Archive of posts tagged with "af-am"

March 1st, 2008

linkthink #4825: Like Food

videyoga ::


February 24th, 2008

linkthink #565687: Shadows and Acts

videyoga :: (u saw this comin’)


February 22nd, 2008

linkthink #0293535: King of Wok

there is none frier

videyoga :: (via)


February 22nd, 2008

Walk the Vote! Participatory Democracy b/w Civil Disobedience

from The Field ::

Texas Republicans have worked overtime to make it harder for key Democratic voting groups to vote and be represented fairly. The redistricting games they’ve played are infamous. And for the Prairie View A&M University precincts, they put the early-polling place more than seven miles from the school.

So what did the students in this video do? They shut down the highway as they marched seven miles to cast their votes on the first day of early voting.


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February 10th, 2008

linkthink #5647477


February 9th, 2008

If That’s What You Mean

Mark Dery: Have you ever felt, as one of the few blacks writing SF, the pressure to write science fiction deeply inscribed with the politics of black nationalism?

Samuel R. Delany: The answer there depends on what your question means. If you mean: Do I feel that, deep within my work, I’ve situated material that encourages the reader’s engagement with some of the political questions that the disenfranchised people in this country, victimized by oppression and an oppressive discourse based on the evil and valorized notion of nationhood and its hideous white — no other color — underbelly, imperialism, must face but cannot overcome without internalizing some of the power concepts and relationships inescapably entailed in the notion of “nation” itself? Well if that’s what you mean, my answer is: Damned right I have! Certainly from my 1974 novel Dhalgren on, that’s been a major plank, reason, and justification in, of, and for my project.
       If, on the other hand, you mean: Do I feel that the surface of my work must blatantly display signs of solidarity with those who, through the real despairs imposed on them by oppression, have momentarily abandoned any critique of the presuppositions of nationhood and its internal contradictions, and that, through such signs in my work, I endeavor to speak back to those people in a voice indistinguishable from theirs, confirming what in them cannot question, what in them does not have the luxury of being able to critique the grounds on which they stand — a confirmation which, while I acknowledge that its project is an endlessly practical and necessary one, and one which I can usually support at some level of abstraction? Well, if that’s what you mean, then, alas, the answer is: No. That’s not part of my project — even though I often approve of it in others. Still, it’s just not what I do best.

       — “Black to the Future,” Flame Wars (Durham & London: Duke University Press, 1994), 188-9

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February 3rd, 2008

Up-to-the-Time, Down-to-the-Minute

It’s hard to keep up with dancehall’s now ting from farin, which is why I’m both grateful to and surprised by the way some London brethren keep up on things. Of course, London’s a very Jamaican place at this point, but so’s Boston, in certain corners, and I guess I just gotta get out more. (Fat chance, eh Nico?)

At any rate, thanks to London blog like Heatwave and Vanity of the Vanities, I’m feeling pretty caught up at the moment. Check these two sets of selections, including a judicious overview of the contempo scene from V of the V, for some round-to-the-hour hypeness —

Heatwave, “Rowdy Bashment 2007”


Vanity of the Vanities, “Unknown Number”

Dare I say that dancehall’s back into one of its regular upswings in energy and creativity? I dare — and that’s despite (or b/c of?) what Dave Stelfox has hailed (mourned?) as Jamaica’s full-on embrace of the digital.

And is it just me, or is 17 the new 27? I mean, raaaaatid, Steven “di Genius” McGregor is not only proving himself a prodigy, he’s downright prolific. Got some range too, as evidenced by the several riddims of his running thru that Vanities mix.

It occurs to me that — pon the Yankee side — Souljah Boy Tellem is also 17. As is my favorite yung juke producer, DJ Nate. Not to put too fine a point on it, but that means they’re all 90s babies.

wtf is in the water these days? can i get sum?

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January 6th, 2008

What Chew Know About Down in the Hole?

