I’m really gonna give this subject a rest soon, but let me attempt a slightly more oblique approach.
One dimension of the underlying critique in Grant’s comments seeks to draw lines of value and authenticity between what he wants to position as a kind of first-order cultural production (doing/making stuff) and second-order skimming (talking about stuff that got done/made). In this way, like many others, he positions bloggers, journalists, academics, critics, et al., as essentially parasitical. Of course, this is an especially ironic assertion given the degree to which we’re enlisted into the PR machine. But it’s also a misleading distinction since all these activities are inevitably interwoven and circuitous — not to mention that so many of us are engaged in several overlapping domains of cultural production at once (working as DJs, producers, writers, teachers, etc.).
It’s a rather derisive, defensive sneer, rearing its head now and again (occasionally making my ears burn):
I find this snark pretty specious, especially since it posits a false dichotomy, or three. The main one for me is: who says you can’t grapple with race and ethics in musical terms? Why cede such matters to prose? (Moreover, why leave it to institutions of higher learning to ask hard questions?) This seeming disjuncture between musical communication, as such, and communication about music is precisely what has motivated my ongoing efforts in musically-expressed ideas about music.
So, enough (real)talk for a moment, let’s listen to something along these lines:
When Canyon brought this track to my attention last week, I was thrilled. It was as if my blog had developed AI and was secretly secreting tracks. How could it sit on SoundCloud for four months without finding its way to my ears? While I dug the production, I was especially tickled by the lyrics, which seemed to be quoting MIA’s imagistic gloss of Kala for the Guardian — ‘Shapes, colours, Africa, street, power, bitch, nu world, brave’ — which, as noted way back when, proved crucial in pulling me down the “brave” “nu world” rabbit-hole.
Some readers out there might be familiar with the Old Money crew, who Canyon tweetily described as “NY funky/subtle soca via West India & East Euro,” from their appearances in such trusted hot spots of the hype machine as The Fader or my inbox. Since I had their email address handy, I hit reply on their latest bit of e-promo and asked about this months-old song that I’d never heard, including whether they were actually alluding to MIA.
The following is from Scheme’s generous and articulate response — like the track itself, it speaks volumes about where we’re at in this brave nu world:
I think what motivated us to make that song isn’t too dissimilar from what may have motivated you to write your most recent series of posts. Identifying troubling aspects in the nuplanetarywotchumacallit and going from there..
There was basically a stretch of time leading up to that song where I feel like not a week would pass where I wouldn’t see a video of some sort with the elements mentioned in the track – found footage, shapes, colors, (((African kids!)!)!). Some of these videos/songs (and I’m referring to jawns from the west inspired by various global riddims) conveyed a faithful, genuine interest in the music, culture and people involved. Some of them, however, did not. How does one draw that distinction exactly? And, well, does it matter? As I think you well know, that’s where it gets murky. … And it felt like no one was talking about it. Or too shook to.
Then not long afterward, an artist by the name of Leif – I doubt he knows this, or us for that matter – but he also helped push things over the edge from theory to record. I don’t have the patience to go all the way back through his timeline – but he more or less expressed some discomfort along the same lines. Helped affirm in our heads at the time (by now I think this is spring summer maybe earlier – the thought process, not making the actual song) that it aint just us and we aint crazy.
That was the baseline…my boy Dre took it further, riffing off of the Sandra Bullock People mag cover, (“Wheeerrrrrre di baby dem deh, huh?!?? Me haffi get me one! two! tree! four! five! six! / Adopt a tribe, and try, fix!) – which in my most biased opinion is brilliant – cuz it’s still related. Ha!
Also – this song was partially composed/fully recorded in the comfort of an apartment on the upper east side of Manhattan. Double Ha! For other reasons – that’s another conversation.
Back on track – I sent “AFRICAN KIDS!” to a few select blogs after we made it. No response. My boy felt like I should have sent it to everyone who usually fux with our music. I didn’t really feel like this was for them. Felt like they wouldn’t get “it.” But it turns out, no one “got it”, or liked it. Or maybe just offering it as a stream and not a download hampered it being picked up? Or…something else? Iono. But I thought it was interesting that less critical/confrontational/threatening material of ours got light and this didn’t.
…Oh and was that an M.I.A. quote? If so – unintentional. Sardonic tone wasn’t aimed her way. Actually a really big fan of hers.
Count me a really big fan of Old Money for this one. #confetti
ps — by request, Old Money have enabled the track for download now (as an aif to boot!), so go ahead and grab it & add a little bitters to your nuplanetary cocktail
9 thoughts on “Shapes, Colours, African Kidz”
When was the last time Wes was in Brazil making music with kids? Been a few years, amigo. Too busy defending rappers from behind bars I guess. http://blogs.villagevoice.com/music/archives/2009/12/free_gucci_fuck.php?page=1
“drinking Mountain Dew Code Red” – thats just mean
Wait, doesn’t drinking Mountain Dew make you extreme and controversial? So confused…
good job requesting the download link from Old Money … asking permission is MUCH a better policy than View >Page Source or DownloadThemAll firefox extension, that only gets you 128 and plus now youre friends with Scheme and he’ll pop up in your gchat, even tho you’re not to be bothered and i’m très invisible
i wonder why diplo doesn’t want to be in the sticks of west virginia dancing with white kids to bluegrass. or a pub in ireland partying with the local players.
Actually, I can’t fault the guy for his taste in music and wanting to play it for people who would dig it – and I guess he thinks there are journalists in my home town who are lame enough to think that drinking something marketed to hipster youth would make them cool (which is insane) But when I see things like the cover art for Major Lazer’s “Hold the Line” (A cartoon of a black man’s fist smashing another black person in the face with a telephone receiver) It makes me think that his “extreme and controversial” aesthetic can really be annoying and unnecessary. Great music is NEVER boring -even when (god forbid) it’s presented without irony or artifice.
I have to admit that I was pleasantly surprised when I saw an advance screening of “Favela On Blast” (which Diplo co-directed) as he was smart enough to lay low and let the locals speak for themselves.
Wait, “hipster youth”? I thought Mountain Dew Code Red was marketed to World of Warcraft junkies. Now I’m really confused.
Yeah, I guess that is more appropriate (hipster youth drink Redbull) – I guess his sarcastic ribbing seems more obnoxious to me because he went and singled out Boston – and thats freakin’ retahdid!
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