because my second chance matters. be sure to talk to your doctor before you begin an aspirin regimen. ♪ >> anthony: man, that's good. man, that is good. yeah, it's good. mm. ah, man, it's really good. it's really good, by the way. this is good, so good. that's amazing. it's fantastic. oh, man, there we go. life is good. ♪ i took a walk through this beautiful world ♪ ♪ felt the cool rain on my

shoulder ♪ ♪ found something good in this beautiful world ♪ ♪ i felt the rain getting colder ♪ ♪ sha, la, la, la, la, sha, la, la, la, la, la, ♪ ♪ sha, la, la, la, la, sha, la, la, la, la, la, la ♪ [ whistle blows ] ♪ >> anthony: chances are you have never been here. in fact, it is likely that you may never have even heard of this place. tourists don't really come here. there are few hotels, no major attractions. [ man speaking portuguese ] >> anthony: the state of minas gerais, brazil.

it's about the size of france, covered by farmland, mountains, and savannah. belo horizonte is the capital, a center for the brazilian banking and tech industry. a planned city. built in the late 1800s. five million people live in the metropolitan area. it's one of the fastest growing cities in brazil, in the world in fact, yet it's still relatively unknown in the outside world. but if you travel through brazil and you talk about food, which i have and i do, you hear about this place. you hear about it seemingly a lot. i've been told time and again, this is where the best chefs come from. the question is, why don't you hear that outside of brazil? why hasn't the cuisine of minas caught on worldwide? >> leonardo paixao: the pots here are made up of chalkstone. uh my -- my grandmother still cooks in them.

>> anthony: oh yeah, oh yeah. >> leonardo paixao: if you go to her place, you got a lot of those. >> anthony: chef leo paixao is also asking that question. born and raised here, he grew up cooking traditional mineira cuisine and went on to study in france under the likes of joel robuchon. now he's back with his own place -- glouton. >> leonardo paixao: so we are up at the central market at bello horizonte. mineas gerais is a central state and we share with every other state around. it's very democratic up here. uh, the people come here -- they can have a haircut, they can buy like living chicken or good cheese from france. >> anthony: if mineas is the heart of brazilian cooking, then the mercado central is the heart of mineas. it's the place where everybody shops, including chefs like leo, who are focused on giving mineiras products the attention they deserve. this is a country where there is a lot of fruit that i've never seen outside of brazil. >> leonardo paixao: yeah. >> anthony: a lot of it is super perishable too. like even if you wanted to export it, it just doesn't really last.

>> leonardo paixao: we're getting to pequi season now. >> anthony: oh, yeah. >> leonardo paixao: and people get, like, overwhelmed by the just like they eat it like -- >> anthony: every day. >> leonardo paixao: every day. >> anthony: the infamous pequi, loved and hated in equal measure. it's described by both camps as tasting sweaty or like a barnyard. and if you bite too deep, you get a mouthful of hundreds of nano-spikes requiring professional extraction. and if you dig into the pit, big problem. >> leonardo paixao: big problem. >> anthony: it's just this thin layer on the outside. >> leonardo paixao: thin layer. and it's so, so strong. >> leonardo paixao: our vegetables -- she's my supplier. so this is taioba, this big tropical leaf here. >> anthony: this is the kind of fundamental mineria ingredient you didn't find in restaurants here until recently. >> leonardo paixao: and it's like it is part of like the forgotten vegetables. they used to weed it out of the

yard because it grew all around. >> anthony: how do you cook it? >> leonardo paixao: just boil it like for 15 seconds with water and a little butter. it's meaty, it's got a meat-like chew on it, resist a bit and then it breaks down like meat. [ man speaking portuguese ] >> leonardo paixao: i went to france to study culinary arts, and i graduated in medicine and i just loved so much the work. and then i came back and i thought, yeah, i'm gonna, like, cook french food here. i started glouton to be a french restaurant, but it's impossible to have good french products here in brazil. so i started to use the products from the region. the flavor of mineria cuisine is so intense, and then we are raised eating that. >> anthony: right. >> leonardo paixao: that's such a new gastronomy.

