Archive for the ‘funk’ Category

The Funk Generation

Tuesday, August 25th, 2009

logo_apafunk_letra_amarela11

Today just might have been a historic day.  At 10 am hora de Brásilia, the State Legislature of Rio de Janeiro convened a public plenary session on funk.  It was sponsored by the Human Rights and Citizenship Commission, whose president explained:

A proposta é pôr em questão oportunidades de se promover o funk como um instrumento pedagógico a ser utilizado nas escolas ou de se criarem, por exemplo, oficinas profissionalizantes para formação de DJs. Esse é o caminho para o estado reconhecer que o funk existe desvinculado do crime.

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The proposal is to put in question opportunities to promote funk as a teaching tool to be used in schools or to create, for example, professional channels for training DJs.  This is the route by which the state can recognize that funk exists outside of crime.

This won’t just be a political echo chamber, however.  Expect testimony from DJs, MCs, and critics like Hermano Vianna (who blogs em português aqui).  In particular, a relatively new organization is leading the charge from the DJ/MC front: the Associação dos Profissionais e Amigos do Funk (Association of Funk Professionals and Friends), or APAFunk for short.  Their presidente is MC Leonardo, who I most recently mentioned for his contribution to the Tropa de Elite soundtrack, which has very much reinvigorated his career.  But as a recognizable figure dating back to the early 90s, he also has the long-term perspective that will serve him well representing funk to the public.

Their main goal is to repeal Law 5265, which was passed in June 2008.  It declares in Article 1:

A realização de eventos de música eletrônica, conhecidos como festas raves e de bailes do tipo funk, obedecerá ao disposto nesta Lei. (Electronic music events, known as rave parties or baile of the funk type, must obey the regulations of this law in order to take place.)

It goes on to assert police authority to shut down the baile, require that organizers record the event for police to review up to 6 months later, and specify such details as how many bathrooms are required.  The 30 day notification to the State Secretary of Security is particularly onerous, given how many events and line-ups are put together at the last minute.

Putting bailes under state authority, and in such a draconian, bleakly bureaucratic fashion, is tantamount to prohibition.  Only the most commercial bailes can realistically comply with such a law (or afford to bribe the right people), and while they are an important part of the baile funk landscape, they’re far from the most interesting.  On the flip side, only the most proibidão baile da comunidade is secure enough to completely flout the law.  But smaller scale promoters who want to operate in the asfalto, or in the vast stretches of the Zona Norte, Zona Oeste, and suburbs where the distinction between favela and asfalto is not so sharp, are caught in a lurch.

Thus is APAFunk leading the charge and FunkNeurotico urging the masses to show their support.  This is likely many funkeiros first political exposure, as the announcement makes clear: “ATENÇÃO: Traje para o Evento Camisa, calça comprida, sapato ou tênis – Não é permitido sob qualquer hipótese camisetas, bermudas e chinelos / ATTENTION: Bring to the event a shirt, long pants, and shoes or sneakers – You will not be permitted inside with t-shirts/tank tops, shorts and sandals.”

I was musing on the idea of politicized funkeiros — a far cry from the sight of funkeiros in the early 90s gang fighting on Ipanema — when a very provocative photo landed in my inbox.  Sany Pitbull has been taking it to the highest political levels.

nay-e-lula-031

Yes that is Brazilian president Luiz Inácio Lula da Silva playing an MPC.  He was visiting a community center in Cantagalo and asked for Sany to show him how to use the MPC.  Sany played the weekly baile in Cantagalo for a decade but recently quit over concerns that the new boss and his penchant for bringing guns into the baile could hurt his reputation.  I am glad to see he’s back on the hill in the daytime — indeed the Red Bull Funk-Se, where he did daily workshops, might indicate a new M.O. as professor de DJ.

He joked at the end of his e-mail, “what’s next, Obama asking me for a lesson too?”  Plenty of ink has been spelled on Obama as president of/by/for the hip-hop generation.  Could Brazil be on its way to a funk generation that will achieve similar political involvement?  Unlike hip-hop — or perhaps much like plenty of commercial hip-hop — funk is not known for its political awareness.  Outside of the scandal-marred political career of Veronica Costa, a city councilwoman accused of using her office to promote bailes run by her husband, mega-promoter Romulo Costa of Furação 2000, there hasn’t been much of a political face for funk.  But with what I hope was a decent turnout today at the Tiradentes Palace for the hearing, with MC Leonardo at the helm of APAFunk, and with Sany Pitbull making beats with Lula (I’ve never seen Obama touch a turntable for that matter), maybe funk really is getting organized for its own good.  A vote on repealing the baile regulation could come as soon as September 1.

