and he still didn't ask for it.
In 18
I used to go to work and catch the electricity.
Everything was there.
Here in Lima, I already caught the electricity.
That's where my house is now.
So now I'm just going to go around
from here in my house,
to Camoia.
From here in my house,
to Santa Catarina,
on top of the rest.
It's the most beautiful place in the world.
When you want me,
come and look for me.
I'm going to look for you.
I'm going to look for you.
I'm sorry, I'm sorry.
This is a good typical bar.
Maybe in this most typical height,
in terms of population.
I still keep a...
I still keep a lot of tourism.
A lot of tourism.
Without even people coming to live here to the bar,
I have managed to live the bar.
And that has been, I think, the most important thing.
It's a bar that is fashionable,
but it's a bar where there is still this thing
of the neighbor next to it,
of the help.
I'm going to open my window
and compliment a different neighborhood.
Stick your hand, we practically compliment each other.
That's important.
And then I can go out of the house
and there's someone who takes my house.
I don't need to have trunks at the door.
That's what it's all about.
And that's the most important thing.
And then I can live with it.
If you're the youngest in this neighborhood,
you also give me.
If you need me for something, I'm present.
If you need someone to be present for me,
that's very important.
You can't find this in the new avenues,
for sure.
People who live in the second don't know about the bar.
Everyone here knows about it,
and it's very important.
The elevator is part of the bar.
The elevator is part of the bar.
It depends on how you put the elevator,
but it's part of the bar.
It's always important to work.
The elevator is free.
It's not just the bar, it's the city.
The elevator should have more respect for the elevator.
The elevator, unfortunately,
is one of the best paintings in the world.
Nowadays,
any person who lives in a trash can,
and doesn't paint,
it's a negative fact.
Not everyone is perfect.
It's a pity that it happens,
but when you're surrounded,
you keep painting without paintings,
you keep being free from the city.
It's important for the people who live here.
The sound of the city is part of the family.
It's important to be at home,
and look at the elevator.
It's part of the routine.
It's important for the people who live here.
To dance the boss,
the Ramona,
from other times.
A worker had to give two rounds of assailant
to dance the Ramona,
and the boss had to give two rounds of assailant
to dance the Ramona.
The boss had to give two rounds of assailant
to dance the Ramona,
Ramona, with a piece of bread in her mouth and a rosary or a tangerine, or anything like that.
And she goes around the room, without letting her go to the room, not even losing her compass.
We had to dance twice, because there was an impact.
I had to be the one who did it.
He had a piece of bread in his mouth, and I had a lady of gold.
The lady of gold.
This is the lady of gold.
This is the lady of gold.
There was no one around.
Everything was taken away.
The old ladies came out of the house.
And the new people didn't come here.
There was a lady of gold, and I was going to see the lady of gold.
And so the lady of gold came to play with the cards.
But there was a lady of gold, who was right.
And the old lady didn't like it, and I think they all went to play with the cards.
She went back to the house, because it was a serious house.
And I don't know where it is.
The restaurants and everything were all up there.
And no one came here to play with the cards.
I'm a little bit...
It was embarrassing.
For me it wasn't.
When I gave the opportunity to go, I had respect.
But some people ask me to go there.
It's all about the director.
Whether it's the director, or the director, or the director.
We have to be very direct.
The researcher is important.
And there's a lot to be done.
Frédéric says that living in the upper area is a means of easy access.
We tried to deal with the doors, but it's not the same as living in the upper area.
The elevator I knew was two-tenths.
Or 25-tenths.
It was two-tenths. It was cheap.
I know it was cheap.
We would catch the elevator down there.
We would sit here in the corner.
The elevator would stop like this.
We would come up and get to know the people.
For me it was cheap.
I think it's a bit of a drawback.
People use the elevator to come to the bars.
To come to the square, to live up there.
The elevator goes from Routes-São Paulo to Peleariz.
And it doesn't stop at all.
It's a bit of a drawback.
