High culture alludes to Vinícius, one of the most famous Brazilian poets of the 20th century. Born in 1913, into a family of intellectuals in the neighborhood of Gávea, the future “poetinha” would graduate in Law at the age of twenty, the same year that he gave birth to his first book of poems, O Caminho para a Distance , an offshoot that will place him as a significant name of the second generation of modernists, more precisely of the group of Catholic poets that formed in the then capital of Brazil. The booklet inaugurates its transcendental phase, marked by religious concerns, by the desire to reach, through the path of mysticism, the sublimation of feelings of guilt and disconsolation in life. They were long poems, with equally long lines, forged in hermetic language, worthy of a Symbolist tormented by angels and demons. It was not until 1943, with Cinco Elegias, that there was an uprising towards an elaboration closer to the material world, of interest in everyday themes. Henceforth, the language will become simpler with a greater use of free verse and with a more earthly and dynamic communication. This phase coincides with his entry into a diplomatic career (which will take him to live for many years in Los Angeles, Paris and Montevideo, times in which he will exchange flowers and swords with artists from all over the world) and into journalism, writing chronicles and film critics, until he gave himself up once and for all, in the euphoria of the fifties, to the activity of singer-songwriter. In 1956, the landmark work of this turn was published, the play Orfeu da Conceição, which was taken to the stage of the Municipal Theater with great success in the same year, inaugurating the partnership with Tom Jobim. Whether literature lost a vate that possibly still had a lot to contribute to national lyrics is something that no one will ever know. What is certain is that Vinícius, like no other, was one of the artists closest to us, one of the most loved, the one who, without ever abandoning sweetness for a classical diction, returned to the sonnet, defended by the first phase modernists, his place in Brazilian literature; the one who was one of the founders of Bossa Nova; one that had, in addition to Baden, several other partners, including Caymmi, Antônio Maria, Carlos Lyra, Edu Lobo, Chico Buarque and Toquinho; finally, the one that took to the streets, bars, theaters, radios and TVs, works that elevate us from the condition of breakable reeds, poor mortals, and make us stand against the everlasting ones.