Kuduro Continué

Monday, August 24th, 2009

I was pleased to see that Guillaume took my bait in the last post about kuduro gone-a-global.  He answered some key questions, enough worth putting the comment upfront:

So Kuduro has definitly crossed over in France as “dance of the summer” and it’s been a process in the making for the last 2 years. Check this entry for a link to a facebook video that shows white hair old people square dancing on Dança do Tchiriri: http://masalacism.blogspot.com/2009/07/i-kept-saying-that-kuduro-crossed-over.html

All right, now Kuduro’s fashion in France is actually not coming from Angolan, but Cap Verdien people. They are leading the scene in France and are providing most of the hype on the movement. After that, there’s a weird (same old) ideology of distinction of “we are the true ones, we are the originators, you guys just do shit” kind of vibe floating around from Angolan towards Cap Verdien. Galiano would not say that publicly but I know he kinda took this ideology as his own. I can’t go in details here, but they are the one pushing the sound now and the last few years.

Also Radioclit has absolutly NOTHING to do with this. Seriously, zero. Same with Buraka. This is grassroot success based on the fact that the Cap Verdien community in Paris and it’s suburbs is a big enough to make other communities follow. It’s also because it’s a dance as much as it’s a music and therefore it’s very fashionable in the club for 17 years old. Nothing to do with blogging or international hipsterism.

Finally, Coupé mix with Kuduro is already there. Check out: Normal Nada - Decale kuduro or also Dj Vielo’s Decale Cap Vert. This is just the beginning. All of this is based on the fact that white people dance clubs and carribean/african clubs are still very seperated in France. Or at least, there’s a strong network of carribean/african clubs throughout France. And like every where else, there playing the latest trend, which happens to be Kuduro now in France. And for the last few years, I’ve seen the name popping on the regular on the big fluo posters of the local african club in my medium/small size hometown of Orleans. Which never happened before.

Looking fwd to the rest of this discussion

Most importantly he confirms that kuduro is broadly popular, propelled by support among France’s vast multicultural immigrant scene (Cape Verdean especially).  I had suspected as much from the plethora of YouTube videos, but sometimes that on-the-ground observation cinches it.  I think this kind of grassroots feel — people actually dancing to it, clubs playing it, the beat thumping out of car stereos — is more exciting and more interesting than if it were exclusive to le blogosphère.  Especially when it affords interaction with other styles, like coupé décalé — see again Guillaume’s suggested artists.

But where he links back to his post, and the video of old white folks clumsily dancing the tchiriri, is where things get très interesting.  That’s beyond the marginalized masses in the banlieue — that’s percolating to the museum of dance music, wedding hits.  It in turn reminds me of wayne&wax’s thoughts on chacarron (aka mumbling reggaeton) (old blogspot w&w at that).  He compared it to the macarena, and in later posts thought it would be the ideal reggaeton entrée to the masses: something families can sing along to between innings at baseball games, etc.

Could tchiriri be headed for similar meme status?  If YouTube is any kind of bellweather, I still don’t see any dancing babies or WoW tchiriri.  That, at least, remains one arena in which funk has a viral spread kuduro lacks.

Funk Yourself

Thursday, July 9th, 2009

When I was in Rio last month, Sany Pitbull was extremely excited about a hush-hush high level collaboration with Red Bull and the Rede Globo (Brazil’s media empire).  Well, it’s happening — “Funk-Se” or funk yourself, is ongoing this week in the Cidade Maravilhosa (check the site even if you don’t know Portuguese — chock full of streaming music, videos, photos, etc.).  Sany describes it as a watershed moment for funk, especially on the heels of the law in Rio’s state legislature declaring funk a legitimate form of cultural expression.

sany

As he wrote in his announcement e-mail:

Um sonho que eu tive junto com a minha grandiosa e saudosa amiga Adriana Pittigliani está se tornando realidade, o sonho de ver o movimento funk ser realmente respeitado como merece…. Não está sendo fácil transformar esse sonho em realidade( e ninguém falou que ía ser facil,mesmo), mas com a ajuda de uns aliados estamos conseguindo chegar lá.

