Not long ago, w/r/t global gobbledecrunk, I referred to an interview I gave recently to a Brazilian journalist. The journo in question is Camilo Rocha, who doubles as a DJ (& has a fab disco mix over @ Spannered). The piece was just published in Folha de Sao Paolo, apparently Brazil’s biggest newspaper.
I don’t really read Portuguese all that well (& my Portunhol only goes so far), so I asked Google to help me. I’ve pasted their quirky translation below (I like that Maga Bo becomes “Magician Bo”), but I encourage any of you lusophones to read the original. Following DJ /rupture (who notes, as do I, that all this activity is pretty “peripheral” in its own way), I’m also going to append my full interview text, since the article ended up far shorter than I expected and seemed to stray from some of the more sensitive / critical issues (blame the editors?) and since I did take the time to compose some lengthy answers (though, now that I see /rupture’s text, I think I prefer his more laconic approach).
Ciao for now —
Collaboration for the Folha de S. Paulo
Most DJs usually direct their ears for a few posamezne music of the First World, like New York, London, Berlin and Paris. In this decade, however, emerged a new category, that of the DJs “globalistas” which travel much further in their garimpagens music.
Names such as Diplo, DJ Dolores, Magician Bo, DJ / rupture, Ghislain Poirier and Wayne & Wax build sets incredibly varied, which may have American hip hop, techno or electronica German French, but also from Trinidad soca, Moroccan rap, funk carioca, kuduro, Angola, Jamaican dancehall, grime Cohabs of London or the Colombian cumbia.
The exposure of these rhythms “peripheral” already influences artists in various spheres such as band Bloc Party and the DJs / producers Simian Mobile Disco and Samim (which was one of the hits of the year with “Heater”, which joined with cumbia techno). Following is the phenomenon of Anglo-Sinhala MIA, the first popstar out of this trend and which launched this year praised the album “Kala.”
It would be all that a new roupagem for worn term “world music”? When talking with the Folha by phone, the DJ and producer Canadian Ghislain Poirier, which has just launched the album “No Under Ground” by the seal Ninja Tune (of dual English Coldcut), denies: “World music is more exotic, the sounds that played are more urban. They come from a common scenario: people without much money, making music in home studios or a laptop. is something more urgent. ”
Thanks to greater access to the Internet and technology, throughout the world there is an unprecedented proliferation of the sounds of the peripheries of the countries, most of them with strong and created electronic databases on laptops or PCs surrados, often with software pirates, and released via blogs, sites and sets the DJs “globalistas.”
The DJ and MC American Wayne & Wax, which is also etnomusicÃ³logo, baptized the movement of “global ghettotech.”
“Inventei that phrase to describe an aesthetic emerging between some DJs and bloggers, where they mix genres” global “as hip hop, techno and reggae, among others, with styles’ local ‘,” explained Wayne to Leaf. “But I am against the approach superficial and modista. I like to know the social and cultural contexts that shaped the sounds,” explains.
One of the “globalistas” is the pioneering DJ / rupture in Boston, USA, who first drew attention with a mixtape (set mixado) called “Gold Teeth Thief.” The September gave all that talk that figured among the ten best releases of 2002 of the prestigious British music magazine “The Wire”.
Through your blog and radio program “Mudd Up!” Rupture insane conveys a blend of rhythms from various parties. One of his special interests is the music maghrebi, from North Africa. “I [also] discovering the world of cumbia – there are many fascinating scenes of the past and present,” to the DJ.
The seal of Rupture, Soot, should launch within months of the album debut of another important behalf of the scene “globalista” Magician Bo, an American from Seattle who lives in Rio since 1999. Magician Bo has worked with Brazilian as BNegÃ£o, MC Catra, Marcelo Yuka, Marcelinho the Moon and Digitaldubs.
In the next year, he must start to give classes on digital production at the headquarters of AfroReggae in Parada de Lucas, in the River Currently, is in Addis Ababa, capital of Ethiopia, recording with local musicians and searching Ethiopian music.
“Churiadau electronic is the field where everybody can understand. The computer, which has been called the first” universal instrument folk ‘, is increasingly accessible. The volume of music that can be embedded in this’ global ghettotech’ is increasing in world. Death of record growth in traditional distribution of music on the Internet are helping this popularization, “says Bo Magician.
Already the DJ Dolores, best known Brazilian representative of this trend, says that “the computers are the drums today, a primal that each can use in your way.” In 2004, Dolores won the prize for best DJ in the category “Global Club” of Radio One, BBC English. Dolores has just returned from several concerts in the US and Mexico in the coming year to launch the album “A Real.”
Diplo is the best known name of this crop of DJs / producers. The American, 29 years was one of the main advisers of funk carioca abroad. Ex-boyfriend of MIA (whose first album he co-produced), Diplo played recently in Tim Festival.
