The best example is his first song, "Melô da Mulher Feia" ("song of the ugly woman"), which was how patrons of the "baile funk" would call the 2 Live Crew's version of "Do Wah Diddy," as they would sing along "mulher feia chupa o ... e dá o ..." ("ugly woman sucks ... and gives ...") to the 2 Live Crew's tune.

[3] Brazilian bailes, well attended dance parties that played American soul, disco, and funk music, featured heavy bass sounds and light systems.

He embraces the aspect of funk and certain artists being unknown because that keeps this genre alive in the streets, despite the resistance from the media and upperclass culture.

The resistance from the upperclass and police stems from the upper class considering this music to be strictly pornographic, offensive, and sexually explicit.

DJ Marlboro is a main public face trying to reverse that opinion and have the people look deeper into the true origins and messages of the music.

"[8] This helps empower these artists, and while they may not gain national acclaim, they get the respect of their fans for delivering both a real sound and message.

[10] Through these various collaborations, DJ Marlboro has played a significant role in increasing the popularity of funk carioca not only within Brazil, but at the global level as well.

In fact, he has been one of the main players in taking funk abroad, playing shows throughout Europe (Britain, Germany, France), The United States, and even China.

This is raw, bare-bones, hooky but proudly unmelodic stuff, recorded on the cheap with 808 drum machines, early samplers, and dusty computers.

The criminal investigation was launched in Rio de Janeiro, Brazil, after claims were made that DJ Marlboro had allegedly abused a four-year-old girl.