The group hails from Belford Roxo, a city stuck in the middle of the low plains area known as Baixada Fluminense. The site is one of the most unkind places in the world where the streets are dirt; and guns, violent crime, and poverty are worn out cliches. It is a city where there are few paths young people can take. Aside from the inconsequential sum of money that hard work brings, there is the evangelical church, drug trafficking, and music. Everyone starts out the same, but the path a person takes as an adolescent seals an unalterable fate.

Most bars in Belford Roxo continue to be frequented by older people, lovers of samba; clubs cater to teenagers who like funk. The few small reggae bars in the area have had a precarious existence, but their numbers are growing. And it is here that the latest music from the world's top reggae groups can always be heard playing in the background.

Devotees of reggae come together in these bars or in garages where their favorite bands rehearse. Young people whose hearts beat in time to the pulsating rhythms of Bob Marley and who mirror the habits and dress of Jamaica pack these sites. Some wear dreadlocks and articles of clothing that bear green, yellow, and red colors. The better informed use words extracted from the Rastafari religion. One of the most often heard is Jah, the Rastafari word for God.

How the habits and music from a distant island in Central America could influence a dusty town in the Baixada is still difficult to fathom. But the process seems to have started in the middle of the 1980s when the movement of black consciousness was growing around Rio. In that climate of social criticism, reggae fell like the bomb of love and spread like radiation. Jamaican reggae star Jimmy Cliff played soccer and rode a bicycle around the streets of Belford Roxo during a break in his 1991 concert tour of Brazil, commenting later that he felt at home, that it was exactly like his country.

Although the influence of Jamaican culture in Belford Roxo goes beyond reggae and wearing dreadlocks, few reggae fans actually follow the rigid precepts of the Rastafari religion. Among other things, the Rastafari beliefs preach a total abstinence from the consumption of meat and dictate isolation for long periods of time. Notwithstanding, Belford Roxo's city government initiated a project last year that will research important similarities and draw comparisons between Belford Roxo and Jamaica.

Among all of the traces of Jamaican culture, what excites the young people of Belford Roxo most is without a doubt the music. There are in this small town no less than ten top-notch reggae bands. Several of them are now recording demo tapes for the major record companies, and all are dreaming of repeating the success of Cidade Negra. For people who considered Belford Roxo the capital of world violence because of the number of bloody killings that occur in the region, this trend is a sizable step in the right direction. Today, mothers in Belford Roxo are encouraging their kids to learn how to play guitar.

Cidade Negra's guitar player, Paulo Roberto da Gama, used to paint cars. Vocalist, Antônio Bento da Silva (Toni Garrido), was a delivery boy for a pharmacy. Until a few years ago, Lázaro da Cruz (Lazão), the group's drummer, and André de Farias (Bino), Cidade's bass player, carried cleaning brushes and buckets to wash the windows of office buildings in the center of Rio, or they offered their cleaning services to car owners on the streets. They all came from families where the mothers were domestic maids and the fathers were laborers.

The members of Cidade Negra managed to escape from a brutal destiny, but have not abandoned it. Today on blistering afternoons, Cidade Negra is not in Belford Roxo. Success has brought this band from the periphery to apartments in Barra da Tijuca, Copacabana, and the exclusive Lagoa area. They all have cars and cellular phones. Still, they continue working for change in the same Babylon that devoured their peers. Among other ventures, da Gama is planning to open an independent record label to promote new talent and give some Belford reggae bands a first chance. He already pays for their studio time, coaches their performances, and has produced a few shows. So if Cidade Negra displays a little pride nowadays, if nothing else, it serves as a good reference for other poor kids who live in the Baixada Fluminense.

From the time of their first release Lute Para Viver (Fight in Order to Live), which contained the hits "Falar a Verdade" (To Speak the Truth) "Nada Mudou" (Nothing Changed), "Assassinatureza" (Nature Killer), and "Nos Jardins Desta Nação" (In the Gardens of This Nation); the group has remained close to the limelight. Lute Para Viver was a masterpiece of Brazilian roots reggae. But to be completely honest, the group did need some time to emerge from problems they had with their misunderstood second project, Negro no Poder (Black in Power). Many radio stations refused to give the disc airplay for reasons that could, at best, be construed as racist. A good example of why Negro no Poder was misunderstood can be seen in the lyrics from the tune "Zumbi." Zumbi was the military commander of the Republic of Palmares, a remarkable political and economic state comprised of nearly twelve thousand runaway slaves in Alagoas in Northeastern Brazil between 1630 and 1697:

Aqui onde estão os homens
De um lado cana de açúcar
Do outro lado cafezal
Ao centro senhores sentados
Vendo a colheita do algodão branco
Sendo colhido por mãos negras