i started to cook pork neck, oxtail, and i fell in love with those products, because if i don't cook it, who's going to cook it? >> anthony: you have good products, right? >> leonardo paixao: yeah. >> anthony: so why not use them? >> leonardo paixao: yeah. >> anthony: bar da lora is named after its owner, also known as the blonde, who is the first woman to run a bar in the mercado central. it's a place to order a cold beer, wedge yourself shoulder-to-shoulder into a small table, and order this. you want this by the way. this place is famous for -- >> leonardo paixao: this place is famous for liver with jiló. jiló is very important to us. it's like an eggplant, but it's green and you need to eat it while it's still green, because if it ripens, it gets so bitter you can't eat it. >> anthony: all the food here is like if you -- if you bite too far into the pit, it stabs you. if you -- if you eat it at the wrong time it poisons you. >> leonardo paixao: uh, dangerous stuff, huh? >> anthony: lyon has

paul bocuse. mineas has chef ivo faria, owner of vecchio sogno. he's the godfather of mineria cuisine and ingredients. [ ivo faria da costa speaking portuguese ] >> leonardo paixao: only that the foreigner cuisine was good, uh, was considered good here. [ ivo faria da costa speaking portuguese ] >> leonardo paixao: so he start in kitchen, he didn't want to be cook, he wanted to be a waiter. [ ivo faria da costa speaking portuguese ] >> leonardo paixao: so he was chosen to go to the kitchen. >> anthony: what year -- how long ago did the customers start to want minera food? [ ivo faria da costa speaking portuguese ]

>> leonardo paixao: in mineira cuisine, all ways your grandmother cooks better than your chef. when they eat it, you're so emotional about it, they fell in love with it and they except it very well. >> anthony: cheers, by the way. >> leonardo paixao: cheers. >> ivo faria da costa: cheers. [ ivo faria da costa speaking portuguese ] >> anthony: mineas is a central state, land-locked. you want to hit the beach? that's a seven-hour bus ride to rio. that, or you come here -- beach station. no beach? hire a water truck. economy in the shitter? turn up the music and dance. it's known here as the "little slippery way." you adapt, you survive, no matter what, you have a good time and you don't go at it

alone. it's a philosophy that carries over to the botecos. they're basically neighborhood joints found all over brazil serving beers, cachaca, and a few homemade dishes. places like this one -- bar do careca. what are the requirements that define a boteco? >> eduardo maya: it's a place where the family is. behind the counter full-time. >> anthony: mom and pop. >> eduardo maya: mom and papa, yeah. >> anthony: eduardo maya is a self-taught gastronome and paterfamilias of the boteco scene here. luiz otavio, a beverage tycoon who specializes in the legendary cachaca, of minas gerais. >> eduardo maya: if the boteco is good, people come all over town. it's like a home outside our home. >> luiz otavio: it's a group therapy. >> anthony: what do you talk about? >> eduardo maya: we talk about everything but business. >> anthony: sports? >> luiz otavio: jokes. >> eduardo maya: sports. >> luiz otavio: women. >> eduardo maya: food. >> luiz otavio: food. >> anthony: eduardo had previous incarnations as a banker and then as an entrepreneur.

but he threw it all out in 2000 to start the comida do buteco, an annual competition for botecos. it's a big deal here and it raised botecos from male-dominated, dirty glass joints to the centerpiece of the minera social scene. so what's on the menu? >> eduardo maya: boteco in minas is a bit like the italians. we eat a lot of pork here. an important thing about the boteco in minas is that they serve real food -- food from minas gerais. >> anthony: so what are we having tonight? >> eduardo maya: i think we are having tongue, of course. ox tongue. >> anthony: right, uh, i'm intrigued what -- >> eduardo maya: would you like some tripe as well? >> anthony: i think a little tripe as well. >> eduardo maya: would you like some hand of the pig? >> anthony: yes, yes, yes. >> eduardo maya: so now you are gonna -- you are going to go deep, deep inside minas. >> anthony: i'm happy. yes. >> eduardo maya: lovely. okay. [ shouts in portuguese ] >> anthony: ox tongue cooked with basil, mint, and pepper. perhaps the most famous dish in minas. beans, mantioc flower smoked in cured meats.

