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No presente artigo discorro sobre um movimento recente no funk carioca conhecido como 150 BPM. Por meio de descrições históricas e etnográficas pretendo demonstrar como os fatores técnicos e territoriais fomentaram a aceleração do andamento entre DJs desta cena. A história do funk é marcada por cortes geracionais profundamente influenciados por aparatos cuja inserção altera, autoriza ou impele a novos modos de produção e circulação da música. Ao mesmo tempo, o funk carioca tem nos bailes o seu principal circuito, conectando-se assim aos territórios onde estas festas ocorrem. Esta pesquisa é parte de minha tese de doutorado, fruto de um trabalho de campo realizado entre os anos de 2014 e 2020 com DJs e MCs nas favelas do Rio de Janeiro. In this paper I focus on a recent movement in funk carioca known as the 150 BPM. Through historical and ethnographic methods, I demonstrate how technical and territorial factors have fomented the acceleration among DJs in this music scene. The history of funk is shaped by generational divisions that are deeply influenced by technologies that alter, authorize, or encourage new modes of production and circulation of music. The dances are funk carioca's main circuit, connecting this music scene to the territories where the parties take place. This research is part of my Ph.D. dissertation and results from fieldwork among DJs and MCs in the favelas of Rio de Janeiro between the years of 2014 and 2020

Notre article se propose d’analyser l’album Off the wall de Michael Jackson (1979) selon les modalites de la dichotomie musico-raciale americaine, commerciale et stylistique, telle qu’elle se decline a l’aube des annees 1980. Il vise a mettre en evidence la maniere dont cette production a depasse les clivages des classements de vente, mais egalement les conventions coloristes attachees aux etiquettes stylistiques, par des dynamiques globales et internes d’imbrications et d’associations sonores. Des elements d’autant plus importants qu’ils sont des jalons creatifs fondamentaux dans la trajectoire decategorisante que Michael Jackson n’aura de cesse de poursuivre tout au long de sa carriere adulte.

O propósito deste artigo é discutir o universo político e criativo das relações em lugares organizados por e para pessoas LGBT negras e ou periféricas na cidade de São Paulo. Para isso, em um primeiro momento, discuto a emergência da cena preta LGBT de São Paulo a partir dos discursos em torno da relação entre arte e política sobre um conjunto de estéticas, lugares e sujeitos identificados como “geração tombamento”, e o enquadramento de uma cena de festas engajadas com redes, estética e códigos próprios. Num segundo momento trago algumas notas etnográficas do trabalho de campo realizado em um baile funk LGBT e periférico onde se produzem ambientes em que sujeitos negros LGBT podem se afirmar, desajar e se sentir desejados.

As a phenomenon, funk is wider than its specificities as a musical genre. The cultural space it occupies highlights issues related to the body, gender, race and social classes as sociopolitical aspects in constant friction with elite culture and the media, which absorb it and attempt to sanitize it. If something needs to be sanitized through the erasure of social and racial traits of funk singers and dancers, it is because this condition is seen as abject - immund. This article makes use of the concept of immund to analyze the black and LGBT body within the funk universe by examining the portraits of six young men in light of theoretical reflections derived from the fields of dance, performance art and politics. Résumé: Le Funk est un phénomène plus ample que ses spécificités en tant que genre musical. L’espace culturel qu’il occupe met en évidence des questions concernant le corps, le genre, la race et les classes sociales. Son côté sociopolitique se frotte constamment avec la culture des élites et des médias, qui le pénètrent en essayant de le nettoyer, comme s’il était abject et imundo. Cet article s’approprie le concept d’impureté pour analyser le corps noir et LGBT dans l’univers du Funk. En examinant les portraits de six hommes, on propose une méthodologie d’analyse et de réflexion basée sur les théories de la dance, de la performance art et de la politique. Resumo: O fenômeno do Funk é mais amplo do que as suas especificidades como gênero musical. O lugar cultural por ele ocupado coloca em evidência questões relativas ao corpo, gênero, raça e classe social como conteúdos sociopolíticos em constante fricção com a cultura da elite e das mídias, que o absorvem e buscam higienizá-lo. Entende-se que se algo deve ser higienizado pelo apagamento dos traços sociais e raciais dos funkeiros é porque essa condição é entendida como abjeta - imunda. Parte-se aqui do conceito de imundo para tratar do corpo negro e LGBT no universo do Funk por meio do portrait de seis rapazes tendo como suporte teórico reflexões do campo da dança, da performance art e da política.

This article describes the main correlations that were obtained between music preferences and personal values. It has been discovered that personal values play a significant role in people’s music preferences and they are at the forefront in proposing a map that links personal values to music preferences. According to the results, music preferences can be defined by personal values since people tend to listen to a specific type of music if corresponding values are projected such as conservatism and openness. In this case, music is broken into four preference dimensions which include reflective and complex for folk, jazz, and classical, rebellious and intense comprising of punk, rock, and alternate, conventional and upbeat comprising of pop, country, and soundtracks, and lastly rhythmic and energetic including funk, electronica, hip-hop, and soul. Besides, preferences may be defined by socio-demographic characteristics such as age and gender such that the young people tend to prefer music because of what the other peers listen to and enjoy music in social places such as bars, restaurants, and music festivals, middle-aged people listen to the music of their preferences and at the time of their choosing at homes or while carrying out activities, the aged tend to have less music preference but some cannot do anything without listening to music and therefore have to keep their preference music always. Males tend to focus on certain genres of music such as heavy metal and rock which are associated with cognitive listening and demonstrates a negatively conservative nature of music while females prefer listening to pop music more than males. This article discloses the main results that were obtained in the empirical study of different articles concerning the topic of the relationship between personal values and music preferences. No such research was conducted on Ukrainian-speaking samples before.