He believes it is important to repay the local cultures. Through the project Heaps Decent, he’s been doing with young aboriginal music of a center of detention of children in Australia. Tapas must leave soon, in partnership with the Australian stamp Modular.
“Since these subcultures, in a way, help me to earn a living, I did something to help their development,” he explains. “In the coming months, I hope to do the same in the Cantagalo slum in Rio, with the help of AfroReggae and [anthropologist] Hermano Vianna.”
Interview w/ Camilo Rocha (11/20/07) ::
How did u get into music? Whats your background?
I’ve been an avid listener since I was a teenager, but I’ve only been a musician since I was 18 or so, when some friends gave me a guitar for my birthday. I played in some bands during college (blues, funk, rock), mostly playing bass, and I was also the lead MC for a live hip-hop group. I’ve been rapping since I was about 13. After college, I started producing music on computers — making beats, mostly sample-based hip-hop — and the laptop has been my primary instrument ever since. My self-taught beat-making pretty much coincided with my study of ethnomusicology (I’ve got a Ph.D. and wrote my dissertation on the historical relationship between reggae and hip-hop; I lived in Kingston, Jamaica for six months in 2003 conducting field research.)
You and DJ Rupture are from the Boston area, do you know each other for a long time?
We both attended the same college and had a lot of mutual friends, and I saw him spin at a few events back in the late 90s, but it’s only relatively recently — the last few years — that we’ve been in close conversation, largely thanks to the blogosphere.
You are a music ethnomusicologist. How did you get into that area? Where did you study? Are you doing any academic work at the moment?
I was inspired to become an ethnomusicologist when I discovered the field my senior year in college (I was an English major). I took a class on music and race in the US with Ron Radano and ended up studying with him in graduate school at the University of Wisconsin-Madison. It was a real epiphany to discover that I could keep music central in my life and approach it from an intellectual / scholarly angle. Currently, I’m teaching at Brandeis University in Boston, offering courses on hip-hop, music and globalization, and “digital pop.”
Explain “global ghettotech” to those who don’t know what it is about
“Global ghettotech” is a phrase I came up with to describe what seems like an emerging aesthetic among certain DJs and bloggers. I’ve also called it “nu whirled music” to describe its (antagonistic but derivative) relationship to “world music” as well as the importance of fusion (mixing “global” genres such as hip-hop, techno, reggae, etc., often with “local” styles) in the concept. For me, global ghettotech describes the recent interest in such genres as funk carioca, kuduro, reggaeton, juke, grime, kwaito, etc. — genres identified with the ghettos of the former colonies as well as with the ghettos of today’s post-colonial metropoles. I want to stress that I use the term somewhat critically — I don’t mean simply to celebrate this kind of engagement. One thing I find really problematic about it, for example, is the flavor-of-the-month approach to engaging with “other” musics: e.g., “kuduro is the new baile funk!” When it becomes a surfacy, fashionable pursuit, it gets more problematic, for me, than when it is about finding new sounds in different places and really getting to know them and the social and cultural contexts that shape them — and in the process, learning about one’s own place (and, usually, privilege) in the global order.
How do you see the popularization of “global ghettotech”? Why has there been so much exposure and interest for these types of sounds?
I think a lot of it has to do with the advent of technologies that make it possible for people to produce music all over the world (e.g., FruityLoops) and to circulate music rather widely ( e.g., the internet, blogs, mp3s, p2p). In terms of interest, I think some of it has to do with a certain familiarity (i.e., hearing hip-hop and techno with new accents) and some of it has to do with seeking out the exotic (as with “old” world music).
I can see a lot of people here in Brazil viewing all this as a new kind of exploitation: guys from the first world shopping around ghettos of the globe in search of the new rhythms to feed their DJ sets, getting credit and fame while the original artists are not mentioned or soon forgotten. Is that fair or not to say?
I think that’s definitely a fair statement in some cases, but it’s important to look at the individual and how he or she engages with the people in the places from which those sounds come. Collaborating with people in Rio or Kingston is a lot different from downloading them. In that respect, there are plenty of elite or middle-class Brazilians who could be just as guilty of this sort of exploitation.
Does “global ghettotech” sometimes run the risk of being just a trendier guise for the rich world’s old taste for “exotic” (cultural tourism thrills as opposed to understanding and identification with the scenes it is exploring)?
Yes, definitely. And not just sometimes — a LOT of the time.
How is the acceptance in America for this kind of musical approach?
I’d say it’s still fairly marginal. It’s not as if this kind of music — even as projected by MIA or Diplo or Ghislain or /Rupture — is mainstream by any stretch. You don’t really see it on MTV or hear it on the radio. It’s mainly an internet phenomenon and confined to a few clubs nights / parties in big cities like New York, Montreal, Boston, etc. For the weekly that I do in Boston with DJ Flack, “Beat Research,” we play all kinds of genres, often touching on many that might fall under the “global ghettotech” umbrella, and we’ve got an open-minded audience that likes that sort of thing, but it’s still a pretty small scene.
