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MONTH: NOVEMBER 2008


CUMBIA SIN PARAR

lively discussion & lovely old tunes with Ian Nagoski (compiler of Black Mirror)
on the radio this past wednesday. Sonido Martines next week.

+ + +

Bolivia is worth visiting because, from the little I have seen and understood,
it is very much itself and unlike other places I have seen. Today Sonido said “I
think El Alto is the most futuristic city in the world” and I think he’s right.
We’ll try to elaborate. Busy days.

+ + +

Cristian Alarcón, author of Cuando Me Muera Quiero Que Me Toquen Cumbia, has a
great profile of Pablo Lescano based in part around my cumbia piece for the
Fader. en Español

link to blurb. link to PDF.

In addition to a sidebar with translated chunks of the Fader piece, the article
talks with Lescano talking about me talking to him (media feedback loop), and
what it means for The Fader to cover this unexpected genius, pictured below with
a culo real and his “100% black cumbiambero” tattoo.



> excerpt: Lescano había pasado la noche anterior con un “periodista de Nueva
> York” al que había llevado a los bailes “para que alucinara”. “Claro,
> imaginate que él iba a Niceto donde pasan cumbia mezclada con electrónica, o
> reguetón. Después un poco de rap, después un cachito de cumbia, y
> reguetón. Es un invento bárbaro. Yo le dije ‘vení que te llevo’, y me lo
> llevé a Fantástico Bailable, a Jesse James y un par de lugares más. ¡El
> chabón no lo podía creer!”, cuenta Lescano, en su departamento con vista al
> río, sobre una avenida de San Isidro.
> 
> El amigo americano se llama Jace Clayton, un negro de
> Boston joven y atildado, que vive en Brooklyn y que resultó
> ser DJ Rupture, un tipo en la vanguardia de la electrónica
> global que hace años se dedica a bucear en ritmos alternati-
> vos. Saciado de africanos y de orientales, investiga con frui-
> ción a los latinos. Había sido enviado a Buenos Aires por la
> revista neoyorquina The Fader, una publicación ultra chic,
> dedicada a la moda, las tendencias globales y la música. Allí
> publicó su recorrida con Pablo por la escena porteña y des-
> cribió las noches de las fiestas Zizek y su público internacio-
> nal y modernoso, y las de la masa de cumbieros “100%
> negros”, como dice el lomo de Pablito, en letras tatuadas.

and the sidebar in its entirety:

“Un tren imparable” Lescano dejó hace tiempo de ser un ícono oculto en la
subcultura tropical argentina, no sólo gira y gira por la noche conurbana, no
solo recorre el continente, sino que también es el fenómeno musical y juvenil
argentino que más curiosidad despierta en los periodistas internacionales que
vienen a explicar Argentina. Como le pasó a Jace Clayton, un periodista y dj de
Estados Unidos que dando vueltas por Palermo se metió en una fiesta Zizek en
Niceto y luego de ver a Lescano no hizo más que tratar de explicarlo, de
contarle al mundo su hallazgo, una especie de bob Marley cumbiantero que cambió
para siempre el panorama musical argentino. Se fue de gira con él y escribió
un artículo que le abrió a Lescano las puertas del mundo bien pensante de la
crítica en Estados Unidos. Fascinado por lo que vio, la explosión desmesurada
alrededor de Damas Gratis, Clayton quedó fascinado. Explica así, en la revista
The Fader, el sonido Damas Gratis, esa mezcla insólita de reggae, hip hop y
cumbia que se repite y martillea hasta partir la pista de bailes en pedazos:
“La música tropical es el eslabón perdido entre el upbeat de la salsa y el
dub somnoliento del reggae. El sonido simple de la cumbia se transforma en cada
lugar que llega, manteniéndose presa de un lento groove, un tren imparable que
se mueve despacio. No hay dogmatismo en estos músicos que usan sintetizadores,
guitarras, flautas, lo que sea. Eso sí: viejos y jóvenes cantantes parecen
llegar al éxtasis cuando todos, sin excepción, arrancan emoción del público
al gritar
Cumbiaaaaaaaaaaaaaaa”.

