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Afro-Brazil 2014: Sango's 'Da Rocinha 2' Takes Baile Funk Into Hip-Hop Territory

Sango takes baile funk into booming hip-hop territory with his 'Da Rocinha 2' tape, printed in limited edition vinyl by Jakarta Records.


As we gear up for next summer's World Cup in Brazil 2014, we'll be taking moments to highlight some select Brazilian tracks that come across our desks. From capoeira music (an accompaniment to the sport) and maracatu to samba and the favela-bred baile funk, the influence of African cultures & sounds on the South American nation's own arts is immeasurable. In our series Afro-Brazil 2014 we'll be digging into a few of these 'ritmos e batidas' from Brazil. 

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Soulection producer Sango, one of Okayplayer's Top 14 Artists To Watch in 2014, dropped this Brazilian-inspired Da Rocinha 2 beat tape a couple months ago. Much like its original installment, Da Rocinha 2 (named after the largest favela in Brazil) takes off from a baile funk standpoint, with Sango looping and remolding samples of the Rio de Janeiro dance genre into booming hip-hop progressions.

Berlin/Cologne label Jakarta Records just announced that they'll be printing a limited 444 vinyl copies of the Sango's previously bandcamp-only Da Rocinha 2. Along with that announcement comes the unreleased album bonus track "Pôr Do Sol Parte 2," which flips 60s vocal group The Whispers' "You Are Number One," which in turn was later sampled in Monica's "So Gone."

Stream the track below and pre-order the limited vinyl of Da Rocinha 2. Plus, if you're at SXSW catch Sango at our Okayplayer & Soulection showcase this Friday 3/14.

Catch our previous Afro-Brazil 2014 installments: Karol Conka, Buraka Som Sistema x Adidas, and Tropicália: A Film by Marcelo Machado.

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Photo by Olukayode Jaiyeola/NurPhoto via Getty Images.

How Davido's 'FEM' Became the Unlikely #EndSARS Protest Anthem

When Nigerian youth shout the line "Why everybody come dey para, para, para, para for me" at protests, it is an act of collective rebellion and rage, giving flight to our anger against the police officers that profile young people, the bureaucracy that enables them, and a government that appears lethargic.

Some songs demand widespread attention from the first moments they unfurl themselves on the world. Such music are the type to jerk at people's reserves, wearing down defenses with an omnipresent footprint at all the places where music can be shared and enjoyed, in private or in communion; doubly so in the middle of an uncommonly hot year and the forced distancing of an aggressive pandemic that has altered the dynamics of living itself. Davido's "FEM" has never pretended to not be this sort of song. From the first day of its release, it has reveled in its existence as the type of music to escape to when the overbearing isolation of lockdown presses too heavily. An exorcism of ennui, a sing-along, or a party starter, "FEM" was made to fit whatever you wanted it to be.

However, in the weeks since its release, the song has come to serve another purpose altogether. As young Nigerians have poured out into the streets across the country to protest against the brutality of the Federal Special Anti-Robbery Squad, known as SARS, "FEM" has kept playing with the vigour of a generational protest anthem. From Lagos to Abia to Benin and Abuja, video clips have flooded the Internet of people singing word-for-word to Davido's summer jam as they engage in peaceful protests. In one video, recorded at Alausa, outside the Lagos State Government House, youths break into an impromptu rendition of the song when the governor of the state, Babajide Sanwo-Olu, tried addressing them; chants of "O boy you don dey talk too much" rent through the air, serving as proof of their dissatisfaction with his response to their demands—and the extortionist status quo.

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