Archive for the ‘festival’ Category

Unintended byproducts of the global city

Sunday, August 30th, 2009

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From the moment you land at Heathrow, it’s impossible not to think about London in the context of the global city.  The tarmac is littered with airplanes bearing the liveries of airlines worldwide.  The brilliant cacophony of foreign tongues converges at immigration — from visitors and workers alike.  When it comes to heading for central London, the level of infrastructure is staggering: subway, local train, or express train.  Some American cities are lucky to have a bus.

The citadels of finance buttress the insane real estate pressure — every square inch of vacant land hotly coveted by developers — and a trenchant radical backlash.  But Sassen’s analysis in The Global City is so powerful because it isn’t awed by the structures of transnational trade; rather, it coolly describes them, while incorporating the counterpoint: extreme disparities of wealth.  It takes a vast underclass to serve and service the transient servants of global capitalism.

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Thus is London the multicultural hub that makes it such a fascinating place to visit today.  Quoth w&w, “what an amazing, creolized city.”  I got my taste today at Brixton market.  From Blacker Dread music store (and “reggae consultant” ! or so says the business card) to free-range jerk chicken to Bhangra Burgers to Black Hebrew street preachers to Halal butchers blasting dancehall to the ingredients for callaloo and Irish potato casserole (I made a fine creolized dinner if I say so myself).  It’s no wonder Paul Gilroy theorized the Black Atlantic here.

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My experience had a heavy Caribbean tilt, though it could just as easily be Desi/Bengali over in Brick Lane, or African, or Irish, or Chinese.  But I’m on a West Indian vibe, since I flew all the way across the pond for essentially a long weekend to celebrate the second biggest street party in the world after the Carnaval in Rio with my gracious host and new London resident, Casi G of Flamin Hotz Records.

That party is Notting Hill Carnival, natch.  50 years strong and still reflecting “the heart of black London.”  While “multicultural London” may be a selling point for the tourist bureau, the city definitely did not arrive at this mixed heritage so smoothly.  It was a race riot that gave birth to the Carnival in the first place.  Last year there were several stabbings, and I was warned even at airport immigration to be careful.

But that unruliness is a little exciting — this isn’t an event totally given over to commercial sponsorship and family-friendliness (though the first day is supposed to be more for the littles, as they say).  It’s antithetical, perhaps, to the corporate structures that, through vast demographic and migratory forces, have made this event possible.

Likewise the pirate radio that has been on constant rotation since I got here, my trusty transistor proving that radio really is the most democratic medium.  While heavyweight Rinse FM was blasting the UK funky to get us pumped for Saturday night, much of the daytime hours have me glued to Urban Love Radio: “Bashment, dancehall, and soul with a touch of funky and soca.”  Some rulll lover’s rock on right now for the brunch hour.

Don’t want to get too lulled by the soundtrack, though, there are sound systems a-waiting!  FWD >>> bacchanal.  Catch you post-Carnival, mate.

Funk Yourself

Thursday, July 9th, 2009

When I was in Rio last month, Sany Pitbull was extremely excited about a hush-hush high level collaboration with Red Bull and the Rede Globo (Brazil’s media empire).  Well, it’s happening — “Funk-Se” or funk yourself, is ongoing this week in the Cidade Maravilhosa (check the site even if you don’t know Portuguese — chock full of streaming music, videos, photos, etc.).  Sany describes it as a watershed moment for funk, especially on the heels of the law in Rio’s state legislature declaring funk a legitimate form of cultural expression.

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As he wrote in his announcement e-mail:

Um sonho que eu tive junto com a minha grandiosa e saudosa amiga Adriana Pittigliani está se tornando realidade, o sonho de ver o movimento funk ser realmente respeitado como merece…. Não está sendo fácil transformar esse sonho em realidade( e ninguém falou que ía ser facil,mesmo), mas com a ajuda de uns aliados estamos conseguindo chegar lá.

O motivo desse email é um só, te mostrar parte do que estamos fazendo, é só o inicio, temos muito mais à fazer… Muito trabalho ainda vem por ai.. Chega desse papo de musica de favela, musica de pobre… o Funk é muito mais do que isso… Muito maior do que parece ser…
Basta apenas se organizar pra ser tornar o maior ritmo musical desse país..e seremos sim, quem não acredita vai ver…

Está para acontecer um evento histórico, embrionário ainda, pequeno talvez em  relação à magnitude do ritmo, mas ja é um inicio e olha que não estamos começando fracos não, só aliados de responsa compraram a briga ( do bem e pelo bem ).

