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Sany Pitbull My Influences Essay

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Sany Pitbull biography

Rio Sany Pitbull is a baile funk maestro with nearly 20 years experience in Rio’s favela funk scene under his rather hefty belt as a DJ and a well-deserved reputation for being more then proficient on the Akai MPC, Sany is a unique rarity within Brazil’s most infamous speaker-bustin’, bone-breaking music scene. Even the most casual baile funk fan could pick out his jackhammer electronic productions from a music genre that’s often criticised for being rather one-dimensional in format. Now that’s ragga-pocalyptic.

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DJ Sany Pitbull Makes U

Brazilian DJ to Funk Up New York

July 20, 2014 10:10 p.m. ET

A popular but controversial form of raucous dance music from Rio de Janeiro's slums, partly banned during the recent World Cup soccer tournament, is coming to New York this week as part of a Brazilian festival.

DJ Sany Pitbull, one of the leading producers of funk Carioca—an electronic, beat-heavy music that has been a soundtrack to Rio night life for a generation—is at the forefront of an emerging style that incorporates foreign influences.

DJ Sany Pitbull Daniela Dacorso

The DJ, whose real name is Sergio Reis Silva, will play at Lincoln Out of Doors on Thursday and Glasslands on Saturday as part of the annual Brasil Summerfest, which runs through the end of the week.

Funk Carioca bears little resemblance to American funk by the likes of James Brown. Inspired by Miami Bass, a genre of hip-hop, the music emerged in the late 1980s from Rio's slums, or favelas, with a samba-tinged beat.

Funk Carioca finds its most authentic expression at thousands of street and dance hall events each year not only in Rio but also in São Paulo and other Brazilian cities, although some associate the music with poverty, drugs and violence.

Although it has gone mainstream in Brazil, the genre is well-suited for favela dwellers to produce, requiring little more than a laptop, an Internet connection and a YouTube account.

"For them, it's a cultural expression as authentic as soccer," said Daniel Haaksman, a Berlin-based DJ and producer who has worked with Mr. Silva. "It's music for people will limited musical knowledge. It's very raw. All they need is a laptop, a mic and three samples…but for many people in favelas, it's their only media channel and how they can communicate."

Funk carioca's best-known international champion is DJ and music producer Diplo, but Mr. Silva, too, has done his part, performing across Europe, Asia and now in the U.S.

But in Rio, funk has been under pressure by the "pacification" program in which security forces have occupied dozens of favelas in recent years in an effort to drive out drug gangs and impose order. During the World Cup, Mr. Silva said, the police withheld permits to hold funk parties in favelas near tourist zones, and even under normal circumstances are increasingly wary.

"When we ask for a permit, the police ask us if funk will be played," Mr. Silva, 45 years old, said in an interview. "We have to tell them 'no,' otherwise they won't let us perform."

Funk's detractors aren't hard to find.

"I really don't like it," said Barbara Eugenia, a Brazilian singer-songwriter who will also perform this week at the Brasil Summerfest. "Some of my friends like it because it's good for dancing, and I know it's a way of expression, and I respect that. But I think it's one of the worst things in Brazil."

Mr. Silva, who has a school that teaches young DJs how to perform funk, said he discourages his students from using violent or misogynistic imagery in the lyrics that sometimes accompanies the music. "I try to emphasize a positive message," he said.

Mr. Silva's music taps a wide range of international styles, including Kwaito from South Africa, Coupé-Décalé from Ivory Coast and cumbia from Colombia. He samples the Rolling Stones, Michael Jackson and Nirvana and incorporates orchestral instruments, all while furiously tapping away on the MPC electronic drum machine—of which he is a reputed master.

"Some people call Sany the first post-funk artist," said Ronaldo Lemos, director of the Rio-based Institute for Technology and Society, which researches the impact of technology on social fields. "His music is still very much rooted in Carioca funk, but he navigates different universes and crosses a lot of borders."

Mr. Lemos added, "As a result, he has helped expand the world of listeners."

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Thursday, September 10th, 2015

Believe it or not, today we celebrate our tenth anniversary! We just had a beautiful, yummy, globe-shaped cake delivered to the office to celebrate this special date! Tomorrow, we´ll release a “Best Of Man Recordings” compilation, followed by various blog posts in the following weeks which we reflect on ten years of our label, the best releases, the craziest parties and our biggest successes. Watch this space for more ten year anniversary stories, and cheers to all that have been following us over all these years for this long and beautiful music journey!

