I wanted to be acknowledged,
even though I wasn't an MC,
even though I wasn't a singer.
Rhyme, improvisation, freestyle, beat.
In Brazil, the songs I listened to,
I didn't know who had made the beat.
Will the song be ready today?
In the world of beatmakers, we have the tags.
On the streets, people say: "Papatinho!"
Papatinho!
[...] no pulso diz que o pai tá patrão
It took me a while to accept myself as a producer.
As a beatmaker and artist,
I knew I could do more than I did with ConeCrew.
I knew I could find new artists and talents.
I want to grow more.
I think the producer has no limits.
This makes me even more excited.
Sem tirar de ninguém Se quiser grana, tem
Os menino faz cifrão
THE BEATMAKERS EVOLUTION DIRECTED BY DANIEL FERRO
Mas costumo fazer Bem mais do que eu falo
Nunca fui fã de ostentação
Se eu gasto é porque eu posso Não é por embalo
Louis Vuitton não me chamava atenção
You had to film in the studio, I pulled an all-nighter
When the internet and MP3s arrived,
I was a curious kid who liked to browse things.
I created an MP3 library on my computer
and started editing the audio
to record, clip out certain parts.
It was my first contact with an audio program.
I was digging around.
I'd get it right or wrong, and I'd sort it out by myself.
I started by sampling.
In hip-hop, it's a common practice.
I started taking out parts of songs from old recordings,
adding drums and producing beats,
then my friends began adding lyrics.
Cone was our crew without music.
Evarilho had a rock band and named it Cone.
When the guys started to rap and I to produce beats,
we used the name too.
We're from the same crew.
ConeCrew is our rap group.
In our first time in the studio
to write a song over a beat I made,
they said it was cool.
I had no idea what it was like,
if I was actually doing something cool.
I just wanted to do it because I had fun
and I was learning something new.
We left with a recorded CD with a rap made over my beat.
I was thrilled to do this all the time.
I spent several hours and nights working on new beats.
And I kept improving.
FIRST RECORDINGS BIPE STUDIO
When I was 14, my nickname was "Sapatinho,"
maybe because of the slang and me being tranquil.
But when we went to record the first song,
they recorded "Papatinho,"
because we kept changing nicknames as a joke.
They recorded Papatinho
and I thought I'd only have one song in life.
Papatinho was recorded, now that's it.
I admit I was embarrassed by my nickname,
because introducing myself as Papatinho, composing beats...
I was already embarrassed to say I was a producer,
so it was even worse to say I was Papatinho.
BEAT BATTLE
Papatinho!
Early in my career, I even took part in beat battles
and won all of them in Rio de Janeiro,
with other producers who were already active
in the Rio de Janeiro underground rap scene in Lapa.
I had an old PC with no monitor reference.
I had nothing, my earphones barely worked.
It was a wired earphone.
I'd try to find something I liked.
That's how I did it.
I remember that in my first beats
I didn't know how to program the drums separately.
I took a drum and a guitar loop,
and they happened to be at the same BPM, tempo.
I ran those two in a single channel software.
It was Sound Forge.
I'd layer one channel over another,
then it'd process that as another audio file.
I'd press Ctrl + C and Ctrl + V to duplicate that.
There were no tracks.
I was working far harder than it needed to be
since I was figuring it out.
It took me a while to accept myself as a producer,
and that this was my job.
I didn't see myself as a producer.
I felt embarrassed to say it.
Even Hyldon, a guy that...
He is the legend of Brazilian Soul.
He worked with Tim Maia, Cassiano,
several artists I admire.
He lives here near Recreio.
I even visited his house.
Not an opportunity, but the approval he gave me
to work on producing beats,
gave me some assurance.
"Man, if Hyldon isn't questioning anything,
it must be good."
I started to gain confidence.
At first, I called him Tiago.
He had the game but lacked experience.
He started forming ConeCrew.
He wanted to stay...
That's how he is. He's a little shy.
I said, "No, man."
The most important thing in the band is you.
In the start, I did a little bit of everything.
