 | This articlerelies excessively onreferences toprimary sources. Please improve this article by addingsecondary or tertiary sources. Find sources: "Funk carioca" – news ·newspapers ·books ·scholar ·JSTOR(May 2015) (Learn how and when to remove this message) |
| Funk carioca | |
|---|---|
16 bars of a funk carioca beat | |
| Other names |
|
| Stylistic origins | |
| Cultural origins | Mid-1980s,Rio de Janeiro, Brazil |
| Typical instruments |
|
| Subgenres | |
Funk carioca (Brazilian Portuguese pronunciation:[ˈfɐ̃k(i)kɐɾiˈɔkɐ,-kaɾ-]), also known asbaile funk,Brazilian funk, or simplyfunk, is aBrazilianhip hop-influencedmusic genre from Rio de Janeiro, taking influences from musical styles such asMiami bass andfreestyle.[1][2]
InBrazil, "baile funk" refers not to the music, but to the actualparties ordiscotheques in which the music is played (Portuguese pronunciation:[ˈbajli], frombaile, meaning "ball").[3] Although it originated in Rio (carioca is a Rio demonym), "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", although it is very musically different from the American genre offunk music.[4][5] In fact, it still shows its urbanAfrobeat influences.
Funk carioca was once a direct derivative ofsamba,Miami bass,Latin music,Caribbean music,traditional African religious music,candombe,hip-hop andfreestyle (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 theslave trade inColonial Brazil. Various African religions likevodun andcandomble were brought with the enslaved Africans to the Americas. The same beat is found in Afro-religious music in theAfrican diaspora and many black Brazilians identify as being part of this religion. This genre of music was mainly started by those inblack communities in Brazil, therefore a boiling pot of influences to derive the hall-mark.
Many similar types of music genres can be found inCaribbean island nations such as;Jamaica,Cuba,Dominican Republic,Barbados,Haiti,Puerto Rico, among others.Bounce music, which originates fromNew Orleans, Louisiana, also has a similar beat. New Orleans, originally a French territory, was a hub for theAtlantic slave trade before it was sold to the United States. All of these areas with similar music genres retain the influence of Americanhip hop,African music, andLatin music.[6]
During the 1970s, nightclubs in Rio de Janeiro playedfunk andsoul music.[5] One of the bands that was formed in this period wasSoul Grand Prix.[7]
In the 1980s, during thepost-disco era, the audience began to split between two types of parties:baile charme and baile funk.Baile charme focused on new forms ofcontemporary R&B, often featuringballads — hence the name "charme," meaningcharm or smoothness.Baile funk, on the other hand, featured fast-paced dance music likeMiami bass andfreestyle, aimed at energetic dancing. This division marked an important shift in the music scene and in popular parties of the time.[8]
Funk carioca was popularized in the 1980s inRio de Janeiro'sfavelas, the city's predominantlyAfro-Brazilian slums. From the mid-1990s onwards the genre progressively gained popularity,becoming a mainstream phenomenon in Brazil by the mid-2010s. Funk songs discuss topics as varied as poverty, human dignity,racial pride ofblack 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.[8]
According toDJ Marlboro, the main influence for the emergence of funk carioca was the single "Planet Rock" byAfrika Bambaataa and Soulsonic Force, released in 1982.[9]
Funk in its early days mostly consisted of loops of electronic drums from Miami bass or freestyle records and the 4–6 beatafrobeat 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.[10][11][12] Nowadays, funk carioca 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 accordionstabs, 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 otherAfro-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][13]
Funk carioca is different from the funk that originated in the US. Starting in 1970, styles likebailes da pesada,black soul,shaft, bandfunk 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. Funk carioca first emerged and is played throughout the state of Rio de Janeiro, but not only in the city of Rio, as Rio natives like to believe. Funk carioca is mostly appealing to the youth. In the decade of the 1980s, anthropologist Herman Vianna was the first social scientist to take funk as an object to study in his master's thesis, which gave origin to the bookO Mundo Funk carioca, which translates toThe Carioca Funk World (1988). During that decade, funk dances lost a bit of popularity due to the emergence ofdisco music, a pop version of soul and funk, especially after the release of the filmSaturday Night Fever (1977) starringJohn Travolta and with its soundtrack of the bandBee Gees. At the time, the then-teenager Fernando Luís Mattos da Matta was interested in the discotheque when listening to the programCidade Disco Club on Radio City of Rio de Janeiro (102.9 FM). Years later, Fernando would adopt the nickname ofDJ Marlboro and the radio would be known as the Rio "rock radio".
