The 1 Brooklyn Shanti just passed us this video and download from his Drop it Steady project longside Baldi.
I’m a big fan of the FX TV show Archer. In this vid, Drop it Steady take an episode and chop suey it into their verses creating new strain variant on the idea of copyright pirate video mash ups. Between stuff like this and Autotune the News, I’m looking forward to an interesting and innovative 2013.
So far my 2011 has been a year of playing out in odd venues. After a spate of guerrilla gigs in machine rooms and lab spaces around Boston, my first DJ appearance in London landed me at an anarchist party in the docklands. Location: a disused boxing club across the street from the former hideout of the Situationist International. Dress code: “Things that shouldn’t go together — and don’t,” exemplified by a prevalence of latex+tweed outfits and one flasher in a jilbaab. As though anarchists in the docklands weren’t contradiction enough.
The hosts of the party were – of course – the Space Hijackers, a squad of self-styled “anarchitects” who have spent the last twelve years executing increasingly in-your-face actions to reclaim London’s public space. Most recently they made headlines from BoingBoing to the BBC World Service for launching a fake “life offsetting” company during the DSEi arms fair. There’s a lot to say about the Hijackers, but rather than try to sum up their work in a few paragraphs, I’ll leave you with a clip of them driving their own tank toward some police officers. OWS, take notes.
A couple years ago our friend Filastine was in town and I remember not being able to join him on some crazy boat ride on a trash barge that had been re-purposed as an art installation. There was talk of some armada of these vessels. Like minded people are bringing you a really fun event tomorrow.
Last weekend the naval gangs of New York assembled to Battle for Mau Mau Island (See photos here). Come see the fallen soldiers, harvested booty, and glorious victors at a new two-story space in Bed-Stuy.Mau Mau gangs, gladiator raft jousting, cocktail catacombs, clothing optional watergun fight, underground casino & film screenings of eerily beautiful movies set on the water, slide show and videos of the battle, and an awards presentation for the victors. Wet & wild all night long.
Saturday, July 30, 9:30- late80 Vernon Ave, between Marcy & Tompkins
(G train to Myrtle/Willoughby 1 block away; or J,M,Z to Myrtle)
Ice cold beer and watermelon vodka open bar 9:30-10:30
$5 for gangs in matching costumes, Mau Mau vets, or before 11pm, $10 otherwise; 21+
All proceeds go directly to the Swimming Cities India project. www.weareswimmingcities.org
Kalup Linzy feat. James Franco, “Rising”. Matt Shadetek and I built the beat structure, then I labbed up with cellist/songwriter Brent Arnold who performs with me in Nettle (catch Nettle’s trio formation at Rome’s Maxxi Museum ‘the National Museum of 21st ct. Art’ next week) to further flesh things out musically. Kalup Linzy made the video which incorporates some footage from James. Enjoy! For more info, check out the Pitchfork post.
Que Bajo?! returns to NYC after touring Miami, Medellin, Barranquilla, Bogota, Cali, and SXSW… come hear exclusive new remixes from myself, Uproot Andy, DJ Orion, Toy Selectah, Isa GT and more and check out our guest DJ’s Venus X of the Ghe20 Gothik Party who just rocked the shit out of the fader fort at SXSW and Panchitron from the Peligrosa All Stars crew down in Texas. Pancho’s mixtape stayed in heavy rotation last month for Que Bajo?! fans
Thursday March 31
Le Poisson Rouge
158 Bleeker St
“We are all only temporary curators of our present bodies, which will all decay, sooner or later. In a hundred years or so all the humans currently alive will have died. I take great comfort in knowing, with certainty, that thing that makes us special, able to enrich our own lives and those of others, will not cease when our bodies do but will be just starting a new (and hopefully even better) adventure … ” – Peter ‘Sleazy’ Christopherson
Coil was great. I can’t really explain it here. Just returned to NYC after a productive absence but today is one of those “days” where I’m “home” for less than 24 hours. His post– post– Throbbing Gristle project X-TG was slated to play at the GY!BE ATP this weekend, we were looking forward to that…
although his work that really opened my young self up was Coil.
Red Slur is the first Coil song I ever heard. Sometime in high school, these 3 minutes made an indelible impression. It remains one of my favorite songs.