O artigo propõe uma leitura simbólica do ensaio Rio Baile Funk, do fotógrafo Vincent Rosenblatt, a fim de identificar se as imagens diferem das representações do corpo negro da iconografia fotográfica brasileira. Partindo de referenciais sobre a representação do negro na fotografia e sobre o funk como catalisador simbólico das pulsões do corpo, foi possível identificar aspectos simbólicos ligados a uma ritualística orgiástica, voltada ao contato e à profanação, que subvertem o estereótipo do corpo negro utilitário e subserviente.

Diante da quantidade de músicas disponíveis atualmente, classificar músicas manualmente é uma tarefa árdua. Neste sentido, a classificação automática de gêneros musicais é uma abordagem pertinente, auxiliando o processo de organização, pesquisa, recuperação e recomendação de músicas. Verifica que, apesar da existência de bases de dados tradicionais relacionadas à classificação de gêneros musicais, essas bases tendem a considerar gêneros tradicionais, como o Jazz e a Música Clássica, ignorando gêneros regionais, como os da cultura brasileira, por exemplo. Desse modo, o objetivo deste estudo é apresentar uma base de dados destinada à classificação automática de gêneros musicais brasileiros. Para tanto, utiliza o Spotify para identificar músicas relacionadas aos gêneros Axé, Bossa Nova, Brega, Choro, Forró, Frevo, Funk Carioca, Maracatu, Música Sertaneja, Pagode e Samba. Como resultado, desenvolve uma base de dados com 1.907 registros relacionados a esses gêneros, e estabelece comparação entre esta e outras seis bases de dados, identificando que a base proposta supera quatro bases em número de registros e consiste na mais abrangente em relação ao total de gêneros considerados. Por fim, disponibiliza a base para novos estudos, e incentiva a sua aplicação em pesquisas que envolvam heurísticas de Mineração de Dados e Deep Learning.

Resumo: Este ensaio discute as ideias de sintoma e sobrevivencia – como elaboradas por Georges Didi-Huberman – a partir de uma comparacao do lugar social de tres movimentos musicais brasileiros fortemente associados a negritude: o samba, o rap e o funk carioca. Observa-se que o tratamento, em grande medida discriminatorio, dado pela sociedade brasileira ao samba, no passado, e ao rap e ao funk , no presente, explicita o carater sintomatico do racismo em nosso pais. Ainda que desde a decada de 1930 se venha construindo um discurso que busca disseminar a ideia de democracia racial no Brasil, o racismo insiste em ressurgir nas mais variadas relacoes sociais, da maior probabilidade de morte por meios violentos enfrentada pela populacao negra as dificuldades que se impoem a suas producoes artisticas. Palavras-chave: cultura negra; racismo; sintoma; sobrevivencia; democracia racial. Abstract: This article discusses the concepts of symptom and survival – as they have been elaborated by Georges Didi-Huberman – through comparing the social status of three different musical movements strongly associated with blackness: samba , rap and funk carioca . We suggest that the highly discriminatory treatment given to samba in the past, as well as to rap and funkin the present, is a good example of the symptomatic racism which characterizes social relations in Brazil. Although a discourse which disseminates the idea of Brazil as a racial democracy has been developed in the country since the 1930s, racism insists on reappearing in several social situations, from the much higher probability of death through violent means faced by the black population to the difficulties imposed on their artistic productions. Keywords: black culture; racism; symptom; survival; racial democracy.

O presente ensaio propõeanalisar a aplicação do funk como ferramenta pedagógica para o ensino de literatura, bem como as influênciasidentitárias daqueles e daquelas que se identificam como funkeiros. Para embasamento, usaremos as postagens da páginaFunkeiros Cults que tem servido como um significativo difusor cultural da literatura no Brasil por meio do uso das redes sociais e das novas tecnologias, atingindo principalmente o público jovem, com enfoque especial à juventude moradora de periferia e de baixa renda. Por meio da criação de memes, a página inova ao disseminar postagens acerca das principais obras não só da literatura brasileira, mas também em âmbito mundial, e traz para o debate questões sobre acesso à cultura no Brasil e o lugar do funk na educação periférica. Buscamos, também, analisar o fenômeno do “funk motivação”, considerando-o um dos principais agentes responsáveis pela educação nas comunidades e pela instrução infantojuvenil, utilizando como objeto empírico uma música do subgênero, denominada Ilusão “Cracolândia”, no objetivo de propor um debate sobre o alcance musical dessa categoria e sua importância nos lugares onde o Estado não chega, além de discutir maneiras levar a música popular para dentro dos espaços escolares, potencializando o processo de ensino-aprendizagem da juventude brasileira.

Notre article se propose d’analyser l’album Off the wall de Michael Jackson (1979) selon les modalites de la dichotomie musico-raciale americaine, commerciale et stylistique, telle qu’elle se decline a l’aube des annees 1980. Il vise a mettre en evidence la maniere dont cette production a depasse les clivages des classements de vente, mais egalement les conventions coloristes attachees aux etiquettes stylistiques, par des dynamiques globales et internes d’imbrications et d’associations sonores. Des elements d’autant plus importants qu’ils sont des jalons creatifs fondamentaux dans la trajectoire decategorisante que Michael Jackson n’aura de cesse de poursuivre tout au long de sa carriere adulte.