Do you do a lot of travelling for music research? Tell us a couple of interesting stories about your travels.
When I’m lucky enough to find funding, I love to travel to new places and check out their soundscapes and pay attention to what is local and what is global and how people negotiate the two. I’ve spent a good amount of time in Jamaica, both doing research and collaborating with artists there (and I’ve written a lot about it on my blogs). Recently, I had the good fortune to spend several days in Rio, which I had been wanting to do for many years. I’m afraid I don’t have the time to go into many stories, but I often find that music is a great way to connect with people, especially when we share a love for, say, hip-hop or reggae and thus share a musical language, even if we don’t always share a spoken language.
A lot of ghetto music bypasses copyright as it is commonly made on pirated software and samples freely. Meanwhile, illegal downloading is threatening the music industry as we know it. Do you think we are going in an inevitable direction, where music will become free? Will that be a good thing and why? Should music have a price? Do you manage to make any money selling music?
These are very big questions, and it’s hard to say. It does seem like we’re moving in that direction, but there are many ways to commercialize music — selling recordings is a relatively recent way for musicians (or more commonly, record labels and publishers) to get paid. I think that performance will remain an important way for musicians to earn a living. I’m not sure whether music should have a price. I generally don’t believe in monetizing or propertizing things, music included, but I think I’m in the minority on that one. I’m glad, at any rate, that musicians continue to do what they do without much regard for outmoded copyright structures. Some — perhaps most! — of my favorite music is “illegal” music. Personally, I don’t make very much money selling music, which is perhaps part of the reason why I’m not very invested in music having a price. Most of the money I earn through music is from playing gigs, usually DJing, though I can’t say that I make a lot — hence the academic day job.
Do you sometimes feel there should be more political lyrics in global ghetto music (I’m thinking of Rio funk, reggaeton, kuduro and kwaito which are largely sexual and/or party-oriented)? Or maybe feel that these musics could have more of a commitment to change or denounce their situation (if you think they do promote some kind of social change, please explain why)?
Sometimes I might feel that way, but then again, I think that music about sex or pleasure or partying is already political in a certain sense. It depends very much on the social or cultural context, of course. It’s no surprise that the themes that dominate a lot of ghetto music have to do more with everyday concerns, or with transcending the stress of everyday life, or with pissing off the middle-class, the government, the power structure. As for promoting change, sometimes one sees that sort of thing, especially in the Rasta-inspired visions of a lot of reggae, but in general, people living in ghettos worldwide haven’t seen much change, don’t see much hope for change, and probably won’t change the focus of their lyrics until there is some real change in the social conditions in which they live. I guess it’s something of a chicken and egg question, but it’s not for me to tell people what to rap about. Of course, as a DJ it can often be uncomfortable to play songs that are overtly misogynist or which objectify women as sex objects (and little else). Perhaps that’s another significant appeal of “global” / foreign ghettotech: it’s easier to listen to booty music when you don’t understand all the words.
What new stuff (styles/artists/producers) have you discovered recently that has really impressed you?
I’ve been really impressed with a lot of the young juke producers coming out of Chicago: DJ Nate and DJ Clent especially. All the dance crazes on YouTube have also been very exciting. And the rise of interest in cumbia, reggaeton, and other music en espaÃ±ol seems promising too. Part of me really wants to see the US come to terms with its postcolonial, imperial self, and I feel that music can help to express a kind of cultural politics of conviviality that feels more and more needed in our polyglot cities. In general, I just love hearing people making music without much regard for the rules. I love DIY, p2p music and the internet has been making more and more of that available — and, even better, has been making it possible to connect directly to these producers rather than having to deal with all sorts of middlemen.
You said you just came back from Rio. Were you on holiday? Any interesting musical experiences?
I was there for a small meeting of musicians convened by the Future of Music Coalition to discuss, um, the future of music (e.g., media consolidation, internet opportunities, copyright issues, etc.). It was an honor and a pleasure to be there, among such company. So, not exactly a holiday, but very fun “business” for sure. I’ve been listening to music from Rio for many years — and not just funk, but samba, bossa nova, tropicalia, etc. — and so it was great to finally get a chance to see and hear the city. It felt like a really vibrant place, really “on.” I was amazed by the number of people partying in Lapa until the wee hours. I also had a wonderful time hanging out in the favela of Vidigal for most of an afternoon and evening. It felt like a warm, welcoming place, and it was great to hear some funk in its social context.
What are your plans for 2008?
Keep on teaching and writing and DJing, and hopefully getting back into more producing. I aways let my interests lead me where they may, though, so we’ll see…