In my sha3bi searches last night I came across all kinds of odd & awesome stuff. And I don’t say ‘odd’ as an uninformed outsider (though I am one, relatively speaking), but b/c some of the cha3bi vids one finds are truly bizarre mashups of footage ranging from what looks like a Francophone African music video (Reunion? really?) to clips from Tom&Jerry —
But one of the best things I came across is a video of a more traditional — indeed, acoustic — mulid street performance than the soundsystem-propelled events portrayed in Jennifer Peterson’s article. According to the uploader, this depicts “men whoop[ing] it up on the streets of Al Hussein [Cairo]” in a post-mulid mood. One can certainly see connections to the recent/remix version of mulid/inshad/sha3bi, though one also gets to see/hear the improvised poetry a bit more, which inspires one commenter to call it “8 Mile on the Nile ;)” — watch the MC with the frame drum step up around 1:12:
The other thing I find uncanny about this clip — given the way that “ghettotech” has emerged in “nu-world” discourse — is how the call-response chants from 0:47 to 1:07 sound pretty much exactly like several ghetto-tech/-house/juke tracks. I don’t know what they’re saying (sounds like “yeah yeah”), but it would mix very well with any number of tracks that anchor themselves with a repeated “uh oh!” or “hold up!”
I know I’ve used it before, but, that said, I can’t resist ending with this gif —
2 thoughts on “8 Mile on the Nile”
I know i was all hatin on your parade but I just remembered an interesting track from a rai’n’b mix i bought in marrakesh. It fits pretty well into what you were saying about the call and response stuff meshing w/ techish-ness. Unfortunately i got it as a mix cd and have nooo idea who its by:
Thanks for this. Somehow it got caught in the spam filter for a minute, so I’m only just seeing/hearing it now. Funny that despite/because it’s by “Unknown,” imeem will only stream an excerpt:
lol. that’s a clunky fix.
as for the track, yep, that’s definitely some classic C/R. gotta say, although C/R is often figured as a classic afrodiasporic musical feature — which it is — it’s pretty dang universal. (& as a card-carrying ethnomusicologist i’m really not supposed to use the u-word.)
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