Fernando Luiz Mattos da Matta, known professionally as DJ Marlboro, is a Brazilian DJ.
Fernando Luiz Mattos da Matta, known professionally as DJ Marlboro, is a Brazilian DJ.
DJ Marlboro is one of the originators of the funk carioca, which is how a crossover between freestyle and hip-hop music genres is known in Brazil. His first LP, Funk Brasil (1989), marks the beginning of the Funk Carioca Movement, initially with versions of hip-hop and freestyle hits from American artists, especially the 2 Live Crew ("Do Wah Diddy" became "Melô da Mulher Feia" and "One and One" became "Melô dos Números"), sung in Portuguese.
He got the idea of making Portuguese versions of American songs by paying attention to how people at parties that played freestyle music in Rio de Janeiro, known as "baile funk," would create and sing their own versions of the songs, in Portuguese, as they couldn't understand English, and how they would nickname the songs as "melô do..." ("the ... song"), since the original name of the songs, in English, was too difficult for them to pronounce and memorize. The best example is his first song, "Melô da Mulher Feia" ("song of the ugly woman"), which was how patrons of the "baile funk" would call the 2 Live Crew's version of "Do Wah Diddy," as they would sing along "mulher feia chupa o ... e dá o ..." ("ugly woman sucks ... and gives ...") to the 2 Live Crew's tune. He then made a PG version of the song and recorded it, and was a smash hit on the radio, prompting him to create more songs and record his first album. Later on, Marlboro and others started writing their own songs, and he released several albums.
He used to live in a district of the Rio de Janeiro city that was very distant, nicknamed "Marlboro Country" by his peers, who started calling him "Marlboro," and the nickname stuck.
DJ Marlboro is the host and producer of the radio show "Big Mix in Rio". DJ Marlboro was introduced to a worldwide audience In 2004 when German journalist, record label owner and fellow DJ, Daniel Haaksman formed Man Recordings and recruited both DJ Marlboro and Edu-K and DJ Marlboro - creating a link between South American and European artists. [1]
DJ Marlboro credits the resurgence of funk fever in Brazil to the cyclical nature of musical fads, saying in his 23 years as a DJ, he's witnessed the funk explosion several times. [2] Brazilian bailes, well attended dance parties that played American soul, disco, and funk music, featured heavy bass sounds and light systems. DJ Marlboro's Portuguese rapping in his 1989 LP “Funk Brazil” helped introduce Portuguese music into these bailes, where the heavy bass sounds became a platform for this new sound. [3] As a result, by the mid-1990s most of the music played by funk DJs was produced in Brazil. [4] Currently, DJ Marlboro is the resident DJ at São Paulo's Lov.e Club. [5]
DJ Marlboro maintains that “funk is a way of expression that was born from the common people”. [2] To him, funk is at its best when most people are unaware of it, preventing the exploitation of artists. DJ Marlboro expresses the importance of its underlying culture by asserting that the movement need not be glorified or globally successful. He insists that funk will always continue to be played, whether the world can hear it or not. 5 He urges listeners to understand that it is a musical movement that has sprung from culture and a passion to tell the truth; not from the need to accept and nationalize music from other parts of the world, particularly the United States. He acknowledges that recordings are not a priority for funk artists, because the point is to go the bailes and dance. [6]
DJ Marlboro embraces and supports the "undergroundness" of the Baile Funk scene, particularly the music played at the Bailes in Brazil. In an interview, DJ Marlboro says, "The bailes in Rio have survived such a long time because we do the bailes to please the public. We work with music that doesn't need to recognised or be successful in the rest of the world. We play tracks that are popular in the bailes full stop. We don't need media and marketing." He embraces the aspect of funk and certain artists being unknown because that keeps this genre alive in the streets, despite the resistance from the media and upperclass culture. The resistance from the upperclass and police stems from the upper class considering this music to be strictly pornographic, offensive, and sexually explicit. DJ Marlboro is a main public face trying to reverse that opinion and have the people look deeper into the true origins and messages of the music. [7] As stated in an interview with DJ Marlboro in 2003, "Chuck D refers to rap as the black CNN. In many respects Rio or baile funk could be referred to as favela CNN. That is, it's used as a medium to convey how the people who live in the Brazilian favelas really feel using their own language, idioms and slang." [7] This helps empower these artists, and while they may not gain national acclaim, they get the respect of their fans for delivering both a real sound and message. This is also seen through the lack of major record deals in the world of funk music. [8]
