Muito obrigado to Alexandra for reaching the brink of near deafness with me and surviving to tell the tale.  Yes I saw windows shake.  Who says favela architecture is precarious if it can withstand the sonic onslaught every weekend while IPHAN declares a meticulous building that took four years to construct too fragile for subfrequencies?  Maybe the real precarity is in the formal city.

Building sound systems is its own architectural gesture too, especially with the elbow room of a big downtown square, a far cry from the tight squeeze of a favela’s improvised public spaces.  Turned on its side, Furacão 2000′s speakerboxes look like they would tower above downtown Rio’s citadel to petroleum, the Petrobrás tower lurking behind in all its sinister, cut rectangular prism glory.

In fact, the vertical architecture of downtown actually served as a sonic prism, trapping in the sound waves that just about made themselves visible — from the shaking window to my vibrating Coke can to the blurry vision when I was trapped in the ricochet effect of speakers against building.  Sonic Warfare indeed. Read the rest of this entry »

[Brian Degraw, Untitled John Lee Malvo, 2005, pencil on paper, 36 x 28cm]

As part of our ongoing efforts to keep radio exciting…

Tune in to Mudd Up! on WFMU next Monday, November 14th, for a show with special guest Brian Degraw, visual artist and musician from Gang Gang Dance! It’s gonna be a good one.

And below you can stream this week’s show — a live FM broadcast (& YouTube/film screening) from Spectacle Theater. New formats to help us unfold.

Big thanks to the behind-the-scenes team who made the 100% Arabica night a success: Bill, Dave, Mike, and Liz from WFMU, Spectacle’s Akiva, Tony, and the theater volunteers whose names I didn’t catch. Generosity mob!

Once we were actually broadcasting live and direct, I got overexcited and bumped up the volume without bothering to check the meters — the the 2nd half of the show has a bit of (nice) distortion, and a few minutes of unintentional overlapping audio chaos. Fidelity realism! Can’t be beat.

Adding the element of visuals and a live audience to the usual radio experience was thrilling — so we’ll return to Spectacle at 7:30pm on Monday December 5th for another live Mudd Up! remote broadcast and film screening. Details soon!

 Marvin’s Room (Shlohmo’s thru tha floor remix) – Drake by shlohmoA question I hear frequently asked about Toronto based Hiphop/RnB rapper/singer/child actor Drake in the press is why his new music is so depressing sounding and what does he have to be unhappy about? He’s young, rich and famous! He’s got a seemingly endless supply of adoring fans, pretty women, drugs, alcohol, money and a venue for his artistic expression to talk about his feelings. Hot97 is his psychotherapy couch.

When he sings:
‘Cups of the XO
Bitches in my old phone
I should call one and go home
I’ve been in this club too long
The woman that I would try
Is happy with a good guy

But I’ve been drinking so much
That I’ma call her anyway and say
“F-ck that nigga that you love so bad
I know you still think about the times we had”
I say “f-ck that nigga that you think you found
And since you picked up I know he’s not around”

(Are you drunk right now?)

I’m just sayin’, you could do better
Tell me have you heard that lately?
I’m just sayin’ you could do better
And I’ll start hatin’, only if you make me’

Drake strikes me as being honest here. Even though he has all of the above material and ego-enhancing things that many of us want, he is still not happy.  When artists are honest and speak about what’s really happening with them instead of repeating tropes that seem like the ‘industry standard’ (I’m balling! I’m awesome! I’m getting money!) it adds a richness of meaning, the texture of personal reality.  The current vogue for sipping XO (aka sizzurp, purple drank, or cough syrup made with promethazine and codeine) popularized by many rap/rnb artists including recently Drake and The Weeknd seems to support this pretty well. Codeine is an opiate, the same active ingredient found in heroin. It’s a central nervous system depressant that makes you sleepy and dulls pain when used when you’re sick. If consumed when you’re healthy it pushes pleasure buttons in your brain and feels great.   Taking codeine also kills you.  If you slow your central nervous system down enough you’ll just stop breathing. RIP DJ Screw and Pimp C. My question is: how much must you be suffering to make this glamourous lifestyle choice? Scientific research has pointed to links between the way we experience physical and psychic pain, like the pain of depression, including the fact that depression sufferers seem to have more acute physical pain.  As far as I can tell people who are happy and fulfilled don’t need to constantly take large amounts of central nervous system depressants like codeine and alcohol.