From dressing-up to dancehalls, Rockers, Soulheads & Lovers: Sound Systems Back in Da Day explores the golden era of African-Caribbean sound systems from the 1950s to the early 1980s in London. Told from the perspective of local people, this vibrant exhibition curated by Michael McMillan in collaboration with Dubmorphology (Gary Stewart & Trevor Mathison), takes the form of an atmospheric audio-visual installation, conjuring a Blues party environment within the galleries. It brings to life an important cultural history, explored through a display of historical objects, personal accounts, film footage and photographs, reflecting upon how these dynamic cultural practices have had a significant impact on British music and dance ever since. Sound systems (sounds) refer to custom-made high-powered mobile Hi Fi’s, and the equally important collective of ‘operator’, ‘box boys’, ‘engineer’, ‘selector’, ‘toasters’ and ‘MCs’. Barred from English pubs and clubs, and rarely hearing their music on the radio, many Caribbean migrants created their own House parties (late called Blues parties and Shebeens) in their homes where they could socialize, sometimes in a racially mixed environment. Although sound systems originated in Jamaica, it would form its own expression and identity in Britain and with reggae as it’s cultural foundation it has since created and absorbed other black music genres: Soul, Funk, RnB, Hip Hop, Jazz Funk, House, Jungle, Garage, Drum & Bass, Dub Step, Grime. The title, Rockers, Soulheads & Lovers, represents the diversity of subculture within sound system culture during the 1970s, from Reggae to Soul and Funk, to Lovers Rock, popular amongst many women and men. Its distinctive British style, therefore, tells a unique story of migration, settlement and identity. Alongside Nottingham, Bristol, Manchester, Leeds, and Birmingham amongst others, London emerged as a leading city for sound systems. The exhibition narrative explores London’s historic sound system culture, including Sir Coxsone, Sufferah, Sir George, Mastermind, Rappattack, Saxon Studio, and Nzinga Soundz, led by women. There is also the next generation of sounds like Young Warrior, who continues the tradition of his legendary father Jah Shaka, in his own style. Amongst these stories are producers like the legendary Dennis Bovell, and Mykaell Riley (Steel Pulse). Janet Kay, Victor Romero-Evans and Carroll Thompson also discuss the importance of Lovers Rock for ‘ravers’. Their memories and experiences are collated and presented through audio-video material, historical and contemporary. The exhibition functions as an archive of photographs, flyers, style-fashion-dress, objects and furniture of the moment, which come alive in the gallery. • Central to the dance was/is the desire to impress, recreated in the exhibition through a built domestic setting, complete with wallpaper, a ‘Blue spot’ radiogram, hairstyling tools and dress. • While many of these clubs and dance spots have long since gone they are located on a large-scale interactive map of London alongside equipment on display including wardrobe speakers, valve amps, and vinyl records. A three screen triptych includes archive footage, a layered soundtrack interwoven with oral histories. • The exhibition opens with a Blues dance at 198 Contemporary Arts & Learning on Saturday 19th March, with local DJs playing on a local sound system. • Opening to the public on 21st March, the exhibition includes a programme of public events and educational activities including guided talks with the curator Michael McMillan, panel discussions, film screenings, and workshops, such as How to Build a Sound System.

A partir da conciliação de duas perspectivas antropológicas de análise dos objetos materiais – o sistema classificatório de bens e as abordagens da materialidade – propõe-se um caminho alternativo para o estudo da moda. O enquadre oferecido escapa aos tradicionais esquemas distintivos, desloca a análise da moda de um sistema de gosto mundial e afasta o seu estudo de uma apreciação do belo, seja esta guiada por modos ditos corretos de se autoapresentar ou por uma noção de belo universal. Por fim, mostra-se como o estudo da moda de vestuário coloca sempre em questão o corpo e a relação que a indumentária estabelece com o mesmo. Seeking to conciliate two anthropological perspectives regarding material objects – the classificatory system of goods and the approaches of materiality – this article proposes an alternative way of studying fashion. The framework offered seeks to escape the traditional distinctive patterns and the analysis of fashion from within a global system of taste, keeping the analysis distant to matters of beauty, be it supposedly correct modes of self-presentation or universal notions of beauty. It is suggested that the study of fashion necessarily puts into question the notion of the body itself, and the relation that clothing establishes with it.

This work analyses the importance of funk in the student movements ocurred in Brazil between 2015 and 2016. The funk is understood as part of a social identity that still looks for a legitimacy and recognition inside the country. As literacy of re-existence and of resistance, the funk is potencialized by the digital media, mainly by the Internet, that aids on the democratization process of the circulation of these materials. --- DOI: http://dx.doi.org/10.22409/cadletrasuff.2017n54a369

