Conversando con Soundwear - César "Pupy" Pedroso (Parte 2/3)

Summary

Ce script de vidéo nous offre un aperçu de la collaboration musicale entre Juan Formell et Pupy, deux icônes de la musique cubaine. Ils partagent leurs expériences de la création de chansons ensemble, où chacun apportait des éléments uniques à la musique de l'autre, formant ainsi un duo créatif. Leur relation était si forte qu'ils ont été capables de changer automatiquement les 'tumbaos' lors des performances, montrant une compréhension mutuelle profonde. Pupy parle également de son départ de 'Los Van Van', un moment douloureux, mais qui l'a amené à créer son propre orchestre, 'Pupy y los que son son', où il cherchait à différer de 'Los Van Van' tout en respectant ses racines musicales. Il y a aussi mention de leur reconnaissance mutuelle et de la fusion réussie de leurs styles musicaux, qui a contribué à l'identité unique de chaque groupe.

Takeaways

• 🎵 L'interview porte sur la comparaison entre les duo Paul McCartney & John Lennon des Beatles et Juan Formell - Pupy, soulignant leur importance dans le monde de la musique populaire.
• 👬 La relation créative et personnelle entre Pupy et Formell est décrite, mettant en évidence leur collaboration harmonieuse et leur capacité à travailler ensemble comme un binôme musical et personnellement.
• 🎹 Pupy partage des anecdotes sur la manière dont ils créaient de la musique ensemble, en alternant les rôles de composition et d'ajout de 'tumbao' au piano.
• 🔄 Ils avaient une dynamique de travail où ils pouvaient corriger et améliorer les chansons l'une pour l'autre, montrant une grande confiance et une compréhension mutuelle.
• 🏆 Pupy a été nommé pour le Prix de la Musique Nationale 2013 par Formell, reconnaissant ainsi leur relation et son apport à 'Los Van Van'.
• 😢 Le départ de Pupy des 'Los Van Van' est décrit comme douloureux, révélant les sentiments forts qui les unissaient et les difficultés de cette séparation.
• 💡 L'idée derrière la création de son propre orchestre par Pupy est expliquée, incluant le désir de faire quelque chose de différent et de s'éloigner de la routine musicale.
• 🎺 Pupy a évoqué le choix de ne pas inclure certains instruments dans son orchestre, comme les violons et les flûtes, pour se différencier de 'Los Van Van'.
• 🌟 Il y a une discussion sur la manière dont les deux styles musicaux de Formell et de Pupy se sont fusionnés pour créer quelque chose de nouveau et d'influencé.
• 🎉 L'importance de la reconnaissance publique et la nécessité de jouer les chansons demandées par l'audience, y compris celles qu'il avait écrites pour 'Los Van Van', est soulignée par Pupy.
• 🏆 Des détails sur le disque qui a remporté un Grammy pour Pupy sont partagés, y compris l'inclusion de chansons qui n'avaient jamais été jouées par 'Los Van Van'.

Q & A

Comment la comparaison entre Paul McCartney et John Lennon et Juan Formell et Pupy est-elle perçue par l'interviewé?

L'interviewé trouve la comparaison trop forte, mais reconnaît que dans le domaine de la musique populaire, il y avait une combinaison efficace entre lui et Juan Formell, semblable à celle de Paul McCartney et John Lennon dans les Beatles.

Quel rôle jouait le piano dans la collaboration entre Juan Formell et Pupy?

Le piano était un élément clé de leur collaboration, avec Pupy jouant le 'tumbao' sur le piano et Formell ajoutant des éléments musicaux complémentaires, créant ainsi une dynamique de travail harmonieuse.

Comment Pupy décrit-il l'expérience de créer de la musique ensemble avec Juan Formell?

Pupy décrit cette expérience comme étant très bien fonctionnelle, avec une compréhension mutuelle et une capacité à faire des changements dans les compositions de manière intuitive et en accord.

Quels sont les exemples de chansons pour lesquelles Pupy a créé des arrangements musicaux?

Pupy a créé des arrangements musicaux pour des chansons telles que 'Me basta con pensar', 'Que le den candela' de Rodolfo Cardenas, et a également travaillé sur les arrangements pour les chansons de Formell et les siennes propres.

Comment Juan Formell a-t-il contribué à la carrière de Pupy?