He knows first hand the hardships of being a funk artist, in a separate interview he says, "We suffer a lot of persecution. At one recent baile, the police came in and shut it down... My sound systems have bullet holes in them from police attacks.” [8] DJ Marlboro has transcended this situation, however, as he has now become international and has teamed up with recognized artists such as M.I.A. [9] Through these various collaborations, DJ Marlboro has played a significant role in increasing the popularity of funk carioca not only within Brazil, but at the global level as well. In fact, he has been one of the main players in taking funk abroad, playing shows throughout Europe (Britain, Germany, France), The United States, and even China. [10] Marlboro's sets have been in demand in some of the major electronic festivals in the world, festivals such as Sonar in Spain, Brasil 40 Degrees in London, Summer Stage Central Park in New York, Tim Festival in Rio, Sonarsound in São Paulo and Elektronika in Belo Horizonte. [11]
According to an interview with DJ Marlboro in 2003, "DJ Marlboro believes in which keeping funk discreet to the public, may reduce the amount of exploitation within the genre. "The best time for funk is when people don't know about it, for those of us who are funkateers that is". [7] In relation to the exploitation of Funk, he mentioned that people view funk as "an image of women with big butts, you never see the many sides to funk, so people look and they think that funk is pornographic, funk is violent... but funk is all of this, it's violent, romantic, and playful." [7] He embraces the baile funk scene in Rio, because he enjoys pleasing the public. It is assumed that individuals that are new to Funk genre just assume that Baile Funk is just associated with pornographic notions. According to an article on Rio Baile Funk: Favela Booty beats, "Baile funk is nothing like that. This is raw, bare-bones, hooky but proudly unmelodic stuff, recorded on the cheap with 808 drum machines, early samplers, and dusty computers. Rio Baile Funk sounds--and feels, really--like a revelation". [12]
In 2009, DJ Marlboro was under investigation for pedophilia. The criminal investigation was launched in Rio de Janeiro, Brazil, after claims were made that DJ Marlboro had allegedly abused a four-year-old girl. The investigation concluded without charges being filed. [13]
Favela is an umbrella name for several types of working-class neighborhoods in Brazil. The term, which means slum or ghetto, was first used in the Slum of Providência in the center of Rio de Janeiro in the late 19th century, which was built by soldiers who had lived under the favela trees in Bahia and had nowhere to live following the Canudos War. Some of the first settlements were called bairros africanos. Over the years, many former enslaved Africans moved in. Even before the first favela came into being, poor citizens were pushed away from the city and forced to live in the far suburbs.
"Bucky Done Gun" is the third single from musician M.I.A.'s album Arular. The song was composed in London in 2004 as one of the last compositions for her debut album and credited to Maya "M.I.A." Arulpragasam, Carol Conners, Bill Conti, Wesley "Diplo" Pentz, Ayn Robbins and Deize Tigrona. It was released by XL Recordings in the UK, Interscope Records in the US and Remote Control Records in Australia on 11 July 2005 in 12-inch vinyl and CD single formats. The B-side of the release is the song "Pull Up the People" from Arular. Upon release, the song reached number 88 on the UK Singles Chart.
Brazilian hip hop is a national music genre in Brazil. From its earliest days in the African-Brazilian communities of São Paulo and Rio de Janeiro, the genre has grown into a countrywide phenomena. Rappers, DJs, break dancers and graffiti artists are active across the complete spectrum of society blending Brazil's cultural heritage with American hip hop to form a contemporary musical fusion.
Funk carioca, also known as favela funk, in other parts of the world as baile funk and Brazilian funk, or even simply funk, is a hip hop-influenced music genre from Rio de Janeiro, blending the rap subgenres of Miami bass and gangsta rap. Despite its name, funk carioca has no musical correlation with the American funk by any means.
Proibidão, which literally translates to "strongly prohibited", is a subgenre of funk carioca music originating from the favelas of Rio de Janeiro where it began in the early 1990s as a parallel phenomenon to the growth of drug gangs in the many slums of the city. The drug gangs sponsored DJs and baile funks in the favelas they controlled to spread respect and love for their gang as well as hate to the other gangs. The music that resulted is proibidão.
Sergio Reis Silva, a.k.a. maestro Sany Pitbull, is a Brazilian favela musician from Rio de Janeiro suburb São Cristóvão, produced many of the dance style baile funk artists since 1986.
