We waited the full house and therefore we treat to arrive early to prevent the undesirable dispute of armchairs with people impolite. Which what! An almost empty auditorium applauded and vibrated with the old and good sambista Carlinhos Jackstay, owner of an incredible vitality, that sang and counted histories on the homaged one, with which coexisted and if it became partner in some sambas. In one of them, it tells another version of the history of the letter of Iracema. According to it, Adoniran was fallen for a young woman who did not give the lesser possibility to it. Person without illusions, he informed to whom would go to kill it (symbolically, he is clearly) composing the samba where its diva dies run over.
Adoniram was more than what a sambista, was also a cronista of the Paulicia. Living and circulating it enters the quarters of the Bladder, Mooca and Brs, it caught the typical skill of the bohemian, gozador and also sofredor paulistano. With simple letters and using a distant Portuguese very of the language of Cames, repleto of italianismos and errors of agreement, it also conquered the heart of the natives of So Paulo and of the immigrants. They are histories of the common man, the worker, the unemployed, the one without ceiling, that it searchs to survive in the great capital. Saudosa Maloca, that portraies the perpetual problem of housing with the invasions of public and particular spaces for the without-ceiling, discloses critical a social one, but also a conformismo ahead of the economic system.
Old palacetes assobradados abandoned still exists and of time in when we read in the periodicals that had been invaded or vacated to the force. The edipiano Train of the Eleven that it passed in the Jaan to only rhyme with tomorrow remembers the problem of the public transport in the biggest city of the country and if it became music symbol of the paulistanos. The Iracema that dies run over for crossing in the contrahand is plus a scene of the daily paulistano, with the thousands of running overs, interrupting lives of children, young and adults of a violent form, leaving tracks of sadnesses and homesicknesses. But it has another history on the career of Adoniran Barbosa, counted for Walter Hisses, ' ' Prick; '. Adoniran was well different of that ironic and funny figure brincalhona, that we know. It would have been a more serious citizen, that sang musics of Noel, as Philosophy, that it defended in a program of freshmen. The Adoniran that made success in the paulicia and later in Brazil was created by the producer Oswaldo Molles for a program of radio in the years cinquenta. The personage was ' ' Charutinho' ' , that it incorporated until the end of its days. Walter still Hisses affirmed that the wrong Portuguese of sambas were, many times, workmanship of ' ' Demons of the Garoa' ' , that they printed a humorstico tone to its musics. Adoniran, with wrong Portuguese propositalmente or not, left its mark in the samba and the paulistana culture. Until today many Cariocas they believe that the natives of So Paulo speak as in its songs; but exactly being a half descendant of Italians acaipirado, placed the paulicia in the panteo of the samba. on speaking wrong, is of it the phrase: ' ' The person, pra to speak wrong, need to know to speak wrong. If not to know is better not to say errado' '.