Racionais mc's
Racionais Mc´s Lyrics

NEGRO DRAMA,
This song is about the struggles and challenges faced by black people in society, particularly in the context of the favelas and prisons.

Entre e o sucesso, e a lama,
It highlights the contrast between achieving success and being stuck in a life of poverty and hardship.

Dinheiro, problemas,
Money can bring its own set of problems and challenges.

Invejas, luxo, fama,
These are the negative aspects that come with fame, such as jealousy and false appearances.

Cabelo crespo, E a pele escura, A ferida a chaga, A procura da cura,
It speaks about the struggles and discrimination experienced by black people due to their natural features and the constant search for acceptance and equality.

Tenta vê, E não vê nada, A não ser uma estrela, Longe meio ofuscada,
It conveys the feeling of hopelessness and longing for something better, yet only being able to see a distant and dimly shining star.

Sente o Drama, O preço, a cobrança, No amor, no ódio, A insana vingança,
The song emphasizes the consequences, sacrifices, and the intense emotions experienced in relationships, whether it be love or hatred.

Eu sei quem trama, E quem tá comigo, O trauma que eu carrego, Pra não ser mais um Preto Fudido,
The artist acknowledges the presence of not only those who plot against him but also those who support him, carrying the trauma of his experiences to rise above negative stereotypes.

O drama da Cadeia e Favela, Túmulo, sangue, Sirene, choros e velas,
This line depicts the constant presence of death, violence, and mourning that exists in the prison system and the favelas.

Passageiro do Brasil, São Paulo, Agonia que sobrevivem, Em meia zorra e covardias, Periferias, vielas e curtiços,
The song describes the harsh reality endured by the marginalized communities living in the outskirts of São Paulo, facing hardships, violence, and inequality.

Você deve tá pensando, O que você tem haver com isso, Desde o inicio, Por ouro e prata,
The artist questions the listener's perception and reminds them of the historical injustices faced by black people in their pursuit of wealth and success.

Olha quem morre, Então veja você quem mata, Recebe o mérito, a farda, Que pratica o mal,
The song highlights the cycle of violence and the irony of those who perpetrate evil acts being rewarded and praised.

Me vê, Pobre, preso ou morto,
The lyric portrays the artist's awareness of the negative stereotypes associated with being black, including being poor, incarcerated, or killed.

Já é cultural, Histórias, registros, Escritos, Não é conto, Nem fábula, Lenda ou mito,
The struggles and experiences faced by black people are not simply fictional tales but are based on real stories, recorded history, and written accounts.

Não foi sempre dito, Que preto não tem vez, Então olha o castelo e não, Foi você quem fez Cuzão,
Referring to the prejudice that black people face, the lyric challenges the perception that black individuals cannot succeed and achieve their own greatness.

Eu sou irmão, Dos meus truta de batalha, Eu era a carne, Agora sou a própria navalha,
The artist emphasizes his sense of brotherhood with his friends and allies, transforming himself from being a target of violence to becoming a weapon for self-defense.

Um brinde pra mim, Sou exemplo, de vitórias, Trajetos e Glórias,
The artist celebrates and acknowledges his own achievements and success as an example for others, highlighting the challenges and triumphs along his journey.

O dinheiro tira um homem da miséria, Mais não pode arrancar, De dentro dele, A Favela,
Money can provide an escape from poverty but cannot erase the artist's connection to his marginalized community and the issues they face.

São poucos, Que entram em campo pra vencer, A alma guarda, O que a mente tenta esquecer,
Only a few individuals truly strive for success and victory, but the soul carries the memories and experiences that the mind tries to forget.

Olho pra traz, Vejo a estrada que eu trilhei, Mó corre, Quem teve lado a lado, E quem só ficou na bota, Entre as Frases, Fases e várias etapas,
Reflecting on the artist's journey, there were those who actively supported him and those who merely stood by, experiencing the different phases and stages of his life together.

Do quem é quem, Dos Manos e das Minas fraca,
This line explores the dynamics and roles played by different individuals, including men and vulnerable women, within the artist's community.