Juan Formell a proposé Pupy pour le Prix National de la Musique 2013, reconnaissant ainsi son talent et son apport à la musique, et l'a soutenu dans sa carrière.

Quelle a été la raison principale qui a poussé Pupy à quitter 'Los Van Van'?

Pupy a ressenti le besoin de faire quelque chose de différent et de s'écarter de la routine musicale, ainsi que de donner la possibilité à d'autres compositeurs de se faire entendre.

Quel sentiment a ressenti Pupy en quittant 'Los Van Van'?

Pupy a ressenti une grande douleur en quittant 'Los Van Van', et il continue de défendre le groupe et de maintenir des liens étroits avec ses anciens collègues.

Comment Pupy a-t-il abordé la création de son propre orchestre, 'Pupy y los que son son'?

La création de son orchestre a été un processus naturel pour Pupy, qui a choisi de ne pas inclure certains instruments comme le violon et la flûte pour se différencier de 'Los Van Van'.

Quelle a été la réaction de Juan Formell lorsque Pupy a commencé à jouer ses propres chansons?

Il n'y a pas de mention directe de la réaction de Formell dans le script, mais Pupy a mentionné qu'il a pris du temps pour intégrer ses propres chansons dans ses performances avec son nouvel orchestre.

Comment Pupy explique-t-il la différence entre son style musical et celui de 'Los Van Van' après son départ?

Pupy souligne qu'il y avait déjà deux styles distincts au sein de 'Los Van Van', et qu'en créant son propre orchestre, il a choisi de se concentrer sur son propre style et sur celui des compositeurs qu'il a choisi de travailler avec.

Quels sont les défis auxquels Pupy a dû faire face après avoir quitté 'Los Van Van'?

Pupy a dû faire face au défi de différencier son propre orchestre de 'Los Van Van', ainsi que de gérer les attentes du public et les demandes de ses chansons précédentes.

Outlines

00:00

🎸 Collaboration entre McCartney & Lennon et Formell & Pupy

Cette section compare la collaboration musicale entre Paul McCartney & John Lennon des Beatles et celle entre Juan Formell et Pupy. Pupy décrit leur méthode de travail, où l'un écrivait les symboles d'accords et l'autre jouait le 'tumbao' au piano. Ils avaient une forte complicité musicale, se corrigeaient mutuellement et travaillaient ensemble sur les arrangements musicaux. Pupy explique également comment Formell l'a proposé pour le Prix National de Musique 2013 en reconnaissance de leur travail commun.

05:05

🎤 Départ de 'Los Van Van' et nouvelles opportunités

Pupy raconte comment il a quitté 'Los Van Van' et les ressentiments que cela a causés. Il explique que son départ était dû à une envie de faire quelque chose de différent et de donner la chance à d'autres compositeurs de se faire entendre. Il partage une anecdote émotive où Formell l'a embrassé lors d'un concert. Pupy décrit également la formation de son propre orchestre et comment il a continué à intégrer de nouveaux talents et compositeurs.

10:08

🎼 Formation de 'Pupy y los que son son' et évolution musicale

Dans cette section, Pupy parle de la formation de son propre groupe 'Pupy y los que son son' après avoir quitté 'Los Van Van'. Il explique comment il a voulu se différencier musicalement en évitant les instruments typiques de 'Los Van Van' comme le violon et la flûte. Pupy raconte aussi comment il a progressivement intégré ses propres chansons de 'Los Van Van' dans son répertoire en réponse aux demandes du public.

15:13

🏆 Succès de 'La bomba soy yo' et influence de Formell

Pupy raconte l'histoire derrière la chanson 'La bomba soy yo', qui n'a jamais été jouée par 'Los Van Van' mais a connu du succès dans son propre groupe. Il explique comment Formell cherchait à renouveler le son de l'orchestre avec des influences de timba et de conga pour prolonger sa popularité. Pupy mentionne également les autres succès de son premier album et la réception enthousiaste du public. La section se termine par une pause dans l'interview en raison de la chaleur du soleil cubain.

Keywords

💡Paul McCartney & John Lennon

Paul McCartney et John Lennon étaient membres fondateurs de 'The Beatles', célèbres pour leurs compositions musicales. Dans le script, ils sont mentionnés pour illustrer le travail en binôme de la paire Juan Formell et Pupy, qui ont également créé des compositions ensemble. L'exemple de McCartney et Lennon sert de comparaison pour souligner la synergie créative entre les deux musiciens cubains.

