As the genre gradually emerged, drawing new artists and audiences into its sphere, its themes widened to encompass a range of social and political issues. In 1993, Gabriel o Pensador, a writer and son of a prominent journalist, released the satirical rap song "Tô Feliz, Matei o Presidente" ("I'm Glad, I've Killed the President") about the impeachment of former president Fernando Collor on corruption related charges. The mangue beat group Chico Science adhered to a musical style known as rap consciencia (socially conscious rap). Popular culture The television series Cidade dos Homens ("City of Men") was created by the directors of the film City of God. It was broadcast for four seasons on Globo TV between 2002 and 2005. It follows the fictional lives of two best friends, Luis Claudío (nickname Acerola) and Uolace (nickname Laranjinha), who are growing up together in a favela of Rio de Janeiro. Funk carioca and hip hop forms the musical backdrop to their adventures and is featured prominently throughout the series. The episode "Hip Sampa Hop ", in which Acerola and Laranjinha visit the city of São Paulo, includes short interviews with the hip hop artists Xis, Thaide and Rappin' Hood. Brazilian hip hop and its relationship to the favela is the subject of the 2005 documentary Favela Rising. The documentary details the efforts of the AfroReggae movement which was formed in 1993 by Anderson Sa and DJ Jose Junior with the express purpose of providing a cultural outlet for young people as an alternative to the favela gang culture through a series of non-profit schemes involving music and dance. AfroReggae are also a musical group that fuses traditional Brazilian dance music with hip hop and reggae. Education Derek Pardue in his article Hip Hop as Pedagogy examines the concepts of "periferia" (periphery) and "marginalidade" (marginality) in relation to hip hop identity as well as hip hop's potential pedagogical value. Pardue proposes that the common perception of hip hop as a US cultural entertainment phenomena reflecting exclusive themes of urban gang membership and masculinity may be discarded for a more realistic assessment of its educational benefits especially with regards to the young people of the favelas. Pardue cites the expansion of CEUs (Unified Educational Centers) into favelas and the employment of hip hop educationalists as examples of educational models that build upon earlier social and communal actions initiated by those from rural Brazil that