Thursday, October 4th, 2012

After the release of his Disco Funk mixtape earlier this year, showing the disco, funk and boogie faves of his earlier DJ career, one of Rio´s busiest baile funk DJs, Sany Pitbull, now returns with a new mixtape. This time it´s focussing on Miami Bass, the genre which later bred the tropical bastard child of bass called baile funk. Entirely mixed from vinyls and spiced with the I.D.´s of Rio´s legendary 80s and 90s funk soundsystems such as Curtisom Rio, Cash Box, Pipo´s, Furação 2000 and others, it´s a great sonic history lesson.

Wednesday, March 14th, 2012

Before the advent of Miami Bass in the mid 1980s, DJs in Rio De Janeiro played disco and electro funk. With more than two and decades of DJ experience, Sany now dropped a mixtape which shows his early musical influences, the music that he dived into after going to his first funk balls in 1983. Listen to it here:

Sany Pitbull – Influences Disco Funk 01

01: Evan Rogers – Stay with me (instrumental) – 1984
02: Cosmic Touch – Nothing ever changes (instrumental) – 1983
03: Love Bug Starshi – You’ve gotta believe (instrumental) – 1982
04: Dwayne Omarr – Save the Children ( Club Mix) – 1985
05: Galaxy – Sexy Style (instrumental) – 1984
06: Paulete – I want you back ( club mix) 1982
07: Wyld Chymes – Festival – 1983
08: CD 3 – Get tough (dub mix) 1983
09: Eddie Sky White – Baby be mine (vocal) -1985
10: Eddie D – Cold Cash Money ( Dub version) 1982
11: Terry Jonnes – Do it again tonight (instrumental) 1982
12: Five Star – Let me be the one (Philadelphia mix) 1985
13: Pretty Tony – Willwe ever learn? ( instrumental) 1984
14: 911- Twenty four seven (vocal mix) 1988
15: Cover Girls – Show me ( Drum paella mix) 1987
16: Galaxy – Where’s the beat ( club mix) 1983
17: Arcade Gang – Radio activity (Streat mix ) 1983
18: Dr. Jeckyll & Mr.Hyde – The Challenger (vocal) 1984
19: Starchild & Disco Bee – B Boy Breakers (instrumental) 1984
20: Byron Davis – Now Dance (instrumental) 1987
21: Danny D – That’s the way (instrumental) 1986
22: JDC – I’m for real (instrumental) 1988
23: Lisa Lisa – Can you feel the beat – 1985
24: Con funk shun – Electric Lady ( instrumental) 1985

Sunday, October 26th, 2008

Original Baile Funk Master Sany Pitbull has sent us his new mix, the”Future Baile Funk Express”. Yahhhh!
Download it from here:

Friday, April 13th, 2007


After the critically acclaimed first volume of the „Baile Funk Masters“ series by DJ SANDRINHO (Man 011), #2 in the series specialised in Rio De Janeiro’s baile funk producer A-List is of equal prominence: SANY PITBULL is one of the torch bearrin figure’s of the scene. A DJ since almost twenty years, Sany’s skills grew out of a life long experience of Djing and producing. Today, he’s playing both the big favela parties in Rio as well as touring around the world. With his contribution to the series, SANY PITBULL introduces a next level in Brazil’s hot music innovation.

Yes, you can call this „Post Baile Funk“. SANY PITBULL pushes the boundaries of funk like few of the original Rio de Janeiro MPC percussionists ever did. The tracks on „Baile Funk Masters #2“ are vocal free, bringing SANY´s outstanding production skills to the forefront.
Take „TRIBOS“, which PITBULL produced together with Rio DJ Dedé. Hands down, this could be considered one of the best tracks coming out of Rio in years. With it’s collage of Japanese gong sounds, Chinese drums, Brazilian Indian chants, carried by the typical Rio tamborzao beat, „Tribos“ travels the world in a breathless 2.20mins of pure sonic bliss. If Timbaland would’ve grown up in Rio, „TRIBOS“ would’ve been one of his compositions.