O motivo desse email é um só, te mostrar parte do que estamos fazendo, é só o inicio, temos muito mais à fazer… Muito trabalho ainda vem por ai.. Chega desse papo de musica de favela, musica de pobre… o Funk é muito mais do que isso… Muito maior do que parece ser…
Basta apenas se organizar pra ser tornar o maior ritmo musical desse país..e seremos sim, quem não acredita vai ver…

Está para acontecer um evento histórico, embrionário ainda, pequeno talvez em  relação à magnitude do ritmo, mas ja é um inicio e olha que não estamos começando fracos não, só aliados de responsa compraram a briga ( do bem e pelo bem ).

40 anos de funk
40 anos de historia
40 anos mexendo com a cabeça,alma e quadris de tanta gente mundo à fora
40 anos se transformando e se preparando pra ser a musica dos próximos 40 anos(no mínimo).

Redbull Funk-se , do vinil à Mpc …

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A dream that I had together with my dearly departed friend Adriana Pittigliani is becoming a reality, the dream of seeing the funk scene get the respect it deserves… it hasn’t been easy to turn this dream into a reality (and nobody ever said it would be), but with the help of many allies we are finally succeeding.

The motive of this e-mail is simple, to show you what we have been up to, it’s only the beginning, we have much more to do… Much more work to come.. The arrival of this conversation about favela music, about the music of the poor… Funk is much more than this… Much bigger than it seems to be…

A historic event is about to take place, still in its infancy, perhaps tiny in comparison to the magnitude of the funk beat, but it’s already a beginning and look at how we don’t start off weak, only our most trusted allies will join us in the fight (of and for what’s good).

40 anos of funk
40 anos of history
40 anos of moving the head, soul, and booty of so many people
40 anos of transforming itself and preparing itself to be the music of the next 40 years (at the minimum).

Redbull Funk-se, from vinyl to MPC …

Sany Pitbull: funk prophet?  Could be.  The schedule is packed, with a daily panel discussion, film showing, Sany Pitbull MPC workshop for kids at a technology magnet school (!), and nightly party.  Notably it indeed stretches back 40 years, bringing in the likes of Gerson King Combo, one of the originators of Brazilian soul and overall “black music” as they call it.  The press coverage is unsurprisingly favorable, and speaks to the media’s willingness to give positive coverage toward mainstream, legal, organized funk, with corporate backing no less.  (Poking around the “related articles” reveals one from last year about a baile crackdown sparked by a grenade explosion that injured 12 at an August 2008 favela baile).

gerson

One of the events I am most disappointed to be missing is the MPC battle!  Cabide DJ x Phabyo DJ x DJ Pokemon x DJ Mancha.  I’m a little intrigued at some of the rules though –

Serão passíveis de eliminação os seguintes casos:

Agressão física contra um dos participantes; ofender o apresentador ou o Dj.
O DJ que falar de facção criminosa (apologia).
Não fazer referência a time de futebol
Não executar músicas com temas e vozes infantis.

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The following will lead to automatic disqualificaton:

Physical aggression against one of the participants; offending the host or another DJ.
DJ mentioning a criminal faction (apology for crime).
Do not refer to any soccer team.
Do not play music about children or with children’s voices.

There is clearly an effort to manage the kind of funk on display at such a high-profile event: no proibidao, nothing that could involve minors (there goes all the tunes about “gatinhas”), and I guess no riling up the crowd with a cheap paean to Flamengo.

battle

My money’s on Cabide, natch, as he’s No. 1 sampler do Brasil e do mundo now.  Besides, that’s his MPC they’re fighting over in that pic.  Either way, there’s a 50-50 shot a Flamin Hotz artist will be the “king of the MPC.”

Meanwhile, the Cine Funk Clube will be screening Favela on Blast tomorrow night to round off a week that’s included “Sou Feia Mas To Na Moda” (I’m Ugly But Trendy), one of the earliest post-2000 funk docs and some other more obscure (or I guess more Brazilian) ones that I’ve never heard of.

I’ve got saudade, sure.  As Sany said, “You’re leaving June 11?  No no, make it July 11!  Stay for Funk-Se!”  But duty calls back here in the Estados Unidos.  Still, some likeminded folks & I have put together a mini Funk-Se at the Chicken Loft.  We’ll have old Brazilian wax, an MPC, Cabide’s DVD internacional, Favela on Blast, caipirinha, cerveja, boldinho, and comida galore.  Tonight, Cambridge is the next best place to Rio. (more…)

O Mais Novo DVD

Sunday, April 19th, 2009

Cabide DJ (remember him last fall?) has been busy in the studio not just cranking out MPC hits, but dabbling in some video editing. The fruits of his labors include these teasers for his new DVDs, already on sale by the bootleggers in Rio’s Uruguaiana market.