I made the beats,
went to the studio with the guys to record the voice,
sat next to the engineer to mix the music,
took part in the release,
created the clips,
and sometimes shot and edited it myself.
I'd go to battle with my daughter
and find him there singing, selling t-shirts.
There was a lot of rushing,
but with objectivity and creativity.
There was Nunes Antunes, a ghost entrepreneur
who was me, who sold the shows.
I knew I couldn't do everything,
so I made this character.
Nunes is the name of Flamengo's striker,
from the Club World Cup in the 80's,
and Antunes is Zico's surname.
It was a play on the name.
He was the group's manager
at the start of our career.
It was me.
The transition you did was cool, man.
Vem, vem com [...]
Se tu curte o ConeCrew Tu é do bom, irmão
Se tu fecha, fecha junto Não se esconde
I didn't even go up on stage.
I'd hand someone the Beats CD and tell them,
"Look, it's number 7, 9, 15..."
I'd give them the order, and they'd play the beats.
I'd try to film, go to the sound...
I wanted to be on stage with the guys,
so that's when I started thinking of a way
for the beatmaker to appear as an artist.
And when this little instrument...
It's a controller.
To me, it was like a guitar.
Hey Papatinho, that thing I told you.
Test the sounds.
Play it all.
From there, I was on stage too.
People saw me as someone who seems to be doing something.
I did a lot of stuff, but nobody saw me.
Then I started to appear as the guy who makes the beat,
the beatmaker.
ConeCrew happened.
It was an internet phenomenon.
We won the national stage,
taking part in all festivals and awards.
This increased my visibility
to the point where other rap artists
approached me for collaboration.
That's when I worked with Marcelo D2, Gabriel Pensador.
Artists I admired as a kid
are now playing on the radio with my beats,
and my group is always doing live shows
and traveling with my beats.
A vida cobra E não te permite viver na falha
Chama o Papatinho Homem sujeito que trabalha
A rima que estraçalha Na cara dos canalha
After rap, there was pop,
when Anitta asked me to produce as well,
then it was Ludmila and Ferrugem,
now it's Seu Jorge.
He is a figure who has...
contributed a lot to the growth of hip-hop culture,
pop culture, Brazilian sound, and popular music.
This guy is here.
It's you, Papatinho!
Come on!
It's a pleasure to hear you say that.
Directly, Papatinho is here producing.
Then I started traveling abroad
and made connections with world-renowned artists.
Papatinho!
When I completed 10 years of career in 2016,
I founded Papatunes, the record label.
I knew I could do more than I did with ConeCrew.
I knew I could find new artists and talents.
That's what I aimed for at Papatunes,
along with my team.
We released artists here on our label
who are now in the top five in the genre,
such as L7NNON, which was a huge victory for us.
That's exactly what happened when L7NNON appeared.
It was my dream coming true, of continuing to do what I can
to help other artists' careers and dreams.
Whenever you're ready.
Vish Meu 'cumpadi' que fase
Me olho no espelho: Mas Gustavo, o que fazes?
Cadê as letras? Esqueceu da caneta
Fica só cheirando Em cima do CD de bases
Os beatmakers Os melhores do país
Eu só vou pra Jamaica Pra acalmar o meu nariz
Mete a venta e não produz
Bye, bye, Gus
Babylon by trevas Volume zero, sem luz
Tô sem frases, o que me trazes?
Isso é metanfetamina A droga dos kamikazes
Precisam de coragem Pra poder morrer na guerra
E eu preciso de coragem Pra viver fazendo as pazes
Ou quase
Se me der guerra, eu quero mais
O tempo fecha e eu tô de pé Chamando temporais
Viciado em caos Na beira do cais
Banquete animado Ao bando de animais
Nas dependências da clínica De dependência química
Me deixa quieto Aqui na minha, cara
Nas dependências da clínica De dependência química
Gata, mexe aqui na minha, cara
In the same month, I released and produced,
which I also worked on in 2018,
Black Alien's album, Abaixo Zero, classic hip-hop,
and I also released L7NNON's first album, Podium.
All of this in three months, and everything went very well.