There are several subgenres derived from funk carioca.
Brega funk is a subgenre of Funk Carioca that originated in Recife, influenced bybrega andarrocha in the early 2010s in the northeast region of Brazil. Unlike classic funk carioca, brega funk has a polished sound that features syncopated and shimmering MIDI pianos, synthesizers, often filtered guitars and the distinct pitched metallic snare drums called caixas, vocal chops are a common companion to the wobbly kick rhythm and up-down bass inherited from brega and, although the genre commonly ranges from 160 to 180 BPM, the half-time tempo makes it seem slower than other funk subgenres. An example of the Brega funk genre is the song "Parabéns" byPabllo Vittar.[14][15]
Funk melody is based on electro rhythms but with a romantic lyrical approach.[16] It has been noted for being powered by female artists. Among the popular funk melody singers areAnitta,Perlla, Babi, and Copacabana Beat.
Funk ostentação is a sub-genre of Rio de Janeiro funk created inSão 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 the 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.[17]
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 or Raggafunk[18] is a slower style of Rio de Janeiro funk that rests around 96 BPM and usesatabaques,tambourines andbeatboxing. It also incorporates influences fromreggaeton andaxé. "Fuleragem" by MC WM is the best-known song of the Rasteirinha genre.[19]
Funk de BH, or simply Funk BH, refers to the Funk scene fromMinas Gerais, more specifically the city ofBelo Horizonte. It has more conscious lyrics, although it may also have traditional Funk lyrics.
This is a style of Funk Carioca that talks about the problems of the city, patriotism, and inspiring young people to follow their dreams and achieve their goals.
Rave funk is a mix of funk carioca andelectronic music, created in 2016 by DJ GBR.[20] Among rave funk's most popular songs is "É Rave Que Fala Né" byKevinho. Another notable example is "São Paulo", a 2024 collaboration between Brazilian singerAnitta and Canadian artistThe Weeknd.[21]
In 2018, the Funk carioca of 150beats per minute or 150 BPM was created by DJs Polyvox and Rennan da Penha.[22][23] In 2019, the funk carioca 150 BPM was adopted bycarnival blocks.[24] "Ela É Do Tipo", by Kevin O Chris, is one of the most popular songs of the genre.[25]
Funk mandelão, also known as Ritmo dos Fluxos, is a subgenre that emerged inSão Paulo in the late 2010s, inspired by the Baile do Mandela, a popular party inPraia Grande. The term "mandelão" comes from "Mandela", a reference to theSouth African leaderNelson Mandela. Mandelão is characterized by having simple and repetitive lyrics. The musical production is minimalist and raw, with heavy beats and blown basses, which create a catchy and danceable rhythm. Some of the instruments used in mandelão are thepiano,synthesizer,sampler and thecomputer. Funk mandelão is also marked by having its own choreography, which consists of fast and synchronized movements of the arms and legs.[26]
An example of the success of Mandelão was the song "Automotivo Bibi Fogosa", sung by the Brazilian artist Bibi Babydoll, which reached the top of Spotify music charts inUkraine in 2023 and reached #3 on bothBelarus andKazakhstan. It spread throughout the rest ofEurope,[27] mainly in formerSoviet Union states.