40 anos de funk
40 anos de historia
40 anos mexendo com a cabeça,alma e quadris de tanta gente mundo à fora
40 anos se transformando e se preparando pra ser a musica dos próximos 40 anos(no mínimo).

Redbull Funk-se , do vinil à Mpc …

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A dream that I had together with my dearly departed friend Adriana Pittigliani is becoming a reality, the dream of seeing the funk scene get the respect it deserves… it hasn’t been easy to turn this dream into a reality (and nobody ever said it would be), but with the help of many allies we are finally succeeding.

The motive of this e-mail is simple, to show you what we have been up to, it’s only the beginning, we have much more to do… Much more work to come.. The arrival of this conversation about favela music, about the music of the poor… Funk is much more than this… Much bigger than it seems to be…

A historic event is about to take place, still in its infancy, perhaps tiny in comparison to the magnitude of the funk beat, but it’s already a beginning and look at how we don’t start off weak, only our most trusted allies will join us in the fight (of and for what’s good).

40 anos of funk
40 anos of history
40 anos of moving the head, soul, and booty of so many people
40 anos of transforming itself and preparing itself to be the music of the next 40 years (at the minimum).

Redbull Funk-se, from vinyl to MPC …

Sany Pitbull: funk prophet?  Could be.  The schedule is packed, with a daily panel discussion, film showing, Sany Pitbull MPC workshop for kids at a technology magnet school (!), and nightly party.  Notably it indeed stretches back 40 years, bringing in the likes of Gerson King Combo, one of the originators of Brazilian soul and overall “black music” as they call it.  The press coverage is unsurprisingly favorable, and speaks to the media’s willingness to give positive coverage toward mainstream, legal, organized funk, with corporate backing no less.  (Poking around the “related articles” reveals one from last year about a baile crackdown sparked by a grenade explosion that injured 12 at an August 2008 favela baile).

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One of the events I am most disappointed to be missing is the MPC battle!  Cabide DJ x Phabyo DJ x DJ Pokemon x DJ Mancha.  I’m a little intrigued at some of the rules though –

Serão passíveis de eliminação os seguintes casos:

Agressão física contra um dos participantes; ofender o apresentador ou o Dj.
O DJ que falar de facção criminosa (apologia).
Não fazer referência a time de futebol
Não executar músicas com temas e vozes infantis.

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The following will lead to automatic disqualificaton:

Physical aggression against one of the participants; offending the host or another DJ.
DJ mentioning a criminal faction (apology for crime).
Do not refer to any soccer team.
Do not play music about children or with children’s voices.

There is clearly an effort to manage the kind of funk on display at such a high-profile event: no proibidao, nothing that could involve minors (there goes all the tunes about “gatinhas”), and I guess no riling up the crowd with a cheap paean to Flamengo.

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My money’s on Cabide, natch, as he’s No. 1 sampler do Brasil e do mundo now.  Besides, that’s his MPC they’re fighting over in that pic.  Either way, there’s a 50-50 shot a Flamin Hotz artist will be the “king of the MPC.”

Meanwhile, the Cine Funk Clube will be screening Favela on Blast tomorrow night to round off a week that’s included “Sou Feia Mas To Na Moda” (I’m Ugly But Trendy), one of the earliest post-2000 funk docs and some other more obscure (or I guess more Brazilian) ones that I’ve never heard of.

I’ve got saudade, sure.  As Sany said, “You’re leaving June 11?  No no, make it July 11!  Stay for Funk-Se!”  But duty calls back here in the Estados Unidos.  Still, some likeminded folks & I have put together a mini Funk-Se at the Chicken Loft.  We’ll have old Brazilian wax, an MPC, Cabide’s DVD internacional, Favela on Blast, caipirinha, cerveja, boldinho, and comida galore.  Tonight, Cambridge is the next best place to Rio. (more…)

Are we in Baltimore? Are we in D.C.? Are we in Columbia?