O Funk é uma das maiores expressões culturais dos estilos de vida e realidade da juventude das periferias brasileiras. Esta juventude na maioria das vezes enfrenta realidades de vulnerabilidade social e violência, o que muitas vezes contribui para o envolvimento desses jovens com o crime. Este artigo discorre sobre o estudo do Funk como processo emancipatório nas medidas socioeducativas do CASE-Santa Maria/RS, e tem como objetivos compreender a importância do Funk como ferramenta de aprendizagem, entender os processos de expressão cultural, política e social dos jovens e contribuir para a eficácia das medidas socioeducativas. Trata-se de uma Pesquisa Qualitativa, utilizando Método de Abordagem Dialético, e como técnica a observação participante através das oficinas do Projeto Leitura, Ação: Dramatização, realizadas no ano de 2018 com jovens em medidas socioeducativa no CASE Santa Maria/RS, no âmbito do convênio entre Universidade Federal de Santa Maria, Ministério Público Estadual e Fundação de Atendimento Socioeducativo. Os resultados observados no desenvolvimento das oficinas foram de reconhecimento dos jovens como sujeitos políticos e sociais e protagonistas da sua história, melhora dos níveis de leitura e construção do conhecimento e reconhecimento do Funk como expressão cultural das suas realidades.

In his book "Differential Geometry of Spray and Finsler spaces", page 177, Zhongmin Shen asks "wether or not there always exist non-trivial Funk functions on a spray space". In this note, we will prove that the answer is negative for the geodesic spray of a finslerian function of non-vanishing scalar flag curvature., 4 pages, accepted by CRMATHEMATIQUE

Uma série de episódios que mostram o comprometimento do primeiro presidente petista com a militarização da segurança pública serve de pano de fundo para um estudo da origem, do desenvolvimento e da morfologia de três bases rítmicas características de três décadas sucessivas do Funk Carioca: o Volt Mix (anos 1990), o Tamborzão (primeira década dos anos 2000) e o Beatbox (anos 2010). Entrevistas, transcrições e espectrogramas indicam sincronismos entre transformações da sonoridade e eventos políticos. À medida que se cerceiam os bailes, a base desocupa sucessivamente o agudo (primeira década dos anos 2000) e o grave (anos 2010) para encolher-se no centro. O início e o fim do segundo mandato, marcados pela Chacina do Pan (2007) e pela invasão dos Complexos da Penha e do Alemão (2010), delimitam uma era de ouro do Proibidão. A series of episodes that show president Luiz Inácio Lula da Silva's commitment to the militarization of public security provides the backdrop for a study of the origin, development and morphology of three beats (bases) that characterize, each, one decade of Funk Carioca: Volt Mix (1990s), Tamborzão (the years 2000-2009) and Beatbox (from 2010 onwards). Interviews, transcriptions and spectrograms indicate synchronisms between political events and changes in sonority. As the dances (bailes) become outlawed, the beat retreats successively from the high (years 2000-2009) and low (2010 to date) edges of the spectrum to concentrate in the medium. Marked by the Pan American Games Massacre of 2007 and by occupation of the Penha and Alemão complexes of favelas in 2010, the beginning and the end of Luiz Inácio Lula da Silva's second term in office delimit a golden age of Forbidden Funk (Proibidão).

Most recently, Cathy Cohen’s Democracy Remixed has eloquently captured how multiple moral panics about hip hop shape black politics, and so it seems necessary to make more comprehensible the nature of hip hop as a movement with different aims and levels. As with most black liberation movements, we must consider the above ground and below ground tactics. Hip hop traffics in above ground and below ground actions. Such fluidity might be best read through the lens of queerness. Queer studies and queer theory enable a conversation about space and place in hip hop that is less about origins and dispersal shaped by race and nation, as Murray Forman theorizes in “Represent: Race, Space, and Place in Rap Music.” Instead, it helps us consider the nook and cranny spaces of transitional bodies and public spheres as well as moves us away from a privileging of forms and mediums such as music, dance, graffiti, deejaying, and fashion in these discussions. This same privileging of forms has contributed to the proliferation of a gender hierarchy since they are susceptible to commodification by corporations that divest hip hop of all its queerness. Hip hop has been used in ways that belie its misogynist, homophobic, sexist tag when it is centered on transitional bodies in transitional spaces, rather than a fixed body in transitional spaces. Hip hop is black funk’s intervention on Greek and Roman eros. In Sylvia Wynter’s parlance, it unmakes the imperialist project of Western modernity, the order of knowledge, and its overrepresentation of man. Taking my cue from Freedom Dreams: Black Radical Imagination, in which Robin D. G. Kelley insists that “surrealism recognizes that any revolution must begin with thought, with how we imagine a New World, with how we reconstruct our social and individual relationships, with unleashing our desire forum

La figure de l’androïde propose un point de vue et des significations autres quant au discours dominant porté sur la différence. Elle délocalise la représentation de l’autre et de l’étranger, questionne l’altérité. C’est par son hybridité, croisant machine et humain, qu’elle conduit cette potentielle réflexion sur l’altérité, par ailleurs centrale dans le discours afro-futuriste. D’un point de vue musical, dans sa construction intrinsèque, le groove quant à lui possède un caractère définitivement machinique où la répétition des motifs laisse penser à un répertoire clos, parfois restreint, dans lequel vient puiser le musicien pour agencer, sous forme de séquences redondantes, la structure du morceau. Cette répétitivité machinale se double pourtant d’un caractère organique lorsque l’impulsion donnée au groove lorsqu’il est joué laisse paraître un travail constant, interne, de la matière. Suivant des analyses musicales qui questionnent le travail de premier plan et la construction d’arrière-fond des grooves de funk, cet article propose de souligner les connexions tangibles entre groove de funk et discours afro-futuriste, à travers l’exemple précis de la représentation de la figure de l’androïde dans la composition musicale de Parliament / Funkadelic.