Funk automotivo[28] (also known as Brazilian phonk outside of Brazil) is a subgenre of Funk Carioca that blends elements of funk mandelão,electronic music,bass music creating a distinct and aggressive sound, with lyrics that address topics such asdrugs,sex, andostentation.[29][30] In early 2023, Funk automotivo has became misnomered as "Brazilian phonk", which combines elements of funk automotivo with drift phonk's signature808 cowbells, and was created by the Norwegian producer William Rød, known as Slowboy.[31] The genre label "Brazilian phonk" is not widely used in Brazil, and Brazilian produced music that is identified as such in the West is more likely to be referenced in Brazil under the name "funk automotivo". Despite being known as “Brazilian phonk”, the rhythm is not similar to it and does not belong to either phonk or drift phonk. It is only confused with them due to its similar pronunciation, electronic sound, and powerful bass.[32][33]
Krushfunk is a fusion genre that emerged in late 2023 that mixes elements ofkrushclub and funk carioca. The term was also coined by Xxanteria himself.[citation needed]
Likesamba-rap, fusion of funk carioca withpagode,[34][35][36][37] the term also refers to parties where both genres are played,[38] 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 albumA Forma, the song uses acavaquinho, an instrument present in genres such as samba,choro and pagode, in the lyrics, the duo pays tribute to pagode artists.[39] Grupo Raça was successful with "Ela sambou, eu dancei", written byArlindo Cruz, A. Marques and Geraldão,[40] which alluded to funk carioca. In 2014, the song was reinterpreted with elements of carioca funk with Arlindo Cruz himself withMr. Catra.[41]
Mc Leozinho made use of the cavaquinho in the song Sente a pegada from 2008.[42] Artists such as MC Delano andLudmilla also use the cavaquinho in some songs,[42] in 2015, Ludimilla also participated in a duet with the bandMolejo in Polivalência from the album of the same name released in 2000, in 2020, she released Numanice, an EP dedicated to the pagode.[43][44]
Funk bruxaria is a subgenre that emerged in funk parties in theSouth Zone ofSão Paulo in the 2020s.[45][46] It is characterized by its aggressive sound and horror atmosphere, with heavy use of high-pitched sounds (known as "tuin" or "ear-drum burst"),synthesizers[47] and distortions.[48][49][50] The genre also has some influences fromelectronic music andheavy metal.[51][49] The sound became popular in funk parties such as the Baile da DZ7 inParaisópolis, and the Baile do Helipa inHeliópolis.[51] Among the main exponents of the genre areDJ K,DJ Arana andDJ Blakes.[52][46][53][54][55]
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).[citation needed]
In 2001, for the first time, funk carioca tracks appeared on a non-Brazilian label. One example is the albumFavela Chic, released byBMG. It contained three old-school funk carioca hits, including the song "Popozuda Rock n' Roll" by De Falla.[56]
In 2003, the tune Quem Que Caguetou (Follow Me Follow Me) byBlack Alien & Speed,[57] 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. Brazilian duo Tetine compiled and mixed the compilation Slum Dunk Presents Funk Carioca, released by British labelMr Bongo Records featuring funk artists such asDeize Tigrona, Taty Quebra Barraco, Bonde do Tigrão, amongst others. From 2002,Bruno Verner andEliete Mejorado also broadcastFunk Carioca and interviewed artists in their radio show Slum Dunk onResonance Fm. Berlin music journalist and DJDaniel Haaksman released the seminal CD-compilationsRio Baile Funk Favela Booty Beats in 2004 andMore Favela Booty Beats in 2006 through Essay Recordings.[58] He launched the international career of Popozuda Rock n´Roll artist Edu K,[59] 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 theEP series "Funk Mundial"[60] and "Baile Funk Masters" on his label Man Recordings.