Clayton también escribe sobre la evolución de la cumbia hasta el fenómeno
Lescano: “En México, en los primeros 80, cuando las bases percusivas
electrónicas ingresaron a la música tropical luego de revolucionar la música
pop”. Y habla del fenómeno colombiano de las cumbias rebajadas, viejas
canciones a las que le bajaron el tiempo para lograr un fluir más lento pero
igual de sostenido. “Cuando en los 90 Lescano comenzó a trabajar como
tecladista y arreglador, el horizonte no era nada alentador. Tenían éxito los
cumbianteros románticos, con una propuesta limpia y comercial que a él no le
interesaba. Así fue como
poco a poco comenzó a hablar de su barrio construyendo una estética del
desamparo social hasta formar, sin saberlo, el imaginario de los Pibes Chorros
que hoy ya es una clase social. Lescano inventó un nuevo tipo de cumbia,
análogo del Gangsta Rap, que aquí se conoce como Cumbia Villera”. Clayton se
sorprende con la divisón que propone la cumbia
en una ciudad tan rockera como Buenos Aires, donde la gente ama y odia a Lescano
con la misma intensidad. Sin embargo, a Clayton en realidad, le interesa
explicar también el fenómeno de la techno cumbia que vio explotar en Zizek.
Bandas como Fantasma, con el Gran Negro Gran Faso en la voz, o las Kumbia Queers
se presentan como una vanguardia que, sin embargo, todavía no logra penetrar en
el circuito de bailantas y hasta son resistidas por el público tradicional, que
las acusa de conchetas. Todos ellos, modernos y tradicionales, tienen el mismo
Dios, un pibe de barrio
que se llama Pablo Lescano.

Posted on November 29November 29Categories cumbia8 Comments


RAI HEAT, GAZA LORDS

a new piece of mine on rai, in The National. Yalla!

+ + +

and another in n+1. about… how the international DJ thing works? The article
isn’t online. Issue launch party in Brooklyn tonite.



+ + +



Mode Raw of Bigger Judgement put together an incredible two volume comp, Gaza
Lords. Which melts my brains. Lots of Jamaican heat, Di Genius shivering
everyone’s spine. I’ll write it up proper in one of those ‘best of MMVIII’
lists, until now, if you harbor a soft spot for gangsta synthetics:

[audio:01_back-rhyno_-_Mek di Paypa.mp3]

Blak Ryno – Mek Di Paypa



Posted on November 21November 21Categories ., fine print, rai6 Comments


GIRA SUDAMERICA PT 1

the thought of going from sea-level to 4 kilometers (13,500ft) up is a bit
intimidating, but apart from that:

next Thursday Sonido Martines & I will be playing a show in La Paz, Bolivia.
(Test presses of the Sonido Martines 12″ are now floating around London!)

And then I’ll be leading a 2-day hiphop production workshop for some young
producers/MCs in El Alto. There’s a lively scene of indigenous kids rapping in
Quecha & Aymara.

This free workshop is happening at radio station Wayna Tambo 101.7 fm, who are
helping to promote the party. It should be lively, nobody knows quite what to
expect… Also probably another fiesta in La Paz saturday night…
the following week we’ll head over to Lima for 3 more events, more in a bit.

also, NYC-side: tomorrow fri. nite Badawi is playing @ Dub War and Uproot Andy &
Feliz Cumbe are playing at Bowery Poetry Club. I just received the new final
Skull Disco /Shackleton 2-CD with remixes by Badawi, yrs truly, and a bunch of
others and its got some great moments, Raz’s treatment is expansive… deep.

Posted on November 20Categories .7 Comments


TWO FOR THE PRICE OF NONE

Samuel Delany and Junot Diaz reading in NYC this monday!

Monday, November 24th
SPECIAL NIGHT! With Junot Diaz (The Brief Wondrous Life of Oscar Wao) and Samuel
R. Delany (Dhalgren, Dark Reflections).

@ Solas Bar, 232 E. 9th Street
7:30PM sharp

Posted on November 20Categories .2 Comments


S.LEM

a big shout out to the Mudd Up! commentors who recommended Stanislaw Lem — I
finally found time to read him, and the title I’ve begun, A Perfect Vacuum
(Amazon|Google Books), is incredible. It’s a collection of reviews of
nonexistent books, erudite and extremely funny. (The best bookstore in Barcelona
takes its name from one of the books here discussed: Gigamesh.)

As explained in the A Perfect Vacuum’s opening review of A Perfect Vacuum by
Stanislaw Lem (tip of the iceberg, this):

> Reviewing nonexistent books is not Lem’s invention; we find such experiments
> not only in a contemporary writer, Jorge Luis Borges (for example, his
> “Investigations of the Writings of Herbert Quaine”), but the idea goes further
> back – even Rabelais was not the first to make use of it. A Perfect Vacuum is
> unusual in that it purports to be an anthology made up entirely of such
> critiques. Pedantry or joke, this methodicalness? We suspect the author
> intends a joke; nor is this impression weakened by the Introduction –
> long-winded and theoretical – in which we read: “The writing of a novel is a
> form of the loss of creative liberty. . . . In turn, the reviewing of books is
> a servitude still less noble. Of the writer one can at least say that he has
> enslaved himself – by the theme selected. The critic is in a worse position:
> as the convict is chained to his wheelbarrow, so the reviewer is chained to
> the work reviewed. The writer loses his freedom in his own book, the critic in
> another’s.