Eu quero ver
Quando Zumbi chegar
O que vai acontecer
Zumbi é senhor das guerras
É senhor das demandas

Here are the men
On one side sugar cane
On the other a coffee plantation
In the center the masters are sitting
Watching the harvest of the white cotton
Being collected by black hands

I want to see
When Zumbi arrives
What is going to happen
Zumbi is the master of wars
He is the master of the conflicts

After the disappointing sales of Negro no Poder, the group was forced to accept some new conditions from their multinational record label. An excessive work schedule was just one concession of their agreement with Sony. The band pushed their live performance schedule to the limit, at times performing 22 shows in one month, not including radio and TV appearances and interviews. A sad aftermath of the group's concessions to Sony was Ras Bernardo's decision to leave the group.

Ras [1] Bernardo (Sebastião Francisco Bernardo), the first vocalist of Cidade Negra, embarked on a solo career with the disc Atitude Pátria (Civic Attitude). Bernardo discovered that the reality in Jamaica had everything to do with his reality and today divides his time between performances and the preparation of the União Brasileira Rastafari (Brazilian Rastafari Union), a kind of study center dedicated to Jamaican belief systems. He commented last year that he doesn't want to establish a temple, only a home for debates and the dissemination of information.

Toni Garrido, the vocalist who joined the group in 1994 after the departure of Ras Bernardo, has added not only new energy and ideas, but also a commercial consciousness and a politically correct position. Garrido feels that the group is not yet in a position where they can comfortably discuss the circumstances surrounding Negro no Poder, but intends to one day reveal the names of the DJs at the particular stations, who were responsible for preventing the project's exposure. In the meantime the band is being careful about voicing their opinions on controversial issues. After all, the message of reggae is about love, energy, and establishing a peaceful and harmonic climate.

In his critique of their third disc, Sobre Todas as Forças (Above All the Forces), Sérgio Martins, critic for Show Bizz magazine, described Toni Garrido as mediocre and inexpressive. Despite the jab, Cidade Negra sold 400,000 copies of the disc in the first four months after its release. A feat like that is usually reserved for artists like Roberto Carlos. Six tracks from this project were constantly aired on the radio and became major hits for the group: "Onde Você Mora" (Where Do You Live?), "Downtown," which includes an appearance by Jamaican reggae star Shabba Ranks, "A Sombra da Maldade" (The Shadow of Your Malice), "Pensamento" (Thinking), "Querem o Meu Sangue" (They Want My Blood) by Jimmy Cliff, and "Mucama" (Slave Woman), which mixes reggae with rap and includes a guest appearance by rapper Gabriel O Pensador. In addition, the video for the tune "Onde Você Mora" was number two on MTV's Top 20, preceded only by "Love is Strong" by the Rolling Stones who were performing in Brazil at the time.

Composed by Nando Reis (Titãs) and Marisa Monte, "Onde Você Mora" is different from the roots reggae the group had been performing with Ras Bernardo. It mixes elements of soul music with romantic lyrics:

Amor igual ao teu
Eu nunca mais terei
Amor que eu nunca vi igual
Que eu nunca mais verei
Amor que não se pede
Amor que não se mede
Que não se repete

Love like yours
I will never have again
Love like I have never seen
That I will never see again
Love that's not asked for
Love that's not measured
That doesn't repeat

At first glance the music and lyrics of Cidade Negra seem like nothing new, since many of these same elements have been the benchmarks of Brazilian pop. What is new is that Cidade Negra's approach, their kind of spirit, has been completely absent from the Brazilian pop music scene. Theirs is not audacious post-modern or concrete poetry, nor is it the poetry of Chico Buarque. On the contrary, Cidade Negra's lyrics are about common life, about simple, thought-provoking everyday events. Another good example of Cidade's style is the lyrics from "Mucama" (Slave Woman) off the Sobre Todas as Forças disc:

Mucama
Na cama do patrão
Me paga
Salário de bufão
Mas come
O que a população
Não come.

Slave woman
In the bed of the boss
He pays me
The salary of a clown
But he eats
What the population
Does not eat.

Whereas Negro no Poder forced the group to make some compromises and "Onde Você Mora" began a controversy with Cidade's critics, O Erê (The Child) has reopened the floodgates of success. With arresting lyrics, melodies that differ widely in formal outline and emotional impact, overpowering rhythmic vigor, and boundary breaking horn arrangements, Cidade Negra's fourth disc reveals the range and depth of their reggae concept in a style that overshadows their previous work. Although there is some concession to commercialism, like the bonus track "Free" sung in English, there is embedded in each of the tracks a scorching passion for reggae music.

