RIO DE JANEIRO:
The arrest of a popular Funk singer in Brazil for the suspicion of the doctrine of a strong crime gang has revived a long -term debate on criminalizing a kind born in the crap of Rio de Janeiro or the slums.
Unlike the American homonymous, spread by James Brown, Rio Funk borrows more than hip-hop, mixed with Samba and other Brazilian rhythms.
The lyrics, regarded by many as celebrating the Lords of the Favela drugs, have repeatedly led to calls for song censorship.
Last week, Mc Poze do Rodo, one of the most famous artists of the genre with 16 million fans on Instagram, was arrested on charges of crime given and has links with Comando Vermelho (CV), one of Brazil’s biggest gangs.
Police argue that Poze’s music “clearly covers” the trafficking of drugs and the illegal use of firearms and shows concerts “exclusively in areas dominated by a biographical note, with a remarkable presence of high -level weapons armed weapons.”
After five days in precautionary editing, the 26 -year -old singer was released on Tuesday in a risky welcome from the waiting fans, who flock his car to a motorcycle column.
Speaking below, the singer claimed to be a victim of police discrimination.
“Rio de Janeiro police do not like … Why am I black? Because I am from a fave?”
Marlon Brendon Coelho Couto was born in Favela, Rodo, one of the largest in western Rio. He has admitted that they are selling drugs in his youth, but says he has abandoned the crime to devote himself to music.
Police material of his arrest in his current home in adequate Dos Bandeirantes, cufflinks and without shirtless renovation areas, surrounded by highly armed officers, caused a outcry between his followers.
Colleagues were involved in a campaign for his release, organized by his wife, influenced Viviane Noronha, on the grounds that “Funk singers are not criminals”.
The debate on the role of funk in crime reflects long -term discussions in the United States about rap and violence in black communities.
Danilo Cymrot, a doctor in criminology at the University of Sao Paulo, pointed out a “gray area” in the definition of the doctrine of violence related to artistic content.
“The artist does not necessarily agree with his lyrics,” said Cymrot, author of a book about Rio Funk.
He added that “many times, the police and the judiciary find it difficult to understand funk as a work of art”.
As a result, he said, the artist’s roots are often used to determine if he covers violence.
“It’s less the message itself and more to sing it.”
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