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█▓█ General Info :
█▓█ Title .........: The Rough Guide To Brazilian Hip-Hop
█▓█ Artist ........: VA
█▓█ Music Style ...: Hip-Hop
█▓█ Type ..........: Album
█▓█ Release Date ..: July / 2005
█▓█
█▓█ Used Tools :
█▓█ Grabber .......: EAC (Secure Mode)
█▓█ Encoder .......: Lame 3.90.3 APS
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█▓█ Additional Info:
█▓█ Source ........: CDDA
█▓█ No. Of Songs ..: 16
█▓█ Size ..........: 92,1 MB
█▓█ Playtime ......: 66:21 min
█▓█ URL ...........: http://www.roughguides.com
█▓█ Label .........: World Music Network
█▓█ Quality .......: VBRkbps / 44,1kHz / HQ / Joint-Stereo
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█▓█ 01 ::: Somos N≤s A Justiτa - Se Tu Lutas Tu Conquistas ::: 06:25
█▓█ 02 ::: 509-E - Saudades Mil ::: 03:25
█▓█ 03 ::: AndrΘ Abujamra Feat. Xis - N≤is Eh Sampli ::: 03:34
█▓█ 04 ::: Elza Soares - Haiti ::: 04:30
█▓█ 05 ::: Possemente Zulu - Sou Negrπo ::: 06:29
█▓█ 06 ::: Potencial 3 - Tß Rimando ::: 03:45
█▓█ 07 ::: Chico Science & Bid - Roda Rodete Rodiano ::: 03:43
█▓█ (Zambo Mix)
█▓█ 08 ::: Black Gero - Orgulho De Cor ::: 03:44
█▓█ 09 ::: Personagens - No Corpo A Coisa Pega ::: 01:36
█▓█ 10 ::: Stereo Maracanπ - Onde ╔ Que Tu Tß ::: 04:11
█▓█ 11 ::: Veiga & Salazar - Se Lembra? (Remix) ::: 03:45
█▓█ 12 ::: MC Partideiro - To Chegando ::: 04:08
█▓█ 13 ::: Mamelo Sound System - Gorila Urbano ::: 03:39
█▓█ 14 ::: Xis - Us Mano E As Mina (Profmix) ::: 04:43
█▓█ 15 ::: Instituto & Sabotage - Dama Teresa ::: 04:01
█▓█ 16 ::: Thaφde & DJ Hum - Sr. Tempo Bom ::: 04:43
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█▓█ Hip-hop has become the new lingua franca of the world, or at least the
█▓█ poor and oppressed parts. The existence of this Portuguese-language
█▓█ compilation stands as stark proof of the fact that the appeal of hip-hop
█▓█ knows no linguistic or cultural barriers.
█▓█
█▓█ Perhaps it has something to do with the music's direct nature. Whereas
█▓█ other recent forms of protest music, such as punk and folk, were often
█▓█ couched in poetic forms transplanted from slumming bourgeoisie, rapping is
█▓█ a form of direct speech that can be as brutally pointed as it can be
█▓█ poetic. I imagine all you would need in order to translate hip-hop's
█▓█ direct appeal would be to bring a boombox with a simple beat to a party --
█▓█ the funky drummer loop would do -- and begin to rhyme provocatively over
█▓█ the rhythm. Rapping is one of those things, like rhythm guitar or chess,
█▓█ that is simplicity itself to learn but deceptively difficult to master.
█▓█ Anyone can do it effectively. Not just anyone can go toe-to-toe with
█▓█ Rakim, but that's hardly the point. That's Advanced Application; we're
█▓█ talking Basic Theory here.