and if you're lucky, fresh eggs. oh, there we go. >> eduardo maya: oh there we go, very nice. that's the tongue -- ox tongue. >> anthony: yup. >> eduardo maya: that's the foot. the pig's foot. >> anthony: right. >> eduardo maya: may i? >> anthony: oh, yes, please. >> luiz otavio: the food from mineas gerais has nothing to do with our climate. >> anthony: yeah, you're right. this is cold-weather food. >> luiz otavio: yes. this meal is nice. >> anthony: yeah, right? >> eduardo maya: it's a very comfort food, isn't it? he prepares the tongue every day. >> anthony: you have a great culinary tradition here of flavors. you have fantastic ingredients, but in upper-class bello horizonte, people are insecure about their food until recently. where did this come from? >> luiz otavio: it's a plague -- italian and french food. >> eduardo maya: i used to say it's a complex. >> anthony: right. >> eduardo maya: like a trauma we've been in from who colonized us, so they posed it and we have excellent products. good products in france, they make good food in france with

their products. but here, let's make the same technique but with our products. we have started saying, "listen, this is good. put in your restaurant. pequi is good." they were ashamed with pequi. >> anthony: this attachment to the idea that french food and italian food will always be more valuable than your own thing. it's -- it's, uh, ridiculous concept. >> eduardo maya: we menieros, we don't talk much. we don't go on the top of our mountain and start to just spread the word that we have good food. we are very quiet people. you have to discover us, but we have the best.

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[ band singing ] >> anthony: the story of minera cuisine, you could argue, starts with a gold rush. the world's first, in fact. in the late 1600s, alluvial gold was found in the mountainous rivers of minas. over the next hundred-plus years, while portuguese masters fanned themselves on the riverbanks, african slaves sifted billions in gold from the mud and earth. by the end of the 19th century, the deposits were exhausted and about half a million africans

had been forced to make this country their home. now brazil has the largest african diaspora in the world. and though brazil remains a country of rampant inequity deeply divided along racial lines, african culture saturates all corners of the society. this is especially true of the food. looks good. superb. [ zora santos speaking portuguese ] >> anthony: zora santos is a practitioner of old-school afro-mineras cuisine. she traveled europe as one of the first black brazilian models in the '70s, but returned home to look inward, becoming an ambassador for independent black women in the kitchen and running her own catering business.

joining us at the table are zora's daughter, catarina, and friends uli and cida. >> anthony: well, how african is brazilian cuisine in general? >> zora santos: uh, 99%. >> anthony: what do you think white brazilians -- would they say the same thing? [ zora santos speaking portuguese ] [ cida speaking portuguese ] >> anthony: zora prides herself for preparing food in the tradition of the enslaved african women who were, in her view, the matriarchs of the minera cuisine. she cooks with a serious focus on vegetables and greens, ingredients from the yard, basically what her predecessors had to work with, and applies west african technique.

this is angu -- a dish simply made of cornmeal and water or milk, cooked for hours. there's ora-pro-nóbis, a native green very rich in protein. it was known as the "poor people's meat" and its use dates back to colonial times when african cooks had to make do with very limited resources. pork has always been common to this area where people raised and still raise their own pigs to butcher. ribs are on the menu today, and i am not complaining. but, look, everything that brazilians claim to love is african, right? the music, the food, all of the classic dishes. do you feel, given how central everything african is to brazil and brazilian identity, do you feel that afro-brazilians have political representation? >> zora santos: no. no. >> anthony: no. no. it's like nobody -- let me think. uh, no. [ zora santos speaking portuguese ] >> anthony: why?

why? why? [ zora santos speaking portuguese ] >> anthony: everything in africa is so fundamental to everything that makes brazil awesome. i mean, i could say the same thing about the united states, but -- [ zora santos speaking portuguese ] [ cida speaking portuguese ] >> anthony: ooh. >> uli: the catholic and protestants, they have similar ideology that the black people, right, should -- >> anthony: be satisfied now because it will pay off later. we'll get you next time. >> uli: because, yeah. exactly. [ band singing ] ♪

>> anthony: but you had huge success as a model. how -- how did this -- [ zora santos speaking portuguese ] >> cida: she said it does not fit. [ zora santos speaking portuguese ] >> anthony: refresh my memory. [ zora santos speaking portuguese ] >> anthony: but you don't -- you don't think it meant anything? did it not in any way redefine what is beautiful? [ zora santos speaking portuguese ]

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[ birds chirping ] >> anthony: about 60 kilometers outside of bello horizonte, you're in the jungle. deep, thick, loud, jungle, and buried within that hostile environment you'll find one of the most curious and extraordinary places iall of brazil.