In the middle of 2010, a new musical style was born in Brazil called "FUNK OSTENTATION", a style that spread rapidly through the peripheries of the big cities, imposing a new way of thinking, acting and dressing the young people. The central themes addressed in the songs of "FUNK OSTENTATION " refer to the consumption and the proper ostentation, where most of the representatives try to sing about cars, motorcycles, drinks and other valuables, as well as making frequent quotations to women and how they achieved a greater power of material goods, exalting the ambition to leave the favela and achieve the objectives. You who read this text may be wondering what is the "FUNK OSTENTATION " with Dentistry, since this magazine is dedicated to dental matters? For it is, sadly, Dentistry more specifically Orthodontics has been suffering a hard blow in the present time to be associated with the said "FUNK OSTENTATION". Practitioners of this fashion as well as displaying gaudy clothes, gold chains and tattoos show "personalized" orthodontic appliances according to them. So far so good, since a significant portion of the population has orthodontic needs. However the way that Orthodontics is being practiced is what frightens them. Orthodontic brackets are being glued to the teeth by the youngsters themselves using cyanoacrylate glue (Superbonder, São Paulo, Brasil) and the styling of the device is performed with colored broom bristles associated with chain elastics directly to the brackets without any orthodontic arch (Figure 1). Not to mention that all this process is being done without professional guidance. The risks to the patient are enormous and can range from a simple allergic reaction to those materials that were not developed for such a function, intoxications besides tooth movement to undesired positions with consequent bone loss that could progress to tooth loss. But who could take the blame? It is worth noting that in Brazil there is no specific legislation for the purchase of dental materials and equipment, which can be acquired by any individual and anywhere. Nowadays it is not new for anyone to walk through the center of big cities and come across street vendors selling brackets and colorful orthodontic elpasticos. In developed countries legislation makes it difficult to sell even to foreign orthodontists. It is necessary that measures are taken as soon as possible so that this fashion ends and our Dentistry is respected. The Federal Council of Dentistry (CFO) has worked hard to supervise clandestine places of the profession, but situations such as this one of "ORTO OSTENTATION " is out of place because it is not carried out by professionals, but rather by clandestine ones. In the middle of 2010, a new musical style was born in Brazil called "FUNK OSTENTATION", a style that spread rapidly through the peripheries of the big cities, imposing a new way of thinking, acting and dressing the young people. The central themes addressed in the songs of "FUNK OSTENTATION " refer to the consumption and the proper ostentation, where most of the representatives try to sing about cars, motorcycles, drinks and other valuables, as well as making frequent quotations to women and how they achieved a greater power of material goods, exalting the ambition to leave the favela and achieve the objectives. You who read this text may be wondering what is the "FUNK OSTENTATION " with Dentistry, since this magazine is dedicated to dental matters? For it is, sadly, Dentistry more specifically Orthodontics has been suffering a hard blow in the present time to be associated with the said "FUNK OSTENTATION". Practitioners of this fashion as well as displaying gaudy clothes, gold chains and tattoos show "personalized" orthodontic appliances according to them. So far so good, since a significant portion of the population has orthodontic needs. However the way that Orthodontics is being practiced is what frightens them. Orthodontic brackets are being glued to the teeth by the youngsters themselves using cyanoacrylate glue (Superbonder, São Paulo, Brasil) and the styling of the device is performed with colored broom bristles associated with chain elastics directly to the brackets without any orthodontic arch (Figure 1). Not to mention that all this process is being done without professional guidance. The risks to the patient are enormous and can range from a simple allergic reaction to those materials that were not developed for such a function, intoxications besides tooth movement to undesired positions with consequent bone loss that could progress to tooth loss. But who could take the blame? It is worth noting that in Brazil there is no specific legislation for the purchase of dental materials and equipment, which can be acquired by any individual and anywhere. Nowadays it is not new for anyone to walk through the center of big cities and come across street vendors selling brackets and colorful orthodontic elpasticos. In developed countries legislation makes it difficult to sell even to foreign orthodontists. It is necessary that measures are taken as soon as possible so that this fashion ends and our Dentistry is respected. The Federal Council of Dentistry (CFO) has worked hard to supervise clandestine places of the profession, but situations such as this one of "ORTO OSTENTATION " is out of place because it is not carried out by professionals, but rather by clandestine ones.

O objetivo do artigo é compreender as estratégias de produção de funk e seu consumo por jovens mulheres de classe popular de Porto Alegre. Para tanto, adotamos o Mapa das Mediações em articulação com discussões sobre visibilidade midiática, considerando o gênero como categoria analítica. Através da pesquisa documental, entrevista e observação obtivemos resultados que indicam que a música funk carrega experiências de gênero intrínsecas aos modos de vida da cultura popular que se estabelecem no cotidiano de quem o produz ou consome. Para divulgar a imagem e a música da MC, estratégias de visibilidade midiática se dão principalmente nas redes sociais digitais e no rádio. O consumo do funk explicita a consciência e identificação de jovens mulheres a partir de discursos que remetem às suas realidades. As leituras que o funk adquire navegam entre diversão e retrato de lutas diárias por uma vida mais digna.