In 2004, dance clubs from Eastern Europe, mainlyRomania andBulgaria, 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.DJ Marlboro and Favela Chic Paris club were the pioneer travelers and producers. The funk carioca production was, until then, limited to playing in theghettos and the Brazilian pop market. DJ Marlboro,[61] a major composer of funk carioca's tunes declared in 2006 in the BrazilianIsto 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 Slum Dunk Presents Funk Carioca, which was released byMr Bongo Records in 2004. Tetine also ran the weekly radio show Slum Dunk on London's radio art stationResonance 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 programmes as well as interviews and gigs involving funk carioca artists from Rio. Tetine was also responsible for the first screening of thepost-feminist documentary Eu Sou Feia Mas Tô Na Moda by filmmaker Denise Garcia, which was co-produced by Tetine in London, and first shown in the city at the Slum Dunk Film Program at Brady Arts Centre in Bricklane in March 2005. Apart from this, Tetine also produced two albums with experimental DIYqueer funk carioca tracks: Bonde do Tetão, released by Brazilian label Bizarre Records in 2004, andL.I.C.K My Favela,released byKute Bash Recordsin 2005. Tetine also recorded withDeize Tigrona the track "I Go to the Doctor", included in the LP L.I.C.K My Favela in 2005 and later on their album Let Your X's Be Y's, released bySoul Jazz Records in 2008.
In Italy,Irma Records released the 2005 compilation Colors Music #4: Rio Funk. Many small labels (notably European label Arcade Mode and American labels Flamin´Hotz and Nossa) released several compilations and EPs in bootleg formats.
The artistMIA brought mainstream international popularity to funk carioca with her single Bucky Done Gun released in 2005,[citation needed] and brought attention to American DJDiplo, who had worked on M.I.A.'s 2004 mixtapePiracy Funds Terrorism on the tracks Baile Funk One, Baile Funk Two, and Baile Funk Three.[62]Diplo made a bootleg mixtape,Favela on Blastin, in 2004[63] after Ivanna Bergese shared with him some compiled remix mixtapes of her performance act Yours Truly. He also produced documentaryFavela on Blast, which was released in July 2010 and documents the role, culture, and character of funk carioca in Rio'sfavelas.[63]
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[64] (2005) 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.[citation needed] She performed in London with MC Gringo atNotting Hill Arts Club in 2008. She performed her baile funk productions for the contestEdison Change the Music in 2008. Sandra D'Angelo performed Baile Funk also in New York and produced tracks with EDU KA (Man Recordings) and DJ Amazing Clay from Rio.
In 2008, Berlin label Man Recordings releasedGringão, the debut album by German MC Gringo — the only non-Brazilian MC performing in the bailes of Rio de Janeiro.
English indie pop bandEverything Everything claims the drum patterns used on their Top 40 singleCough Cough were inspired by those used onMajor Lazer'sPon de Floor, a funk carioca song.
Gqom, an electronic dance music genre fromDurban, South Africa, is often conflated with baile funk due to similar origins in ghettos,heavy bass, and associations with illegalities. Despite these parallels, gqom and baile funk are distinct, especially in their production styles. Over time, it became common for musical artists to integrate baile funk with gqom.[65][66][67][68][69]
In Brazil, funk carioca lyrics are often criticized due to their violent and sexually explicit lyrics. Girls are called "cachorras" (bitches) and "popozudas" – women with large buttocks, and many songs revolve around sex. "Novinhas" (young/pubescent girls) 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 ofpromiscuity is viewed as a negative aspect of the funk carioca culture. Besides the moral considerations, in favelas, where sanitary conditions are poor andsex education low, this might lead topublic health and social issues. In such communities, definitivecontraceptive methods are hardly available, and due to a 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).[70][71]
Theglamorization 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 opponents, 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 is thus considered a crime.[72]
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,[73] and even murder rates are high.[74]
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.[75] Recurrent lyric topics in funk carioca are explicit sexual positions, the funk party, the police force, and the life of slum dwellers in thefavelas.[76] 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.[13]
{{cite web}}: CS1 maint: numeric names: authors list (link)