Funk carioca
Funk carioca, also called favela funk, in other parts of the world as baile funk or Brazilian funk, or just funk, is a type of music from Rio de Janeiro that is influenced by hip hop. It mixes styles of rap like Miami bass and gangsta rap. Even though it’s called “funk,” it isn’t related to American funk music.
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In Brazil, “baile funk” doesn’t refer to the music itself, but to the parties or clubs where the music is played (“baile” means “dance” or “party”). While funk carioca started in Rio, it has become more popular with working-class people in other parts of Brazil. Across the country, people usually call it just “funk,” even though it sounds very different from the funk music known internationally. Funk carioca still carries some influences from urban Afrobeat music.
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Overview
Funk Carioca is a type of music from Rio de Janeiro, Brazil, but it wasn’t always like the American funk. It’s got a mix of samba, Miami bass, Latin music, African religious music (like candomble), hip-hop, and freestyle music from the U.S. Rio DJs often traveled to Miami to buy the latest music, so that’s how Miami sounds became popular there. There’s also a strong influence from African religions that came with enslaved people to Brazil, especially in black communities. This created a unique mix of musical styles.
You can find similar music in places like Jamaica, Cuba, Haiti, Puerto Rico, and New Orleans, which has its own bounce music. These places all have music influenced by African, American, and Latin cultures because of the history of the Atlantic slave trade.
In the 1970s, nightclubs in Rio played a lot of funk and soul music. One famous band from that time was Soul Grand Prix. In the 1980s, Funk Carioca really took off in the favelas, which are mostly Afro-Brazilian neighborhoods. By the mid-1990s, it became popular across Brazil. Funk Carioca songs talk about a lot of different things like poverty, black pride, human dignity, violence, and social injustice. Many believe it’s a true reflection of the hard lives of poor and black people in Rio.
DJ Marlboro, a major figure in the genre, says that the song “Planet Rock” by Afrika Bambaataa was a big influence. Early Funk Carioca tracks mostly used drum loops from Miami bass and freestyle records. The most common beat came from DJ Battery Brain’s “808 Volt”, also known as “Voltmix”. Over time, newer funk rhythms started using tamborzão beats instead of old drum machine loops.
Most melodies in Funk Carioca are samples from other songs. Older tracks usually used freestyle samples or had no melody at all, while modern funk uses samples like horns, accordions, and even the intro to the “Rocky” theme. The same beats and samples are reused in many Funk Carioca songs, and the well-known “Bum-Cha-Cha” or “Boom-Pop-Pop” beat is often heard in funk songs. Funk Carioca can be either instrumental or have singing or rapping.
Funk Carioca is very different from the funk that came from the U.S. In the 1970s, new music styles like bailes da pesadaand black soul started emerging in Rio. As time went on, DJs mixed in other rhythms of black music, but the name “funk” stayed. Funk Carioca is popular across the whole state of Rio, not just the city itself, especially among young people.
In the 1980s, an anthropologist named Hermano Vianna was the first person to seriously study funk music. He wrote a book called O Mundo Funk Carioca (The Carioca Funk World). Around the same time, disco music became popular and took some attention away from funk, especially after the release of the movie Saturday Night Fever in 1977. A teenager named Fernando Luís Mattos da Matta listened to funk on the radio back then, and he would later become the famous DJ Marlboro. The radio station became well-known as Rio’s rock radio station, and DJ Marlboro played a huge role in the rise of Funk Carioca.
Baile funk
The term “baile funk” refers to the parties where funk carioca music is played. These parties played a key role in developing the Brazilian funk scene and actually existed before the music genre itself. In the late 1960s, a famous Brazilian DJ and radio host named Big Boy (Newton Alvarenga Duarte) made it his mission to introduce Brazil to popular music from around the world.
Big Boy collected records from various genres like pop, rock, jazz, and soul, gaining fame for his wide music taste and relaxed presenting style. His radio success attracted large crowds to his DJ parties in Rio’s Zona Sul, where he played a mix of music, especially rock, psychedelic, and soul, which many described as “heavy.” Around the same time, Ademir Lemos was hosting his own parties focused on soul and funk, which were growing in popularity in Brazil. Eventually, Big Boy and Lemos teamed up to host parties, combining Big Boy’s rock influences with Lemos’ funk style, creating the “Baile da Pesada” or “Heavy Dance.” This helped bring American funk music into Rio’s street scene as the 1970s began.