It occurs to me that I actually did most of the filming for the “DVD internacional” since Cabide was busy working his magic, but indeed that’s yours truly at the very end sporting the Phillies hat and AfroReggae shirt.

I don’t know many of the MCs in his new “DVD nacional,” but I am glad to see he got the LED screen he was on the hunt for in NYC’s Chinatown. And I could be wrong, but I think he’s sporting one of the Obama Ts he picked up here.

Special bonus on the “DVD internacional,” a nicely edited recap of his appearance on WMBR’s Global Frequency with Lone Wolf.

Flamin Hotz Record Club

Sunday, February 15th, 2009

fhz

Calling all DJs/music lovers/vinyl collectors –

Flamin Hotz Records, the Philly based label that puts out the most beautiful, lushly packaged 12″s you have ever seen, is starting a record club.  The deal is simple, pay upfront or in monthly installments and get a record delivered to your door every month.  The reasoning likewise: It’s getting harder and harder to sell records in shops, but label head Casi is convinced that the demand is still there for high quality, collector’s item style records.  As someone who has worked with FHZ in the past and hopes to continue to do so in the future, I wholeheartedly agree.

So if you’ve liked any FHZ releases over the last couple years — from Bass Bandits (Trouble and Bass) to Pancadão do Morro CD and Funkeiros e Progresso EP (funk carioca massives) to Força Kuduro! (the name says it all) to emynd & BoBliz’s two EPs (Philly stand up) — please consider joining the record club.  It may very well be the only way to get FHZ records in the future, and it’s an investment that pays a dividend your turntables will thank you for every month.

Tropa de Cultura

Friday, November 28th, 2008


Even if it’s old news in Brazil, I’m due to provide a refresher on Tropa de Elite (Elite Squad in English). It was directed by José Padilha as the second film in a trio that began with Bus 174, the documentary of a hostage taking on a Rio bus that was captured by national TV to disastrous results. His cinematic vision is to tackle the city’s central pressing issues — violent crime, the drug trade, police corruption and brutality. In Tropa de Elite, he focuses on the BOPE, Rio’s equivalent of a SWAT team, that conducts intense operations in favelas — usually with callous disregard for human life. Shoot first, ask questions later, as it were. Their ostentatiously violent symbol makes that abundantly clear (“It looks like a biker gang in the third reich.”)

I first watched it in Rocinha with some 2Bros folks, where the scene portraying BOPE invasions of the favela were eerily similar to real life. We had a pirated copy that had leaked in August 2007, just a week or two before my departure. It had already spread like wildfire, and by the time of its official release in October, it was seen by a reported 11.5 million Brazilians. Not much the copyright police can do about that.

Most interestingly, it was equally popular among all strata of society, but for opposite reasons. Favelados were on the side of the victimized favelados as well as cavalier gangsters, and a friend of a friend was proud to have been an extra as a bandido. The middle and upper classes were taken by protagonist Capitão Nascimento, whose strongarm, torture tactics elicited applause in movie houses.

In a country whose moneyed interests frequently feel that the drug trade can only be reined in by extra-legal measures, Nascimento’s take no prisoners attitude made him, as this magazine cover argues, a new national hero.

Padilha cannily rejects any claims that his film endorses either side of the debate. I saw him speak at the Harvard Film Archive last spring, where he maintained the position that the film was a portrayal designed to spark dialogue, not a polemic. In short, he’s let the film be a mirror on its viewers’ own prejudices and opinions about the power relations in Rio.

I don’t think a strong-willed director tackling such challenging subjects should get off so easily. Surely there was some authorial intent. For one, the group that comes off the most negatively in the film are the wealthy college students who patronize the drug trade — they provide the funds that keep the whole operation going, much to the detriment of folks who live just a few miles away up in the hills (on a longer scale, Colombia is taking the anti-cocaine message to middle-class Europeans).