This study investigated whether use of alcohol, cigarettes, and marijuana may be predicted from preferential consumption of particular music genres. Undergraduates (257 women and 78 men) completed a questionnaire assessing these variables. Partial correlation analyses, controlling for sensation-seeking tendencies and behaviors, revealed that listening to conventional music (pop, country, and religious genres) was negatively correlated with cigarette smoking ( p = .001) and marijuana use ( p

In Music and Discourse, Jean-Jacques Nattiez theorizes that noise is not only subjective, its definition, and that of music itself, is culturally specific: “There is never a singular, culturally dominant conception of music; rather, we see a whole spectrum of conceptions, from those of the entire society to those of a single individual” (43). Noise in this context is therefore most often positioned as the result of music that runs contrary to an established set of rules. However subjective the assessments of both the musical producer and listener, Nattiez notes that these “‘criteria’ are always defined in relation to a threshold of acceptability encompassing bearable volume, the existence of fixed pitches, and a notion of order – which are only arbitrarily defined as norms” (45). If these criteria are arbitrary, then music might just as arbitrarily be redefined to valorize noise rather than eschew it, something true of Public Enemy and their musical aesthetic of noise. It Takes a Nation of Millions to Hold Us Back (1988) uses saxophone samples in many songs that act in tandem with the lyrics to form “an aggression against the code-structuring messages” (Attali 27) found in popular music conventions. Moreover, noise has been a part of the musical landscape for longer than we might think. Public Enemy’s examples are comparable to the use of dissonance in the music of jazz legends Duke Ellington, Thelonious Monk, and others. Public Enemy created noise with saxophone squeals, erratic drums, and countless scratches on Nation, a recording that has influenced numerous hip-hop artists and it stands today as a critically lauded and influential album. This paper investigates Public Enemy’s use of saxophone samples as a strategy of creating noise as representative of ideals contrary to conventional Western musical practices, and as a bridge to African-American musical practices and suppressed voices of the past.

In 2012 we celebrate the centenary of Dr Casimir Funk’s discovery of the 'vitamine'. Funk was the first to suggest the existence of a family of organic substances that are essential for life, which the world now takes for granted. He was thus the godfather of the vitamin movement. Funk conceived the concept of “vital amines”; essential nutrients with a specific action, requiring only minute amount with the power to cure a specific disease. As Casimir1 phrased it: “We will speak of beriberi and scurvy vitamine, which means a substance preventing that special disease”. A century later, although we may find limitations in Casimir’s theory, this does not detract from his genius, or his influence on medical thinking and his role in founding the vitamin industry. The Life of Casimir Funk The upheaval of two World Wars combined with his Polish Jewish ancestry2, resulted in Casimir Funk’s career spanning the United States and five different European countries. Funk (1884-1967) was born in Warsaw, the son of a Polish physician3. Although his parents aspired for him to become a doctor, Funk instead earned a doctorate of chemistry in Switzerland in 1904. He went on to work in the new field of biochemistry at the Pasteur Institute in Paris, continuing his research in Berlin and London. He was first introduced to the concept that ingestion of polished rice could result in beriberi by Dr. Brandon of Malaya. Funk proceeded to isolate the antineuritic factor of vitamins B1 and B3. Figure 1 Dr Casimir Funk With the outbreak of World War I, Funk immigrated to the United States, where he subsequently developed vitamin formulas including OSCODAL, a vitamin A and D concentrate. The concentrate was the first vitamin preparation to be accepted by the American Medical Association as an ethical product. Funk returned to Warsaw in 1923, but with the outbreak of World War II, he was forced to flee to the United States. In the United States, he worked with pharmaceutical companies and the US Vitamin Corporation. Funk contributed to many facets of biomedical research and the pharmaceutical industry through 140 technical papers, as well as 30 reviews and articles. 3

HERE I SUGGEST defining imperfection as an event that takes place solely in the public realm. There are no intimate imperfections. In intimacy there is only disappointment. And disappointment is relative to one's self-perception. It takes numerous eyes--literally a public gaze--for the idea of imperfection to coalesce and rise above the shimmering and hardly measurable line of the personal. Such a definition has two consequences. First, to consider imperfection in the public sphere is to make it an irregularity that takes place inside the consensus on how things should unfold. It is a deviation. In critical terms one could say that imperfection only happens inside the spectacle, in the broader sense of the word. Second, public imperfection is expected to reveal the humanity, the unpredictability of everything that depends on flesh, blood, and doubts when it is cast in the spotlight and channeled through the media apparatus. It is a revelatory accident, and as such it can be conveniently put aside, pointed at, and examined. But what about imperfection when it is an integral part of the spectacle? I am not talking about staged accidents or rehearsed comedy routines aimed at creating shock value and uneasy reactions. I am not even talking about imperfect moments when they are recuperated and reproduced ad infinitum on online channels like YouTube, with the harsh buzzword "fail" having upstaged the neologism "blooper" that used to label them not long ago. I am talking about imperfection as a medium in and of itself: as an apparatus producing situations, articulations, and communicative stances that would otherwise remain impossible in a performance. Following the impressive normalization of the public figure of David Bowie accomplished by the David Bowie is traveling exhibition opened first at the Victoria and Albert Museum in London, I started thinking about the amount of risks involved in the career of such an artist whose every performance has not only been a reinvention of his aesthetic but also a liability. Sheer talent and artistic intuition do not even begin to explain how such reinventions could be accepted by the public without a certain amount of disasters or, at the very least, failures. But in the public eye, at least in the eye of the public who rushed to see an exhibition devoted to his timeliness and timelessness as a performer, David Bowie has never failed. One thing leading to another, I came upon online footage of Bowie performing his song "Young Americans" on the Dick Cavett Show in 1974. Right out of the gate, this is interesting. Because for anyone remotely interested in 1970s' nostalgia, 1974 can come across as the imperfect year par excellence. It always seems to me like nothing much happened in 1974 pop culture. Tellingly, the album Young Americans is arguably the weakest among Bowie's otherwise impressive output during that decade. But it did produce two hit songs: "Young Americans" and "Fame." Both songs attempt to appropriate and channel the idioms of African-American soul and funk music through a barely noticeable, and yet ever-present, artificiality. Bowie himself spoke in interviews of wanting to do "plastic soul" music. …