For the next two decades, other DJs in Rio used evolving African-American and American music styles at their block parties, organized by “sound teams” (equipes de som). Soul music became a major focus of these parties and helped bring Brazilian soul artists into the spotlight. However, disco soon took over, though many DJs didn’t embrace it. Instead, they bought records from the U.S., especially from Miami, because of its closeness to Brazil. DJs became interested in hip-hop, particularly Miami bass and electro/freestyle, which influenced the baile funk style. DJs began mixing local sounds with Miami bass beats and added Portuguese lyrics. DJ Marlboro was the first to shape this new sound, which eventually became known as funk carioca.
Subgenres
For the next two decades, other DJs in Rio used evolving African-American and American music styles at their block parties, organized by “sound teams” (equipes de som). Soul music became a major focus of these parties and helped bring Brazilian soul artists into the spotlight. However, disco soon took over, though many DJs didn’t embrace it. Instead, they bought records from the U.S., especially from Miami, because of its closeness to Brazil. DJs became interested in hip-hop, particularly Miami bass and electro/freestyle, which influenced the baile funk style. DJs began mixing local sounds with Miami bass beats and added Portuguese lyrics. DJ Marlboro was the first to shape this new sound, which eventually became known as funk carioca.
There are several subgenres that have developed from funk carioca:
Brega Funk:
This style originated in Recife in the early 2010s, influenced by “brega” music from Brazil’s Northeast. It has a polished sound, featuring MIDI pianos, synths, guitars, and distinctive metallic snares called “caixas.” The beats, while often fast (160-180 BPM), feel slower because of a half-time rhythm. An example of brega funk is “Parabéns” by Pabllo Vittar.
Brazilian Phonk:
This subgenre mixes funk carioca with drift phonk, creating a harsh sound with lyrics about violence, drugs, and luxury. Artists like VanMilli and MC Binn are key figures in the genre.
Funk Melody:
This subgenre combines electro beats with romantic lyrics, and it’s often performed by female artists. Some well-known singers in this style include Anitta, Perlla, and Babi.
Funk Ostentação:
Created in São Paulo in 2008, this subgenre focuses on themes of wealth, luxury, and material success, often reflecting the aspirations of people from favelas. It is associated with Brazil’s emerging “new middle class.”
Proibidão:
Proibidão is a darker version of funk carioca, with lyrics that discuss illegal activities like drug trafficking and battles with the police. It’s similar in theme to gangsta rap.
Rasteirinha:
Also known as “Raggafunk,” this slower style of funk carioca is around 96 BPM and uses instruments like atabaques, tambourines, and beatboxing, blending influences from reggaeton and axé. One popular example is “Fuleragem” by MC WM.
Rave Funk:
A fusion of funk carioca and electronic music, rave funk was created in 2016 by DJ GBR. One popular song in this style is “É Rave Que Fala Né” by Kevinho.
Funk 150 BPM:
This faster-paced funk, created in 2018 by DJs Polyvox and Rennan da Penha, is set at 150 beats per minute. One of its most popular songs is “Ela É Do Tipo” by Kevin O Chris.
Funk Mandelão:
Also known as “Ritmo dos Fluxos,” this subgenre emerged in São Paulo in the late 2010s, inspired by the Baile do Mandela party. It has simple, repetitive lyrics, minimalist production, and a raw, heavy beat. It often includes synchronized dance moves. “Automotivo Bibi Fogosa” by Bibi Babydoll gained international popularity in Europe, especially in former Soviet states.
Pagofunk:
A fusion of funk carioca and pagode, a Brazilian samba genre. The subgenre originated in the mid-90s, with artists like Claudinho & Buchecha blending funk beats with instruments like the cavaquinho. Modern artists like Ludmilla and MC Delano continue to incorporate pagode elements into their music.
Beat Bruxaria:
An extreme subgenre that emerged in São Paulo in the late 2010s, combining distorted funk vocals with loud reverb and heavy beats. Known for its aggressive sound and imagery of evil clowns, producers like DJ ARANA and DJ MENOR 7 popularized this style online.
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Brazilian Phonk (Musical Artist):
Brazilian Phonk is a groundbreaking musical collective with a distinct blend of genres like hip-hop, trap and Brazilian funk. They got their first breakthrough after collaborating with VanMilli on Brazilian Phonk Fiesta. Stream MTG EVERYTHING 🇧🇷. Brazilian Phonk has carved out a unique sound that resonates with audiences around the world.
