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In ‘Arteiro’, Ramonzin explores musical freedom to create his own rap



São Paulo – In the dictionary, the word “freedom” means an individual’s absolute and legal level of independence. On his new album Mischievous, Carlos Ramon de Souza Procópio, Ramonzin, lives up to the term. In 11 songs, the rapper from Rio presents a variety of sounds capable of making him print unique characteristics and create his own style of rap.

Ramozin’s new album has a mix of organic and electronic instruments, which are added to other musical genres, such as samba, funk and pop. The artist explains that the fact that he is a trumpeter and music producer, helps in this more free exploration when it comes to creating.

“Before making any music, I have a much higher quality of musical study because I am a producer. I was forced to study music to produce, which made me know a lot. This gave me more luggage and a larger perimeter to be able to insert new sounds into my rhymes ”, explained the MC.

In 2017, Ramonzin released the EP Made in Madureira, an experimental work that already added its rhymes to other musicalities, such as the Bolero Cuban rhythm and violins of orchestras. He says that this experience made some fans not understand the proposal.

“When I released the EP, I already had an idea well ahead, mixing rap with other genres, but I needed to work more closely than people hear now. So, I refined my musical sense to print the aesthetic I wanted on the record. It gave me the freedom to transform my rap into this wide universe. The album has a lot of texture, an atmosphere in the voice, everything designed in the studio ”, he added.

From the Oath to Los Angeles

Ramonzin is a child of Morro do Juramento, located in the North Zone of Rio. His career began as early as the late 90s, after contact with skate and skate wheels. freestyle. Since then, the central district of Lapa has become his second home, where he turned the early hours at hip-hop parties. “Everything I lived at that time, I brought with me until today, because it was teaching,” he says.

In 2008, the rapper released his first EP Up the slope. In 2014, it was the turn of his first album to hit the streets: Circus of Motives. Considered one of the promises of rap at the beginning of the last decade, Ramonzin says he was unable to mobilize on the market, which prevented him from gaining a foothold in music.

“I come from a different class, I had many difficulties, which prevented me from mobilizing on the market. I had no resources in time to release music, especially with two children who were small at the time. I never stopped working and today, people recognize me after a road of many years ”, he celebrates.

If before there was difficulty, now with Mischievous Ramonzin already has reason to celebrate. In late October, he won the Los Angeles International Music Video Festival 2020 (LAMV), in the category of best Brazilian video clip, with the track “Vivência”, in partnership with BK ’.

The clip, recorded at home, with the two MCs in quarantine, reflects on everyday experiences, struggles, goals, perseverance in art for a better world and all the contrast of Brazilian society. “The moment of isolation was important for us to review simplicity in the things we do. My lyrics are about what I live and feel. It is one of the songs that most says who I am, that brings a traditional boombap and well-drawn lines ”, celebrated the MC from Rio.

Rap as a critical tool

In Mischievous, Ramonzin mixes the aesthetics of funk carioca with rap – two cultures of similar origin. One of the main examples is the range Made In Madureira which, according to him, talks about the rescue and belonging of the black and peripheral people.

The artist explains that he “made a point” of bringing this sound to work. “For affinity, instead of exploring the trap, I prefer to work with funk,” he said. He adds that the objective was to show that the two cultures are still tools of protest. “What you have in music today, in relation to funk, is the agenda for delivering entertainment. So, I made the rescue so that people could understand the root of this rhythm, which is African in origin and emerged as protest music for oppressed people ”, he says.

The song “Gueto Feroz”, featuring rapper Djonga from Minas Gerais, is the flagship of the album Mischievous, in Ramonzin’s evaluation. He says the song portrays the political and economic discourse that has always been present in his career. On one of the lines, he shoots: “Take your privileges and stick them where you like best / And it is because of this veiled fascism that meaningless hatred kills us“.

Before the current federal government, the MC of Rio de Janeiro says that there is no space to stay on the fence. “Staying on the fence is a speech from the right to pretend that the balance is the same on both sides. I have a very strong criticism of capital and the hegemonic right that rules the money. We cannot fall for that speech ”, he concludes.

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more unemployment and more informality




São Paulo – Government, businessmen and some parliamentarians were in tune with the defense of the bill that, if approved, would lead to the creation of Law 13,467 in 2017. The so-called labor reform, after all, would lead to the creation of millions of jobs. This would happen to the extent that it would end the rigidity of the legislation, which they treated as being “plastered”, facilitating hiring and giving the much-needed “modernization” to the Brazilian labor market.

Because the law completed three years on November 11 “and nobody celebrated, not even timidly”, recalls analyst Marcos Verlaine, from the Inter-Union Department of Parliamentary Advisory (Diap). “Among the expectations generated by the authors, the government of that time, the businessmen, who sponsored, defended and acted strongly in Congress to approve it, the media and reality, remained the harsh reality”, he says, in an article. He defines the measure passed by Congress as a “capital Trojan horse” to implode labor rights.

Collective bargaining?

The insistent defense of the “negotiated over the legislature”, a recurring expression at the time, was not to privilege negotiation, notes the analyst. “It was to remove rights, since the negotiations – both CCT (ccollective labor agreements) and ACT (collective labor agreements) – they never prevented, on the contrary, that the conventions surpass the CLT, nor that the agreements surpass the conventions. ”

The “millions” of jobs did not come, even before the pandemic. The growth in occupation was basically due to informal work. In 2016, the year before the “reform”, the country had 10.1 million unpaid employees in the private sector and 22.4 million self-employed workers. Last year, they were 11.6 million and 24.2 million, respectively (check table). The data are from the National Household Sample Survey (Pnad) Continua, from IBGE.

Modernization or precariousness?

Employment with a wallet fell. And the Gini index at work, which measures inequality, which until 2015 fell, rose again the following year and has not stopped.

The “reform” introduced hiring modalities, such as intermittent work. They were also presented as items of the necessary “modernization”, but union members and researchers identify them as additional signs of precariousness in the market. Although still small, the participation of the intermittent modality has been growing.

This week, the Federal Supreme Court (STF) began to judge direct actions of unconstitutionality against intermittent work. In his vote, the rapporteur, Minister Edson Fachin, considered the item unconstitutional and causing damage to workers’ health. But his colleagues Kassio Nunes Marques and Alexandre Moraes were in favor of the sport. The trial was interrupted by a request for view from Minister Rosa Weber.

If it is impossible to revoke the law in its entirety, Verlaine suggests specific changes, citing intermittent hiring. “It is necessary to negotiate with all political and social actors in order to bring about changes in this scorched earth scenario” he argues.

read more: ‘Labor Reform’: Stories of a False Promise and Changes in ‘Endless Destruction’

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