💡tumbao

Le 'tumbao' est un rythme de percussion caractéristique de la musique cubaine, souvent joué sur le piano dans le style de la salsa et du son cubain. Dans le script, il est mentionné comme un élément clé de la collaboration entre Pupy et Formell, où ils ont travaillé ensemble pour créer et changer le 'tumbao' dans leurs compositions.

💡Los Van Van

'Los Van Van' est un groupe de musique cubain très influent, fondé par Juan Formell. Dans le script, Pupy partage ses expériences avec le groupe, y compris la création de leur style musical unique et les moments difficiles de sa séparation. 'Los Van Van' représente un totem culturel et musical au sein duquel Pupy a évolué et apporté sa touche personnelle.

💡Pupy y los que son son

C'est le nom de l'orchestre créé par Pupy après son départ de 'Los Van Van'. Dans le script, il explique comment il a formé son propre groupe, en cherchant à différencier son style de celui de 'Los Van Van' tout en restant fidèle à ses racines musicales. 'Pupy y los que son son' symbolise le début d'un nouveau chapitre dans la carrière de Pupy.

💡arrangement

Un 'arrangement' est la réorganisation ou la modification d'une composition musicale, généralement pour un effet différent ou pour s'adapter à un autre ensemble instrumental. Le script mentionne que Pupy a créé des arrangements musicaux pour plusieurs chansons, y compris celles de 'Los Van Van' et pour son propre groupe, démontrant son habileté à adapter et à innover dans la musique.

💡National Music Award 2013

Le 'National Music Award 2013' est un prix prestigieux décerné pour reconnaître les réalisations musicales. Dans le script, il est mentionné que Juan Formell a proposé Pupy pour cet honneur, un signe de la profonde estime et de la collaboration fructueuse entre les deux artistes.

💡fusion

La 'fusion' fait référence au mélange de styles musicaux différents pour créer une nouvelle forme d'expression musicale. Pupy parle de la fusion entre le 'son', un style de musique cubain traditionnel, et le rock, représenté par Formell, pour créer un style unique pour 'Los Van Van'.

💡timba

La 'timba' est un genre musical cubain moderne, caractérisé par des rythmes complexes et des arrangements orchestraux riches. Dans le script, Pupy aborde la naissance de ce style et comment il a été intégré dans ses compositions, y compris la chanson 'La bomba soy yo', qui n'a jamais été jouée par 'Los Van Van' mais a gagné un Grammy avec son propre ensemble.

💡Grammy

Un 'Grammy' est un prix de musique très convoité, décerné par The Recording Academy. Le script mentionne que Pupy a remporté un Grammy avec son propre groupe, un honneur qui reconnaît l'excellence de son travail musical après son départ de 'Los Van Van'.

💡Six weeks

'Six weeks' est une chanson qui a été un hit pour 'Los Van Van', interprétée par Israel Sardinas et Mayito Rivera, et plus tard par Pepito. Dans le script, Pupy explique que c'est une chanson spéciale car elle a été un succès deux fois avec le même orchestre, montrant l'impact durable et la popularité de ses compositions.

Highlights

Paul McCartney & John Lennon与Juan Formell - Pupy的比较，Paul McCartney & John Lennon因在'The Beatles'中的创作而著名。