Those folks, meanwhile, get their fair due of fun for a brief moment at the beginning of the film, with a stellar baile funk scene that tragically ends in a police-gang shootout. It’s chopped up by the opening credits, as you can see in this trailer, but the shots come the closest I’ve seen on screen to a baile funk, or at least one c. 1997.

I say 1997 because that’s the setting of the film, not too long after Rocinha brothers Júnior and Leonardo popularized one of the classics of funk carioca, “Rap das Armas,” which they sing live in this opening scene. I documented a recent acapella usage and linktubed to a Yo! MTV Raps-esque version during my Rocinha sojourn. The popularity of “Rap das Armas” as the theme song to the film was a real turn of fortunes for Júnior and Leonardo, who I met around the same time in August 2007 just as they were preparing to tour Europe in advance of the film’s release there. After skyrocketing to fame in the early ’90s, they became increasingly impoverished until they were reduced to driving a taxi cab on 12-hour shifts each, so the car was constantly in rotation. Now they’re back in the driver’s seat, so to speak, as funk MCs.

This version is from the official Tropa de Elite soundtrack, which amazingly is on sale stateside, as is the DVD. It cycled around some film festivals in the U.S. this year, but I never saw it make much of a splash in wide release. I was convinced it would become the next City of God, a lush but violent film about Rio, set to further fix foreigners’ minds that the city is a violent nightmare. I guess I was wrong. But if you don’t want to shell out for the official copy, you can see it for yourself with English subtitles.

With such broad appeal, meanwhile, it was only a matter of time before edits/dubs/remixes trickled out of the Brazilian webosphere. In fact, to permit a cross-linguistic pun — Tropa became a trope, its catch phrases and music trotted out in all manner of remix culture fashion. Below is a sampling of the samples –

  • Capitão Nascimento viciously berates his wife as his battles in the field increasingly rattle him. He created a new slang term, “Quem manda nessa porra sou eu” (I’m the one who controls this shit), that caught on rapidly, enough to become remixed as a funk track.

  • Brazilian humor site Kibe Loco has some video remixes cobbling together scenes from the film with tamborzão, crunchy guitar (and in the first, the riff from “Seven Nation Army”), and popular lines from the movie. The stutter-start chopped scenes actually recreate the funk vocal sampling technique with some accuracy.

Força Kuduro!

Thursday, November 27th, 2008


Every time I leave from Rio, the gate next to mine is always the nightly Rio to Luanda flight on TAAG, the Angolan national airline. The idea of these two cities linked by a direct flight across the southern Atlantic when the airline industry is so dominated by hubs running through major financial or political capitals, especially in the Global North, is extremely alluring. A flight to the U.S. at one gate and Africa next to it also neatly sums up the split influences in Brazil, and especially Brazilian music like funk.

Take that six hour flight to Luanda and you’ll be in the home of funk’s brother from another mother, kuduro. As part of the ongoing effort to keep kuduro from flavor of the month status, Flamin Hotz teamed up with kuduro mediator Frédéric Galliano to produce another stellar 12″ EP. I thought the art was stunning on Funkeiros e Progresso, but BustBright took it to the next level here.

Take a listen to DJ Tecas’ “Bate o peito (com respeito)” — beat your chest with respect!

Like it enough to get the whole EP? Compre aqui!

Mnml do Morro

Sunday, November 23rd, 2008

Brasil still on my mind — stripped down & sped up.

First, there was some percussive ferocity lingering in my inbox, c/o Daniel D’Errico. He plays in Boston’s BatukAxé, a drum group led by Bahian Marcus Santos. Up above, they’re playing at the “Welcoming New Bostonians” event, holding it down for the constant stream of Brazucas coming to the Bean. (Daniel is the odd one out in the yellow shirt.)

BatukAxé (Marcus Santos’ Bateria) by gregzinho

Then wayne&wax tipped me off to Discobelle’s most recent Mixin’ It Up by DJ Downtown of Helsinki (what is it with the Finns?! tropical living vicariously through funk carioca?) The opening track is a stripped down version of “Rap das Armas“, the ever controversial and ever misinterpreted telling-it-like-it-is funk track. This version sounds like the one re-recorded for Tropa de Elite, which I shamefully never blogged about, although you can read up on all the fuss from last year over at the now defunct BOPE Blog.

Baile Rave

Saturday, November 22nd, 2008


If it’s not one of us, it’s another. Following in the fine Finnish tradition of his countryman DJ Rideon, there’s another funk carioca blogger (and 2Bros volunteer!) on the loose in Teemuk of Otra Luna, which focuses on “art, design, music and culture from the southern side of the world.” His “super classics of funk carioca” series has dug deep this month, with big features on William e Duda and Deize Tigrona.