O Erê underlines not only the group's considerable writing talent, but also their knack for selecting material by composers of fresh and durable melodies. Half of the tracks from the new disc are receiving extensive radio exposure: "Cidade em Movimento" (City in Motion), "Jah Vai Providenciar" (God Will Provide), "SOS Brasil," "Firmamento" (Heaven), "O Guarda" (The Cop), Jorge Benjor's "Negro É Lindo" (Black Is Beautiful), and the title track, "O Erê." According to Jorge Davidson, the project's artistic director, O Erê is expected to generate more sales than Cidade Negra's past three releases combined by the end of this summer, an extraordinary mark for the band considering their humble beginnings.

"SOS Brasil," the disc's first track, opens with the persistent stimulation of Cidade's rhythmic foundation (Bino and Lazão) bonded to a tightly syncopated horn section arranged by Laminha. Garrido is simultaneously lyrical and virile. It is an unusually satisfying performance—the essence of electronic 90's reggae.

The disc's paramount work is "Cidade em Movimento" by Pedro Luís, a prolific composer known for defining a kind of Northeastern regional-punk music with the group Parede (Wall), for his compositions "Tudo Vale a Pena" (Everything is Worthwhile) and "Dois" (Two) on Fernanda Abreu's 1995 release Da Lata (From Tin), and for his musical direction of singer Arícia Mess and the group Boato (Rumor).

A somber atmospheric prelude acts as a decoy until Bino's bass grabs the spotlight in a performance that reflects clear-cut articulation and an incisive individuality of expression. Here the impeccable Bino is as fluid and fiery as ever, but in a more overt manner than usual. He obviously knows his instrument and is capable of instantly executing ideas. In fact, this quality characterizes his playing throughout the disc. Fantastic polyrhythms and intelligent construction of ideas are juxtaposed by mixing DJ scratching, Bino's unrelenting bass, and an Eleanor Rigby-like string effect to make "Cidade em Movimento" one of the group's all-time best.

It is on "Jah Vai Providenciar" that Garrido demonstrates his technical finesse and expressive lyricism. In addition, each member of the group performs with authority, something that comes from comprehensive musicianship, to capture a trace of their earlier roots reggae sound. I found myself humming the tune's refrain at unexpected moments and futilely speculating what would have happened had Ras Bernardo stayed with the band.

Virtuosity and versatility again combine for the no-holds-barred "O Guarda." Lazão, Bino, and da Gama, as always, lock down an unremitting rhythmic foundation. The performance here is amazingly mature and completely confident demonstrating that Cidade Negra's approach is always evolving.

The success of the new disc does not mean that Cidade Negra is making reggae any more or less pure. It only verifies that the band has reached a place in popularity that allows them to record what they want. Besides, they have never followed the existing trends that so many other reggae bands have succumbed to. Sales of O Erê are showing that the reggae of Cidade Negra is at a peak whatever the classification the public gives them. And judging from the latest numbers, it's safe to say that O Erê will not create any disturbing negotiations with Sony in the near future.

Speaking the truth and grasping the purpose and the philosophy of reggae has taken Cidade Negra a long way from Belford Roxo. The group has achieved superstardom in Brazil. Their following consistently fills up stadiums. Furthermore, the band is beginning to establish a broad following outside Brazil. They have performed in Europe and in the United States. But what I assume was even more satisfying was their trip to Bob Marley's Jamaica where they were the only band from South America to participate in the Sunsplash Festival, the world's most important reggae celebration.

For the band to release a new disc after the phenomenal success of Sobre Todas as Forças was an enormous responsibility. But this band from the outskirts of Rio has demonstrated they have talent and breath enough to remain high on the charts for a long time to come. With the release of their forth disc, O Erê, Cidade Negra has made reggae the best bet for this summer.

[1] The name Ras in Jamaica means prince. In Belford Roxo it is applied to those who admire reggae or to those dedicated to the Rastafari belief system.
 

Bruce Gilman, music editor for Brazzil, received his Masters degree in music from California Institute of the Arts. He leads the Brazilian jazz ensemble Axé and plays cuíca for escola de samba MILA. You can reach him through his E-mail: cuica@interworld.net

O sol acorda a cidade
Mistura a cor da massa
Que vai na velocidade
Da luz do astro rei do olhar

Sou da cor da cidade
Caminho junto com a multidão
Que pulsa ao som da verdade
Tambor da nossa comunicação

Que toca no sangue
Que toca os sentidos
Espalha no ar o batuque das tribos

Na força do vento um só movimento
Deságua na onda que invade e transborda
No som que acorda a cidade

Coração de paz
Coração de pão
Tudo coração de irmão
Coração rei
Coração de irmão

I have the color of the city
I walk together with the multitude
That vibrates with the sound of the truth
Drum of our communication

That touches our blood
That touches the senses
Spreads in the air the beat of the tribes

The strength of the wind in only one movement
Cascading like a wave that invades and overflows
In the sound that wakes up the city