Juan Formell和Pupy在音乐创作上的合作方式，一方创作歌曲，另一方添加和弦符号和'tumbao'。

Pupy和Formell在音乐上的默契，能够自动进行歌曲的改动。

Pupy和Formell在歌曲创作上的互相帮助，共同改进歌曲。

Pupy为'Los Van Van'乐队的歌曲制作编曲，包括'Me basta con pensar'等。

Pupy和Formell在个人友谊和音乐上的紧密合作，Formell提名Pupy为2013年国家音乐奖。

Pupy来自与'son'相关的家庭，而Formell是摇滚乐手，他们成功融合了这两种元素。

Pupy离开'Los Van Van'时感到极大的痛苦，但他仍然捍卫'Los Van Van'。

Pupy离开'Los Van Van'后，Formell在一次舞会上与Pupy拥抱，显示出他们之间的深厚情感。

Pupy离开'Los Van Van'的原因之一是他想要尝试不同的音乐风格。

Pupy在离开'Los Van Van'后，成立了自己的乐队'Pupy y los que son son'。

Pupy y los que son son乐队的成立过程，Pupy选择了不同的音乐家，以区别于'Los Van Van'。

Pupy y los que son son乐队的音乐风格与'Los Van Van'有所不同，Pupy尝试了不同的音乐元素。

Pupy在'Los Van Van'中创作的歌曲，如'Six weeks'，后来在'Pupy y los que son son'中也取得了成功。

Pupy在'Pupy y los que son son'乐队中也创作了新的歌曲，如'La bomba soy yo'，这首歌后来赢得了格莱美奖。

Pupy y los que son son乐队逐渐形成了自己独特的音乐风格，与'Los Van Van'区分开来。

Pupy在乐队中引入了'timba'这种音乐风格，为乐队的音乐带来了新的生命力。

Pupy y los que son son乐队的成功，以及他们如何在古巴音乐界留下了自己的印记。

Transcripts

If we compare the pairing Paul McCartney & John Lennon

and the pairing Juan Formell - Pupy.

Paul McCartney & John Lennon were famous for their compositions in "The Beatles".

- The comparison is too much for me.

In terms of popular music,

we really had a combination.

When I made a song, he wrote the chord symbols

and I played the "tumbao" on the piano.

And from there, when I wrote the chord symbols,

he added the "tumbao".

Then, when he was going to change the "tumbao", he looked at me

and we did the change automatically,

and it was something that worked very well.

And when there was a mistake in a song,

we played it and, for example, it was my song;

and the song was really good at first, but then it had a mistake.

So, he said to me "Let's do this here" and we changed that part of the song.

And then the song was recorded as a song of mine.

And so, we did that on several occasions. We did it with my songs and his songs too.

I made the arrangement that they play in the song "Me basta con pensar"

I made that arrangement

and I made another one ♫ If you go I will not be able ♫

I made several musical arrangements in his songs.

I made the musical arrangements in my songs.

And I made the musical arrangements in the song "Que le den candela" by Rodolfo Cardenas.

We made a binomial in the musical aspect and even personally, in our friendship.

Such is the case, that he proposed me for the National Music Award 2013,

I already played in "Los que son, son".

And he said "I proposed you to the National Music Award

and you can not say no, because 'Los Van Van' is 'Los Van Van' for you. "

And then Digna Guerra repeated it

"We heard one thing we've never heard from Formell.

He said that 'Los Van Van' was 'Los Van Van' for you."

We had a great rapport together.

because I came from a family related to the "son".

And Formell was rocker.

- Yes, yes, I know.

- And then that's what we did, we fused those two things.

So, I think this fusion worked.

Because he was very intelligent, from every point of view,

he respected what I brought.

There is a story too.

It's like the story I told you about the spot on the piano.

There is a story, when we were playing in a hall called the "Mambi de Tropicana",

and we were playing a song called "Si mamá se va" (If Mommy is going)

But it was all the time ♫ clan, clan, clan♫ with the C note.

And my dad was there, my dead father told me

"Why don't you play a 'tumbao' there?"

I said "No, it's because Formell".

and I consulted with Formell and he told me

"Yes, of course. Play it!"

And from then, we did all the songs. I played the tumbao,

and this was one of the things

that it was considered as the hallmark of the orchesta.

-Definitely.

- I was talking about that a while ago.

I talked about that basis, the composition of Changuito on the piano, and Formell,

that it had an extraordinary value.

- How did you feel when you left "Los Van Van"?

- It was a great pain.

A great pain.

And I still defend "Los Van Van" and when I see that there is a negative opinion,

I go and call Samuel.

and I say him "I saw this negative opinion and it can not be happening ."

He tells me uncle, because he grew up next to us.

But a musician told me once, I will tell you his name "Roelvis Reyes".

Roelvis Reyes said "Pupy, you are brave, because to leave 'Los Van Van', it's a brave action,

and that you have a good result, it is great".

And as you said, we were talking about the wounds.

If you want, I mention something about that.

Something that was also significant.

When I left "Los Van Van", this situation caused resentment,

because I left the orchestra in a critical moment,

and I was a person very connected with what had happened in "Los Van Van",

because Formell gave me the chance.

It happened that we were separated.

And we met at a dance in Cuba, in a place called "El Pedregal" (The rocky ground).

We started playing. I was here, Formell was there.