The latter has apparently gone mundial, collaborating with Lisbon’s DJ Manaia for some cross-lusophone batidas.

“Eu sou sobrevivente de uma rave.” (I’m the survivor of a rave.)

A tried-n-true funk MC singing over the raviest of rave synths can only make me laugh as I recall Sany DJ’s complaint that his pós-baile funk is derided as “rave” at bailes funk.

What I don’t understand about this track is why the vocals are so poorly recorded. They sound worse, in fact, than her smash hit “Injeção” (with a dance routine no less — happy, Lone Wolf?) The raw sound of funk is constantly praised as one of its most endearing features, although that’s really a canard w/r/t funk of the last decade or so, with the big commercial sound systems using top notch recording studios. Did DJ Manaia intentionally rough up the vocal mix to make it sound grittier, more like funk to his Portuguese or wider Euro audience? Either way, it just plain sounds bad against those hyper-polished synths. Maybe Deize is simply hoping her vocals survive this rave.

Returns

Monday, November 17th, 2008

O Cabidão caught an overnight flight to Rio on Saturday, rather gladly saying farewell to the U.S. and returning to “a minha terra, o meu Brasil!” Too cold, volume too low, clubs too small (and my basement not the nicest place to live either, granted). After three weeks as the ad-hoc tour manager of the first non-Marlboro DJ to play for American audiences, I now have a more realistic perspective on the viability of bridging the divide between global ghettotechnicians and their northern fans, at least in the case of funk carioca, really completing the circle from wide-eyed onlooker to direct intervener.

I don’t want to declare the tour a failure. There were plenty of highlights: Global Frequency, MoFo Radio, Invasores do Baixo, Mudd Up!, TTL in-store, Batida do Funk. And the tour really brought out the best of some fine folks like wayne&wax, Lone Wolf, DJ Ghostdad, and DJ Comrade, all of whom put their time/money/effort/talent into collaborating. Kosta of Bananas even used his west coast contacts to score a show in Seattle on three days notice.

Still, a tour remains an economic proposition, and one that fell fairly flat. It seems that playing the Brazuca circuit (Hyannis, Newark, Bridgeport, Boston, etc.) pays for the plane ticket and is a prerequisite to being able to afford other shows for the knowing gringos. Unfortunately, this means Brazuca crowds will also be driving who gets brought up. Most are not carioca, but from other, poorer states in Brazil, and get their funkeiro fandom from the web, where heartthrobs like Mulher Melancia (the Watermelon Lady) are the top draw. Cabide, in fact, was a relative unknown, so he didn’t bring out the Brazilians en masse in New England.

While this tour was a half-and-half proposition, in the future I expect funk DJs and MCs to mostly play for the brasileiros and then, if possible, an interested party like myself, the Boston Bouncers, Xão Productions, or Masala (who had expressed interest, but we had some visa issues) will cobble something together.

The “Batida do Funk” party by Xão at S.O.B.’s was, admittedly, my favorite of the tour. To trot out an old cliche, in the melting pot of New York we were able to find the mixture of gringos in the know, global music aficionados, and plain old Brazilians to make the show a real crossover audience. The addition of Brazilian dancers and a baile funk slideshow by Vincent Rosenblatt of Agência Olhares made for an odd refraction.


Dancers juxtaposed with the image of dancers. A baile funk americano (Cabide repeatedly referred to shows as “bailes”) juxtaposed with a baile funk carioca. We were both interviewed for the upcoming film Beyond Ipanema, about Brazilian music in the U.S., whose directors were in the audience. I was unable to tell who was Brazilian and who was American. It’s difficult math when a club that serves $10 caipirinhas can’t pay the DJ as much as a favela in Rio can, but that’s the strange inversion for you. Who mediates, who performs, who speaks (Cabide was mute without English and I was left to translate for film, radio, conversation). He opened for Diplo on the penultimate show of the Mad Decent tour, playing the first set even before some indie band from Brooklyn came on. The headliner later worked in a tamborzão, but he was temporally separated as much as possible from the real performer. Worried about being upstaged the next night, cutting the volume, sucking the life out of the music. Metaphor and fact. Who controls and who performs. The tours are over, but the film will linger.