Wednesday, July 30th, 2008


Columbia, Maryland is a planned community that appeared out of nowhere in otherwise rural Howard County in 1967. It may have improved on ’60s suburban sprawl, but forty years later it’s still plagued by suburbia’s basic problems: car-dependency, low density, lack of mixed-use development.

I was born and raised here and the temporary return has been rocky, mostly the sticker shock of having to pay for gas while still gainfully unemployed in post-graduation limbo, not to mention the sheer time consumption of driving at least half an hour to access urban culture. Indeed, Columbia is positioned about halfway between Baltimore and D.C., a perk for reaching the two major job markets, or a drag if you just wish you were in one or the other.

I’ve watched that tension blossom over the years, especially as friends have gone in one direction or the other to settle down: Is it a Baltimore or a D.C. suburb? The answer, of course, is both, but I’ve made a parlor game out of watching the barometer in either direction — how many signs for commuter buses to either city, which sports teams are getting repped in bar windows and on baseball caps, what newspaper does a particular house subscribe to, what local news channel do you watch. Despite a Baltimore orientation in high school, I’ve gradually recognized that I orbit the District — from the Washington Post at the breakfast table every day to the Nationals game I attended last night. Of course, a particularly snarky commentator could say that even Baltimore is a bedroom community of D.C.

Perhaps Columbia’s only saving grace — certainly culturally — is Merriweather Post Pavilion. The venue is second to none, an early Frank Gehry (c. 1967) outdoor amphitheater, most definitely an idyllic setting on any summer evening, albeit hot in the daytime under a sticky mid-Atlantic sun. The artists at Sunday’s Rock the Bells, a old-school hip-hop spectacular, put on a show at Merriweather from noon till night, but damn if they couldn’t figure out where they were. Between Nas, Mos Def, De La Soul, and Rakim on the main stage there were shout outs to Baltimore, D.C., Maryland, Virginia, even Pennsylvania. Music as relentlessly urban and rooted in a particular place as hip-hop just couldn’t find a comfortable nesting ground amid the leafy groves of Merriweather, even if it was a convenient meeting point for black/white, young/old, urban/suburban — although the lack of public transportation may have kept some citybound fans away (I did see one Zipcar, much to my delight).


Another way of staking out location, of course, was through the music itself. Baltimore has club and D.C. has go-go, both of which Afrika Bambaata spun in an animated DJ set on a rainy side stage. He namechecked both — said he couldn’t play a set this close to either city and not drop Bmore breaks or pots and pans music. But in the hype circles of 2008, it’s not exactly a fair battle. Go-go can’t stand on its own as DJ material the way club can, simply because it’s live music. Of course, a little go-go inflected hip-hop might be the perfect repartee. So while DJ Blaqstarr did his best to animate a thinned out side stage the way he did at the Paradox the other week (god-awful hype girl Oxy Cottontail, a Columbia native and ultimate hanger-on, should not have been sharing the stage with the likes of the Zulu Nation any more than I should have), I would he say he was upstaged by DC/MD’s own Wale, who performed early on the main stage.


His breakout single “Dig Dug” samples D.C. go-go band Northeast Groovers, chops & screws it just a little but mostly lets it play. “Not from Northeast but I guarantee I groove.”

Wale - Dig Dug

On his most recent effort, “Mixtape About Nothing,” he tackles the Bmore vs. D.C. controversy head-on, mostly in jest.

Wale - The Bmore Club Slam

Even K-Swift (R.I.P.) gets namedropped. But damn if her beloved 92Q isn’t showing PG County’s finest any love.

While the Columbia curse means I can’t claim any more cred to D.C. go-go than Baltimore club, even if I get the chance to spectate every once in awhile, if I’m in the D.C. area rather than a Baltimore suburb, it’s still gratifying to have an up-and-comer to root for (and rock out to). And his DJ, Alizay of WKYS (the D.C. answer to 92.Q), even did a Rock the Bells mixtape.

In the end, though, it was finally Q-Tip who got it right. As he hyped the crowd up for A Tribe Called Quest’s full appearance on stage, he yelled out, “Are we in Baltimore? Are we in D.C.? Are we in Columbia?”


The answer, of course, is all three, in different ways. And for a Columbia native, however conflicted it makes me feel, it was the rarest of treats to have music I normally drive at least a half an hour to hear in my hometown, a short walk away.