I’m not really a TV watcher. Really. I mean, sure, I’ve watched something like 2000 videos on YouTube over the last couple years (and I don’t think that even counts videos embedded in blogs, etc.). But I probably watch OldTube only a couple hours a week at best — like if, say, a big Bawstin game is on (and even then I’m usually tagging along with Becca’s great enthusiasm for sports, which well outstrips mine).

That said, I’ve spent 50 hours of the last couple months catching up with The Wire. After having read enough raves from enough trusted filters (while vigilantly avoiding any spoilers), I finally decided that I needed to be on board for the fifth and final season (which premiered tonight, non-demand). I have to say that I agree wholeheartedly with the show’s boosters. It’s an utterly engrossing series and, almost improbably, lives up to all the hype.

Earlier today Julianne Shepherd said about The Wire, “This is the most important work of visual literature of my lifetime! How can you not react to that total awesomeness?!” I concurrr. And I like the idea of the series as a work of “visual literature.” It has repeatedly been characterized as Dickensian, and I think that’s apt — not just for the way that David Simon, et al., offer such a detailed, vivid, and only kinda cartoonish portrait of the bleak houses of Bmore, but, obviously, because it’s also a serial, which makes it especially fun to watch all at once. (Waiting a week per episode is going to be tough after Netflicking the first four seasons.)

Since I’ve called it “only kinda cartoonish” I should probably reaffirm that the most striking aspect of the series is, as has been remarked again and again, its verisimilitude. The cops talk like cops, the corner boys like corner boys, the dockworkers like dockworkers, etc. It’s all very convincing and richly textured, drawing one in and suspending one’s proverbial disbelief (what’s to disbelieve when it seems so ‘real’?).

The Wire has faced some criticism, however, precisely because the response to the show, broadly speaking and from various quarters, has so affirmed its trueness to life. A recent piece in The Atlantic, for instance, finds the show too bleak, more bleak than life really is (for the author and his consultants anyway), and hence finds the show’s pessimism to undermine its verisimilitude: “This bleakness is Simon’s stamp on the show,” argues Mark Bowden, “and it suggests that his political passions ultimately trump his commitment to accuracy or evenhandedness.” Along these lines, and in that article, sociologist Elijah Anderson notes that “decent people” are underrepresented in the show, which, he contends, instead portrays underclass black life in Bmore as all too defined by the code of the streets. (Others have noted that the women in the show lack the fullness and range of the male characters, which is a valid criticism too.) W/r/t bleakness, however, I’m inclined to agree with my friend Marco: it doesn’t seem exaggerated. To put it another way: shit is real. (Or sure seems so.) And I mean shit literally too.

W/r/t to verisimilitude, though, for me — and maybe you saw this coming — what most frequently trips me up (or really, tripped me up, since it has largely been corrected since the early seasons) is the use of music in the show.

Notably, The Wire pretty much exclusively employs music in what film scholars/scorers would call a diagetic manner: that is, any sound you hear, the characters hear too. It’s “source music,” emitting from a particular source in the world that you’re watching. Tracks blast from cars and boomboxes and club systems; they don’t creep up on you like sneaky violins and woodwinds to manipulate your emotional response to what is happening. They serve as set pieces. As such, the music offers another level of detail to the show’s attempts at verisimilitude. Or at least that’s what I expected to hear. So I was surprised, during Season 1, to hear Mos Def and Common and other (let’s face it, bourgie) hip-hop songs playing in the Bmore ‘jects. Don’t get me wrong. I like those guys, but they’re not exactly offering thug motivation, knamean. (& I know I’m not the first to note this disconnect, but having avoided detalled commentary on the series in order to avoid spoilers, I didn’t read through long threads on the placement of music in the series prior to formulating this critique.)

To their credit, the producers of the show came around and remedied such diagetic distractions. In later seasons one hears music better matched to the settings: e.g., Fiddy and Jay-Z, a little Sean Paul for good measure (even some Vybz Kartel). Up to the time music, gangsta music, popular music. The soundtrack suddenly started to rise to the level of thoughtful detail of the rest of the show. Omar’s Latino pardner bumped reggaeton in his ride. Jimmy McNulty, the Pogues. And finally, sometime in season 3, Baltimore club music made a few key appearances: a house party here, a club scene there, a couple kids bumping along to the distinctive beat in their ride. In Season 4, Bmore club (as esoteric knowledge) even serves as a cunning tool for marking ignant interlopers from NYC. Season 4 also saw the introduction of homegrown hip-hop, a scene apparently spurred by the series, which has put (C)harm City on the map in recent years in a manner rivaled only by, well, Baltimore’s club music itself.

