Sarajane, disciple of Gerônimo and Luís Caldas, was the precursor from the mass-media sensation referred to as axé music that broke the phonographic hegemony from the so-called Rio-São Paulo axis, definitively inserting Bahia in to the business music map. The next woman to be successful being a trio unétrico vocalist (after Baby perform Brasil), Sarajane utilized to walk with Carlinhos Dark brown (who was simply only known within the professional milieu) with the ghettos of Salvador BA through the ’80s, exploring music and dance. Throughout that period she acquired a music group, Bandaid, which combined the music of Adam Dark brown and Small Richard using the music from Bahia. Still adolescent, she was strolling with the Pelourinho (an indigent borough of Salvador BA, but powerfully abundant with conditions of music and dance) with her friend, the composer Paulinho Camafeu, when she noticed the provocation that could become a nationwide strike: “Pega ela aí! Pra quê? Pra passar batom!” (“Consider her! What for? To make use of lipstick!”) Already searching for motivation in the indegent dark neighborhoods of the town on her behalf artistic profession, she suggested to Camafeu to create a song predicated on that, and shortly he (and Luiz Caldas) arrived with “Fricote” (referred to as “Nega perform Cabelo Duro”), which mixed calypso, salsa, merengue, rock and roll, and funk. Right from the start the tune awakened the anger from the dark motion, as its lyrics recommend racism and intimate violence against females. Nevertheless, it had been a huge nationwide success right away, and it had been the start of axé-music. Sarajane reached the very best from the graphs in Salvador and received, in 1984, the very first Troféu Caymmi (the main music award in Bahia, right now extinct) as greatest feminine vocalist. In 1985 she documented her first LP, Sarajane (EMI-Odeon), including “Água de Coco” from the still-unknown Carlinhos Dark brown. The recording evidenced Gerônimo’s impact in the mixing of soca, calypso, merengue, salsa, and funk with traditional rhythms just like the samba duro, the samba de roda, cajaxá, and ijexá. Following a tour through North and Northeast, she began to make looks on Chacrinha’s broadly well-known nationwide Television show (Chacrinha would sign up for a trio unétrico because of her insistence). In 1986 she started to perform within the South, breaking the hurdle of prejudice, but quickly she was changed by other well-known idols, before consistent success loved later on by Daniela Mercury and Ivete Sangalo, for example, paid tribute to her pioneering function.