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Facção Central was a Brazilian rap group formed in 1989 in São Paulo. Known for its aggressive style and lyrics addressing themes such as police and social violence, drug trafficking, and criticism of the system, the group became one of the most iconic names in Brazil’s gangsta rap scene.[1][2] Its most recognized lineup consisted of rappers Dum-Dum and Eduardo Taddeo, along with DJ Erick 12.[1][3] Eduardo, as the group's leader and primary lyricist, played a crucial role in shaping the group’s identity and social commentary.[4] After his departure from the group in 2013, Facção Central continued for a period under Dum-Dum’s leadership until his death in May 2023.[5][6]
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Facção Central was formed on May 31, 1989, in the central zone of São Paulo. Initially, the group consisted of members Jurandir, Cesinha, Serginho, Wilson, and Mag.[7] In the early years, the group's lineup underwent several changes.[8] By 1995, the most stable formation emerged, with Dum-Dum and Eduardo Taddeo as the primary rappers and Garga as the DJ.[1] This lineup released the group's first album, Juventude de Atitude (Youth of Attitude), in 1995. It marked key characteristics that would define the group's performance: sampled instrumentals from Afro-American musical genres such as R&B, soul, and funk (which had strong influences on rap music), aggressive lyrics, a representation of São Paulo’s peripheral realities, and a drive to raise awareness in marginalized communities.[9] Among the standout tracks was "Roube Quem Tem" ("Steal from Those Who Have"), which became a symbol of their message.[9]
Between 1997 and 1998, Garga left the group and was replaced by DJ Erick 12, who also contributed to the second studio album, Estamos de Luto (We Are Mourning), released in 1998,[1] which showcased a slower rhythm compared to their earlier work. The album featured longer songs, and the overall tone was one of mourning and hopelessness.[9] This marked the beginning of Facção Central's rise on the Brazilian rap scene, with tracks such as "Brincando de Marionetes" ("Playing with Puppets") and "Detenção sem Muro" ("Detention Without Walls") becoming popular.[9] These tracks, along with the album as a whole, highlighted the group's deeper reflection on social injustices, while continuing their critique of the systemic oppression affecting Brazil's marginalized communities.[9]
In 1999, Versos Sangrentos (Bloody Verses) was released, containing the controversial track "Isso Aqui é Uma Guerra" ("This Is a War"). The music video for this song was censored by the São Paulo Public Prosecutor's Office for allegedly promoting crime, sparking national outrage.[9][10] TV networks, including MTV Brasil, removed it from airwaves.[2][11] However, the group argued that the video's message was condemning crime, as evidenced by the criminals being punished at the end of the clip.[2][12] Despite the controversy, the song and album further solidified the group's reputation for confronting police violence and systemic issues. Versos Sangrentos exhibited a more aggressive stance, with the group directly attacking the judiciary, police forces, the state, and elites.[9] Tracks like "Versos Sangrentos (A Minha Voz Está no Ar)" ("Bloody Verses"), "12 de Outubro" ("October 12"), and "Anjo da Guarda x Lúcifer" ("Guardian Angel vs. Lucifer") became anthems, with their acidic portrayal of São Paulo's periphery marking the group's trajectory for years to come.[9]
Two years later, the group released the double album A Marcha Fúnebre Prossegue (The Funeral March Continues), a direct response to the censorship Facção Central had faced due to "Isso Aqui é Uma Guerra." This album included tracks that criticized the state's attempts to silence the group and their message. Songs like "A Marcha Fúnebre Prossegue" ("The Funeral March Continues"), "Sei Que os Porcos Querem Meu Caixão" ("I Know the Pigs Want My Coffin"), "Discurso ou Revólver" ("Speech or Revolver"), and "Desculpa Mãe" ("Sorry Mom") continued the group's critical approach to systemic violence, while also expanding their narrative beyond São Paulo.[9] The album began making comparisons between the peripheral realities in São Paulo and those in other parts of Brazil, as well as introducing historical and political references to explain why "the funeral march continues" in impoverished regions.[9] Shortly after, Erick 12 left the group due to personal reasons and also due to disagreements over Eduardo Taddeo's lyrics.[2] He was replaced by DJ Marquinhos.[2]
Released in 2003, Direto do Campo de Extermínio (Straight from the Extermination Field) presented a new narrative, blending different temporalities and realities both inside and outside of Brazil.[13] The album's title evoked the horrors of concentration camps, associating the social exclusion faced by Brazil's marginalized communities with the atrocities of Auschwitz. One of the key tracks, "São Paulo Auschwitz," emphasized this stark comparison.[13] The album included standout songs such as "O Menino do Morro" ("The Boy from the Favela"), "Hoje Deus Anda de Blindado" ("Today God Drives an Armored Car"), "Eu Não Pedi Pra Nascer" ("I Didn’t Ask to Be Born"), "O Homem Estragou Tudo" ("Man Ruined Everything"), and "Estrada da Dor 666" ("Road of Pain 666"), reflecting the deep despair and critique of societal structures.[13] The album also included "Dias Melhores Não Virão" ("Better Days Won't Come"), a bleak acknowledgment of the difficult reality faced by the periphery.[13] The track "O Menino do Morro" received the "Best Song of the Year" award at the Hútuz Awards, the most prestigious hip-hop award in Brazil at the time, and the album was also highly praised.
