page_title: DJ Marlboro
hierarchical_section_title: DJ Marlboro
caption_attribution_description: Português: O DJ brasileiro Marlboro apresentando-se em Brasília
context_page_description: Fernando Luiz Mattos da Matta, better known as DJ Marlboro, is a Brazilian DJ.
  DJ Marlboro is one of the originators of the funk carioca, which is how a crossover between freestyle and hip-hop music genres is known in Brazil. His first LP, Funk Brasil, marks the beginning of the Funk Carioca Movement, initially with versions of hip-hop and freestyle hits from American artists, especially the 2 Live Crew, sung in Portuguese.
  He got the idea of making Portuguese versions of American songs by paying attention to how people at parties that played freestyle music in Rio de Janeiro, known as "baile funk," would create and sing their own versions of the songs, in Portuguese, as they couldn't understand English, and how they would nickname the songs as "melô do...", since the original name of the songs, in English, was too difficult for them to pronounce and memorize. The best example is his first song, "Melô da Mulher Feia", which was how patrons of the "baile funk" would call the 2 Live Crew's version of "Do Wah Diddy," as they would sing along "mulher feia chupa o ... e dá o ..." to the 2 Live Crew's tune.
context_section_description: Fernando Luiz Mattos da Matta, better known as DJ Marlboro, is a Brazilian DJ.
  DJ Marlboro is one of the originators of the funk carioca, which is how a crossover between freestyle and hip-hop music genres is known in Brazil. His first LP, Funk Brasil (1989), marks the beginning of the Funk Carioca Movement, initially with versions of hip-hop and freestyle hits from American artists, especially the 2 Live Crew ("Do Wah Diddy" became "Melô da Mulher Feia" and "One and One" became "Melô dos Números"), sung in Portuguese.
  He got the idea of making Portuguese versions of American songs by paying attention to how people at parties that played freestyle music in Rio de Janeiro, known as "baile funk," would create and sing their own versions of the songs, in Portuguese, as they couldn't understand English, and how they would nickname the songs as "melô do..." ("the ... song"), since the original name of the songs, in English, was too difficult for them to pronounce and memorize. The best example is his first song, "Melô da Mulher Feia" ("song of the ugly woman"), which was how patrons of the "baile funk" would call the 2 Live Crew's version of "Do Wah Diddy," as they would sing along "mulher feia chupa o ... e dá o ..." ("ugly woman sucks ... and gives ...") to the 2 Live Crew's tune. He then made a PG version of the song and recorded it, and was a smash hit on the radio, prompting him to create more songs and record his first album. Later on, Marlboro and others started writing their own songs, and he released several albums.
  He used to live in a district of the Rio de Janeiro city that was very distant, nicknamed "Marlboro Country" by his peers, who started calling him "Marlboro," and the nickname stuck.
  DJ Marlboro is the host and producer of the radio show "Big Mix in Rio". DJ Marlboro was introduced to a worldwide audience In 2004 when German journalist, record label owner and fellow DJ, Daniel Haaksman formed Man Recordings and recruited both DJ Marlboro and Edu-K and DJ Marlboro - creating a link between South American and European artists.
  DJ Marlboro credits the resurgence of funk fever in Brazil to the cyclical nature of musical fads, saying in his 23 years as a DJ, he's witnessed the funk explosion several times. Brazilian bailes, well attended dance parties that played American soul, disco, and funk music, featured heavy bass sounds and light systems. DJ Marlboro's Portuguese rapping in his 1989 LP “Funk Brazil” helped introduce Portuguese music into these bailes, where the heavy bass sounds became a platform for this new sound. As a result, by the mid-1990s most of the music played by funk DJs was produced in Brazil. Currently, DJ Marlboro is the resident DJ at São Paulo's Lov.e Club.
  DJ Marlboro maintains that “funk is a way of expression that was born from the common people”. To him, funk is at its best when most people are unaware of it, preventing the exploitation of artists. DJ Marlboro expresses the importance of its underlying culture by asserting that the movement need not be glorified or globally successful. He insists that funk will always continue to be played, whether the world can hear it or not. ⁵ He urges listeners to understand that it is a musical movement that has sprung from culture and a passion to tell the truth; not from the need to accept and nationalize music from other parts of the world, particularly the United States. He acknowledges that recordings are not a priority for funk artists, because the point is to go the bailes and dance.
  DJ Marlboro embraces and supports the "undergroundness" of the Baile Funk scene, particularly the music played at the Bailes in Brazil. In an interview, DJ Marlboro says, "The bailes in Rio have survived such a long time because we do the bailes to please the public. We work with music that doesn't need to recognised or be successful in the rest of the world. We play tracks that are popular in the bailes full stop. We don't need media and marketing." He embraces the aspect of funk and certain artists being unknown because that keeps this genre alive in the st
caption: DJ Marlboro in Brasília in 2013
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