Rap in Rio: Why hip-hop is the new sound in the city of samba lyrics

CortesiaDaCasa

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The monthly event, called Black Santa, was staged near the summit of the Prazeres favela, on a hillside above central Rio.At the party, Renato Cantanhede, 22, said he had dropped out of law school to concentrate on his burgeoning career as a rapper. \u201cToday, hip-hop is what is happening in Rio,\u201d he said.This party was the visible evidence. When it began in Prazeres in 2012, just a few hundred gathered in a little square to watch local rappers and break dancers. At recent events, organizers said, 3,500 paid 65 cents to see DJs play hip-hop and soul music from Brazil and the United States.Rio\u2019s youth are increasingly looking to the most exportable American culture of recent decades: hip-hop. Across the city, amateur open-microphone sessions are staged most nights. YouTube videos by Rio rap artists such as the group Cartel MCs can attract millions of views. Adherents say this street culture, with its DJs, break dancing and graffiti, offers more outlets for expression than samba and bossa nova, which were created in Rio but offer little space for the anger and frustration that young rappers yearn to communicate.\u201cIt is growing in Rio because of the idolizing of American rappers and wanting to look like them,\u201d said Raysa Guerra, 20, an administrative technician with Black Santa. \u201cAll the sneakers, hair.\u201dNyl MC, se apresentando na favela Julio Otoni no Rio de Janeiro. (Phil Clarke Hill)Her friend Wesley Neiva, 28, a seven-a-side soccer player, said it was because hip-hop connected to Afro-Brazilians like them. \u201cIt is because of the black influence,\u201d he said.Despite its racial mix, Brazilian society is split along complex social and economic lines. Even the world-famous Carnival offers VIP areas for those who can afford them. Rio\u2019s grass-roots hip-hop movement reverses that socially divisive logic. Black rappers who grew up in favelas such as Prazeres share stages with white Brazilians from the cocooned upper-middle classes. A black American culture is bringing a sort of unity to young Brazilians who rarely mingle so easily with one another.Prazeres has an armed police base, installed under what the authorities call a \u201cpacification\u201d policy. Gunfights broke out in nearby pacified favelas in May as rival gangs battled one another. Diego Luniere, a member of a rap collective called Nectar Gang, was killed in the crossfire.Black Santa\u2019s organizers said the urban music makes sense in Brazilian \u201cghettos\u201d such as this one. \u201cWe couldn\u2019t understand why there was no hip-hop in the favela,\u201d said Igor Amoro, 28, one of eight local men who organized the event.Aspiring rappers said hip-hop offers them expression and the possibility of a career. \u201cI live by rap. I sell CDs and do shows,\u201d said Everson da Costa, 21, from nearby Belford Roxo. His lyrics, he said, reflect daily life in his suburb \u2014 a low-income, high-crime pocket on the edges of Rio\u2019s endless urban sprawl. \u201cPrejudice. I talk about politics. Drugs. The reality I live,\u201d he said.His friend Andre Felipe, 21, a rapper called MC Deek, said rap offers an \u201cescape valve.\u201d\u201cRap shows a lot of reality \u2014 the bad reality \u2014 that samba does not show,\u201d he said.There were few women in the group. \u201cA woman needs courage to stand up and take the mike,\u201d said Mariana de Nazar\u00e9, 18. Her friend, rapper Talita Rocha, 17, said she had so far performed only one tiny \u201cpocket show.\u201d\u201cRap is macho,\u201d Rocha said.Hip-hop first emerged in Brazil in the low-income outer suburbs of Sao Paulo in the 1980s. Rio produced its own rappers, but a definite groundswell of support for the music among Cariocas, as Rio natives are called, has been building in the past few years, just as the focus on Rio\u2019s more famous urban music genre, called \u201cfunk,\u201d has shifted to Sao Paulo.A network called the Carioca Rhyme and Poetry Circuit, which began organizing open-mike events in Rio in 2010, was a catalyst, and the music and style increasingly caught the imagination of Rio\u2019s youth.\u201cIt has become a fashion,\u201d said Raphael Duarte, 25, a rapper who discovered hip-hop through break dancing and runs a weekly open-mike session in the Complexo do Alemao favela. Duarte cited the success of veteran Sao Paulo rapper Criolo, transformed into Brazil\u2019s first mainstream hip-hop star by a 2011 hit album, as an inspiration. \u201cFor me, he is a musical reference,\u201d Duarte said.His favela was taken over in a military operation in 2010. But pacification is a tenuous concept, and violence repeatedly breaks out between the police and drug gangs.\u201cSometimes you can\u2019t have something here because a gunfight is happening,\u201d Duarte said, talking in a small square on a recent evening. Three officers from Rio\u2019s military, or street police, walked past, holding automatic rifles high. The drug trade continues, Duarte said, in nearby alleys. \u201cThe traffic is not good. The police are not good. What I can offer is something good \u2014 rap,\u201d he said.The cracks in Rio\u2019s favela pacification policy are a recurring theme for the city\u2019s rappers. Luis da Silva, 27, a rapper called MC Oz from the huge Rocinha favela in South Rio, used a cellphone chat application to share photos that were circulating in his community after a day of gun battles followed a recent police operation. One showed bullet casings piled in an alleyway; another, a grimacing teenage boy, holding a pistol, with a bullet wound in his belly.The favela was supposedly pacified in 2011, but this had ended neither the drug trade nor the violence. \u201cIt is worse than it was before,\u201d da Silva said. This directly affects the music he makes when not working as a sushi chef. \u201cThe way I throw poetry on the beat is almost always aggressive. I can\u2019t dry out what I live, inside the community and outside.\u201dOne attraction of the music is its sense of rebellion, another its profanity. \u201cRap does not need censorship. You can say what you want. You can talk about drugs, about sex, about anything openly,\u201d said Bernardo Romero Neto, 32, a rapper called Ber MC with the Cartel MCs who previously studied law. \u201cThere are no rules.\u201dHip-hop\u2019s culture of transgression offers a career path to Brazilians like him, who can capitalize on another of the genre\u2019s central creeds: that making money is good and success is to be celebrated.\u201cI did not go to university. I have a middle-class standard of living,\u201d said Stephan Peixoto, 23, son of the Rio rapper Marcelo D2 and one of three rappers with the group Start Rap who have transformed a career as teenage rappers into adult success. Thousands turned up for an album launch show the group put on in April. But Peixoto wanted more. \u201cNow I\u2019m fine, but I want to do better,\" he said." } } { "@context": "http://schema.org", "@type": "BreadcrumbList", "itemListElement": [{ "@type": "ListItem", "position": 1, "item": { "@id": "http:\/\/51.38.98.74\/artists\/C", "name": "Artists" } },{ "@type": "ListItem", "position": 2, "item": { "@id": "http:\/\/51.38.98.74\/artist\/332718-cortesiadacasa", "name": "CortesiaDaCasa" } },{ "@type": "ListItem", "position": 3, "item": { "@id": "\/artist\/332718-cortesiadacasa\/lyrics\/2172894-rap-in-rio-why-hip-hop-is-the-new-sound-in-the-city-of-samba", "name": "Rap in Rio: Why hip-hop is the new sound in the city of samba" } }] }

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