Read the rest of this entry »

Wills Glassspiegel sent me this after I ran into him on the street and remarked how much I enjoyed the radio broadcast he worked on for Afropop about the black American roots of house and techno here.

I’ll let him speak:

“Thought you and Dutty Artz might be interested in this interview tape I recorded in Chicago with Traxman, RP Boo, DJ Earl and Boylan.  I think everyone has been trying to describe “footwork” and no one quite gets to it like these guys.  In publishing this tape (which i did with their permsision), I was reminded of Lomax’s old oral history interviews with blues musicians.  So important for musicians to tell their own stories.”

Yup, I agree. I always prefer to listen to music talk about their own work and scenes as opposed to various usually distant journalistic interpreters. Listen, learn and enjoy.

 
Footwork Selects by longlooks

A week before Rio Parada Funk, the largest baile funk ever, Brazil’s Institute for Historical Patrimony and National Art (IPHAN) informed the press that they were going to veto its location in the historical epicenter of Rio de Janeiro. They claimed they were worried about the effects of the bass on the windows of century old buildings like the Municipal Theatre and the National Library. A few days earlier the event’s organizers had agreed to IPHAN’s volume limits. But this agreement didn’t satisfy IPHAN. And they required the Parada to move to a different, less elegant, more blue collar street also in Centro.

Yet the most popular street Carnival bloco, Cordão da Bola Preta, which last year had about 2 million participants, has marched without sound limitation for years along the same route.

By transforming the prestigious center of Rio into a ten sound system deep celebration, organizers of the Parada Funk would make a claim of the centrality of funk carioca and assert their rights to the city. In recent years violent police take-overs (called “pacification”) of favelas have resulted in the shutting down of many community bailes. The Parada’s taking over Rio Branco Avenue, the former route of the Carnival samba school parade, would have enacted and symbolically placed funk in the same trajectory as samba, from criminalized, poor Afro-Brazilian music to national rhythm.

Yet organizers like Mateus, who produces Eu Amo Baile Funk, urged MCs and DJs not to talk to the press about prejudice against funk but to emphasize it as a celebration. An MC responded, “Funk is equal to samba. We’re here to show that funk is culture.” The Parada, which is the first major funk event to receive funding from the state–the Secretary of Culture–would have been unimaginable a few years ago.

Dado DJ on MPC, then DJ Grazy and DJ Leo tag-team to make up for the one working CDJ

A few days before the event, the location was moved once again–this time by the city–to a huge plaza closer to Rio Branco. Workshops and lectures ran from 10 am to noon, followed by performances by 50 DJs, 40 MCs and various dancers. When I arrived a little after 12pm, speakers were still being stacked by young men who hadn’t slept since disassembling the systems for Saturday night’s parties.

Ten sound systems with walls of between forty and one hundred stacked speakers–and one made of car sound systems– rumbled through funk’s for over eight hours. The afternoon started with freestyle, electro, and Miami Bass, moved to montages (montagems) mixing funk’s North American roots with Brazilian rapping, Candomblé drum rhythms, and sampled phrases from “Bang Bang” (Brazilian Westerns) movies, and ended with stripped down, beatboxed funk of contemporary “PC generation” of DJs, who create songs with “pirated” FL Studio, Sound Forge and Acid from loops exchanged over MSN.

At Cash Box and Big Mix–with each about 100 speakers–I could not stand near my friends DJ’ing. I am used to the bass which vibrates through my skin, chest, ribs. But the good quality of their speakers brought out a fuller range. I felt like my ears might bleed. My friend, Greg, claimed he saw windows wobble.

Over time, the crowd began to swell–different newspapers reported between 14,000 to 100,000–filling the plaza and nearby street. The mass of funkeiros,dancing, listening, remembering and reenacting, affirmed the power of this changing rhythm and asserted its legitimacy within the city.