█▓█
█▓█ There's a reason why some west African guerillas carry Tupac Shakur's
█▓█ tattooed visage on their arms as they creep into battle. The party music
█▓█ that spread outward from a flashpoint in New York in the early '80s
█▓█ carried irreducible political heft as it traversed the globe and crossed
█▓█ multiple borders. First-world countries in Europe and Asia assimilated
█▓█ hip-hop as they had assimilated every cultural fad for the previous
█▓█ half-century, absorbing the language into a constantly changing stew of
█▓█ youth musical culture. But in poorer underdeveloped regions such as Africa
█▓█ and much of South America, the music carried heavier connotation. As it
█▓█ traveled from the first world to the third, it became political dynamite.
█▓█ The social critique of Public Enemy and N.W.A became catalyst and license
█▓█ for oppressed classes across the globe to express themselves in an
█▓█ unprecedented and direct fashion.
█▓█
█▓█ It must have been a bit frightening, for instance, when Gabriel O
█▓█ Pensador's 1992 hit single, "T⌠ Feliz, Matei O Presidente" ("I'm Happy, I
█▓█ Killed The President"), became a hit. Brazilian President Fernando Collor
█▓█ had just resigned facing impeachment on charges of corruption. In America,
█▓█ regardless of the political scene, you couldn't release a song like that
█▓█ without going to jail. (By comparison, Eminem was questioned by the Secret
█▓█ Service for even implying violence against G.W. Bush on the song "We Are
█▓█ American".) But in a country where 22% of the population lives below the
█▓█ poverty line (which is good for South America but just about twice the
█▓█ United States' rate), there's a lot of inequality to go around. (These
█▓█ statistics were courtesy the US Government's 2003 World Factbook.)
█▓█
█▓█ In terms of lyrical content, I can't really judge the tracks on The Rough
█▓█ Guide to Brazilian Hip-Hop. I don't know any Portuguese. Of course, there
█▓█ is the fact that regardless of what language you speak, rap in a foreign
█▓█ language can't help but sound effortlessly musical (except for German:
█▓█ German rap sounds about as artless as you'd expect from such a
█▓█ consonant-heavy language). To someone who doesn't speak English, Silkk the
█▓█ Shocker probably sounds like Serge Gainsbourg.
█▓█
█▓█ I can speak to the fact, however, that the music itself betrays about as
█▓█ much ingenuity as you could possibly expect. Separated from the atmosphere
█▓█ of constant exhaustive novelty that the American rap world cultivates,
█▓█ these Brazilian talents have created a diverse and imaginatively
█▓█ distinctive sonic universe. For one thing, South America's lax attitude
█▓█ towards copyright infringement has created a much more liberal attitude
█▓█ towards sampling. AndrΘ Abujambra'a "N≤is Eh Sampli" contains a large and
█▓█ distinctive recurring sample of Public Enemy's anthemic "911 Is a Joke"
█▓█ contrasted against a hard Latin breakbeat.
█▓█
█▓█ The Latin element is another cultural constant that gives these tracks
█▓█ their unique flavor. Instituto & Sabatoge's "Dama Teresa" is built atop a
█▓█ strangely whimsical hybrid of hip-hop beat and bossa nova guitar. There
█▓█ are, to be sure, many tracks that seem more directly inspired by American
█▓█ hip-hop and R&B (such as 509-E's "Saudades Mil", which, if you subtract
█▓█ the different language, could have been a staple of domestic R&B radio at
█▓█ any point in the last 20 years). But there are also tracks like
█▓█ Personagen's frenetic "No Corpo A Coisa Pega", which reminds one of
█▓█ nothing so much as the entirety of an urban street fair compacted into
█▓█ just one-and-a-half minutes. It's like nothing you'll see on 106th and
█▓█ Park, I assure you.
█▓█
█▓█ At the very least, it's hard to listen to this disc without coming away
█▓█ with a newfound appreciation for hip-hop in all its forms. It's survived
█▓█ and thrived to the point where it has become a new source of power and
█▓█ influence across the world. You will think twice on the power of the
█▓█ spoken word set to booming beats before you buy that new Big Tymers
█▓█ album... or at least you should.
█▓█
█▓█ Tim O'Neil, www.popmatters.com
█▒█
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