NEGRO DRAMA de estilo, Pra ser, Se for, Tem que ser, Se temer é milho,
The artist emphasizes the distinctive style and essence of black drama, suggesting that to truly embody it, one must embrace it without fear or hesitation.

Entre o gatilho e a tempestade, Sempre a provar, Que sou homem e não covarde, Que Deus me guarde,
Navigating through dangerous situations and challenges, the artist continuously proves his bravery and humanity, seeking protection from God.

Pois eu sei, Que ele é neutro, Vigia os ricos, Mais ama os que vem do Gueto,
The artist acknowledges that God is impartial; He watches over the rich but has a special love for those who come from the ghetto and face adversity.

Eu visto Preto, Por dentro e por fora, Guerreiro, Poeta entre o tempo e a memória,
The artist proudly identifies with his black identity both internally and externally, embodying the characteristics of a warrior and a poet in navigating through time and memory.

Hora, Nessa história, Vejo o dolar, E vários quilates, Falo pro mano, Que não morra, e também não mate,
The artist reflects on the material wealth and possessions associated with success but urges his friend not to succumb to violence and to seek a different path.

O Tic Tac, Não espera veja o ponteiro, Essa estrada é venenosa, E cheia de morteiro,
The ticking of time does not wait, and the artist warns that the path he walks is dangerous and filled with potential harm.

Pesadelo, É um elogio, Pra quem vive na guerra, A PAZ Nunca existiu, Num clima quente, A minha gente soa frio,
Living in a state of constant conflict, the artist considers the term 'nightmare' as a compliment, as peace has never truly existed for his people. In a hostile environment, his community remains distant and aloof.

Vi um Pretinho, Seu caderno era um Fuzil, NEGRO DRAMA,
The artist observed a young black boy whose notebook symbolized a weapon, conveying the harsh realities and challenges faced by black youth in their daily lives.

CRIME,FUTEBOL, MÚSICA, CARAIO, EU TAMBÉM, VO CONSEGUI FUGIR DISSO AÍ, EU SO MAIS UM, FORREST GUMP é MATO, EU PREFIRO CONTA UMA HISTÓRIA REAL,
The artist acknowledges the influence of crime, football, and music in his environment but emphasizes his personal choice to distance himself from those influences and tell a genuine, authentic story instead.

VÔ CONTA A MINHA....
The artist expresses his intent to share his own personal story and experiences.

Daria um filme, Uma negra, E uma criança nos braços, Solitária na floresta, De concreto e aço,
The artist envisions his story as a movie, featuring a black woman holding a child, symbolizing their isolation and struggle within an urban landscape.

Veja, Olha outra vez, O rosto na multidão, A multidão é um monstro,
Highlighting the feeling of being overlooked or unseen, the artist urges the listener to pay close attention to the face within the crowd, noting that the crowd itself can be seen as a monstrous force.

Sem,Rosto e Coração,
The line speaks to the dehumanization and lack of empathy within the faceless and heartless masses.

São Paulo, Terra de arranha-céu, A garoa rasga a carne, É a Torre de Babel,
Describing São Paulo as a city of skyscrapers, the artist depicts the rain as a metaphorical force that tears through the flesh, creating a Tower of Babel-like chaos and confusion.

Família Brasileira, 2 contra o mundo, Mãe solteira, De um promissor, Vagabundo,
Exploring the dynamics within the Brazilian family unit, the artist highlights the struggle faced by a single mother raising a child alone, born from a relationship with a promising yet unreliable individual.

Luz, Câmera e Ação, Gravando a cena vai, O Bastardo, Mais um filho pardo, Sem Pai,
Referencing the film industry, the artist symbolically expresses the recording of his life, where he is the illegitimate son without a father figure but embraced by his mixed-race identity.

Senhor de engenho, Eu sei, Bem quem é você, é Sozinho,ce num guenta,
Drawing on historical references, the artist calls out the colonial landowner, acknowledging their presence and power while asserting that they will not succeed in isolating or suppressing him.

Se num guenta a pé,
Asserting his resilience and strength, the artist suggests that if the oppressor cannot face him directly, they will not be able to defeat him.

