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1. In the 1950s, the American pianist Horace Silver spoke of the term “funky style” – he combined jazz and soul music to create a more danceable style. In the 1960s, musicians like Miles Davis and the band Kool & the Gang made funk proper, a mixture of soul, jazz and rhythm and blues (R&B). Songs like “Opus De Funk” shaped the era
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two. He was James Brown that put gender on the international map. He, who was already one of the great interpreters of soul, adopted Silver’s idea and added another touch: swing, a dance style that emerged in Harlem, New York. In the 1970s, George Clinton created Parliament and Funkadelic, bands that brought a psychedelic rock influence to funk.
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3. It is possible to say that funk was the development of a series of musical rhythms that emerged in the center of the black movement in the USA. So in the 1970s it kept changing. Hip-hop and breakdance appeared, mainly in the region of Bronx, New York. The main feature was the elements of R&B, funk and rap lyrics.
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4. Funk arrived in Brazil around 1969 – the Gerson King Combo released the album Brazilian Soul with Brazilian classics performed with the beat of the USA. In the same period, Tim MaiaCarlos Dafé and Tony Tornado adopted black power hair, started singing the rhythm and founded the Black Rio Movement, which became an exponent of Afro culture in the country
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5. In the 1970s, the first production companies in Rio de Janeiro appeared – Soul Grand Prix and Hurricane 2000, that hosted the pioneering versions of funk dance. The parties were essential for soul music, under the influence of funk, to take root in Brazil
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6. The dances gained strength in the 80s with the fusion of miami bass, a style that began to be played in the US. The main feature was fast beats and more erotic lyrics. Another trademark was the DJs. Thus, funk carioca was born.
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7. Until then, in Brazil, remixed classics were played. As carioca funk, the songs appeared in Portuguese. They already addressed the violence and poverty of favelas and poor communities. The rhetoric about drug trafficking also became recurrent from the 1980s onwards.
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8. On the outskirts, dances continued to grow, especially in the early 2000s. But fights between organized crime factions and other confusions began to be common. Even so, there was room for the emergence of popular groups, such as Bonde do Tigrão, from the hit “Cerol na Mão” . MC Marcinho, Tati Breaks Shack and others also made their mark
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9. The arrival of funk ostentação in 2010 brought a new look to the rhythm, which arrived in Brazil with songs identified with the black movement. Names like MC Guimê, MC Livinho and MC Gui sing about imported cars, branded clothes, jewelery and drinking parties and beautiful women. There is also the pop derivation, with Anitta and Ludmilla
READER QUESTION Thiago Gustavo Ferreira de Figueiredo, Belém, PA
SOURCES Books Jazz: Research and Pedagogyby Eddie Meadows The Funk Carioca Worldby Hermano Vianna, Rocking the 1990s: Funk and Hip Hop, Globalization, Violence, and Cultural Styleby Micael Herschmann, and Galeras Cariocas: Territories of Conflicts and Cultural Encounters, by Hermano Vianna; article Dossier on Urban Popular Cultureby Alexandre Barbosa Pereira