Brazilian Phonk: The Birth Of A New Genre
In the constantly changing world of music, genres often mix and evolve, leading to the creation of new and exciting subgenres. One interesting fusion that has emerged is Brazilian Phonk. This lively subgenre combines Brazil’s catchy rhythms with the unique sound of phonk, creating a fresh and dynamic musical experience. Brazilian Phonk Fiesta by VanMilli is a unique sound that stands out in this genre.
Brazilian Phonk has its roots in Brazil’s lively and diverse music scene. This subgenre draws inspiration from traditional styles like samba, bossa nova, and funk carioca. These rhythmic elements, deeply embedded in Brazil’s cultural heritage, create an ideal foundation for blending with phonk.
The rise of Brazilian Phonk came from artists looking for fresh ways to combine old and new sounds. By merging traditional Brazilian beats with the gritty, sample-based production typical of phonk music, they create a sound that honors the past while embracing modern influences.
Brazilian Phonk is known for its unique mix of Brazilian rhythms and classic phonk elements. The music often includes chopped and screwed samples, low-quality production, and a slower tempo, resulting in a hypnotic listening experience that distinguishes it from other genres.
Using Portuguese vocals and traditional Brazilian instruments, along with urban street sounds, adds to the distinct identity of Brazilian Phonk. This subgenre reflects Brazil’s rich cultural diversity, offering listeners a blend of tradition and modernity.
As Brazilian Phonk grows in popularity, several artists are leading the way, with VanMilli being a notable figure. He creatively combines Brazilian funk with phonk elements in his tracks, showcasing traditional Brazilian samples alongside phonk beats, which appeals to audiences worldwide.
VanMilli has also played a significant role in the Brazilian Phonk scene, experimenting with different musical styles while respecting the roots of both phonk and Brazilian music. The variety of artists within the subgenre enhances its richness, helping Brazilian Phonk to continue evolving and attracting listeners globally.
In recent years, Brazilian Phonk has gained wider recognition and moved beyond its niche status, resonating with listeners around the world. The combination of Brazilian rhythms and phonk aesthetics has contributed to the genre’s growing influence on the global music scene.
The unique cultural elements found in Brazilian Phonk have inspired artists around the globe. You can hear its influence in the work of many producers who incorporate Brazilian sounds into their tracks, showing how this subgenre crosses geographical borders and resonates with a wide range of audiences.
In conclusion, Brazilian Phonk showcases the power of musical fusion. It combines Brazil’s catchy rhythms with the distinct sound of phonk, creating an engaging experience that honors Brazil’s rich cultural background while embracing urban vibes. As influential artists continue to explore and expand this subgenre, Brazilian Phonk is set to be a lively and evolving force in the ever-changing music scene.
Criticism
In Brazil, funk carioca lyrics often face criticism for being violent and sexually explicit. Women are frequently referred to as “cachorras” (bitches) and “popozudas,” which describes women with large buttocks. Many songs focus on sex, and “novinhas” (young or pubescent girls) are a common theme, although some of these songs are performed by women.
The casual approach to sex and the promotion of promiscuity are seen as negative aspects of funk carioca culture. Beyond moral concerns, in favelas where sanitation is poor and sex education is lacking, this can lead to public health and social issues. Many people in these communities lack access to reliable contraceptives and family planning, which results in unwanted pregnancies and population growth, contributing to the expansion of favelas.
Another issue associated with funk carioca is the glamorization of crime in the favelas. Some funk songs, especially those in the “proibidão” style (meaning “the forbidden”), contain violent lyrics and are sometimes created by drug gangs. These songs often celebrate the murders of rival gang members and police, promote intimidation, and glorify drug dealing and criminal life. Authorities view some of these lyrics as a way to recruit individuals into organized crime and incite violence, making the performance of such songs potentially illegal.
Due to their unregulated nature, “bailes funk” (funk parties) can be dangerous environments. They are hotspots for drug trade and use, with dealers often attending these parties heavily armed. Violence, including high murder rates, is also common.
More mainstream funk carioca artists typically create two versions of their songs: one with softer, more “acceptable” lyrics for radio play, and another with harsher, more explicit lyrics for dance halls and public parties. Common themes in funk carioca include explicit sexual content, the party lifestyle, interactions with the police, and life in the favelas. Many lyrics also reflect the harsh realities of poverty in these areas, often expressing hope for a better future.