Funk carioca

From Wikipedia, the free encyclopedia

Funk carioca
Native name
Funk
Other names
  • Favela funk
  • baile funk
Stylistic origins
Cultural originsMid-1980s, Rio de Janeiro, Brazil
Typical instruments
  • Drum machine
  • turntable
  • sampler
  • synthesizer
  • rapping
Subgenres

Funk carioca ([ˈfɐ̃.ki ˌka.ɾi.ˈɔ.kɐ]), also known as favela funk and, in other parts in the world, baile funk and Brazilian funk, is a hip hop style from Rio de Janeiro, derived from Miami bass and gangsta rap music.[1][2]

"Baile funk", in Brazil, refers not to the music, but to the actual parties or discotheques in which the music is played (Portuguese pronunciation: [ˈbaj.li], from baile, meaning "ball").[3] Although originated in Rio, funk carioca has become increasingly popular among working classes in other parts of Brazil. In the whole country, funk carioca is most often simply known as funk, which is a misnomer, since it is very different musically from what funk means internationally.[4]

Overview[]

Funk carioca was born in the 1980s in Rio de Janeiro's favelas.

Funk carioca was once a direct derivative of samba, Miami bass, Latin music, traditional African religious music, Candomble, hip-hop and freestyle (another Miami-based genre) music from the US. The reason why these genres, very localized in the US, became popular and influential in Rio de Janeiro is due to proximity. Miami was a popular plane stop for Rio DJs to buy the latest American records. Along with the Miami influence came the longtime influence of the slave trade in Colonial Brazil. Various African religions like vodun, and candomble were brought with the enslaved Africans to the Americas. The same beat is found in Afro-Religious music in the African diaspora and many black Brazilians identify as being part of this religion. This genre of music was mainly started by those in black communities in Brazil, therefore a boiling pot of influences to derive the trademark.

Many similar types of music genres can be found in Caribbean island nations such as; Jamaica, Cuba, Dominican Republic, Barbados, Haiti, Puerto Rico, among others. Bounce music, which originates from New Orleans, Louisiana, also has a similar beat. New Orleans, originally a French territory, was a hub for Atlantic slave trade before it was sold to the United States. All of these areas with similar music genres retain the influence of American hip hop, African music and Latin music.[5]

During the 1970s, nightclubs in Rio de Janeiro played funk and soul music.[6]

Funk carioca was popularized in the 1980s in Rio de Janeiro's favelas, the city's predominantly Afro-Brazilian slums. From the mid-1990s on, it was a mainstream phenomenon in Brazil. Funk songs discuss topics as varied as poverty, human dignity, racial pride of black people, sex, violence, and social injustice. Social analysts believe that funk carioca is a genuine expression of the severe social issues that burden the poor and black people in Rio.

According to DJ Marlboro, the main influence for the emergence of funk carioca was the single "Planet Rock" by Afrika Bambaataa and Soulsonic Force, released in 1982.[7]

Carioca in its early days were mostly loops of electronic drums from Miami bass or freestyle records and the 4–6 beat Afrobeat tempo, while a few artists composed them with actual drum machines. The most common drum beat was a loop of DJ Battery Brain's "808 volt", commonly referred to as "Voltmix", though Hassan's "Pump Up the Party" is also notable.[8][9][10] Nowadays, carioca funk rhythms are mostly based on tamborzão rhythms instead of the older drum machine loops.

Melodies are usually sampled. Older songs typically chopped up freestyle samples for the melody, or had none at all. Modern funk uses a set of samples from various sources, notably horn and accordion stabs, as well as the horn intro to the "Rocky" theme. Funk carioca has always used a small catalog of rhythms and samples that almost all songs take from (commonly with several in the same song). Funk carioca songs can either be instrumental or include rapping, singing, or something in between the two. Popularized by Brazilians and other Afro-Latino people, the saying "Bum-Cha-Cha, Bum Cha-Cha" , "Bum-Cha-Cha, Cha Cha" or even "Boom-Pop-Pop, Pop,Pop" is a representation of the beat that comes along in most funk songs. [1][11]