Deize Tigrona is a Brazilian funk carioca musician. Born in the São Conrado neighborhood of Rio de Janeiro, Deize worked as a house cleaner until her music career became successful. Her song “Injeção” was used as the basis for the M.I.A. song "Bucky Done Gun". Recently she has performed both with M.I.A. and with another popular funk carioca singer, Tati Quebra Barraco.
Tati Quebra-Barraco,, is a Brazilian rapper, whose music consists mostly of hip hop and funk carioca genre. Tati is considered Brazil's first lady of hip hop as the first woman to break the barrier of male-only funkers. She is a popularizer of Baile funk in Brazil and, having been born in Rio de Janeiro's City of God favela, exemplifies that style of hip hop. Her stage name literally translates into "Tati Shack-Wrecker".
"Rap das Armas" is a 1990s song originally written and performed by Brazilian duo Júnior e Leonardo. It has lyrics in Brazilian Portuguese written on the melody of the 1986 song "Your Love" by the English rock band The Outfield.
Funk melody is a fusion genre of funk carioca and Latin freestyle.
Lia Clark, the stage name of Rhael Lima de Oliveira, is a Brazilian singer and drag queen. Born in Santos, São Paulo, Rhael grew up listening to Brazilian funk. Inspired by Valesca Popozuda and Tati Quebra-Barraco, in 2014, Rhael became the drag queen "Lia Clark", working as DJ known to play funk. Two years later, the artist came to prominence as a singer after the release of "Trava Trava". A hit on Spotify and YouTube, it led to a national tour and to the release of the extended play (EP) Clark Boom in 2016. In the following year, the EP spawned hits like "Chifrudo", "TOME CUrtindo" and "Boquetáxi". The first two marked collaborations with trans singer Mulher Pepita and drag queen Pabllo Vittar respectively, while the latter was involved in a controversy when her YouTube video was restricted because of alleged improper sexual content.
Monsueto Campos de Menezes, better known as Monsueto, was a Brazilian sambista, singer, composer, drummer, painter, and actor. He was a part of the samba de morro school, and helped popularize it along with other artists such as Cartola, Nelson Cavaquinho, Clementina de Jesus, Silas de Oliveira, Mano Décio da Viola, and Zé Keti. His musical output, though small, is considered very valuable to the history of Brazilian music.
Bruno Verner is a Brazilian composer, poet, electronic musician, performance artist and compiler, best known for his work as the other half of Brazilian tropical punk funk duo Tetine which he formed with Eliete Mejorado in São Paulo in 1995.
Eliete Mejorado is a Brazilian performance artist, musician, filmmaker and video director, best known for her work as the vocalist and keyboard player of tropical punk duo Tetine which she formed with poet and musician Bruno Verner in São Paulo in 1995.
Orfeu da Conceição is a stage play with music in three acts by Vinicius de Moraes and music by Antônio Carlos Jobim that premiered in 1956 in Rio de Janeiro. The play became the basis for the films Orfeu Negro and Orfeu (1999), and for the musicals Orfeu and Black Orpheus.
"Vai Malandra" is a song by Brazilian singer Anitta with fellow Brazilian singer Zaac and American rapper Maejor. The song features Brazilian producers Tropkillaz and DJ Yuri Martins. It was released as a single on December 18, 2017 and as the conclusion to Anitta's Check Mate project, where she releases a new song each month.
Daniel Haaksman is a Berlin-based German DJ, producer, journalist and label boss. He showed the music of the favelas of Rio de Janeiro to an international audience for the first time when he released the compilation album Rio Baile Funk Favela Booty Beats in 2004. He had his music "Kid Conga" with MC Miltinho on the radio "Electro-Choc" from the game Grand Theft Auto IV in the expansion "Episodes From Liberty City".
Jefferson Fernandes Luiz, known professionally as MC Sapão or simply as Sapão, was a Brazilian singer-songwriter who reached fame in the mid-2000s with the hits "Diretoria" and "Eu Tô Tranquilão".
Kevin de Oliveira Zanoni, better known by his stage name Kevin o Chris, is a Brazilian funk singer and songwriter from Rio de Janeiro, known as one of the main representatives of the 150 BPM style.
Márcio André Nepomuceno Garcia, better known as MC Marcinho, was a Brazilian singer and composer of funk melody. He was famous for such hits as "Rap do Solitário", "Princesa", "Glamurosa", "Garota nota 100", and "Tudo é festa". During the height of his career, he was dubbed the "Prince of Funk".
| International | |
|---|---|
| National | |
| Artists | |
