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Radcollector.com: Columns | Brian Deka Paupaw | ::OPSVIDA:: Part 2 – Parteum

Brian Deka Paupaw

::OPSVIDA:: Part 2 – Parteum

18 March 2014, 22.58 | Posted in Uncategorized | 2 comments »

Welcome back to part two of my Brazilian Hip Hop series. If you missed Part one with DJ Nyack you should definitely check it out. I want to introduce you to one of the hardest working artist and entrepreneurs in Brazil. This dude is not only nice on the mic, but Partuem is also a dope skater as well! Getting inspiration from his Brother ‘Rappin Hood’ another dope Brazilian Emcee, Partuem stepped up and joined the ranks of Brazils emerging Hip Hop scene.


Peace! tell us who you are, where your from and what you do.
My name is Fabio, Parteum. I rap, I design, I produce music and I run a little production/publishing company called Mudroi.

What influenced you to get into hip hop here in Brasil?
Mostly my brother (Rappin’ Hood). I remember when I was like 9 or 10. He came home with a Def Jam compilation. It had “The Ruler Is Back” by Slick Rick… it was the first rap song I was really into. The compilation had songs by Public Enemy and LL Cool J, as well. From then on we’d buy vinyl whenever we had a little money. My parents nurtured our love for music, so it was all good. My brother was already rhyming and making his own beats. Then I got into street skating, then I became pro, went to California, came back, worked as producer at Trama, produced a bunch of music to a lot of artists. My brother has been rhyming for 26 years now, and I’ve been Rhyming and producing for 14 years, or so.

You produce beats as well? how did you get into production?
I guess the production thing was first. When I was 11 or 12, I used to take my little sister to her piano lessons. I started to learn a few things about chord progressions, you know, the basics, through my sister. And then my father bought a piano. And I found a way to practice between school, skateboarding and work. I started to get good at it. When I realized I wouldn’t be skating professionally for the rest of my life, I decided to take music seriously, because I kinda had a vision for it. It was perfect for me. And I still skate with my buddies all the time.

I’ve been following your music for a year now. A lot of your lyrics seem to deal with everyday life in Brasil. “Raciocínio Quebrado” is one song that stands out to me. What was your inspiration to write that song?

For that song the whole idea was to let the listener know that our thought process is broken. We get a lot of information from different mediums and you can see things one way watching TV and then you go check a blog, or a website about US politics, let’s say politico.com, if you’re into US politics and whatnot. Or you go check what people like Nick Bilton, or even Tavis Smiley is saying about a subject and your views may change. It makes perfect sense to not just pay attention to stuff, looking at it from a single perspective. So when you have to talk about it or if you have to put it in rhyme, you ‘ll try to break it down into little pieces, basically reassembling stuff from the ground up. That’s Hip-Hop, in a way. A producer will sample from different composers, reassemble their music and make it sound like something else. It’s not like you’re solely depending on the NY times or Folha de Sao Paulo. You can be way more resourceful now.

I feel as if Brazilian hip hop is going through a golden era like America in the late 80’s, would you say that is really happening?

As far as as the game goes, I’ve already experienced what’s going on with hip hop in Brazil now, back in the ‘90s, while I was in college. Nas performing with the Fugees, when the second album came out… so for me to watch guys like Leandro (Emicida) or Rael becoming stars is great! It’s a cycle, like Q-Tip said on “Excursions” “Daddy, don’t you know that things go in cycles…”

There is another transformation as well I have noticed here in SP, and that is the business of hip hop. Do you think what happened to hip hop in America do you see the thing happening in Brazil?

No, it’s different. Once you’re no longer the cool guy on the block, and you’re accepted by the mainstream, mainstream media, mainstream businesses… Everything that’s mainstream will accept you, but then you’re no longer part of the cool club. There’s a formula to it. People’s perception will change overnight, though. A lot people will frown at you, because you’re making money and you’re successful (to a degree). It’s different in America, rappers with a lot of money start their own NGO’s and foundations. We’re not on the same level here. There’s no Brazilian rapper evaluated at ¼ of what JAY-Z is worth. It can’t be compared to what happens in the US. Once you’re popular in Brazil, you’re no longer accepted by your own people, you’re just a mainstream artist. You’ll need more money to keep the boat afloat… that means you’ll probably make music to cater to a broader audience… And people’s taste in music is generally awful, these days. So music suffers, and as an artist you don’t have enough power to present new music properly to people around you… You need to talk to people above you, let them change a thing or two, before you’re really in power. I’m pretty sure there’s music being tested by focus groups somewhere, but as far as Rap in Brazil going the exact same route as Rap in the US did, I don’t think so.

I see your vision is beyond rap. Can you talk about your other projects?

Raciocínio Quebrado will become a TV show, soon. I’m trying to license it to a TV network here. Other than that, I’m a partner in a film production company called Mudroi. We’re a publishing company, as well. I’m producing a few artists, like Amiri. Producing new songs for Kamau, Rappin’ Hood, Mzuri Sana… I’ll try to make more music now and focus on that. Four years ago, or so, I was into making music for movies, but I’m getting back to Rap. I did stuff for Antonia, City of God, City of Men, and a few other TV shows. I’m just trying to make good music. I gotta keep making the music that I love, inspired by people like DJ Premier, Pete Rock, J Dilla, Tom Ze, Maurice White, Tim Maia, Pat Metheny, Elis Regina… Artists that I used to listen to with my mother, back in the day.

What is your vision for the future of Hip Hop in Brasil?

I want to see more rappers on TV. My brother had a really nice run as a TV host for about two years and a half. What I want now is for us to have more power. Being aware of the money that we generate is just a part of the puzzle. I want more rappers to own all of their publishing, signing deals with TV Networks, funding their own festivals and making money off of it. I got this deal with a Brazilian shoe company. I design my own shoes as well. I try to do a little bit of everything. I went to school for design and decided I wanted to do other things. I feel like hip-hoppers need to be everywhere, just like it is in the US.

Anyone you want to shout out? any artist people in America should look out for?

Shout out to my brother. Shout out to Trama. Shout out to Nelson Triunfo, KL Jay… Shout out to everybody. You know, the generals of Brazilian Hip Hop!

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  1. [...] here on Radcollector covering Brazilian Hip Hop. Last time I was kicking it in Sao Paulo with Parteum, and now this time I had the opportunity to go to Rio De Janeiro for the first time and link up [...]

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