Funk carioca is different from the funk originated in the US. Starting in 1970, styles like bailes da pesada, black soul, shaft, and funk started to emerge in Rio de Janeiro. As time went on, DJs started to look for other rhythms of black music, but the original name did not remain. The term baile funk is used to refer to the parties in which funk carioca is played. Funk carioca first emerged and is played throughout the state of Rio de Janeiro, but not only in the city of Rio, like Rio natives like to believe. Funk carioca is mostly appealing to the youth. In the decade of 1980, anthropologist Herman Vianna was the first social scientist to take Funk as an object to study in his masters thesis, which gave origin to the book O Mundo Funk carioca, which translates to The Carioca Funk World(1988). During that decade, funk dances lost a bit of popularity due to the emergence of disco music, a pop version of soul and funk, especially after the release of the film Saturday Night Fever (1977) starring John Travolta and with soundtrack of the band Bee Gees. At the time, the then teenager, Fernando Luís Mattos da Matta was interested in the discotheque when listening to the program Cidade Disco Club on Radio City of Rio de Janeiro (102.9 FM). Years later Fernando would adopt the nickname of DJ Marlboro and the radio would be known as the Rio "rock radio".

Derivatives[]

There are a number of variants derived from funk carioca.

Brega funk[]

Created in the Northeast of Brazil, the melody mixes brega, arrocha and funk carioca. The popular singers of brega funk are Felipe Original, Dadá Boladão and MC Loma.[12] An example of the Brega funk genre is the song "Parabéns" by Pabllo Vittar.[13][14]

Funk melody[]

Main article: Funk melody

Funk melody is based on electro rhythms but with a romantic lyrical approach.[15] It has been noted for being powered by female artists. Among the popular funk melody singers are Perlla, Babi and Copacabana Beat.

Funk ostentação[]

Main article: Funk ostentação

Funk ostentação is a sub-genre of Rio de Janeiro funk created in São Paulo in 2008. The lyrical and thematic content of songs in this style focuses mainly on conspicuous consumption, as well as a focus on materialistic activities, glorification of style of urban life and ambitions to leave the favela. Since then, funk ostentação has been strongly associated with the emerging nova classe média (new middle class) in Brazil.[16]

Proibidão[]

Main article: Proibidão

Proibidão is a derivative of funk carioca related to prohibited practices. The content of the genre involves the sale of illegal drugs and the war against police agencies, as well as the glorification and praise of the drug cartels, similar to gangsta rap.

Rasteirinha[]

Main article: Rasteirinha

Rasteirinha or Raggafunk[17] is a slower style of Rio de Janeiro funk that rests around 96BPM and uses atabaques, tambourines and beatboxing. It also incorporates influences from reggaeton and axé. "Fuleragem" by MC WM is the best known songs of the Rasteirinha genre.[18]

Rave funk[]

Rave funk is a mix of funk carioca and electronic music, created in 2016 by DJ GBR.[19] Among rave funk's most popular songs is "É Rave Que Fala Né" by Kevinho and MC Hollywood.

Funk 150 BPM[]

In 2018, the Funk carioca of 150 beats per minute or 150 BPM was created by DJs Polyvox and Rennan da Penha.[20][21] In 2019, the funk carioca 150 BPM was adopted by carnival blocks.[22] "Ela É Do Tipo", by Kevin O Chris, is one of the most popular songs of the genre.[23]

Pagofunk[]

Fusion of funk carioca with pagode,[24][25][26] the term also refers to parties where play both styles,[27] the origins of the subgenre can be traced back to the mid 90s, in 1997, the duo Claudinho & Buchecha released the song Fuzuê on the album A Forma, the song uses a cavaquinho, an instrument present in genres such as samba, choro and pagode, in the lyrics, the duo pays tribute to pagode artists.[28] Grupo Raça was successful with "Ela sambou, eu dancei", written by Arlindo Cruz, A. Marques and Geraldão,[29] which alluded to funk carioca . In 2014, the song was reinterpreted with elements of carioca funk with Arlindo Cruz himself with Mr. Catra.[30]

Mc Leozinho, made use of the cavaquinho in the song Sente a pegada from 2008.[31] Artists such as MC Delano and Ludmilla also use the cavaquinho in some songs,[31] in 2015, Ludimilla also participated in a duet with the band Molejo in Polivalência from the album of the same name released in 2000, in 2020, he released Numanice, an EP dedicated to the pagode.[32][33]

Recognition in Europe[]

Until the year 2000, funk carioca was only a regional phenomenon. Then the European media began to report its peculiar combination of music, social issues with a strong sexual appeal (often pornographic).

