Carioca Funk has its roots in the favelas and is a mixture of Funk Music, Hip Hop, and RAP. It is frequently played in clubs and parties in Brazil, though not as much in foreign countries. However, it has gained significant traction on social media platforms. It's important to acknowledge the journey of the genre, as it has not been a bed of roses. There is still a long pathway ahead with obstacles to overcome.
Funk music originated in the South of the United States during the tumultuous and revolutionary 1960s. It was created by Black musicians such as Horace Silver, James Brown, George Clinton, among others. The genre initially was a mix of other popular Black rhythms such as blues, gospel, jazz, and soul. The word 'funk' is a fusion between English and Kimbundu, used by jazz musicians to encourage their bandmates to infuse more energy into the music. It evolved during the American Civil Rights movement, featuring lyrics about the everyday experiences of Black individuals, including discrimination and limited horizons.
Over the years, it evolved into music with a constant danceable beat and melody, blending with other genres like rock during the 1970s. It was also sampled by DJs within disco, further popularizing the genre. In the 1980s, funk combined with hip hop and rap, both originating from Black neighbourhoods in different locations: Miami with an accelerated rhythm, and New York respectively. In Miami Bass, the lyrics and choreography were more erotic and carried a Cuban influence. This facet of the genre transcended borders and found success in Brazil, particularly in Rio de Janeiro.
Funk officially arrived in Brazil during the 1970s and quickly captivated respected musicians such as Tim Maia (1943-1998) and Tony Tornado (1970), who were responsible for blending American funk with Brazilian rhythms. The radio broadcaster Big Boy (1943-1977) promoted 'Bailes da Pesada' at Canecão in Rio de Janeiro, featuring a mix of rock, soul, groove, and funk, becoming a popular gathering spot for the city's youth. Eventually, this event concluded and gave way to a split between rock and electronic music, leading to the emergence of 'baile funk,' which incorporated elements of Miami bass.
Carioca Funk began in the 1980s. Traditionally, it was a blend of electronic beats from hip hop or afrobeat music, Candomblé drumming heavy-music, infused with the poetry of rap and the DJ’s skill to mix repetitive beats with melody. The music's themes commonly revolved around everyday life in Carioca suburbs and favelas. By the 1990s, urban violence escalated, with favelas facing invasion by police forces. In response, the lyrics started to portray this harsh reality, evolving into a platform for addressing socio-political issues. Over the years, the genre continued to evolve, giving rise to various subgenres. Many of its variations are originated due to regional identity mixed with Carioca Funk or the genre’s blend with an international one.
Funk melody emerged, offering nuanced and romantic subject matter across three generations from the late 1980s to the 2010s. However, the genre gradually lost its popularity, being overtaken by pop music on the radio and Carioca funk within the favelas. A famous example of that subgenre is the famous late 1990s and early 2000s duo Claudinho and Buchecha.
Funk ostentação originated in 2008 in São Paulo. Its songs typically revolve around themes of consumption and ostentation. Initially, it emerged as a response to Carioca funk that often centred on criminality and suffering. The subgenre gained popularity between 2011 and 2014; however, Brazil's economic crisis in 2014 led to its decline. An example of this subgenre is MC Guime.
Funk chavoso originated from the expression 'chave de cadeia,' which refers to a person likely to cause trouble, and it evolved into slang for cool guys within a neighborhood. It's more recognizable visually than through the subject matter or sounds of its songs. Performers often sport Quiksilver, Oakley, or Evoke sunglasses, along with high-top sneakers. An example of this subgenre is MC Boy.
Funk ousadia, also known as Funk Picante, originated in 2013 in São Paulo. The prevalent themes in its songs revolve around eroticism with sexual connotations, often using puns as a form of humour. Examples of this subgenre are MC G15 and MC Tati Zaqui.
Funk proibidão is akin to gangsta rap. It originated in the 1990s within the favelas of Rio de Janeiro. Its songs explicitly delve into hard themes of violence and crime. An example of this subgenre is MC Catra.
Brega Funk originated in 2011 on the outskirts of Pernambuco, blending elements of Carioca Funk, arrocha, and eletrobrega nordestino. However, it gained widespread popularity across the country in 2018. The second mentioned genre was popular in the 1950s, featuring romantic music. Examples of this subgenre are MC Leozinho do Recife, MC Dadá Boladão, MC Tocha, MC Tróia, Priscila Senna, Shevchenko e El Loco and MC Cego Abusado.
Trapfunk is a blend of 2000s RAP from the south United States with funk. It incorporates synthesized beats and more melodic timbres. Examples of this subgenre include WC no Beat and PK.
Rave Funk blends the electronic music, more specifically EDM with Carioca Funk from Dennis DJ. Examples of this genre are DJ GBR and DJ Tezinho.
Pop Funk that blends pop with Carioca funk with reputed names like Pabllo Vittar and LuÃsa Sonza.
Throughout the evolution of Carioca Funk, the lyrics have become more alluring and eroticized, as mentioned earlier. However, this change has sparked frequent debates about the genre. The music videos often objectify and sexualize women, leading to discussions about its impact. In the present day, there are female singers who challenge this narrative and empower themselves, such as Anitta, MC Rebecca, Lexa, Ludmilla, and Valeska Popozuda.
It's important to note that until very recently, the genre was stigmatized, and to some extent, it still is due to its humble origins. Poverty in Brazil has colour, aporophobia entwined with structural racism. There have even been discussions about potentially criminalizing the genre and some even consider the genre a sound pollution.
However, the genre has begun to gain mainstream popularity abroad, being played in clubs, receiving attention through recent releases by icons like Anitta, embarking on international tours, and Carnaval hits. As previously mentioned, popularity on various social media platforms. Notably, at the 63rd Annual Grammy Awards, there was a performance by Cardi B who chose to sing her hit 'WAP,' remixed by the Brazilian DJ Pedro Sampaio. This marked the first time Carioca Funk graced the stage of such a prestigious music event. Additionally, Carioca funk is both popular and accessible, providing visibility to those often marginalized in society and offering opportunities through music, dance, and culture, as opposed to a life of crime.
Recently, "Passinho" won the title of intangible cultural heritage of Rio de Janeiro. This is an urban dance style typical from the bailes funk with fst feet rhythm with a hip gingado.
Recently, Funk Carioca has suffered the loss of some of its prominent figures. In 2018, MC Catra, often regarded as the king of the genre, passed away. Just last Saturday, on August 26th, MC Marcinho, considered the prince of the genre, also passed away. While there is no officially recognized queen or princess of the genre, ongoing discussions continue regarding these titles.
Nonetheless, the older generations have paved the way and handed the torch to new artists who persistently sing to shed light on their realities, making everybody listen and pioneering new subgenres. The eternal legacy of the previous generations lives on through their songs and iconic passinhos that will never be forgotten.