A Note from the Editorial Staff: The following is a personal remembrance of Joseph H. “Skoot” Dimon, III (Fig. ​(Fig.1)1) written by friend and former colleague, Dr. Xavier A. Duralde. Considered a world-class orthopaedic surgeon, Skoot initially pursued a career in teaching medicine before traveling to Atlanta, GA, USA on the recommendation of a friend to meet with Drs. Robert E. Wells and F. James Funk regarding an open position at their practice, Peachtree Orthopaedic Clinic (POC). After a night out to dinner with Dr. Wells and his wife, Skoot joined the Atlanta-based practice with a simple handshake agreement. He would stay with POC for 40 years until his retirement in 2000 [2] (Fig. ​(Fig.2).2). His published studies in CORR®spanned a wide range of orthopaedic topics, including manuscripts examining medial displacement osteotomy for unstable fractures [1], to recommending the Scottish Rite Hospital abduction orthosis for Legg–Calve–Perthes disease [3]. CORR®joins with the orthopaedic community in honoring the memory of Dr. Joseph H. “Skoot” Dimon, III.

At a time when careless opportunism blurs the line separating the hatespeech, race-baiting, and xenophobia that we condemn and the misleadingexpedience of “tolerating” others, the need to change how Muslims engagethe hatred facing them has become most apparent. Threatened by Frenchpoliticians with state-enforced settlement camps and neoconservative socialengineering schemes that erect 10-meter highwalls in theWestBank, BelAir,and Baghdad, it is critical that Muslims demonstrate the ability to resist theirwholesale criminalization with dignity and passion. Unfortunately, the overwhelmingmajority of those who publicly “stand-up” for “reason” are non-Muslim, western-based academics speaking for “Islam” as a non-westernphenomenon that nevertheless “needs to be tolerated.”When “Muslims” are given the rare chance of having a forum throughwhich to communicate, the message has more often confirmed the reductionistassumptions of xenophobic racists advocating their legal exclusionfrom “Christian” Europe. How often has it been noted that those Muslimsmost frequently given access to the mainstream media are the fanatical andpatently violent characters depicted in media stereotypes who actually haveno right to “speak” for Islam in the first place?Contemporary Islam: Dynamic, Not Static challenges these prevailingcurrents in scholarship by actually engaging the audience in a fashion thatdoes not concede Islam’s centrality to a larger human experience ...

The following is a critical description and discussion of the successful assessment and rehabilitation of a right shoulder posterior Bankart repair in an elite rugby league player. The rehabilitation follows accelerated, goal based guidelines, widely adopted in current sports practice but not well documented in the literature (Funk & Snow, 2007; Park, Lin, Yokota, & McFarland, 2004). The study serves to be the first critical discussion of such a regime.

THIS WEEK, AS HOUSE AND SENATE members return from holiday recess, they are expected once again to take up energy legislation. Like last year, the focus will be on the Senate and whether Republicans can muster the votes needed to bring a national energy bill to the Senate floor. Late last November, Senate Republican leadership was unable to overcome a filibuster before leaving for holiday vacation. The Senate came close to marshaling the 60 votes needed to move the bill to the floor but fell two votes short (C&EN, Dec. 1, 2003, page 10). Despite much talk and posturing over the holiday recess, it appears that the two votes are as hard as ever to lock in, and the division between energy bill supporters and opponents in Congress remains deep. The Senate's Republican leadership strategy is to put off the bill until late February or March, says Marnie Funk, Energy & ...

O presente artigo é decorrente de uma pesquisa que, a partir dos Estudos de Gênero e das contribuições dos estudos de Michel Foucault, tem como objetivo analisar e problematizar o modo como os discursos sobre gênero, sexualidade e consumo visibilizados por músicas filiadas ao gênero conhecido como funk ostentação têm operado na constituição de subjetividades em um grupo de jovens alunas, estudantes de uma rede pública de ensino. O material empírico da pesquisa decorre de observações participantes, registros em diário de campo, análise de arquivos musicais armazenados nos cartões de memória dos celulares das participantes da pesquisa e rodas de conversa realizadas com elas. As análises das músicas, bem como das rodas de conversa, evidenciam que o funk ostentação é uma importante pedagogia cultural que tem operado na produção das subjetividades femininas ao indicar determinado modo de ser mulher na contemporaneidade.