inhotim. a massive jurassic park for contemporary art stuck smack-dab in the middle of seemingly nowhere. a place that will make you say, "what the hell is this doing here?" >> beatriz: this museum has put minas gerais in the world art map. everybody that is in contemporary art today knows this place or have heard about this place. >> anthony: wow. >> beatriz: wow. >> anthony: beatriz lemos de sa is an art dealer who represents brazilian artists based in belo. >> beatriz: this is tunga pavilion. tunga is one of the major contemporary artists in brazil. he started his work in the '70s, and he has also this revolutionary side. he likes the transgression, so that's why he uses all kinds of

materials -- things can be very strange for you as you see them. >> anthony: so tunga would be very comfortable in this venue. >> beatriz: completely. he is the one who inspired bernardo to build this place as a museum. >> anthony: bernardo would be bernardo paz, mining magnate, billionaire, and the eccentric visionary who created this, well, place for lack of a better word. in the 1980s, he started buying up the lands surrounding his house to keep developers from destroying the landscape. then he opened his doors to contemporary artists, offering them both the financial resource to make art and this otherworldly home for their work. in the early days, this used to be the family farm, ranch. and he started collection himself. >> beatriz: yes. yes. he started collecting modern art. and then eventually he started changing for contemporary art because he thought this was the moment. ♪

>> beatriz: you have to be very brave and courageous and have to be a visionary to do what he -- he did. in my opinion, he is a madman because nobody does something so big, so great. ♪

>> anthony: you clearly set out to do something truly extraordinary. enormous, uh, mind-boggling scale. did this grow organically or was there a plan? >> bernardo: no, no, no. never had a plan. i'm a guy who had a dream, and i want to do the dream, and i do. but i do it with risk, with risk because i do it for the people, not for the money. >> anthony: this place is massive, consisting of two dozen larger-than-life pavilions set on a 5,000-acre botanical garden. it holds over 500 works from contemporary artists. setting aside the cost of building this sprawling utopian vision and financing the art, it cost more than $10 million annually to keep the place

running. and only a small portion of that is covered by tickets purchased by visitors. >> anthony: you could create a gallery space anywhere in the world, and those would be more accessible and more people would come. you chose here, relatively isolated. do you let -- uh, do you like people? >> bernardo: yes. i like people, but i like more to see the people happy. and to see them come to me, i construct here a state of mind. >> anthony: is it important at all that the people who come here understand art? does it matter that someone comes and looks at matthew barney or chris burden? >> bernardo: they understand. >> anthony: they understand. do you think rich, poor, farmer? >> bernardo: no, no way. children. go ask children. they understand.

i want to ask it you one question. when you was children, how was first drawing you did in your life? you did a mountain, a sun, a small house, a hill? >> anthony: yes. a hill with a house and a sun, probably. >> bernardo: yes. yes. this is inside you. why did you do this drawing? >> anthony: well, i think we all -- at the end, we all want to live on a mountain in a house with a sun. don't we? >> bernardo: in the end? no. in the beginning. >> anthony: so in 50 years, what do you want people to say about you? >> bernardo: nothing. >> anthony: you don't care? >> bernardo: i don't care. i lived. i died.

i am my life is risk and continue to be risk and will continue. >> anthony: but after, do -- i mean, do you care? do you care about your legacy? you've created this enormous -- >> bernardo: i don't believe in being important. >> anthony: you don't believe in it. i don't either. i mean, i don't believe in it at all. >> bernardo: i live. i live. you have to know why you came to be like you are. ♪ [ jungle sounds ] geico has over 75 years of great savings and service. with such a long history,

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♪ >> anthony: the mountain farm where mineran cuisine was born and raised. you grow up on a farm like this

and you grow up eating food that would be called, in more urban settings, artisanal. you raise your own animals, you slaughter, clean, butcher, and cook them yourself. greens, chickens, pigs, fruit -- everything is at hand. the food of the yard. and eventually it all ends up here at the wood stove, the center of the minera kitchen. and when you put the food on the table, you make sure that there is enough for everybody -- family, friends, and the stray lucky bastard who might wonder up to the table at the right time. how is mineas different than the rest of brazil? >> galastro: i think because we were a land-made by people that came here for gold, you know? the workers, they had to help each other. so we are really a farm state, you know?