“KRAFTFUNK“ is SANY PITBULL’s bowing down to Germany´s Kraftwerk and their tectonic shifting musical efforts that left deep impact in Brazilian and especially Rio music culture. „Without Kraftwerk, Baile Funk would’ve never become what it is today“, remarks Sany, „Trans Europe Express and Afrika Bambaataa’s interpretation in Planet Rock are the musical foundations of baile funk culture“. With a melody hook resembling late 70s European elektronische Musik, „Kraftfunk“ greatly bridges the past with the current.

„Beatch From Brasil“ dives into Brazilian music essentials, mixing up a berimbau, Samba beats with an electro funk rhythm, and soulful chords. In opposite to the vast majority of funk tracks, who are strictly banging, „Beatch From Brasil“has a deep edge, putting smooth sensibilties into the beat alchemy of baile funk.

Sany Pitbull Unearthed this Insane Mix of 90s Baile Funk

Sany Pitbull Unearthed this Insane Mix of 90s Baile Funk

Foreign fans of Rio de Janeiro's homegrown funk movement have long grasped for Internet straws: an online mix here, some anonymous MP3s there, and once in a blue moon, a full-on EP or LP. But one name has surely been a mainstay since the sound broke to Northern Hemispheric ears circa 2004: DJ Sany Pitbull.

From leveling the European festival circuit, to mentoring disadvantaged kids at the Red Bull Favela Beat Studio in Rio and designing the iFunk-Se app, he has spent 20 years pushing pushing boundaries locally and abroad. He even performed in London during the 2012 Olympics, as part of the Rio Occupies London artistic intervention (read more on that here ).

Today he dropped a gem on his Soundcloud for those craving some history and some context, featuring montagens (mashups or medleys) from the 1994-2000 era, when pure Miami bass gave way to spliced up beats and local shout-outs. He rescued these tracks from his mini-discs (remember those?)—MD players were even more popular than CDJs—when he was a contract DJ with the ZZ Produções soundsystem.

The sound is rough and raw, but ready to go—a precursor to the tamborzão (big beat) that took over after 2000, supplanting the Volt Mix, an electro break sampled and looped from a 1988 obscure release by DJ Battery Brain. He's calling the mixtape Pandora's Box, Vol. 2, which makes sense given that we have no idea what kind of naughtiness will ensue when we share this baby with the Internet. For a little bit of context, I've translated the text that accompanies Sany's mix on Soundcloud from Portuguese to English. Read on and learn up!

"First of all, this mixtape is a tribute to José Claudio Braga, the Zezinho behind ZZ Produções, now deceased, who was the owner of several sound systems: A Coisa, ZZ Disc, O Bagulhão, and Kkreco. I had the pleasure of working with Zezinho from 1995 to 1997 as a contract DJ. He promoted hugely successful bailes funk with his team of official ZZ Produções DJs: DJ Lennon, DJ Marcinho, DJ Sapo Pemba, DJ Tripa, and DJ Xuxa. Myself and other DJs played the extra bailes that they threw outside the official team. Zezinho, who was trained in the military, was a difficult person to deal with and very demanding, but at the same time he was very serious, honest, and professional. I have nothing bad to say about him and it was an enriching professional experience. I miss those times.

With that reflection behind me, this mixtape unearths the original vignettes produced by the ZZ sound system, its radio show, and recordings from its bailes. I had access to all this material at the time that I DJed for ZZ and I’ve been keeping it all along on MD minidisc, now I’ll share it with you all.

One-hundred percent of these montagens. chants, and raps were taken from festivais de galeras (crew festivals). This type of baile funk started in 1994 and was almost totally extinct by the year 1999/2000.

On the Internet, it’s not difficult to find info on Miami Bass, the origin of everything (1980s). You can find blogs that talk the Funk Brasil LP and the whole movement to sing in Portuguese. Some blogs even mention the festivais de galeras (what the media called bailes da morte [death dances]). On YouTube, there are several videos with a few scenes of this era, but finding audio of this stuff online is a rarity.

Besides the tribute, the twofold purposes of “Pandora’s Box Vol. 02” are:
1) To satisfy the nostalgia of those who got down at these bailes by digging up the original vignettes and songs;
2) To tell a little more about the history and evolution of baile funk.