And when we were playing the third song,

Formell climbed onto the stage,

and he stood there.

He was watching the orchestra, and when we finished that song,

he went where I was and he gave me a hug.

That's how it went.

- Question. When you decided to form your own orchestra,

it was because you wanted to do something different

or you already felt you were in a musical routine that you wanted to leave.

What was the reason?

It happens that one of the things,

that led me to a decision,

it's because I came from the dance music,

and Formell came from cabaret and modern music orchestras.

So, many street composers came closer to me and told me

"Listen, this song" and I often could not played the number.

For example, I introduced the song "Que le den candela" by Rodolfo Cardenas,

in the staff of composers of "Los Van Van".

Calixto Callava too.

But, there were many good composers, great composers.

And many times, I could not decide because Formell had a wide range of options

and I had my options too.

And there was no chance and he said

"Well mate, but play songs that bring another people" and all that things happened.

So, there came a time, when for example, this album we're doing now;

there are about seven composers on the disc.

They are not only my songs.

I gave the possibility,

because there are many good composers, many good composers.

And that situation and when I was outside and I signed records,

and when I had interviews,

and even musicians from other groups were closer to me.

They told me why I haven't been ,

when the song "Será que se acabó" (It will be that it's over), that it was a hit, was played.

I said "No, because I'm in love with 'Los Van Van'."

But, at one point, I felt the need

and it wasn't because I wanted to leave

or to be against the orchestra, like an opponent.

Simply, because,

Speaking about wounds, a time ago, the orchestra Revé celebrated its anniversary.

and Elito invited me and Formell to play a song,

the song had been a success and Elito invited us to play it.

And I think we played "Que bola, que bolón"

and he was playing the bass next to me and I was playing the piano

and we didn't look at each other.

And when I went down, I had chest pain.

I said "I can not be there," I came down from the stage with chest pain.

It was because we played many years together.

But, that helped me later,

the feeling was bigger,

and it was expanded.

Because it was a very big thing.

This affected me a lot.

- Tell us about the time when you formed your own orchestra.

Did you have in mind the musicians or did you simply call them and wait for the answer?

- No, no.

In that respect, it was a very natural people.

Look, when we started with "Los Van Van",

after we had left the Revé orchestra,

we started with "Los Van Van"...

- Excuse me, I'm talking about "Pupy y los que son son".

- "Pupy y los que son son". Well, because there's a story when we started with "Los Van Van".

One day, I approached him,

because the writing was different from what we were doing before,

and I said, "Hey, I can not do this".

And he said "How can you not do that? Don't say that, stay calm"

And there, I stayed.

But, in "Pupy y los que son son"

I had made a record with two singers.

One of them was Tirso Duarte,

and the other was Pepito.

It's the disc where Pepito sings "El vecino se mudó" (The neighbour moved),

and Tirso sings "Te molesta que sea feliz" (It bothers you that I am happy).

A record that I had made with "Termidor" and "La Voluminosa".

I made it. But I didn't think of leaving "Los​​ Van Van",

and it was by chance, that the disc was a success. "La voluminosa"(the bulky) was terrible

and "El gato amaga y no araña" (the cat feint but don't scratch) was terrible too.

And then, at that time,Tirso was in "La Charanga Habanera",

and Pepito was with Cesar Lopez in "La Habana Ensemble"

And one of the violinists came with me, but I did not want to have violins in the orchestra,

for the same reason, I didn't have flute.

Because I wanted to separate it from "Los Van Van".

In "Los Van Van" everything was written.

- The next question is about this.

Personally, I was pleased to listen,

and forgive me.

Turn off the camera! No, it's a joke!

When I listened the trumpet in "Los Van Van".

It's what I say. It's a joke, right?

I thought "Oh look! 'Los Van Van' with trumpet!". But I liked the idea of ​​the trumpets.

Do you want to differentiate from others? or, do you do this for pleasure?

As I would have done as well.

- I'll answer this, if you want you can record it. - I have not stopped.

- No, look!

It happens that in "Los Van Van", there were two styles.

For example, if you listened "Es buena gente" (It's good people)

had nothing to do with "Ven y muévete" (Come and move).

"Todavía el negro está cocinando" ( the black man is still cooking")

had nothing to do with "Baile de un buey cansao" (Dancing of the tired ox).