In 2001, for the first time, funk carioca tracks appeared on a non-Brazilian label. One example is the album , released by BMG. It contained three old-school funk carioca hits, including the song "" by De Falla.[34]

Artist MIA brought mainstream popularity to funk carioca.

In 2003, the tune by Black Alien & Speed,[35] which was not a big hit in Brazil, was then used in a sports car commercial in Europe, and it helped increase the popularity of funk carioca. Berlin music journalist and DJ Daniel Haaksman released the seminal CD-compilations in 2004 and More Favela Booty Beats in 2006 through .[36] He launched the international career of artist Edu K,[37] whose baile funk anthem was used in a soft drink commercial in Germany. Haaksman continued to produce and distribute many new baile funk records, especially the EP series "Funk Mundial"[38] and "Baile Funk Masters" on his label .

In 2004, dance clubs from Eastern Europe, mainly Romania and Bulgaria, increased the popularity of funk carioca due to the strong sexual appeal of the music and dance, also known as . Many funk carioca artists started to do shows abroad at that time. DJ Marlboro and club were the pioneer travelers and producers. The funk carioca production was until then limited to playing in the ghettos and the Brazilian pop market. DJ Marlboro,[39] a major composer of funk carioca's tunes declared in 2006 in the Brazilian Isto É magazine how astonished he was with the sudden overseas interest in the genre. He would go on to travel in over 10 European countries.

In London, duo Tetine assembled a compilation album called , which was released by Mr Bongo Records in 2004. Tetine also ran the weekly radio show on London's radio art station Resonance FM 104.4. Their radio show was entirely dedicated to funk carioca and worked as a platform for the duo to produce and organize a series of film programs as well as interviews and gigs involving funk carioca artists from Rio. Tetine were also responsible for the first screening of the post-feminist documentary by filmmaker which was co-produced by Tetine in London and first shown in the city at the at in East London in March 2005. Apart from this, Tetine also produced two albums with experimental DIY queer funk carioca: , released by Brazilian label Bizarre Records in 2004, and , released by in 2005. Tetine also recorded with Deize Tigrona on the track "I Go to the Doctor", included in the LP L.I.C.K My Favela in 2005 and later on their album , released by Soul Jazz Records in 2008.

In Italy, Irma Records released the 2005 compilation . Many small labels (notably European label and American labels and Nossa) labels released several compilations and EPs in bootleg formats.

The artist MIA brought mainstream international popularity to funk carioca with her single Bucky Done Gun released in 2005,[citation needed] and brought attention to American DJ Diplo, who had worked on M.I.A.'s 2004 mixtape Piracy Funds Terrorism on the tracks , , and .[40] Diplo made a bootleg mixtape, , in 2004[41] after shared with him some compiled remix mixtapes of her performance act Yours Truly. He also produced documentary , which was released in July 2010 and documents the role, culture, and character of funk carioca in Rio's favelas.[41]

Other indie video-documentaries have been made in Europe, especially in Germany and Sweden. These generally focused on the social issues in the favelas. One of the most famous of these series of documentaries is [42] (2005) by Danish filmmaker , broadcast by many European open and cable television channels.

London-based artist was the first Italian singer-producer to bring funk carioca to Italy.[citation needed] She performed in London with at Notting Hill Arts Club in 2008. She performed her baile funk productions for the contest Edison Change the Music in 2008. Sandra D'Angelo performed Baile Funk also in New York and produced tracks with () and DJ from Rio.

In 2008, Berlin label Man Recordings released Gringão, the debut album by German — the only non-Brazilian MC performing in the bailes of Rio de Janeiro.

English indie pop band Everything Everything claim the drum patterns used on their Top 40 single Cough Cough were inspired by those used on Major Lazer's Pon de Floor, a funk carioca song.