Festivais de Galera:
These parties, akin to a “field day” at school, had rules and regulations as in any competition. They took place in sport and social clubs in the working-class North Zone of Rio, as well as in the poorer suburbs of the Baixada Fluminense and São Gonçalo on the outskirts of Rio. At each step, the crews had to fulfill a mission:

“Ball Stage," where the crew that brought the most colored balls to the baile won a point, “Queen Stage," where the prettiest girl, who became Queen of the Party, was chosen, “Rap Stage," where each crew would nominate an MC or a duo to drop some rhymes on the theme of their chosen.

An interesting historical curiosity: the duo MCs Claudinho and Buchecha were discovered at the Clube Mauá crew festival in São Gonçalo some time in 1995 with their song “Rap Salgueiro de Niterói.” Others famous funkeiros who were “discovered” at these crew festivals include: MC Sapão and Tati Quebra Barraco. One of the coolest components was the “Good Blood Funkeiro Stage,” where whichever crew got the largest number of people to donate blood to Hemorio (Rio de Janeiro state agency that collects blood for public hospitals) would win a point. but of course the real winner was society.

Generally these stages had cash prizes and the winning crew from each festival won a free baile on their home turf.

The Songs:
The audience that attended these festivals was over both pure Miami Bass and Brazilian funk sung in Portuguese. They wanted to hear themselves, especially the name of their communities and in the montagens and raps, which generally big-upped the neighborhood and its attraction. Each crew had its chant, no different than what happens in a soccer stadium anywhere in the world. Each “team” claimed that it was better than its “opponents,” and that's what you'll hear here.

These chants were collected at the dances where DJs recorded them and then incorporated them into productions in their bedroom micro-studios. Afterwards, they were played at the dances already mixed into montagens (mashups with the vocals overtop Miami Bass beats and spliced with typical funk samples). The best ended up on the now defunct Radio Imprensa FM (the first FM transmitter in Brazil, founded in 1955 by the Khoury family, who in the 80s and 90s played funk carioca and the like about 70% of the time). I

It was sacred for these communities and crews to hear their names sung and mentioned on the radio, a kind of liberation and also an increase in self-esteem, because they were now “famous,” known to other crews and throughout the city.

I will not and do not want to enter into the discussion of who was for or against these dances and festivals. Pandora’s Box Vol. 02 simply wants to showcase the music, the early era of the art of making “musical collages,” the influences of DJs and producers at the time, and the overall musical aesthetic—w ithout any pretense of judging whether the songs were “good” or “bad,” nor on the vocal quality of these young people.

This a space to mark an era that was persecuted by the government and the authorities of the State of Rio de Janeiro and criminalized on TV shows. All this happened before funk climbed up the hill and won favor in the favelas—before the glamour, before the Internet, before proibidão. before all the topics that you can much more easily find info about.

It’s history—told and shown through real events.

Greg Scruggs is a freelance writer on music, culture, and cities with a focus on Latin America and the Caribbean. He lives in Brooklyn - @TROPICALISMOrio

Реферат - Media Influences Essay Research Paper Before the - На английском языке

Media Influences Essay, Research Paper

Before the late 19th century, there was only the printed word to convey information to the masses. Since then, the, the world has seen and embraced new technology, which not only enhanced society communication but mass media itself as well. We use mass media mainly to entertain, communicate and persuade these three factors are the motives that help influence society. Persuasion is used through advertising, it s done so by portraying the consumers to what they want to see and how it should and shouldn t be. For entertainment there s usually television and movies, which has some mimicry of society and also a lot of exaggeration that slowly drowns out the true reality of our interrelated and independent society. It s a media effect that s started the evolution of knowledge in our society.

Mass media has also had an influence on Pop Art. Webster s dictionary definition of mass media: a means of communication, that is to say, mass media is a way of sending a message to a vast number of people. Pop Art is an art movement that focuses on popular culture of mainly mass media. Roy Lichtenstien, one of the founders of pop art and a pop artist who uses the techniques of animation in comic artistry. It is through animation society can be portrayed, under so much consumption of media it ends up being exggerated and I quote Comic animation is an exaggeration of the truth, actor Samuel Jackson says on the movie Unbreakable. In some of Roy Lichtenstiens work they have been discribed as super-cliches or pop-cliches which is justifying that his work shows a lot of stereotype ideas and issues, for example a work called We Rose Up Slowly, is like a underwater film close-up of a young and attractive couple (two different sexes that is) who are about to kiss. Their faces practically mirror each other in shape and colour, this symmetrical concept or technique has a sense of balance or perfection.