In 2006, O Espetáculo do Circo dos Horrores (The Show of the Circus of Horrors) was released, with a heightened focus on racial issues and the history of black resistance. This album marked a significant shift, as the group incorporated references to historical black figures and movements, addressing the racism and marginalization faced by people of African descent throughout history.[13] Songs like "Castelo Triste" ("Sad Castle"), "Apartheid no Dilúvio de Sangue" ("Apartheid in the Blood Flood"), "Abismo das Almas Perdidas" ("Abyss of Lost Souls"), "Front de Madeirite" ("MDF Front"), and "Tecla Pause" ("Pause Button") explored themes of racial injustice and exclusion.[13] The album, the last to feature Eduardo Taddeo, also brought attention to the legacy of quilombos (communities of escaped slaves) in Brazil, aligning their fight with broader struggles for equality. This work was pivotal in highlighting the group's evolving social consciousness.[13] The track "Mais Tarde" ("Later") won the "Best Song of the Year" award at the Hútuz Awards. The group also won "Best Album of the Year" at the same event.[14]
In 2013, Eduardo Taddeo left the group due to internal disagreements, and Moysés replaced him as the second main rapper.[15] During Moysés’ tenure, Facção Central collaborated with Racionais MCs on two songs and performed alongside Dum-Dum to celebrate Racionais MCs’ 25th anniversary. However, Moysés left the group in 2014 after artistic differences with Dum-Dum.[16] From that point onward, Dum-Dum became the principal member responsible for the group's activities.
In 2015, Facção Central released the album A Voz do Periférico (The Voice of the Periphery), which marked a shift in the group's musical direction. The album featured collaborations with rappers Smoke, Badu, DJ Pulga, Crônica Mendes, WGI (Consciência Humana), Anália Patrícia (Eduardo Taddeo's sister and Dum-Dum's wife), and Branco P9.[16] This album showed a notable shift in the group's approach, particularly with the increased presence of gospel influences.[17] This marked a departure from their earlier criticisms of Christianity, seen in previous tracks like "Espada no Dragão" ("Sword in the Dragon") from O Espetáculo do Circo dos Horrores, which criticized forced evangelization and the concentration of power among religious leaders.[18] Dum-Dum explained in a 2015 YouTube interview that the group's new project, Na Cena, in partnership with Moysés, Cabeção, Lauren, and DJ Celo, would present a less violent and more positive approach, reducing the use of profanity and highlighting that life in the periphery, while difficult, was not as dire as many believed.[19] Meanwhile, Eduardo Taddeo, now pursuing a solo career, continued to maintain the sharp, radical discourse that had defined the group's earlier rap.[19]
In 2020, the album Inimigo nº1 do Estado (Enemy No. 1 of the State) was released, produced by DJ Pantera. In April 2023, Dum-Dum suffered a stroke and passed away a few weeks later, marking the end of an era for Facção Central.[5][6]
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Compilation albums
- 1993 – Movimento Rap Vol. 2 (Various artists)
- 1999 – Família Facção
Studio albums
- 1995 – Juventude de Atitude
- 1998 – Estamos de Luto
- 1999 – Versos Sangrentos
- 2001 – A Marcha Fúnebre Prossegue
- 2003 – Direto do Campo de Extermínio
- 2006 – O Espetáculo do Circo dos Horrores
- 2015 - A Voz do Periférico
- 2020 - Inimigo Nº1 do Estado
Live albums
- 2005 – Facção Central – Ao Vivo
- 2018 - Facção Central no Estúdio Showlivre - Ao Vivo
- Dum-Dum – (1989–2023; died 2023)
- Eduardo – (1989–2013)
- Moysés – (2013–2014)
- DJ Erick 12 – (1997–2001)
- DJ Garja – (1989–1996)
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