Their first album was released in 1983 and was titled Crucificados pelo sistema. Released on the Ataque Frontal label, it was one of the best-selling hardcore albums to come out of the country, and was soon considered a punk classic worldwide. The line up was João Gordo (vocals), Mingau (guitar – later in many punk and pop bands in Brazil, currently playing in Ultraje a Rigor), Jabá (bass) and Jão (drums). Soon after, with the fall of the São Paulo punk scene (because of associated gang violence), the band split up and since then João Gordo has been accused of selling out and betraying the DIY ethics of the hardcore punk movement for several alleged reasons; he has said, "I'm a traitor since 1983, because I told the guys I played hardcore, not punk. Then, I got labelled.(...)That's a stigma".[1]
Initial crossover thrash era
In 1985, RxDxPx came back, but with a different line up and sound. They brought thrash metal to their music, influenced by bands such as Slayer, Exodus, Kreator and hardcore bands around the world that were also transitioning to a more thrash metal sound, like Suicidal Tendencies, D.R.I., English Dogs, Cro-Mags, Agnostic Front and others (including Brazilian bands such as Lobotomia and Armagedom). Jão switched over to playing guitar, and an old punk named Spaghetti (who later adopted a thrash metal sound) replaced him on drums. Subsequently, they released the Descanse Em Paz album on Baratos Afins in 1986.
With their new sound, they began to associate more with heavy metal bands, becoming friends with longtime RxDxPx fans Sepultura and other bands of the Brazilian 1980s metal scene, including Korzus and Anthares. Their next studio release with Baratos Afins Records, 1987's Cada Dia Mais Sujo e Agressivo, was also released in an English-language version (Dirty and Aggressive) (the band feared that their English was so grammatically inaccurate that many of their native English speaking fans might ridicule their translated lyrics).[citation needed] This release continued the band's D-beat drum tempos.
In 1989, they signed to Roadrunner Records at the urging of Igor Cavalera of Sepultura, who played one of the band's tapes for the label's executives. RxDxPx then went to Germany to record their next studio LP, Brasil. With Harris Johns of Voivod and Tankard producing, the band's production quality improved substantially in contrast to their previous releases; the instrumentation was noticeably more technical.
In 1990, they returned to Germany to record their last album with the 'classic' line-up of João Gordo, Jão, Jabá and Spaghetti. With Harris Johns acting again as producer, their next album titled Anarkophobia was met with criticism by some fans for being the band's most metallic release to date, having considerably more complex and lengthy song compositions and more technical musicianship. Nevertheless, Anarkophobia increased their profile within the worldwide metal scene of the early 1990s.
But in mid-1991, they had their first line-up change in years, with Spaghetti leaving the band, citing that he had "been tired of the musical life".[citation needed] They auditioned several drummers to replace him, including Beto Silesci from Korzus, but the band decided that Silesci's style was too metal for the new direction they were planning to pursue. Silesci was in turn replaced with Boka of the Santos Beach thrash/death metal band Psychic Possessor. In 1992, RxDxPx released its first official live album, called Ao Vivo, with a corresponding music video for the song "Aids, Pop, Repressão" receiving heavy air play on Furia Metal of MTV (the Brazilian equivalent of Headbangers Ball).
At the decline of the thrash scene, under tension and personal problems (Jabá left the band and they had a heavy drug problem), they entered into the studio in 1994 to record their only 'all lyrics in English' album, called Just Another Crime In Massacreland. The album suffered a thin production and a low promotion by the label, and it was a hard time in the life of RxDxPx.[citation needed]
Return to hardcore punk
After the departure of Jabá, the band had several different bass players and recorded a studio album with only punk and hardcore covers called Feijoada Acidente?, a play on the Guns N' Roses album "The Spaghetti Incident?". (Feijoada is a traditional food from Brazil, a stew based on beans and pork.) There were two versions of this album: one covering only Brazilian bands such as Olho Seco, Lobotomia, Garotos Podres, among others; and one covering only non-Brazilian bands such as G.B.H., Black Flag, Anti-Cimex, Minor Threat, among others. At this time, Walter Bart (who used to play in a punk band called "Não Religião") and "Pica Pau" (Portuguese for woodpecker), who stayed in the band until 1999, played bass.