That same year, I began performing as Papatinho
and launched Baile do Papato.
That is, everything I was planning,
it was the time to put it into action.
It was also a huge boost in my career.
Papatinho
Papatinho, ê
Dfideliz, Pericão, Haridade
Papatinho Essa é do verão né, pai?
Então joga Ela me beija com traje de verão
Gamei
Dançou diferente Chamou minha atenção...
In all our movement, I appreciate it
when he gets involved and makes some music,
because it's always something new.
He's a reference, right?
One of the things I'm most proud of in him
is his progress,
not only personally,
working with Snoop Dogg, Anitta, Ludmilla,
but with his musical improvement.
Papatinho was born to do what he does.
I believe some people are predestined for this.
Once, I worked with L7NNON and Papatinho
on a song for L7NNON's album,
and Papatinho made the beat in 15 minutes.
When I last visited his studio,
there were three recordings going on at the same time.
Then a guy arrived, and he started making the beat.
He left it and we kept writing.
I think it was the fastest beat I've ever seen.
He's a guy who's very prepared for that, you know?
Do you know what I call him?
There's even a sticker, he's Billy The Kid,
the fastest guy in the wild west.
I think Papatinho really stands out
when it comes to concentration,
knowing the right timing,
knowing when to use references and influence.
-I follow you a lot. -Thanks, man.
-This guy is the real deal. -No, that's him.
-He's the real deal. -No, it's him.
I'm Papatinho, a music producer.
I'm a producer for many artists and for the Papatunes label.
I have Papatunes label
and I'm also a producer for the artist Papatinho.
So, I must consider things as I do for L7NNON,
and as I did for ConeCrew and Black Alien.
Just like when I work with Anitta,
Papatinho is also an artist with a production folder.
Me amarrei com a pose da brabona
Me amarrei
Mó lindona, ela nem se esforça
Mó postura, ela nem se importa
Ô, mulher Eu te proponho uma aventura
Joga as coisas na mochila E me acompanha se você quiser
I'm a producer artist.
"Why is he an artist?" "Because he's a producer."
"Why is he an artist?" "Because he sings."
I'm a producer artist,
which is something rare, but that's what I am.
I'm a producer artist.
Papatinho Yeah
[...] no pulso diz que o pai tá patrão
There are guys that are sort of from my generation,
like Nave and Laudz,
who started making beats around the same time I did.
Of course, just like in sports,
the scene gets renewed, and new people arise.
Today, there are Léo Mix, Ajaxx, and Easy,
all members of the new generation.
There's also Chris Beats, with a cool background.
He was part of ConeCrew fan club,
and I had his phone number as Christiano
because of the fan club.
He was just a kid.
He dreamed of becoming a beat maker, a producer.
There's Dallass, too.
There are many friends and producers being born,
and others who are still emerging.
I believe these guys opening doors,
adding seriousness,
are already paving the way
for our movement to become more professional,
to improve more and more.
This path Papatinho is taking,
of taking the lead
and bringing seriousness and professionalism,
we'll be able to get where we want.
Many kids say to me,
"Man, you were the first beatmaker I saw."
"You're my reference."
Today, many of them are big and make music for many people.
Many recognize this and approach me on the street.
"You've opened doors for me, thank you so much, man."
This makes the entire process worthwhile,
to value the producer, the beatmaker,
to place Papatinho in those positions.
In a way, this contributed to the current scene
by giving new producers and beatmakers
so much access, space, and recognition.
As I welcomed him at my house, I worked with him,
he brings his guys, and we renew things.
The doors are open for new talents.
They'll also influence new artists and producers.
That's how the music cycle works.
Others will arise as they have.
I hope to still be around,
working together, taking part in the scene.
Menor, te avisei Que vencer não é pecado, uh
Nós é de fazer Não é de mandar recado, fé
[...] no pulso diz que o pai tá patrão
Joguei nas foto Um trator [...]
Sem tirar de ninguém, Se quiser grana, tem
Os meninos faz cifrão
Não ligo pra ninguém
Se quiser guerra, vem Que nós têm disposição