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How Past Cultural Body Art Has Influenced Our Society Today

It is very common to walk through the mall these days to see people with many forms of body art exposed. Tattoos and piercings surround us on a beautiful day at the beach. Body art is a world wide characteristic shared by men, women, and children of all ages. Yet where and when did all of this begin? With tattoos and piercings being an ancient form of art, it has highly influenced our modern society in many ways.

Tattoos first came about during the Bronze Age when humans first discovered the ability to make metal needles. Tattoos can date back to Egyptian tomb walls that have carvings of tattooed women. A Siberian people known as the Skythians, used to create pictures of deer and goats on themselves to and supernatural hybrids of the two animals, apparently to depict tribal myths. In the Middle Ages, both Christian crusaders and Muslim pilgrims acquired tattoos to signify that they d been to the holy places of their religions. Tattooing became popular in Europe during the 1760s, and by the late 19th century many sailors were seen with tattoos as forms as talismans.

Piercing is a practice that dates back to the earliest human cultures. In different parts of the world at different times, the act of piercing has taken on different meanings. In ancient and contemporary India, the wearing of jewelry in the nose was a means of demonstrating commitment to marriage and inspiring devotion. Beginning in the 1970s, piercing became popular among bohemian “punks” in England and America, as a way of expressing their rejection of conventional values. The Yanomamo are a people who live in the Amazon forests of Venezuela and Brazil, in a way that is probably similar to the way their ancestors lived thousands of years ago. Yanomamo men and women alike wear wooden sticks through their cheeks and the flexible skin between their chins and lips, and hang feathers, leaves and pendants from their ears. They adorn their bodies to suit their concept of beauty, and decorate their bodies with symbolic significance.

Today in our society, body art is very common to many people, no matter what their cultural back round is. In 20th century America, tattoos can be used to signify membership in elite organizations, from the Marine Corps and college fraternities to prison gangs. Tattoos are also used to show identity or rebellion. Piercing today can vary from signs of beauty to signs of individualism. Even though centuries have passed between the people of today and the people of yesterday in terms of body art, the love for the art has never left our blood.

Extraneous Influences Essay Research Paper Brian Pedersen31320005th

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Extraneous Influences Essay, Research Paper Brian Pedersen 3-13-2000 5th Period Berger Saw No ‘Extraneous Influences’ On Foreign Policy Summary National Security Advisor Sandy Berger testified today that he saw no evidence of “extraneous influences” on the Clinton Administration’s foreign policy, despite visits to the White House by some questionable characters with overseas interests. Berger, in testimony before the Senate Governmental Affairs Committee, said there was no clear policy last year for screening overseas visitors who wanted time with President Bill Clinton or Vice President Al Gore. But Berger said that since the flap over White House visits by big Democratic contributors, he has moved to tighten access and restrict contacts between the Democratic

National Committee and the president’s national security team. “I felt very strongly that we needed to have a much clearer system, much more clarity for our staff people, so that there would not be any questions about how these things should be handled,” Berger said. Asked by Sen. Max Cleland (D-Ga.) whether the United States’ national security was compromised by the Democrats’ push to raise money, Berger declared, “Not in any way, senator.” Sen. Fred Thompson, the committee’s chairman, pointed to a string of visits to the White House by questionable characters, including Johnny Chung and the Chinese businessmen who accompanied him; Wan Jun, a Chinese business executive whose company tried to smuggle arms into the U.S.; Lebanese businessman Roger Tamraz; and

international businessmen from the Thailand-based CP Group brought in by Pauline Kanchanalak.”I take it you were not aware of this disturbing pattern of activities?” Thompson asked Berger. Berger said he would have been interested in knowing about the visits. “The system functions best when there is vetting,” he said. Important People Sen. Fred Thompson The committee’s chairman Sen. Max Cleland Key proponent in investigation Importance/Opinion I agree there are many influences on the vast body of political individuals that affect foreign policy. Personal gain and race not being the least. This investigation is one that probes whether or not extreme influences are affect foreign policy makers decisions. This is an important attempt to keep