{"id":42867,"date":"2017-01-03T11:36:47","date_gmt":"2017-01-03T09:36:47","guid":{"rendered":"https:\/\/pan-african-music.com\/back-in-1988-when-post-punk-and-no-wave-already-had-their-acme-time-in-the-us-and-europe-some-brazilian-musicians-archly-revelled-in-the-genre-not-without-great-provocation\/"},"modified":"2020-04-27T03:39:48","modified_gmt":"2020-04-27T02:39:48","slug":"back-in-1988-when-post-punk-and-no-wave-already-had-their-acme-time-in-the-us-and-europe-some-brazilian-musicians-archly-revelled-in-the-genre-not-without-great-provocation","status":"publish","type":"post","link":"https:\/\/pan-african-music.com\/en\/back-in-1988-when-post-punk-and-no-wave-already-had-their-acme-time-in-the-us-and-europe-some-brazilian-musicians-archly-revelled-in-the-genre-not-without-great-provocation\/","title":{"rendered":"Black Future, the dark side of Rio (1988)"},"content":{"rendered":"

\"\"<\/p>\n

Back in 1988, when post-punk and no-wave already had their acme time in the US and Europe, some Brazilian musicians archly revelled in the genre, not without great provocation.<\/h4>\n

Rio de Janeiro-based Black Future (founded by Carlos Ant\u00f4nio de Mattos aka\u00a0Tant\u00e3o\u00a0and M\u00e1rcio Bandeira aka\u00a0Satan\u00e9sio) is the perfect illustration of how this mix of white punk and black reggae and dub, turned itself a more complex cultural interbreeding when reclaimed by artists who grew up on the Latin culture of samba and carnaval, share the collective memory of a city (Rio de Janeiro) and neighborhood (Lapa), and intend to criticize the society they are living in : Brazil in the \u201880s. Their underground success track “Eu Sou O Rio”\u00a0is representative of the counter-cultural era. Music digger\u00a0Daniel Haaksman<\/a>\u00a0is no stranger to the band’s reappreciation when he featured the song in the\u00a0essential compilation he published on his own label in 2005 (N\u00e3o Wave \u2013 Brazilian Post Punk 1982-1988<\/em>, Man Recordings).<\/span><\/p>\n