Posted on November 15Categories books, krazy kritics, maplessness8 Comments


THE CONVERSATION

“You’re one of the most interesting people I know!” I tell her, again.

But she doesn’t believe it. She started surveilling her neighbor – to see if his
life is as boring as hers is.

+ + +

Rise of the Singing Robots – David Decks on autotune.

I Like Listening to Awesome Tapes from Africa – Andy Moor.

some mudd on each.

Posted on November 14Categories autotune, berber2 Comments


TWENTYFIRST

this Saturday New York, you’re invited to the opening of “Twentyfirst”, a group
(art) show I’ve got a collaborative piece in.

Other artists include: Fritz Haeg – the greatest gardener of our time (no joke
!), The Center For Land Use Interpretation, Haegue Yang, Rocío Rodríguez
Salceda, Mariana Mogilevich, and more.

Twentyfirst @ the Silver Shed on 119th W. 25th st ph.

Says the gallery:

> “Jace Clayton and Rocío Rodríguez Salceda’s collaborative piece takes on
> generic file attribution and authorship issues of obliterated audio & visual
> meta-data, reflecting on the potential of cumulative knowledge and the
> information ecology of memory, erasure, and the recirculating of digital
> cultural offerings via global formats of compressed data. Clayton is giving
> away a limited edition CD containing all of his commercially available audio –
> each bearing the same title (DJ_Rupture.mp3), as Rodríguez Salceda prints
> found images (all titled “foto_02.jpg”) on edible strips of rice paper, for
> public consumption. “



Posted on November 13November 13Categories art, nyc1 Comment


SUPER ACCORDEON

this is an indicator of my level of busyness. I am just now listening to a CD i
personally bought up in Harlem nearly 3 weeks ago, called Amadou Barry – Super
Accordeon. It cost $3 and the store where I got it is open 24-hours. They mostly
sell phone cards and dvds.

On the ultra-xeroxed cover Mr Barry is wearing a v-neck t-shirt printed with a
large picture of a black woman’s foot. She’s in dark heels with a red flower and
matching toenail paint. There is no leg. Barry looks worried, startled,
purposeful, intent. “Demi-Talon” is what his shirt says.

The poorly-photocopied image has given Amadou Barry a high-contrast bright white
aura rimmed by electric blue. The synth with its resonance pushed way up takes
precedence over the super accordeon in this song:

[audio:AmadouBarry_ SuperAccordeon.mp3]

Amadou Barry – track 8 from Super Accordeon

Here’s a video, audibly taken from a cassette. The sound gets filtered out
pretty regularly. Head-cleaner has its uses…



Posted on November 12November 12Categories ., africa, guinean2 Comments


NOCHE DE CUMBIA

tonite, Tues November 11, Williamburg, I’ll be joining residente Geko Jones @
the new QUE BAJO party. Cumbia fans come through!



I’ll be playing exclusively cumbia colombiana and cumbia sonidera (read: no
crunk cumbia, no mashups, etc). Just that sweet slow shuffle.

I’ve been digging deep into sonidera lately, finding a lot of El Hijo de la
Cumbia production on CDs floating around the Mexican sonidera scene in Brooklyn
shops. They never list the producers, but his style stands out. Here’s one I
found last week. Vox by La Contra.

Says El Hijo: “de donde lo conseguistes ? jajajaa ya ni me acordaba de el .. ”

[audio:LaContra_CumbiaDeLaContra.mp3]

La Contra – Cumbia de la Contra (prod. El Hijo de la Cumbia)

Posted on November 11Categories cumbia, gigs, nyc3 Comments


BUT LISTEN ANYWAY

Princess Music at 6919 5th Ave in Bay Ridge (Bay Ridge: R stop) is the best Arab
music shop in Brooklyn. Don’t get me wrong: it’s not good. It simply happens to
be the best, because the competition is even worse. Princess has some headless
black Sambo/Aunt Jemima style ceramic figurines too, although they’re not for
sale – they’re decoration.

Good thing Beur.Fm has internet streaming!





(Beur = verlan for ‘arabe’ ; verlan = we’ll eat this language from our side out)

Beur Fm is a powerful nationwide FM station in France with a satellite broadcast
so family back the in the bled can listen in. They have 5 internet streams: the
main station, 100% Maroc, 100% Rai, 100% Kabyle, 100% Orientale, and a new one
called Ramadan.

Song and artist (metadata) info on all channels except 100% Maroc… That said, I
can tell you that the song right now is by Jil Jilala… with Moulay Abdelaziz
Tahiri on guembri. I recognized his stride immediately… so clear. This moment
arrives bookmarked by music I can neither recognize nor remember // beauty
dovetails drift, also the way smoke works, hope rolled up and burning. to know
little. to listen.

Posted on November 10November 10Categories arabic, maplessness, radio3 Comments


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