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Funk carioca ([fk(i) kik]), 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.[1][2] Despite its name, funk carioca has no musical correlation with the American funk by any means.[3]

In Brazil, "baile funk" refers not to the music, but to the actual parties or discotheques in which the music is played (.mw-parser-output .IPA-label-small{font-size:85%}.mw-parser-output .references .IPA-label-small,.mw-parser-output .infobox .IPA-label-small,.mw-parser-output .navbox .IPA-label-small{font-size:100%}Portuguese pronunciation: [bajli], from baile, meaning "ball").[4] 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", although it is very musically different from what with "funk music" is internationally meant.[5] In fact, it still shows its urban afro beats influences.

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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.

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][12]

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. 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 the 1980s, 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 its soundtrack of the band Bee Gees. At the time, the then teenager Fernando Lus 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".

The term baile funk is used to refer to the parties in which funk carioca is played. The history of these parties were important in shaping the Brazilian funk scene, and in fact predate the genre itself. In the late '60s, legendary Brazilian DJ and radio personality Big Boy (born Newton Alvarenga Duarte) was on a personal mission to introduce Brazil to the best sounds from around the globe.

Collecting records covering genres such as pop, rock, jazz, and soul from all over the world, he gained popularity on air for his wide taste of music, as well as the relaxed way of presenting his programs.[13] His success on air also attracted large audiences for parties he DJ'd in the Zona Sul area of Rio, which like his show, featured a wide array of different music. His sound mainly featured elements of rock, psych, and soul music, and many described the tunes he played as 'heavy'. At the same time, Ademir Lemos had been hosting his own block parties centering more around soul and funk, both of which had a growing audience in Brazil. The two eventually came to host parties together, infusing the heavy sounding records from Big Boy's (primarily) rock background with Lemos' funkier influences. Thus formed the Baile da Pesada, or "Heavy Dance", which brought (North American) funk music to the forefront of Rio's street scene as the city entered the 70's.[14]

For almost two decades afterwards, other DJs from the streets of Rio would use evolving forms of African-American and American music in their own block parties, put together by equipes de som (sound teams). Soul music became the immediate focus of the parties, and quickly ushered in a new wave of Brazilian soul artists to the mainstream. Soon, the soul movement was overshadowed by disco, but disco music was not easily embraced by many of the DJs hosting the bailes. Many of these DJs bought records from the US, particularly Miami given its closer proximity to Brazil. The DJs took a liking to various forms of hip-hop, most notably Miami bass and electro/freestyle, which changed the style of the bailes once again.[15] Still, the term funk remained in Rio's party scene. DJs would incorporate local sound with Miami bass beats, including their own lyrics in Portuguese. DJ Marlboro was the pioneer of this phenomenon, and was the first to engineer the sound that would become known in Rio as funk carioca.[16][17]

Brega funk born in Recife, influenced by brega in the early 2010s in the Northeast region of Brazil. Unlike funk carioca, brega funk has a glossy sound that features glistening syncopated MIDI pianos, synths, often filtered guitars, and the distinct pitched metallic snares called caixas, vocal chops are a common companion to the wonky kick rhythm and up-down bass inherited from brega, and even though the genre commonly ranges from 160 to 180 BPM, the half-time beat makes it feel slower than other funk subgenres. An example of the Brega funk genre is the song "Parabns" by Pabllo Vittar.[18][19]

Funk melody is based on electro rhythms but with a romantic lyrical approach.[20] It has been noted for being powered by female artists. Among the popular funk melody singers are Anitta, Perlla, Babi and Copacabana Beat.

Funk ostentao is a sub-genre of Rio de Janeiro funk created in So 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 ostentao has been strongly associated with the emerging nova classe mdia (new middle class) in Brazil.[21]

Proibido 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[22] is a slower style of Rio de Janeiro funk that rests around 96 BPM and uses atabaques, tambourines and beatboxing. It also incorporates influences from reggaeton and ax. "Fuleragem" by MC WM is the best known songs of the Rasteirinha genre.[23]

In 2018, the Funk carioca of 150 beats per minute or 150 BPM was created by DJs Polyvox and Rennan da Penha.[25][26] In 2019, the funk carioca 150 BPM was adopted by carnival blocks.[27] "Ela Do Tipo", by Kevin O Chris, is one of the most popular songs of the genre.[28]

Fusion of funk carioca with pagode,[32][33][34] the term also refers to parties where both genres are played,[35] the origins of the subgenre can be traced back to the mid 90s, in 1997, the duo Claudinho & Buchecha released the song Fuzu 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.[36] Grupo Raa was successful with "Ela sambou, eu dancei", written by Arlindo Cruz, A. Marques and Geraldo,[37] which alluded to funk carioca. In 2014, the song was reinterpreted with elements of carioca funk with Arlindo Cruz himself with Mr. Catra.[38]

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 Favela Chic, released by BMG. It contained three old-school funk carioca hits, including the song "Popozuda Rock n' Roll" by De Falla.[42]

In 2003, the tune Quem Que Caguetou (Follow Me Follow Me) by Black Alien & Speed,[43] 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 label Mr Bongo Records featuring funk artists such as Deize Tigrona, Taty Quebra Barraco, Bonde do Tigro amongst others. From 2002 Bruno Verner and Eliete Mejorado also broadcast Funk Carioca and interviewed artists in their radio show Slum Dunk on Resonance Fm. Berlin music journalist and DJ Daniel Haaksman released the seminal CD-compilations Rio Baile Funk Favela Booty Beats in 2004 and More Favela Booty Beats in 2006 through Essay Recordings.[44] He launched the international career of Popozuda Rock nRoll artist Edu K,[45] 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"[46] and "Baile Funk Masters" on his label Man Recordings. e24fc04721