Se disse que era bom, E as favela ouviu, mas também tem Whiski, e Red Bull, Tênis Nike, Fuzil,
Addressing those who claim to be powerful, the artist points out that the favelas are aware of their actions and influence, yet they also partake in luxury items and weaponry.

Admito, Seus carro é bonito, Hé, E eu não sei fazer, Internet, Video-cassete, Os carro loko,
Acknowledging the material possessions owned by those in power, the artist admits that he does not possess the same wealth or knowledge, singling out specific items such as the internet, video cassettes, and expensive cars.

Atrasado, Eu to um pouco sim, To, Eu acho sim,
The artist admits to being behind in terms of societal advancements, feeling a sense of delay and recognizing that there is still much to learn and understand.

Só que tem que,
However, there is a need for acknowledgement and respect towards the struggles and experiences faced by those in the favelas.

Seu jogo é sujo, E eu não me encacho, Eu so problema de montão, De carnaval a carnaval, Eu vim da selva, So leão, So demais pro seu quintal,
Refusing to be pushed down or oppressed, the artist acknowledges the challenges and conflicts he poses to those in power, asserting that he is a force to be reckoned with, too strong for their containment.

Problema com escola, Eu tenho mil, Mil fita, Inacreditável, mas seu filho me imita, No meio de vocês, Ele é o mais esperto, Ginga, fala gíria, Gíria não dialeto,
Highlighting the artist's intelligence and influence within the community, he states that he has countless stories and experiences with the school system. In a twist of irony, even the children of those in power imitate him, being more street-smart and fluent in slang rather than proper speech.

Esse não é mais seu, Hó, Subiu, Entrei pelo seu rádio, Tomei, Se nem viu, Nóis é isso, aquilo,
Asserting his presence and power, the artist claims ownership over the airwaves, taking control through his music without the knowledge or consent of those in power. He then emphasizes the complexity and multitude of identities within his community.

O Que, Senão dizia, Seu filho quer ser Preto, Rhá, Que ironia,
Questioning the hypocrisy and irony, the artist points out how those in power consider it amusing or ironic when their children express a desire to be black.

Cola o pôster do Tupac ae, Que tal, Que se diz, Sente o NEGRO DRAMA, Vai, Tenta ser feliz,
Encouraging self-reflection, the artist suggests placing a poster of Tupac, a renowned black artist, and feeling the emotions and struggles portrayed in the song, urging the listener to strive for happiness despite the challenges.

Hey bacana, Quem te fez tão bom assim, O que se deu, O que se faz, O que se fez por mim,
Addressing someone with privilege or power, the artist questions the source of their perceived superiority, prompting them to reflect on their actions and what they have done for others.

Eu recebi seu Tic, Quer dizer Kit, De esgoto a céu aberto, E parede madeirite,
The artist mocks the listener's attempt to provide him with a cheap and inadequate gift, comparing it to an open sewer and a flimsy wooden wall.

De vergonha eu não morri, To firmão, Eis me aqui,
Refusing to be ashamed or defeated, the artist asserts his resilience, declaring his determination to overcome adversity.

Você não, Se não passa, Quando o Mar Vermelho abrir,
Contrasting himself with the listener, the artist implies that if they remain unchanged, they will not succeed when faced with difficult situations or obstacles.

Eu sou o mano Homem duro, Do gueto, Brow,
Identifying himself as a tough man from the ghetto, the artist asserts his strength and resilience.

Oba, Aquele loko, Que não pode errar, Aquele que você odeia, Mas nesse instante, Pele parda, Ouço Funk,
Acknowledging the polarizing role he plays as someone who cannot afford to make mistakes and is disliked by some, the artist asserts his identity as a mixed-race individual and finds solace in listening to funk music.

E de onde vem, Os diamante, Da lama,
The line symbolizes how valuable and precious things can come from unexpected and challenging places, just like diamonds originating from muddy environments.

Valeu mãe,
Expressing gratitude and appreciation towards his mother for her role in his life and upbringing.

NEGRO DRAMA, DRAMA, DRAMA.
Repeatedly emphasizing the theme of black struggle and the intensity of the drama faced by black individuals in society.