history of baile funk
Baile Funk is considered to be the bastard child of Miami Bass imported to Brazil by a few pioneering djs and promoters. Surrounding the Baile Funk sound is a whole culture with its own vision, style, fashion, dancing and slang. The roots of Baile Funk are firmly established in the heart of Rio's favelas created in the winding hill side alleys as a reflection of the violence, sex, colour and integral rythm pulsating through the streets. Baile, actually meaning 'party' in Brazilian is the name of the game... Baile parties rock the foundations of the favelas located in the depths of the hills. The parties attract thousands of young Cariocas who want to get down and dirty to the filthy sounds of beats intended to make the girls hot and shaking their arses. Baile is a part of favela life, an outlet for the people who's lives are inevitably affected by drug dealers, gangs, sex, violence, love and rythm. Baile Funk lyrics contain all these themes, it is a music by the people for the people.
Baile Funk can be seen as a microcosm of Brazilian life and history. Brazil is a mixing pot of culture and heritage, A hedonistic combination of African, European and Amazonian culture blended together to create its own unique anthropology. Baile Funk had a similar breeding, a culture evolved and transformed from foreign origins to create something uniquely fresh and Brazilian. In the early 70's the black music parties started to spring up in the favelas. The emphasis was on American soul music the original bailes were playing rock and disco, then with the emergence of artists such as Kool and the Gang and The O'Jays meant that funk came into the equation, the result was the combining of both bailes under the name baile funk.
The definitive moment for Baile Funk occurred when Africa Bambaata 'planet rock' and Miami Bass started hitting the dance floors. “After 1982, with the rise of Miami bass, 2 Live Crew’s ‘We Want Some Pussy,’ Freestyle’s ‘Don’t Stop The Rock’ and ‘It’s Automatic,’ and J.J. Fad’s ‘Supersonic’ became a must,” 'Dj Marlboro'. The crowds went crazy to these new programmed electronic beats, the standard and foundations were set for what was to follow!
Hey we want some pussy!
Another prominent influence on the early Baile funk scene was 'Magic Mike' a Miami Bass outfit whose records were being imported by producers such as Dj Marlboro and dropped at the early Baile Funk parties. These were to have a massive influence on the evolution of the sound.
During the 1990's Baile saw a dark period in its history. In 1992 a riot took place on Arpoador Beach in Rio. Images from the riot were broadcast around Brazil and the funkeiros (baile goers) were blamed for the violence. Baile was used as a tool for the prejudices of the middle classes who wanted to blame the funk parties for the out break of rioting. As a result Baile balls were outlawed. This pushed the balls further and further into the depths of the favelas under the total rule of the drug traffickers. Baile balls became dangerous places, it wasn't uncommon to see 14 year old with guns sticking out of their shorts and cocaine use was rife. Reports emerged from the balls of the 'corridor of death'. This was an organised fight between two rival factions. Heavy security divided the two sides creating a corridor, the Baile music would work the people into a frenzy until at some point someone would cross the corridor and attempting to drag a rival into their half, if successful it wasn't uncommon for the victim to be beaten to death. Reports of events like this started to give Baile funk an even worse reputation and pushed it deeper underground. Also as a result of the prohibition a new variety of Baile music called proibidão (very prohibited) was being produced. This music was illegal and focused on the more violent aspects of life in the favelas glorifying drug lords and gang leaders.
Read more in this article by Nicole Veash, 2005.
Commonly Baile funk is constructed on low tech equipment using pirated copies of music production programs. This in part lends to its rawness and dry edge. The emphasis is on bass and rythm, kicking out a booming bass line that is hypnotic for the dancers. Often classic western tunes are used as a base for sampling, these samples are varied ranging from The Clash, 'Rocking the Casbah' to 'Who let the dogs out'. Distribution of the new tracks are usually through hand burned copies of tracks sold in the markets and on street corners.
Over the last few years Baile Funk has gone international, no longer restricted to the favelas there is now a surge of interest from people around the globe. Dj's such as Dj Marlboro, Sany Pit Ball and Dj Sandrinho have achieved world wide recognition and play regulary abroad. Dj Marlboro owner of the funk holding Big Mix has in the last few years played at the New York Central Park Summer Stage, Barcelona’s Sónar Festival, as well as Boston, France, and Slovenia Britain and Germany. Find out more about Baile Funk artists and djs in the 'artists' section.
This documentary by Roberto Maxwell looks into the Funk Carioca scene covering its cultural meaning and its place within Brazilian society. It is a sympathetic look at the culture from people who understand its true meaning.
A detailed history of Baile Funk can be found in Portuguese in the book BATIDAO UMA HISTORIA DO FUNK, published in Rio De Janeiro, 2005, by the Brazilian journalist SILVIO ESSINGER.
