This record has a special flavor to me. I listened a lot to this duo in the 1990s, I like their other records, but no doubt it touched me more, it made a lot of sense in my musical training, because I was a boy when I first heard it.Thaíde & Dj Hum attended the Sao Bento subway station in downtown São Paulo, the most respected and famous hip hop spot in Brazil in the 1980s. Thaíde was a b-boy before becoming an emcee. DJ Hum was already dee jay and plays in blacks parties in the suburb of São Paulo.Through this record I could realize that Rap could be done through different narratives, with varied themes. For example, classics like "and" permeate the imaginary of people through letters based on social criticism. Already the song "things of love" is romantic and talks about a possible love of Thaíde at the time. The " (Claudio) Eu Tive um Sonho" track is an homage to a friend, dead before the record was released in 1989. This track received a great version composed by Marcelo D2, in 1998.Another highlight of the record is the way it was produced. In the record there are tracks with samples - something that was more common in the hip-hop imagination since 1986. The track "(Claudio) Eu Tive um Sonho", for example, has a sample of the song "Latoya", by Just Ice. However, there are tracks made with electronic drums, without samples, remembering that the record was made in the 1980's in Brazil, and the times at that time were longer, and the information more difficult. Of course, some of LP sounds like 1986's hip-hop. And there are still tracks like "Consciência" and "Coisas do Amor" that made with the help of acoustic instruments.The record was produced by musicians André Jung and Nasi, of the São Paulo rock group, Íra!The record being produced by members of a rock band takes us back to the early 1980s in NY, when the Blondie group produced the instrumental of the legendary film Wild Style. This mix is interesting, this rule-breaking, because hip-hop owes much to other styles, as it is based on the use of samples of songs of different styles.In insert, instead of thanks, mentions to the masters of hip-hop: Afrika Bambaataa & Soul Sonic Force, Kool Herc, Grand Master Flash, Jazzy Jay, Rock Steady Crew, New York City Breakers...besides mentions to the masters of the Brazilian Black Music like Tim Maia, Azymuth, Tony Tornado, Tony Bizarro,Robson Jorge & Lincoln Olivetti, Sandra Sá and others. Anyway, a record well done is the reflection of good references, good musical influences, no doubt. This record is an example.Cheers,Rodrigo.