The connection between Destemidos Limonadas & Punkecas and Kid Vinil already existed when Nicchio met Roberto Limonada. The Destemidos' bassist was a longtime friend of Kid and, after hearing the band's repertoire, Kid saw in “Ela Só Gosta de Pizza” a song that could mark a new phase. He added the composition to the repertoire of Kid Vinil e Verminose, while also performing a version of “O Posto” at shows.
It was in this context that, in 1993, Roberto Limonada took Nicchio to Café Piu Piu, in Bexiga, to see Kid Vinil e Verminose. Nicchio had already attended a major pop concert — Roxette, with his then-girlfriend — but he remembers that night as the first rock show that truly felt like part of the world he was discovering.
The experience stretched through the night, roughly from 10 p.m. to 5 a.m., with three separate band sets. Roberto also took Nicchio backstage, where he saw Kid up close in a punk aesthetic that remained fixed in his memory: punk clothing, moss-green boots with an almost vinyl-like appearance, red laces and a visual composition Nicchio remembers as having something almost Soviet about it. Onstage, Kid mixed his own repertoire with references such as the Ramones, including “Suzy Is a Headbanger”.
By then, “Ela Só Gosta de Pizza” was already part of Kid's repertoire. Months after that show, in 1993, Kid Vinil e Verminose appeared on Programa Livre, hosted by Serginho Groisman on SBT, presenting a more punk-rock version of the song as one of the main novelties of Kid's return to the media. Kid would also make guest appearances at Destemidos shows, publicly reinforcing the connection between the two projects.
Video records from Kid Vinil e Verminose's appearance on Programa Livre, hosted by Serginho Groisman on SBT, in 1993.
Before the release of a new album, “Ela Só Gosta de Pizza” had already circulated as a single and received airplay on São Paulo rock radio stations. In 1995, Kid Vinil released Xu-Pa-Ki, with the song among the album's ten tracks, consolidating on record a path that had begun years earlier in the São Paulo club circuit.
For Nicchio, that night at Café Piu Piu worked as a rite of passage. What Roberto had been introducing through conversations, records, radio and television became a physical experience: stage, backstage, audience, aesthetics and repertoire. Before long, that same circuit would stop being something observed from the outside and would begin to receive Coitado do Próximo itself.