The work from the Premeditando o Breque defies rigid classifications. It really is undeniably a referential, intellectualized laughter group in the vein from the Argentinean Les Luthiers, or, sketching from movie theater, Monty Python. Musically the Premê (as the group became popularly known) characterizes its focus on the foundation of instrumental virtuosity (getting the solid guidance from the experienced musician/manufacturer/arranger Mário Manga), using as automobiles for parodies just about any genre/design, with a clear choice for the kitschy types however, not refusing to hire samba, bossa nova, pop, rock and roll and even contemporary traditional music (the composer Igor Lintz Maués plays a part in the group along with his traditional electronic compositions). A few of their biggest strikes are “Garota de Copacabana,” “Pinga com Limão” (a rock and roll edition of Alvarenga e Ranchinho’s caipira track), “Lua-de-Mel em Cubatão,” and “Rubens” (a homosexual like song which, prohibited from the censorship table in the ’80s, was documented in 1990 by Cássia Eller). Probably one of the most essential humor sets of São Paulo in the 1980s, the Premê was created in 1976 by Mário Manga, Marcelo Galbetti, Claus, and Wandy Doratiotto, most of them college students of the institution of Conversation and Arts (ECA) from the University or college of São Paulo. In 1979, the group participated in the I Event Universitário da Música Popular Brasileira (University or college Event of Popular Brazilian Music, Television Cultura, São Paulo), earning second place with “Brigando na Lua” (compiled by Manga). In 1980, they joined “Empada Molotov” (César Brunetti) in the MPB Shell Event (Television Globo), documented as an individual. Their 1st LP arrived in 1981, Premeditando o Breque, having achievement with “Fim de Semana” and “Marcha da Kombi” (both by Doratiotto). Within the next 12 months, the group participated in the MPB Shell with “O Destino Assim o Quis” (Doratiotto), released as an individual with “Pinga Com Limão.” Having released in 1983 the LP Quase Lindo, which experienced achievement with “São Paulo, São Paulo,” in 1985, they authorized to the major-label EMI and released the LP O Melhor dos Iguais, which experienced strikes with “Balão Trágico” (Manga/Dionísio Moreno) and “Lua-de-Mel em Cubatão.” Within the next 12 months, Grande Coisa brought “Rubens,” using the lyrics transformed by determination from the censors. The initial lyrics will be documented by Cássia Eller four years later on. The group participated in 1998 in the double-LP Há Sempre um Nome de Mulher, interpreting “Anamaria” (edition by Hervê Cordovil), the recording having offered over 350,000 copies.