It's very expensive.
I think it's very expensive.
It's three-tenths and a half.
Sometimes I go down to the square,
and my feet get very dirty.
I don't see myself carrying anything.
I don't see myself carrying anything.
I don't see myself carrying anything.
I don't see myself carrying anything.
waiting for the river
come without fear
a world that is sad was mine
life that I wanted to remember
life that I wanted to remember
a world that was sad was mine
I think it's time for the river
now it is
Vision条 is
seasons
but then what...
in winter
It's a lot of people, it's a lot of people.
It's a lot of people, it's a lot of people.
I'm sorry that the wind comes out of here and right now it's getting a little bit worse
and our wind is blowing to the Brazilians,
especially to the Brazilians,
it's like a sandbar in a popular neighborhood.
There's no one to do the exergata,
and here the other Brazilians don't do it either,
I've never had any exergata with them,
and I even got married here in front of them, or not.
I speak very well, don't worry,
how are you doing, how are you doing?
And I speak very well with them.
But the rest, I've never had any exergata with them.
Here, now that I see them,
now at night, at 8.30pm,
I don't know if there's any exergata,
but here, when you don't see them,
they're all over your body,
they're telling you that, yes,
there's a sign,
on the cross of Sant'Aguiterre,
there's a wind where the river Amalia,
the river was going by,
and on the cross of Sant'Aguiterre,
you know, on the path of Sarmenta,
that was the path.
On the cross of Sant'Aguiterre,
now it's all black,
I was the father of the souls, the father of the womb, the father of the...
We were... I was six years old, my mother had seven children.
We were raised with the grace of God, very well-educated,
like my father and my mother, like my elders.
That was the most important thing.
My elders raised us and raised us.
And we all did our lives as soon as I started to speak,
but I was lucky, so I caught the place,
and I became a patron of that,
because I had a lot of freaks who were very close to me,
because at that time it was New Year's Eve.
New Year's Eve
New Year's Eve
New Year's Eve
A long time ago, there were the celebrations of the Earth,
the festivities of the castle and so on.
There was someone pretending.
But I didn't include anyone.
It seemed that I was left alone all my life.
We went to the festivities of the castle,
eating the costume, but the foot, the people,
I was always walking the foot.
Because when I came down,
I wanted to pull my hand to give me a kiss,
and I said to myself,
I'm going to give you a kiss,
send me away.
That boy was a great conqueror.
My mother liked him very much,
but I didn't like anyone.
I wanted to be a god.
I wanted to be a god.
I fell in love with him.
He knew me,
and I ended up getting married.
But that marriage, that love,
was very contrary to his mother.
It didn't happen that the son loved his daughter
as a fisherman.
That's when my father started.
But I had to be, and I was from him.
I only loved that man.
Unless he wasn't anyone,
I would be left alone all my life,
because I presented everything to him.
I got married for love,
and for love I'm still here.
I still speak every day with my husband.
I don't leave the house without telling him where I come from.
I don't enter the house without telling him,
and today he accompanied me,
and I'm still here with him.
I don't want to be a god.
I don't want to be a god.
I don't want to be a god.
No one can call a God for no one's sin.
So this is what I wanted to know.
To be a writer, to be a poet, to be a writer,
to be a writer, to be a writer, to be a writer.
To be a writer, to be a writer, to be a writer, to be a writer.
To be a writer, to be a writer, to be a writer, to be a writer.
To be a writer, to be a writer, to be a writer.
To be a writer, to be a writer.
To be a writer, to be a writer, to be a writer.
To be a writer, to be a writer.
To be a writer, to be a writer.
To be a writer, to be a writer.
To be a writer, to be a writer.
To be a writer, to be a writer.
To be a writer, to be a writer.
To be a writer, to be a writer.
To be a writer, to be a writer, to be a writer.
To be a writer, to be a writer.
To be a writer, to be a writer.
To be a writer, to be a writer.
To be a writer, to be a writer.