In 2000 The Law No. 3410/2000 was created which outlined conditions which the funk parties could be held in the Rio de Janeiro city, in 2008, the Alvaro Lins Law stiffened the Law of 2000, was created by imposing a series of restrictions of funk parties and rave parties. However, one year later, on September 1 , 2009 , a law was passed to lift the Carioca Funk to cultural patrimony of the State of Rio de Janeiro. In same day the Alvaro Lins law has been repealed . The purpose of this paper is to develop a critical discussion on the concepts of identity and patrimony as the source legislation defining Funk Carioca like Cultural Movement and Musical popular character since 2009. We intend through this discussion, capture the socio-political struggles which emerged with the implementation of this law, as well as to understand this change in the traced framework.

F. James Funk, Jr, MD (Photograph published with courtesy of the Piedmont Hospital, Atlanta, GA.)

This article reports the findings of a study of community nurses to determine their perceptions of barriers to the implementation of research findings in practice. A questionnaire survey using a scale developed in the US (Funk and Champagne 1991) asked community nurse students to rank a series of perceived barriers in order of greatest to least obstruction. The results were also compared with those from Funk and Champagne's study (1991). The authors found that UK nurses considered lack of authority and the inaccessibility of research reports were major barriers to implementing research findings. The authors emphasise the need for collaboration between managers, academics and practitioners to overcome such barriers.

Corrigendum to “Critical reflection of the advanced rehabilitation of an elite rugby league player sustaining a posterior Bankart lesion” [Phys Ther Sport 14 (2013) 60e67] Andrew McDonough *, Lennard Funk c Warrington Wolves Rugby League Football Club, Padgate Training Facility, University of Chester, Padgate Campus, Warrington WA2 0DB, UK University of Bath, Claverton Down, Bath BA2 7AY, UK c The Bridgewater Hospital, 120 Princess Road, Manchester M15 5AT, UK

Gavin Yamey meets the musical duo Matmos, whose new album uses bodily sounds to comment on modern medicine For doctors, the noises made by the body—the heart, breath, and bowel sounds—are clues to its health or sickness. But for the electronic “sound artists” Matmos, the San Francisco based duo Drew Daniel and Martin Schmidt, these noises are music itself: notes, rhythms, and even whole melodies. Listen to their new album, A Chance to Cut is a Chance to Cure, and you'll hear the sounds of the body, and its surgical manipulation, sampled from clinics and operating theatres and fused with electronic beats to form a fascinating musical collage. It was, explained Drew, a “delicate process” building up the trust of the surgeons who eventually let the pair, and their digital recording equipment, into the operating rooms. The litigious United States environment, the fear of compromising the sterility of the surgery, and the thought of having a “couple of kids” messing around in theatre made the doctors wary of the duo's intentions. But Matmos are serious artists, who performed recently at the Pompidou Centre in Paris, and these “high art credentials,” said Drew, “legitimised us in the eyes of the surgeons.” What's more, they are both doctors' sons, which gave them even greater credibility. It would have been easy to take the resulting recordings of surgical instruments slicing, breaking, and sucking the human body and turn them into a gore-fest high in shock value but low in musical complexity. But Matmos were keen to avoid this approach. Instead, they weaved the recordings into a kind of social commentary that captures some of the wonder, and the controversy, of modern medicine. “California Rhinoplasty,” for example, the seventh track on the album, is a multilayered symphony of nose jobs, forehead lifts, and chin implants played out over the gentle hum of tissue being cauterised. In a cheeky jibe at cosmetic surgery, a jaunty melody from a nose flute meanders over the grim sound of bone being crushed. The satire continues in the upbeat funk of “Lipostudio (and so on),” which samples the slurps and squelches of liposuction. These “bouncy and optimistic” tracks, said Drew, are a form of criticism, not only of the human obsession with appearance, but also of the strict genres to which musicians are expected to conform. Matmos are unusual among electronic artists because they fit no easy category; instead, they throw the unexpected into the musical stew—the noise of a laser cutting into an eye, of an acupuncture point detector moving over Martin's skin, and of the clashing together of a skull, spine, and teeth. This ear for the offbeat stemmed from being brought up around doctors. Drew has powerful memories of visiting his father, a plastic surgeon, at the hospital or in an animal research lab. His stepmother is also a surgeon, who likes to operate while listening to Elvis. Martin's dad is a family doctor with a taste for Wagner. For Drew, there was something Oedipal about making the record, since it allowed him to enact “the fantasy of putting on my dad's clothes and reconstructing what he does in my own terms.” On one of the tracks, “For Felix (and all the Rats),” composed by plucking and bowing the cage of the duo's dead pet rat, Drew comes to terms with his childhood experiences of vivisection. The track begins as a tranquil concerto, but builds slowly to a jarring and discordant improvisation. “Sadness at the loss of our pet,” says the album's sleeve notes, “is put in perspective by the fact that a laboratory animal dies every second in the United States.” Ethical questioning was clearly important to Matmos at all stages of making the album, particularly in working out how to involve patients without exploiting them or sabotaging their confidentiality. The limits of what was acceptable to patients, explained Drew, had to be worked out “on a case by case basis.” For patients undergoing general anaesthesia, the recording allowed them to hear what went on during their operation. It allowed them, said Drew, “to return to something that they weren't there to appreciate.” Those who were awake during medical procedures found the recording process a valuable distraction, a kind of anaesthesia in itself. Doctors, say Matmos, should listen to the album as if looking at photographs. They'll get a fleeting impression that will hopefully give way to a whole range of feelings and thoughts. One doctor at least loves the record—Drew's father, who plays it while operating. The image is almost too good to be true—the plastic surgeon cutting away while listening to a musical critique of his actions. Drew and Martin would surely approve of the irony.

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