"La sandunguera"(the woman who dances sandunga)

was completely different with "Será que se acabó" (It will be that it's over)

So, there were two styles merged into a single name "Los Van Van".

Because when they played "Six weeks", it was a song of "Los Van Van", but it was mine.

When they played "Buena gente" (good people)

or "Ven y muévete" (Come and move) were "Los Van Van",

but they were Formell's songs.

When I left the orchestra, I just took the songs I had made.

They came with me.

And "Los Van Van" remained the fundamental root of Formell.

But, a confusion occurred after I left the band.

I tried by all means,

not to do the same songs.

Even, I recorded "Bombón y caramelo" (Bonbon and candy) one of my songs of that time.

And I recorded it with another introduction, other things,

but people still asked "Why?"

But after a while, it was learned that "Pupy" was "Pupy" and "Los Van Van" were "Los Van Van".

That's very difficult

Because that happened,

and Formell always said

that having that transcendence,

that blood,

you can separate from the orchestra , and you do not have to coincide.

Now, there are groups that never took part in "Los Van Van"

and now they play and look like "Los Van Van".

That is, the greatest work of "Los Van Van". Other bands play like "Los Van Van" and people like it.

- Another question, Pupy.

Since the beginning in "Pupy y los que son son"

Did you start playing your own songs from "Los Van Van"

or did you take a while to integrate these songs?

- It took me a while.

- Hey look, I told you

Paul McCartney and John Lennon from the Beatles,

and Paul McCartney had the same experience.

It took him time to play his own songs from "The Beatles".

Songs that he had composed.

- But I played them, when the public asked me for these songs.

- It's the same, the same Pupy.

- They told me "Why don't you play

'¿Qué cosas tiene la vida?' (What are the things in life?)"

Such is the case, that the first album had to be called "¿Qué cosas tiene la vida?"

Because it was the last song I recorded with "Los Van Van",

and this song was mine

But I made a repertoire "el vecino se mudó" (the neighbour moved), "el pregonero" (the herald),

"Te molesta que sea feliz" (It bothers you that I am happy),

"Mamita pórtate bien" (Mommy behave)

The only song I recorded

and it was a song that I never played in "Los Van Van",

I recorded that song on the album that won the Grammy.

And this song was never played by "Los Van Van" and it was "La bomba soy yo" (I am the bomb).

For what reason?

Because when I made this song, the idea of "timba" appeared.

And the "timba", the idea of call it "timba" and the things related to "timba".

So Formell said "I'll play 'La bomba soy yo'"

that is a song related to the "son" and my roots.

But I saw that Formell did not pay much attention, and he told me

"Pupy, because the 'son' like a phrase, practically, it is tainted.

I am looking for something like timba, conga, with a strong sound

because I want to extend the life of the orchestra at least 10 more years."

He told me that.

Then, we were in Argentina and "La bomba soy yo" was never played.

So, I played a song "Temba, tumba and timba"

and I said "Come here, what do you think about this?"

- Did Mayito sing it? - Yes, Mayito sang it.

It is a story that plays with the word "timba".

And at the end, all the verses say

"the 'Temba' of 'Tumba' tells me that what she wants is to be touched by the 'Timba' ".

So he was really happy, and I asked him "Did you like it?"

and he told me "Go ahead!"

And it just so happens, that this song is one of the tracks

on the album that won the Grammy.

This song and "El negro está cocinando" (The black man is cooking) too.

and it is also "La bomba soy yo" (I am the bomb), but it was never played,

And this is one of the songs that I released on the first album I made,

the other songs were unpublished.

"El pregonero" (The herald), "Mamita pórtate bien" (Mommy Behave),

"El vecino se mudó" (The neighbour moved),

"El gato amaga y no araña" (The cat feints and doesn't scratch),

"Te molesta que sea feliz" (It bothers you I am happy).

And then, to comply with the audience request that told me "Play this song,"

I had to play "Six weeks", immediately.

And "Six weeks" is a special song,

because I don't remember this situation occurred in another time or another group.

And this song is special because it has been a hit by the same orchestra twice.

It was a hit with Israel Sardinas and Mayito Rivera too.

And then I played it and it was sung by Pepito later.

- Exactly.

Ladies and gentlemen, as you can imagine,

we are in the Caribbean, in Cuba, and the sun is scorching.

We are going to take a little break

and we come back in a few minutes.

Thank you.