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Over time, people forgot where this music came from and it became one of the most well-known and cherished symbols of Brazil. Today, another popular music style, Brazilian funk, is facing the risk of being criminalised in the same way.

Just like samba, funk was born in the favelas. In many ways, it is similar to American hip-hop. Former football star and senator from the state of Rio de Janeiro, Romario Faria, was chosen as the rapporteur for the proposal.

From the start the scope of the proposed ban was ambiguous. Nobody knew what opponents of this music style wanted to ban — funk parties, concerts or the sale of related material.

The other senators of the commission agreed with Romario and, unanimously, rejected the proposal to banish and criminalise funk on September Most people presumed the senate would never accept the proposal anyway, but they still spoke strongly against it, as they viewed this proposal as yet another racist attempt to criminalise the culture and lifestyle of those living in the favelas.

The controversy surrounding funk music did not come to an end with the rejection of the proposal. Those opposing funk music still say that the style promotes the disintegration of the family and encourages drug trafficking.

They say that minors freely attend these parties and get involved in criminal and immoral behaviour. These parties do exist and some participants in them most certainly consume drugs.

But this is also true for many other parties, raves and nightclubs. Drug consumption does not define funk music, which is one of the most diverse styles in the Brazilian music scene today.

Funk is indeed sensual. 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 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.

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.

Funk carioca is different from the funk originated in the US. Starting in , 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 , 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 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 starring John Travolta and with soundtrack of the band Bee Gees.

Years later Fernando would adopt the nickname of DJ Marlboro and the radio would be known as the Rio "rock radio". Created in the Northeast of Brazil, the melody mixes brega , arrocha and funk carioca.

Funk Melody is based on Electro rhythms but with a romantic lyrical approach. 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.

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 is a slower style of Rio de Janeiro funk that rests around 96BPM and uses atabaques , tambourines and beatboxing.

In , the funk carioca BPM was adopted by carnival blocks [20]. In this generation, funk melody was mixed with music pop and electronic rhythms electropop initially, but, with the rise of Latin rhythms in the music industry, funk began to mix elements from genres like ragga , reggae , reggaeton and kuduro.

Until the year , 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 , for the first time, funk carioca tracks appeared on a non-Brazilian label. It contained three old-school funk carioca hits, including the song " Popozuda Rock n' Roll " by De Falla.

Haaksman continued to produce and distribute many new baile funk records, especially the EP series "Funk Mundial" [27] and " Baile Funk Masters " on his label Man Recordings.

In , 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 Bonde das Popozudas.

Many funk carioca artists started to do shows abroad at that time. The funk carioca production was until then limited to playing in the ghettos and the Brazilian pop market.

He would go on to travel in over 10 European countries. 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.

The artist MIA brought mainstream international popularity to funk carioca with her single Bucky Done Gun released in , [ citation needed ] and brought attention to American DJ Diplo , who had worked on M.

He also produced documentary Favela on Blast , which was released in July and documents the role, culture, and character of funk carioca in Rio's favelas.

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 Mr Catra the faithful [31] by Danish filmmaker Andreas Rosforth Johnsen , broadcast by many European open and cable television channels.

London-based artist Sandra D'Angelo was the first Italian singer-producer to bring funk carioca to Italy. She performed her baile funk productions for the contest Edison Change the Music in 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.

In Brazil, funk carioca lyrics are often criticized due to their violent and sexually explicit lyrics, as well as misogynistic content.

The degradation of women as objects for sex is a recurring theme in funk carioca. Girls are called "cachorras" whores and "popozudas" — large buttocks, and many songs revolve around casual and degrading sex practices with them.

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.

The glamorization of criminality in the favelas is also frequently viewed as another negative consequence of funk carioca. 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.

Due to the lack of regulation and the locations where they usually take place, " bailes funk " are also very crime prone environments. They are popular hot spots for drug trade and consumption, dealers display power frequenting the parties heavily armed, [36] and even murder rates are high.

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. This is usually denounced in the lyrics and the hope for a better life is carried through many of their messages.

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.

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.

From Wikipedia, the free encyclopedia. This article relies too much on references to primary sources.

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