BEZERRA DA SILVA (Recife / PE, March 9, 1927 - Rio de Janeiro, January 17, 2005)

            At 15 years old, José Bezerra da Silva embarked on a cargo ship to Rio, bringing his dream of a better life. After a period of many difficulties, he settled on the hill of Cantagalo, and began to work as a painter of walls. In 1950, he was taken to the old Radio Clube do Brasil, by the composer José Alcides, his favela neighbor, being hired as a percussionist.

In 1969, he recorded the first single with the songs Mana Cadê Meu Boi (with Jorginho) and Viola Witness (co-authored by Almir Delfino and Jorge Garcia), on the Copacabana label. From the 70's, he began the production of a series of LPs, between cocos and high party, with highlights for: The King of Coco (Tapecar, 1975), Valente Na Boca do Boi (Arnô Canegal, Waldemar Silva), Coco de Itambé, Rima de Doê (both of his authorship), Going to Rain Today Urubu (Antônio Rodrigues, Buco do Pandeiro); The King of the Coco, Vol. 2 (Tapecar, 1976), Flesh of Neck (partner with Darci de Souza), Not Brave (Dida, Neoci), The King of Coco (of his own), Vamo Simbora Neném (Avarese) , And Party Alto Nota 10 (CID, 1977), Malandro Demais Vira Bicho (partnership with Nilo Dias), Dona Maria Baiana (coauthor Arnô Canegal) and Genaro, and Dedo Duro (Joel Silva). At that time, began to study music, integrated from 1977 the percussion orchestra of TV Globo, where it remained until 1985.

In the early years of the 80s, he assumed the role of true reporter of the hill, using composers who lived that environment, with a good repertoire, and his albums were also released on CD by the label RCA Victor, always with several hits: Produto do Morro (1983): Fui Obrigado A Chorar, Minha Sogra Parece Sapatão (essas de Tião Miranda e Roxinho), Produto do Morro (Eliezer da Ponte, Walter Coragem), Todo Errado (Athayde Lucena, Nelson Cebola); É Esse Aí Que É O Homem (1984): Defunto Caguete (Adelzonilton, Ubirajara Lucio, Franco Teixeira), Foi O Dr. Delegado Que Disse (Caboré, Pinga, Jorge Portela), O Rei da Cocada Preta (com Délcio Carvalho), Rabo de Foguete (Luiz Grande); Malandro Rife (1985): Bicho Feroz (Tonho, Claudio Inspiração), No Meu Barco (Sarabanda, Zé Dedão do Jacaré), Malandro Rife (Otacilio, Ary do Cavaco), Vítimas da Sociedade (com Crioulo Doido); Alô Malandragem, Maloca O Flagrante (1986): Meu Bom Juiz (Beto sem Braço, Serginho Meriti), Língua de Tamanduá (Tião Miranda, Valmir), Na Boca do Mato (Luiz Grande), Sua Cabeça Não Passa Na Porta (Barbeirinho do Jacarezinho); Justiça Social (1987): Partideiro Indigesto (Nilo Dias, Adelzonilton, Crioulo Doido), O Dr. Está Na Sua Capitulação (Moacir da Silva, Ubiracy de Oliveira), Justiça Social (Marujo, Duda); Violência Gera Violência (1988): Candidato Caô Caô (Walter Meninão, Pedro Butina), Vida de Operário (Romildo, Edson Show, Nei Alberto), Violência Gera Violência (Grilo, Sergio Fernandes, Reinaldo), Raiva de Tudo (Gracia do Salgueiro) com participação de Genaro.

From the 90s, it took the BMG label, with new releases: Bezerra da Silva: eu não sou santo (1990): Quando O Morcego Doar Sangue (Cosme Diniz, Rosemberg), Mudo Caguete (Pedro Butina, Cosme Diniz), Eu Não Sou Santo (Nilo Dias, Adelzonilton, Crioulo Doido), Se Não Avisar O Bicho Pega (Jorge Carioca, Marcinho, Marquinho PQD) participação de Genaro; Presidente Caô Caô (1992): Assombração de Barraco (José Carlos, Elson Gente Boa), Eu Sou Favela (Noca da Portela, Sérgio Mosca), Sou Cadeado (Pinga, Genilda do Pinga) com Genaro, Nariz de Bronze (Cláudio Inspiração, Tonho Magrinho); Cocada Boa (1993): Overdose de Cocada (Dinho, Ivan Mendonça), Chorão de Aluguel (Carlinhos do Jorge Turco, Pedro Butina, Jaime Bahia), Prepara O Pinote (Nilo Dias, Adelzonilton, Franco Teixeira), Veneno de Peçonha (Zaba) participation of Genaro. On leaving BMG, Bezerra traveled to the United States, where he performed several shows from Florida to Washington, followed by Angola. Back in Brazil, he recorded Contra O Verdadeiro Canalha (RGE, 1995), incluindo O Verdadeiro Canalha (Jorge Mirim, Rodrigo, Sergio Fernandes) participation of Genaro, Malandro Moderno (Eli Santos, Raimundo Barros Filho), Com Dinheiro Tudo Bem (Mathias de Freitas, Carlinho Bohemia), Defunto Morto Não Fala (Adelzonilton, Franco Teixeira). Also in 1995, Bezerra da Silva, Dicró and Moreira da Silva performed the show Os 3 Malandros In Concert, A good humorous satire to the notable tenors José Carreras, Pavarotti and Plácido Domingo, which resulted in the CD of the same name (CID label), musical direction of the conductor Jaime Alem, and in the initial chords already proclaim: It is the biggest show of the year / this great recital Dicró , Bezerra and Moreira / singing in the Municipal. The following year, Meu Samba É Duro Na Queda (RGE, 1996): With highlights for Tira Gosto (Marimbondo, Regina do Bezerra, Carlinhos Russo), A Fumaça Subiu Pra Cuca (Adelzonilton, Tadeu do Cavaco), Venta Nervosa (Careca MC, Valéria do Cavaco, Regina do Bezerra), Vírus da Corrupção (Nilo da Bahia, Zaba). At the turn of the century, he released the great CD Malandro É Malandro Mané É Mané (Atração Fonográfica, 2000), With the usual mood: Tem Coca Aí Na Geladeira (Regina do Bezerra), Medo De Virar Galeto (Luiz Grande, Barbeirinho do Jacarezinho, Marcos Diniz), Só Não Posso Dar O Céu (partnership with Regina do Bezerra), and the track that gives name to the disc (author of Neguinho da Beija-Flor). Regarding this song, Bezerra drew his conclusions: the poor mané is Mané! Malandros are those who have higher education and are in special prison, those who have parliamentary immunity and other so many smart ones.

In his last years of life, he adopted the doctrine of the evangelical church, but continued to record his truths in defense of the communities of the hills, where he met a harsh reality. Interpreter of peculiar style, irreverent and with a lot of humor, trickster malandro, Bezerra da Silva intercalated between intervals of verses, expressions like Here Tá Alright !, Definitely! He has used and abused explosive themes in dealing with drugs and drug dealers, criticized mercenaries, gossipers, and mercenaries mercilessly, approached him. He said, "I have spoken to you! , Without reluctance, characters such as mothers-in-law and piranhas, fought intensely against corruption, impunity and social injustices. A great samba player, who knew how to say: I am not a saint!


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