Who dared to oppose itself directly to the regimen was pursued, imprisoned, tortured or exiled. Thus, Chico Buarque was taken for the Ministry of the Army to give declaration on its participation in ' ' Walk of the One hundred Mil' ' , act of protest against the dictatorship, carried through in Rio De Janeiro for initiative of the estudantil movement and on ' ' subversivo' ' spectacle ' ' Viva' wheel; '. Pressured for the policy, it was for Italy, in voluntary exile, where it remained per two years, always desiring to come back. Then, Chico, pursued for the censorship, became double master in sensible and arrived to compose under the pseudonym of Julinho de Adelaide. The young continued the seguiz it. The public loved already it.
Its compositions differentiated it of the too much composers. Exactly focusing the enrollment politician, its workmanships kept the necessary lyricism to the soul. The young dreamed of its musics, namorava to the sound of them and fought for its ideals stirred up for its verses. Its musics were the bridge between the dream and reality. It was waltz and shot. In the year of 1970, Chico came back to Brazil, and the country that found was not more the same.
With the AI-5, the space for the subtility definitively it had finished. The time of ' ' Dourados' years; ' it had been there behind and the country idealized for its generation revealed a promise that would not be materialize. Emilio Garrastazu Mdici, considered the most authoritarian general of the regimen, was in the power. A vast system of censorship and torture if had installed to hinder any manifestation opposes the dominant order. Vast, but not very perspicacious. Chico Buarque, that also already was not more the same, infuriated with Brazil that found, wrote ' ' Although Voc' '. In the song, it criticized president Mdici and the dictatorship, using, with much ability, language resources that they made possible double sensible in the letter.