Criticism[]

In Brazil, funk carioca lyrics are often criticized due to their violent and sexually explicit lyrics. Girls are called "cachorras" (bitches) and "popozudas" – large buttocks, and many songs revolve around sex. "Novinhas" (young girls/nymphets) are also a frequent theme in funk carioca songs. Some of these songs, however, are sung by women.

The extreme banalization of sex and the incitement of promiscuity is viewed as a negative aspect of the funk carioca culture. Besides the moral considerations, in favelas, where sanitary conditions are poor and sex education low, this might lead to public health and social issues. In such communities, definitive contraceptive methods are hardly available and due to lack of education and awareness, family planning is close to nonexistent. This environment results in unwanted pregnancies, population overgrowth, and eventually the growth of the communities (favelização).[43][44]

The glamorization of criminality in the favelas is also frequently viewed as another negative consequence of funk carioca. Some funk songs, belonging to a style known as "proibidão" ("the forbidden"), have very violent lyrics and are sometimes composed by drug-dealing gangs. Its themes include praising the murders of rival gang members and cops, intimidating opposers, claiming power over the favelas, robbery, drug use and the illicit life of drug dealers in general. Authorities view some of these lyrics as "recruiting" people to organized crime and inciting violence, and playing some of these songs are thus considered a crime.[45]

Due to the lack of regulation and the locations where they usually take place, "" are also very crime prone environments. They are popular hot spots for drug trade and consumption, dealers display power frequenting the parties heavily armed,[46] and even murder rates are high.[47]

More popular funk carioca artists usually compose two different sets of similar lyrics for their songs: one gentler, more "appropriate" version, and another with a harsher, cruder set of lyrics (not unlike the concept of "clean" and "explicit" versions of songs). The first version is the one broadcast by local radio stations; the second is played in dance halls, parties, and in public by sound cars.[48] Recurrent lyric topics in funk carioca are explicit sexual positions, the funk party, the police force, and the life of slum dwellers in the favelas.[49] Another large part of the lyrics is the use of the world around them – mainly the poverty that has enveloped the area. This is usually denounced in the lyrics and the hope for a better life is carried through many of their messages.[11]

With its recent success in Europe, it has also been criticized that Brazil is exporting music that is much inferior when compared to the bossa nova of the 1950s/60s and the Brazilian rock that had been made famous in the 1980s. It has been rumored that most of the funk projects in favelas are also financially backed by drug lords, so many song lyrics deal with challenging the police together with a subversive nature to the law currently established in Brazil.

Response[]

Defenders of funk carioca argue that the genre is an authentic expression of the culture of Afro-Brazilian communities, and the lyrics of a sexual nature reflect the sexual freedom found in Brazilian society.[citation needed]

See also[]

References[]

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  2. ^ Frere, Sasha. "Brazilian Wax". The New Yorker. Retrieved August 18, 2013.
  3. ^ [2] Archived November 18, 2008, at the Wayback Machine
  4. ^ Yúdice, George. "The Funkification of Rio." In Microphone Fiends, 193–220. London: Routledge, 1994.
  5. ^ tudobeleza (August 7, 2008). "Origins of Funk Carioca | Eyes On Brazil". Eyesonbrazil.wordpress.com. Retrieved August 18, 2013.
  6. ^ José Raphael Berrêdo (August 9, 2012). "Musical conta história de 4 décadas do funk no Brasil; relembre 40 hits". G1.
  7. ^ Carlos Albuquerque (September 12, 2012). "Afrika Bambaataa celebra os 30 anos de ‘Planet Rock’". O Globo.
  8. ^ Ribeiro, Eduardo (August 20, 2014). "A História do 'Tamborzão', a Levada Que Deu Cara ao Ritmo do Funk Carioca".
  9. ^ Caceres, Guillermo; Ferrari, Lucas; Palombini, Carlos (May 30, 2014). "A Era Lula/Tamborzão política e sonoridade" [The Lula / Tamborzão era and political sound]. Revista do Instituto de Estudos Brasileiros (in Portuguese). 0 (58): 157. doi:10.11606/issn.2316-901X.v0i58p157-207.
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  39. ^ "É BIG MIX O MANÉ".
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