and this kind of change of helping each other made them -- the minera people. >> anthony: i think the biggest difference is, you know, it's a joke. i'm sure you said it a million times, you know, in rio somebody invites you to dinner, they don't tell you where they live. >> group: yeah. [ laughs ] >> anthony: here they seem to mean it. >> galastro: here we are just people who like to receive people, to invite people to our houses. we are people that we grew up cooking. ♪ >> anthony: these guys grew up here in farm country. now they're at the center of belo's culinary scene. felipe hame, owner of alma chef, and champion of minera cuisine. and his friends and fellow

chefs, felipe galastro, fred and boy. they come back here to galastro's family farm. they come back often to cook and eat and, of course, drink. >> felipe: for me, one important thing from here that we make food to share. i can't remember a dish that you make for -- >> galastro: -- one person, just for yourself. just for yourself or for you, everybody's' got to eat. you know, everyone's got to eat. everyone is welcome. >> anthony: smoked pig's head with vegetables and chilies. native green beans called andu prepared with bacon and farofa. everybody here is a professional cook, chef? >> group: yeah. >> anthony: everybody. >> felipe: yeah, we all came to europe to learn, to be a cook. and then we came back to read over new ingredients to -- yeah. >> galastro: -- ride back home. >> anthony: thai food is huge in the states, all over the world. italian food is huge all over the world.

french. but why do you think brazilian food -- real brazilian food, does not have a higher profile internationally? >> boy: it's a hard question because most chefs and other people who work with food will think this everyday. >> galastro: we just have to figure out how to get ingredients there. >> group: yeah. [ laughs ] >> anthony: yeah. this is a problem. because a lot of the really amazing brazilian products just don't travel. you can't. >> galastro: you have a health department system that controls with an iron hand, you know? >> anthony: i can tell that. i mean, it's tough. >> galastro: we've got a lot of problems here in minas with our cheese, 'cause it's made of raw milk. i've never seen or heard anyone that even got sick by eating our cheese. by our blood sausage. we grew up eating that. >> felipe: should we bring the milk? >> anthony: yeah, sure. yeah. >> anthony: and the piece de resistance, frango ao molho pardo. chicken in brown sauce, baked in a clay pot finished with the blood of chickens fresh killed this morning. >> anthony: whoa. yeah.

that's awesome. phew, all right. served with piqui rice, farofa, and of course, cachaça. cheers. >> group: cheers. >> galastro: brazil people say -- >> anthony: which means "eat food of the --"? >> galastro: eat on your knees. >> anthony: eat on your knees? >> galastro: yeah. just like saying prayers for the food. thanking the food. >> anthony: what's the hardest part for the customers? what's the hardest thing to convince your customers? >> felipe: here? they -- they don't like to pay. >> galastro: yeah. >> anthony: they don't want to pay? >> galastro: they don't want to pay. they don't want to pay for a -- >> felipe: they want to have world-class service, world-class food. >> boy: they don't like to spend that much money here. they spend a lot of money in rio and san paulo. >> anthony: give it a french name and they'll -- pay. [ group laughs ] >> galastro: exactly. exactly. building a better bank

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♪ ♪ ♪ >> anthony: this is bruna martins.

she owns a restaurant, birosca, where she cooks the food of her childhood, the food she learned from her grandmother and her nanny. >> leonardo paixao: so when you are a kid here, your family obligates you to eat jiló. >> anthony: why? >> marise rache: because i think -- i think it was to teach children to eat different flavors, different sensations. >> anthony: leo is a friend of bruna's and of marise and denise rache -- owners of d'artagnan, one of the first ambitious fine-dining restaurants in belo to be owned and operated by women. was it particularly hard as women starting in the business 20 years ago? >> marise rache: when we began, there wasn't a lot of women chefs. and we decided to open a restaurant because we like to cook together. >> denise rache: i think nobody trusted us. we have many friends and they have restaurants, they are

chefs, and they said "okay, it's a hobby. okay, let them play a little bit. this won't last." and here we are. >> anthony: i mean, in the -- in the states and europe, it was women cooked at home. in restaurants, however, this was man's work. >> denise rache: obviously they would -- the ones that cooked there were men. but they learned all -- everything they learned was from their mothers. >> leonardo paixao: the techniques and everything passed through the generations of women, so that -- that's what it's all about here i think with bruna. >> anthony: bruna makes a point of hiring women, and only women, to work in her restaurants, particularly black women who she feels are the central if largely unacknowledged figures in minera culinary culture for hundreds of years. hello. hi. easy to find women cooks or hard? [ bruna speaking portuguese ]