And though the producers have gone so far as to compile an album featuring tracks by DJ Technics, Mullyman, Diablo, and other locals, they’ve decided for the 5th season — against my highest hopes — to use a version of the Tom Waits penned theme song, “Down in the Hole,” as sung by Steve Earle (who plays a recurring character on the show) rather than, as I had fantasized, commissioning a Bmore remix of the Waits original (which remains my favorite version).

And so, to fulfill my own fantasies, I put together this quick’n’dirty number —
wayne&wax w/ Tom Waits, “What Chew Know About Down in the Hole”

That’s it for now. Just wanted to let y’all know: I’m watching with ya. There won’t be any plot talk here (I still hate spoilers), but I’m always happy to talk themes. Plus, you can find all the Wire talk you want at places like Heaven and Here, where David Simon himself occasionally leaves a comment. Maybe me too.

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January 5th, 2008

Globalistas e Baptistas

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 etnomusicólogo, 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 BNegão, 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 español 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…

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December 13th, 2007

Local Ghettotech (vs. Gobbledecrunk)

This Friday — here in Cambridge, Mass — the Thunderdudes are bringing none other than Detroit ghettotech luminary DJ Assault to move the (m)asses @ the Greek American Political Club —

I have to admit that I’m pretty excited ’bout that, since I find ghettotech, ghetto house, juke, etc. — various hardcore post-house/techno booty beats — to be really quite engaging on a visceral level. The breakneck tempos, the driving drums, the low-fi, DIY, indie aesthetic (often [self]described as “raw“), even the dirty chants, repeated ad absurdum, all work together to do some work: on my body, on my psyche, on the collective. It’s no surprise that “work that” (and similar imperatives) tend to dominate ghettotexts. These imperative qualities have a lot to do with what makes ghettotechs appeal more broadly, beyond their original, local confines (they’re labeled “ghetto” for good reason), globally even.

Of course, when I stop to think about it, when I let the looped words grind their lexical meanings into me, I wince. That ol Cartesian dualism, er, rears its head, and I find my mind wrestling with my hind, like, Are we really nodding along to this?

& I know I’m not the only one who asks such questions. I think — and hope — that this kind of inner (and sometimes outward) dialogue is pretty much shot through the ghettotech experience (for ghetto denizens and diggers-at-a-distance alike). Indeed, as some of the exchanges captured in this short documentary on ghetto house in Chicago attest, the producers and their people themselves grapple with the genre’s “abusive” sounds —

There’s an interesting contrast, however, between listening to ghettotech in English, where it’s not so easy to ignore the words’ meanings (even if I try to let them function as another nonlexical layer of sound, which, hell, I’ve been doing with nuff hip-hop & dancehall for some time now) and listening to “ghettotech” in another language, e.g., Carioca Portuguese or San Juan Spanish. I suspect that a lot of us global ghettotechies out here, especially those of us in the monolingual camp (ahem, USers), have an easier time listening to booty music when we don’t have to think about the meanings of the words. If it’s all gobbledecrunk, it’s all good.

I was recently e-terviewed for a piece by a Brazilian journalist on “global ghetto” ish, and I think the following q&a is germane, so I’ll end with this —

Q: 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)?

A: 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.

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December 8th, 2007

ya dee ya / da da-da da

definitely feeling DJ Nate‘s waltzy juke ballad, “May Be Sum Day” —

dude nem’s music industry continues unabated

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I'm a techno-musicologist, internet annotator, imagined community organizer.

I left my <3 in the digital global, but I reside in Cambridge, MA, where I'm from.

I represent like that.

wayne at wayneandwax dot com


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