Released in 1997, Carniceria Tropical marked a return to hardcore and Portuguese lyrics, and the band regained their former success. The same year, João Gordo started to work as a VJ for MTV Brasil.
In 1999, the bassist Cristian "Fralda", who used to play in the punk rock band Blind Pigs joined the band, and they entered into the studio to re-record their first album, and called this album Sistemados Pelo Crucifa (a play on the original album title, "Crucificados Pelo Sistema"). The front cover was designed by the Korzus bassist, Dick Siebert.
Return to crossover
In 2002, they released the Onisciente Coletivo album, and came back to be more friendly with thrash metal, mixing the 1980s with 1990s faces. The bassist Cristian "Fralda" left to join the old hardcore/crossover/thrash band Lobotomia. In his place entered an old underground musician, the bass player Paulo Júnior, who still plays with his hardcore band called "Discarga" and guitarist of "Point of no Return".
In 2006, they released Homem Inimigo Do Homem.
On 13 August 2013, Ratos de Porão announced on their Facebook page that they were working on a new album. Entitled Século Sinistro, the album was released on 27 May 2014.
Another eight years passed until the release of their upcoming eighth studio album, Necropolítica, on May 20, 2022.
Real Enemies
Ratos De Porão Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
But you don't have the right
To kick your trash on me
You fucking nazi pig
Take hold of your stupid pride
And stick it up on your ass
You must fight against our enemies
You better fight
Inside may nasty brain
I want to eat your heart
I want to get insane
I hate your racist smile
I'm gonna cut off your head
You better run away
Your fucking skin is white ...
So what ????
The lyrics to Ratos de Porão's song "Real Enemies" deal with themes of racism, bigotry, and violence. The opening lines "Your fucking skin is white, But you don't have the right, To kick your trash on me" set the tone for the song as an attack on white supremacists and their ideology. The vocalist then goes on to call the subject of the song a "fucking nazi pig" and urges them to "take hold of your stupid pride, And stick it up on your ass."
The chorus of the song encourages listeners to fight against their enemies, with the lyrics "You must fight against our enemies, You better fight, To be alive." The vocalist goes on to express their anger and desire for violence towards the subject of the song, saying "Inside my nasty brain, I want to eat your heart, I want to get insane, I hate your racist smile, I'm gonna cut off your head, You better run away."
Line by Line Meaning
Your fucking skin is white
The color of your skin is white, but it does not give you the right to act as a superior race.
But you don't have the right
Having white skin does not give you the justification to put others down or discriminate against them.
To kick your trash on me
You should not use your perceived superiority to belittle or treat others as inferior.
You fucking nazi pig
You are being equated to the fascist Nazis, known for their oppressive and violent behavior towards those they deemed inferior.
Take hold of your stupid pride
You need to let go of your misplaced sense of self-importance and recognize the value and worth of every human being.
And stick it up on your ass
You should put your pride in the right place, and not use it to step on or oppress others.
You must fight against our enemies
We need to fight against the common enemy of oppression, discrimination, and bigotry.
You better fight
It is essential to stand up for what is right, even if it means facing opposition, conflict, or danger.
To be alive
The struggle for justice, equality, and freedom is what makes us truly alive and human.
Inside my nasty brain
The artist's mind is filled with anger and disgust towards individuals who promote hate and intolerance.
I want to eat your heart
The singer desires to destroy the hateful and intolerant nature within the person who is promoting discrimination.
I want to get insane
The intense emotion and frustration caused by witnessing discrimination and bigotry can drive one to the edge of sanity.
I hate your racist smile
The singer despises the insincere and malicious smile of the racist individual.
I'm gonna cut off your head
This phrase is meant to convey the anger and frustration of individuals who have been oppressed and discriminated against.
You better run away
Individuals who promote hate and oppression should be aware that their behavior is wrong and unacceptable and should change their ways before it is too late.
So what ????
What privilege one's skin color grants should not be relevant or used to promote hate, oppression, or discrimination.
Contributed by William N. Suggest a correction in the comments below.
rodolfo de carvalho
Muito foda não sai da minha Case