Montagem do Tango (circa 1998)

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DJ Mandrake-Aquecimento Global (2011)

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This weekend I will be busy busy busy.

Mainly with this:

I am playing early at Zablonskis on 11/11/11 (magic date) along with lots of others DJs I love for the Brooklyn Electronic Music Festival curated by Mean Red.

ZABLOSKIS:

I guess I should start editing all the FlipCam footage I shot last year in studios like this.

Commandeering the kitchen at Subsuelo/Gnawledge HQ in LA (thanks G-Notes!) ( foto x Farah Sosa)

8 tomatoes

1 Roasted Red Bell Pepper

1 Roasted Green Bell Pepper

15 Kalamato Olives

1 Tsp Italian Herb Tomato Paste

3-4 Sprigs Thyme

3 Garlic Cloves

2 Olive Oil Drizzles

6 Tilapia

Cilantro

Lime

I invited some friends to eat in exchange for a bread-breaking data swap. I’m definitely not on a culinary level with my dude DJ Rajah over at SoulCocina but this is really what meetings should be like. Exchanging in currencies that don’t depend as directly on the dollar really has an intrinsic value in making people connect. It leads to better less guarded conversation and reminds us that if we work together, there’s always more to eat on the table. Here’s my TOP 5  Things I won in the West Coast Data Swap

First up, G-Notes, the guitarist and beatsmith behind the hybrid flamenco act Granada Doaba and all around Gnawledge famalam hit me with a few remixes and edits

a sick Mex with Guns – Dame lo [Gnotes Rmx]  hyper dembow bizness

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and this touch up of Gotye’s anti-love jam caught me off guard…

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Now my homie, Santero in the Bay Area has been holding me down for a few years now. I was happy to crash at his this time around and spend some time getting to know what he’s been up to.  I learned he has been working with our homie Boogat up in Montreal.. Notice how the cover art is Boogat with the fam all around at a BBQ or somn… home cooking how we do !

(Incidentally, since that convo I’ve been rocking Dos Cervesas (prod by Poirier) off the PURA VIDA EP like its my job)

Santero also just put out a brand new mixtape a couple days ago for Los Rakas’ homegirl FAVI called Flor de Azahar (orange blossom – really the best smelling flower in the world for my money)

FLOR DE AZAHAR (#ORANGEBLOSSOM MIXTAPE x DJ SANTERO VOL 1) by FaviSF

Santero also put me on to this Goapelle/Los Rakas Remix I had admittedly been sleeping on. It was featured on Fader and Rcrd Lbl months ago. Be sure to check them out on November 19th with me and Dre Skull at SOBs

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I started teaching at Dubspot in August, thanks to Matt Shadetek. Before I began teaching I was a teacher assistant for DJ Kiva for about a month, and it was during this period that Kiva gave our class a sneak peek of his project 1000 Sunrises, which he finally put out last week.  It always awesome to hear a project during its earlier stages, and then hearing it completed.  Definitely worth checking out.

DJ Kiva will be dropping this freshness November 10th at Le Poisson Roug with Africa Hitech, and he will be rocking Webster Hall with Matt Shadetek November 12th.

The following material was pulled from the Dubspot blog, which Lamin wrote:

Brooklyn-based multi-instrumentalist producer and musician DJ KIVA returns with a superb new solo album 1000 Sunrises out October 18 on his  Adios Babylon imprint via Destroy All Concepts.

Navigating beauty and pain with deep, mesmeric, off-centered beats, soulful, dub-wise electronic impressions, twirling synthlines, and reinforced sub-bass, 1000 Sunrises is a perfectly balanced album. The six tracks presented here are meticulously and lovingly put together, and they move with an unhurried, reassuring pace. From the opening “Feel It,” with its extra-bouncy thump and unrelenting, catchy synthline to the meditative “Tayyib,” which maintains a solemn and contemplative mood with eerie voices but holds a propulsive groove, and the staggeringly beautiful, mind-expanding title track “1000 Sunrises,” DJ Kiva remains remarkably self-reliant and uncompromising in aesthetic throughout the entire album. Album closer “City Of The Dawn” is the uplifting, post-future, and soulful electronic music you can only get from an experienced and self-assured electronic music producer, whose style and range go far beyond arbitrary and trendy sub-genres. Electronics, melody, dub, and soul come together – same as it never was.