>> anthony: now wait a minute. is this based on the quality of the dishes or is this a philosophical decision to just hire other women? [ bruna speaking portuguese ] >> anthony: turkey neck braised with butter and garlic, served in white beans topped with kale and pork belly. >> marise rache: i think this is neck. >> leonardo paixao: yes, turkey neck. >> marise rache: turkey neck. >> anthony: turkey neck. cool. >> marise rache: with her grandmother's knife. [ laughs ] >> anthony: ah, with what's left of it. what -- it used to be like this? ♪

♪ >> anthony: in brazil, like so many places we go, everything is just fine until it's not. [ bystander speaking portuguese ] >> denise rache: i've never been in such a situation. i'm sorry. >> marise rache: but the guy was drunk. >> anthony: well, he stole the car i guess. >> marise rache: yes. yes. >> anthony: my director and camera guy by the way,

immediately tackled me to the floor and shielded me from the direction of the gun with their bodies. to which i say, "thanks, guys, but dudes, your wives are going to be pissed." you know, you're not the secret service. you're young, you have your whole life ahead of you. >> mo: it just came out. >> marise rache: he had to protect you. ♪ >> anthony: but just like that, it's back to the food and the conversation. keep your glass full and your friends around you and we'll make it through. oh, wow. >> marise rache: ah, this one is amazing. >> anthony: beautiful. cupim, ox hump pot roast. served with mashed potatoes and farofa. so, why did you do something as difficult as opening a restaurant? [ bruna speaking portuguese ] >> anthony: cooking is about joy and comfort. cooking in a restaurant is about business. so, is it still a joy?

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>> anthony: at the end of a long night, decisions good and bad, friends old and new, a night spent playing or a night spent working, all across the world wherever cooks stumble out of work late, there's a place like this -- nono. one of the few places that's open all night, serving the kind of thing that enlighten night-dwellers everywhere want and need, like mocoto. gentleman. >> leonardo paixao: hey, tony. nice to see you again. >> anthony: it's the city that never sleeps -- 24-hour mocoto, right? >> leonardo paixao: this place is very democratic because, like, everybody comes. late at night, taxi drivers, hookers, and cooks because -- >> anthony: yeah, why is it that like hookers and cooks are always welcomed at the same place, you know? it's like the same social standing. i'm ready, man, i am hungry. i've had nothing to eat all day. >> leonardo paixao: yeah? >> anthony: i am starving. >> anthony: mocoto is the

ultimate in broke-ass, drunk-ass, peasant food. slow-cooked cows foot and/or other bits, tender and tasty and, believe me, one of my favorites, especially at this hour. we opt for the elite version with a raw quail egg because, well, need i remind you my confirmed record of egg sluttery? >> leonardo paixao: good stuff. >> anthony: wow. nice. this is like the greatest thing ever. >> leonardo paixao: so they tell that they serve 170 kilos of cow foot everyday. >> anthony: so that's about 350 pounds of, yeah, cow foot. and all that good stuff it ended up in here, man. gelatin, man. >> chef: the importations its -- it's big. have a beer. it's never too busy. but it goes on 24 hours. >> anthony: it's sort of a stout. >> leonardo paixao: it's a cow breed caracu.

and if you split the words, it means "ass face." seriously. >> anthony: ass face? >> leonardo paixao: it's actually exactly the words. >> anthony: so how was the -- how was your dinner tonight? were you -- were you busy? >> leonardo paixao: you know what happened tonight? it came like three clients. a lady with her husband and her chef. and she said, "oh, this is my chef. he is going to eat and me and my husband are not because we're eating special food for detox. we're full of restrictions and we brought -- we brought our soup, so if you can please heat my soup for me because detoxing." >> anthony: detoxing from what? what are you, a heroin addict? i mean, go home and do some more heroin. thank you, guys. >> group: thank you, tony. >> anthony: to minas. there's always somewhere that cooks come from. usually it's the ass-end of a country.

here it's different. it's not just where the cooks are, but food and ingredients and some pretty amazing visual inspiration. ♪ ♪ ♪