 --> 02:05:10,210
♪ he returns to work ♪

1851
02:05:12,294 --> 02:05:15,380
♪ where the sirens, ♪

1852
02:05:15,912 --> 02:05:18,292
♪ scream of food, ♪

1853
02:05:19,284 --> 02:05:21,569
♪ of so many blues ♪

1854
02:05:22,234 --> 02:05:26,683
♪ in the avenues, ♪

1855
02:05:27,992 --> 02:05:30,838
♪ gathering steps, ♪

1856
02:05:34,660 --> 02:05:37,169
♪ so many swallows, ♪

1857
02:05:40,244 --> 02:05:42,736
♪ and so many summers, ♪

1858
02:05:45,116 --> 02:05:48,765
♪ that the man foresees, ♪

1859
02:05:50,610 --> 02:05:53,135
♪ when he looks at his son, ♪

1860
02:05:55,241 --> 02:05:58,618
♪ who is also walking, ♪

1861
02:06:01,644 --> 02:06:04,684
♪ alongside so many children, ♪

1862
02:06:07,067 --> 02:06:08,648
♪ by... ♪

1863
02:06:08,672 --> 02:06:14,446
♪ the avenues. ♪

1864
02:06:18,507 --> 02:06:22,412
♪ The man in blue ♪

1865
02:06:24,022 --> 02:06:25,920
♪ keeps tenderness ♪

1866
02:06:29,636 --> 02:06:31,848
♪ behind the strength ♪

1867
02:06:35,034 --> 02:06:40,911
♪ of his hardened hands. ♪

1868
02:06:45,072 --> 02:06:49,100
♪ The man in blue, ♪

1869
02:06:50,871 --> 02:06:54,438
♪ the man in blue, ♪

1870
02:06:57,034 --> 02:07:00,356
♪ the man in blue... ♪

1871
02:07:02,900 --> 02:07:07,713
♪ my father. ♪

1872
02:07:13,198 --> 02:07:15,536
So, as I was saying,

1873
02:07:16,561 --> 02:07:20,114
I go back to the source
of dignified singing and so,

1874
02:07:21,127 --> 02:07:23,619
with a lot of music inside,

1875
02:07:24,288 --> 02:07:27,814
I tell you that maybe
the end of the year

1876
02:07:28,353 --> 02:07:31,935
is a good reference
to get our hopes renewed.

1877
02:07:33,203 --> 02:07:34,738
That's why I wish you

1878
02:07:35,353 --> 02:07:39,126
an incredibly happy '81,

1879
02:07:40,158 --> 02:07:41,584
in which, apart from

1880
02:07:42,400 --> 02:07:45,515
the affection I have for you,

1881
02:07:47,015 --> 02:07:51,104
this unstoppable march of ours
may grow too.

1882
02:07:53,266 --> 02:07:54,266
I love you.

1883
02:07:55,548 --> 02:07:56,548
Manuel.

1884
02:08:43,148 --> 02:08:45,305
♪ A hand, ♪

1885
02:08:46,185 --> 02:08:50,245
♪ palpitating <i>milongas</i> in grey, ♪

1886
02:08:51,121 --> 02:08:52,963
♪ like the sound of rain ♪

1887
02:08:52,987 --> 02:08:54,829
♪ against the glass. ♪

1888
02:08:56,300 --> 02:08:58,784
♪ Wounded with nostalgia, ♪

1889
02:08:58,809 --> 02:09:00,208
♪ the voice ♪

1890
02:09:00,748 --> 02:09:03,154
♪ for the beloved land ♪

1891
02:09:03,178 --> 02:09:04,778
♪ and the sun, ♪

1892
02:09:05,491 --> 02:09:08,202
♪ like a sweet memory ♪

1893
02:09:08,483 --> 02:09:10,724
♪ that shines and burns ♪

1894
02:09:11,501 --> 02:09:13,682
♪ in the south. ♪

1895
02:09:17,089 --> 02:09:19,701
♪ You'll walk ♪

1896
02:09:19,900 --> 02:09:21,689
♪ in your craft, ♪

1897
02:09:21,714 --> 02:09:24,239
♪ a worker of the song, ♪

1898
02:09:24,819 --> 02:09:27,675
♪ your eyes towards ♪

1899
02:09:28,182 --> 02:09:32,472
♪ the tenderness of the future, ♪

1900
02:09:33,072 --> 02:09:35,395
♪ which, more than yesterday, ♪

1901
02:09:35,419 --> 02:09:37,215
♪ brings closer today, ♪

1902
02:09:37,879 --> 02:09:42,531
♪ the time of the flower. ♪

1903
02:10:19,758 --> 02:10:22,013
♪ More than a place, ♪

1904
02:10:22,703 --> 02:10:26,649
♪ your place is a path of peace, ♪

1905
02:10:27,384 --> 02:10:31,212
♪ where the universal child ♪

1906
02:10:32,334 --> 02:10:34,031
♪ treads and waits ♪

1907
02:10:34,055 --> 02:10:36,180
♪ for songs of bread, ♪

1908
02:10:37,107 --> 02:10:40,952
♪ feeling the bones grow ♪

1909
02:10:41,766 --> 02:10:44,247
♪ next to the blue bird ♪

1910
02:10:44,539 --> 02:10:49,067
♪ that from your throat arose. ♪

1911
02:10:53,020 --> 02:10:55,449
♪ The corners ♪

1912
02:10:55,829 --> 02:10:58,578
♪ will wait for your name, ♪

1913
02:10:58,603 --> 02:11:02,183
♪ and, perhaps, the seagulls ♪

1914
02:11:02,215 --> 02:11:05,117
♪ will sense your heart ♪

1915
02:11:05,141 --> 02:11:08,042
♪ singing at it returns. ♪

1916
02:11:08,727 --> 02:11:12,829
♪ When the pain is finally, ♪

1917
02:11:13,471 --> 02:11:17,893
♪ ashes over the sea. ♪