When Brazilian rapper Criolo takes the stage with his live band at the cavernous Fundição Progressso concert hall in Rio de Janeiro, a mass ‘rap-along’ breaks out as 6,000 fans chant along with him, throwing up hip hop hand gestures.
But there is nothing celebratory about the lyrics they repeat word for word. Criolo delivers a stinging social critique in song and rhyme, taking in Brazil’s crippling inequality, its drug problem, its violence and the growing obsession with consumerism that came with the country’s economic development. But the message is delivered as entertainment, not lecture, because this is a show, not a political discourse.
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