[Julius Eastman (left) and Nemo]

The Performa Biennial has descended upon New York, and I’m pleased to announce that I’m writing a new radio play which will debut on Saturday, Nov. 12.

After Performa approached me about the radioplay I went off on long lines of investigation which crescendoed around the incredible, and, yes, tragic life of gay black NYC composer, Julius Eastman.

As Mary Leach writes about trying to gather his scattered work:

“Thus began an almost quixotic seven-year search for the music of Julius Eastman who died in 1990 and whose final years were a life spiraled out of control to the point where he was living in Tompkins Square Park. He’d been evicted from his apartment in the East Village—the sheriff having dumped his possessions onto the street. Julius made no effort to recover any of his music. . . One of the problems of writing about Julius is that it is difficult to state anything with certainty.”

How The Julius Eastman Memorial Dinner fits into all this will (trust me) be a surprise. This I can say: it takes a village to stage a radio play before a live audience, so for The Julius Eastman Memorial Dinner, I’ve brought aboard several pianists and voice-actors, among them Emily Manzo and Sharifa Rhodes-Pitts. Radio was central to my musical upbringing and remains something I’m committed to, so the opportunity to create new work expressly for the medium is fantastic.

Performa Radio goes down at WNYC’s Greene Space. Other participants – radioplaywrights? wireless dramatists? – include Tom McCarthy (“but now I want you to do nothing even slower” ), Marianne Vitale, and Hari Kunzru.

They say: “For Performa 11, Performa Radio explores the literary legacy of the first mass medium, the radio broadcast. Just as early radio and sound recording influenced the modernist literature of Edgar Allan Poe, Stéphane Mallarmé, Paul Valéry, Jules Verne, and Antonin Artaud, what effects will digital radio have for the forms of literature and the development of the narrative play? Leading figures in the fields of literature, art, and music will be commissioned to write short plays, to be performed live at WNYC’s Greene Space and streamed on the Performa website.”

[another night at the laundromat]

In 2005 New World Records released a 3-CD set of Eastman’s music, which was generally associated with downtown minimalism. You can download the liner notes [PDF]. Below is a recording of “Evil Nigger” (1979) here played on four pianos with Eastman himself. One Two Three Four!

I spent most of the week layed up in bed with a sinus infection. I knew when I got on at Sweatlodge last night it would have to be on a majorly holistic tip. Here’s a couple burners that were new to me that won’t be leaving my crates anytime soon.

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U CAN TOO

Mzien! Next Monday November 7th, live radio & a great, rarely-screened film at a special location in South Williamsburg.

Join me at Brooklyn’s Spectacle Theater for a live broadcast of my WFMU radio show, “Mudd Up!” from 8-9pm, built around a YouTube selection, followed by a screening of the fantastic musical comedy, 100% Arabica. Set in the rough suburbs of Paris, this 1997 film by Algerian director Mahmoud Zemmouri stars raï kings Khaled and Cheb Mami. 100% Arabica uses satire and incredible live music scenes to tell the tale of an up-and-coming raï band that must deal with shady cops, cassette bootlegging kids, a conservative imam, and more.

Released just 2 years after Mathieu Kassovitz’s stark social drama Le Haine (Hate), 100% Arabica joyously offers alternatives to a narrow sociological exploration of urban tension by using the same location and same broad themes to celebrate Arab and African immigrant culture in Paris.

Homemade mint tea and dates will be served ’cause we’re nice like that.

AND PART TWO HAS ARRIVED Russian goes in on some Afrojack sounding pressure. I listen to this every day.
Kartel Freaky Gal pt2

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HYPER NORMATIVE MEETS ITSELF IN THE MIRROR
SHE ONLY DANCE – blk.adonis + rizzla by rizzla_dj

From the insanely good free collabo EP from Blk.Adonis and Rizzla DOWNLOAD IT
“This is for the boys who bruk out when the dj drops Chi Chi Man. WE SEE U”