Heart in peace
Heart in bread
Every heart of a brother
King heart
Heart of a brother

Há muito tempo que eu queria te dizer, ouça
Vontade de te ver também
Não vale se esconder
Verdades sempre vêm
E as coisas que passei
Já ficaram para trás
Eu tenho que viver

A minha ansiedade cada vez aumenta mais
Eu tô vendo na cidade, ódio, amor, guerra e paz
Alguém da sua idade no caminho encontrei
Falando dos atalhos descobertos pelos reis
O rei da sua história e até o rei sol
Todos eles dizem que existe uma lei
Mas eles não sabem de uma coisa que eu sei
Mas eles não sabem de uma coisa que eu sei

Cachorro magro e criança na rua, corra
Pra tentar salvar alguém
Mulher bonita é feitiço da lua
Seu relax me faz bem
A gente avança e também recua,
No balanço desse trem
Desempregado a luta continua
Resistindo esse vai e vem

Rua é a escola
Rua pra jogar bola
Nua a criança chora
Nua pedindo esmola
Agora eu vou contar
O que ninguém nunca ouviu
O futuro é agora,
SOS Brasil.

My anxiety grows more each time
In the city I see hatred, love, war, and peace
I met somebody your age on the way
Talking about the shortcuts discovered by kings
The king of your history and even the sun king
All of them say that there is a law
But they don't know one thing that I know
But they don't know one thing that I know

Skinny dog and child on the street, run
To try and save somebody
Beautiful woman is a spell of the moon
Your ease makes me feel fine
The people move forward and also retreat
On the sway of this train
Unemployed the struggle goes on
Resisting this come and go

Street is the school
Street is to play soccer
Naked a child cries
Naked asking for charity
Now I am going to tell you
What no one has ever heard
The future is now
SOS Brazil.

Pessoa, ainda sinto as mesmas coisas fortes por você
Meu sentimento mais profundo ainda insiste em te querer
Mas sei que não tem sido nada fácil sobreviver
Tanto para mim, quanto pra você

E aquele nosso jeito apressado de querer vencer
Quase nos deixou mal
Mas nada há de abalar nossos planos
Você vai ver que com o passar dos anos
O que falta pra nossa felicidade
Jah vai providenciar, Jah vai providenciar

Pessoa, não duvide que na vida tudo pode acontecer
E o sol pode estar quente de repente, trovejar e até chover
Mas chuva lava a alma, tenha calma, vai acontecer
Saiba esperar, não se negue a crer
Que foi aquele jeito apressado de querer, vencer
Quase nos deixou mal

Mas nada há de abalar os nossos planos
Você vai ver que com o passar dos anos
O que falta pra nossa felicidade
Jah vai providenciar, Jah vai providenciar

Jah vai providenciar, Jah vai providenciar
Jah vai providenciar, Jah vai providenciar

And in that urgent way we wanted to succeed
We nearly lost ourselves
But nothing is going to shake our plans
You will see that with the passing years
What is missing for our happiness
God will provide, God will provide

People, don't doubt that in life anything can happen
And the sun may be hot, and suddenly it thunders and even rains
But the rain washes the soul, be calm, it is going to happen
You have to be patient, don't deny your faith
And in that urgent way we wanted to succeed
We nearly lost ourselves

But nothing is going to shake our plans
You will see that with the passing years
What is missing for our happiness
God will provide, God will provide

God will provide, God will provide
God will provide, God will provide

Pra entender o Erê
Tem que tá moleque
Tem que conquistar alguém
E a consciência leve

Há semanas em que tudo vem
Há semanas que é seca pura
Há selvagens que são do bem
A sequência do filme muda

Milhões de anos luz podem curar
O que alguns segundos na vida podem representar
O Erê, a criança, sincera convicção
Fazendo a vida com o que o sol nos traz

Você sabe
Um sentimento não trai
Um bom sentimento não trai

Pra entender o Erê
Tem que tá moleque
Tem que conquistar alguém
E a consciência leve

Pare e pense no que já se viu
Pense e sinta o que já se fez
O mundo visto de uma janela
Pelos olhos de uma criança

There are some weeks when everything comes to you
There are some weeks that are pure drought
There are some hardened ones who are good
The sequence of the film changes

Millions of light years may heal
What a few seconds in a life may represent
O Erê, the child, sincere conviction
Making a life with what the sun brings us

You know
A feeling does not betray
A good feeling does not betray

To understand the child
You have to be a child of the streets
You have to defeat someone
And have a light conscience

Stop and think of what you have already seen
Think and feel what you have already done
The world seen through a window
Through the eyes of a child

1992 .....Negro no Poder............... Sony

1994..... Sobre Todas as Forças.... Sony

1996..... O Erê.............................. Sony