I got about 45 minutes warning that Los Gaitero de San Jacinto were performing in Paris the other night. The band has been active since AT LEAST 1940 so there’s only so many chances we’re gonna get to see them. I was hanging with percussionist Cyril Atef when I got the text. We had been discussing the african origins of colombian music and instumentation while going through choons for almost an hour. Him tagging along was merely a variation on a meme. I still have to download the video and flicks of the show from my camera but lemme go ahead and do a separate post to tell you about the opening act we walked in on, a cumbia-fusion meets visual trio from Bogota called retroVISOR
On rhythm section you have Camilo Giraldo Angel & Luis Alfonso Cruz laying down some free range samplodelic tripiness but it was the work of the VJ and concept director for the bands videos, Carmen Gil Vrolijk aka Carmen Electrik that really got me interested in their performance. Criminally brilliant with a side of smokin hot she’s chopping some well fruity slices of video mango that illustrate the flavor of these songs amazingly
In the above tune, Chicha! she collaborated with a Estefanía Barreto & Juan Camilo Quiñones to create an 8 bit video that deals with native inhabitants being pushed out of their lands by big industry, a problem Colombia still faces today particularly with the damage being done from unearthing gold which releases mercury, cyanide and arsenic into the soil and water table. I’m waiting for my copy of their retroVISOR VJ Sessions DVD while doing my homework on what else she’s up to and trying to convince her to come out and session with me when I play in Bogota again
We are all curators and everyone gets to hang/post their 15 pieces. Interviewing Leeor Brown last week about his insider take on the world of P(A&)R we talked about how to tell stories through and across digital networks (HIS TELL ALL INTERVIEW IE #REALTALK VOL.! IS COM1NG NEXT WEEK). In a media environment where the biggest players are only a few re-tweets away we still actively police our digital social life with decorum held over from meat-space. Getting someones email address might be easy- but sending a message and opening dialogue are not the same thing. How many release announcements fall on deaf gmail accounts? I remember reading a few years ago that on A Small World (ie facebook for rich people) a user was banned for friend requesting Paris Hilton because he didn’t have a legitimate claim to be a part of her social network. Annoying promo emails don’t usually provoke active shunning, they just got ignored. It was refreshing yesterday, then, to see tucked away alongside “Artists On Tour! Interviews, guest list and more available!” and “What is a Pixelated Lazer Face Bass Monster?” a really honest no BS hyperbole promo email of sorts. It read:
“Greetings and much respect…thought you folks (certainly DJ/Rupture) would get a kick out of this recent essay: http://bit.ly/aRU34F
Keep up the fabulous work,
I AM VERY HAPPY I CLICKED THIS LINK. READ A SHORT EXCERPT ON THIS AMAZING ESSAY BELLOW AND THE REST HERE.
<EXCERPT> “…my people simply told him to call me home with the power of his ‘Invisible Missive Magnetic Juju’ which could bring a lost person back to home from an unknown place, how far it may be, with or without the will of the lost person. So having paid him his workmanship in advance, then he started to send the juju to me at night which was changing my mind or thought every time to go home.”
-Amos Tutuola, My Life in the Bush of Ghosts
Many markets in Nigeria have areas called “computer village,” especially in places ranging from Alaba in Lagos on the West coast to Port Harcourt in the oil-ravaged Southern Delta, and over to the famous one in Onitsha in the East, where almost anything can be gotten—today’s catch from the river Niger, counterfeit medicine, locally made “foreign” goods, even dodgy airplane parts. Look through clouds of red dust for handwritten signs advertising, “computer repair,” “speedy programming” or “internet café.” Watch your step as you avoid scores of motorcycle taxis called Okadas because you could easily knock over a table scattered with the guts of cell phones which for a handful of naira will allow you to contact almost anywhere in the world. Computer village is where the detritus of Western and Eastern digitization either goes to pile up in jagged cathode ray mountains and die, or awaits repurposing in wiry bundles and circuit board batches spread across acres that simply beg for the eye of contemporary photographers like Andreas Gursky or Chris Jordan.
It’s fascinating to imagine how these blank-screened cadaverous wholes and frayed bits and pieces have all gotten here. There’s so much black glass that it is like the landscape of an indecisive volcano. These used computers have been donated by Western charity organizations and faith-based NGOs and given the Nigerian tendency to use things even beyond their given function or recognizability, their presence here is only temporary. A great many were brought from Ghana or up from South Africa while a steady stream arrived from China even before that country began its obsessive courting of West and Central Africa. But the vast majority of these machines, parts and components have been shipped by or brought in by enterprising Nigerians who since the late 1980s have known that what would mark this generation of West Africans more than blight, violence or corruption was a hunger for Web-based connectivity, that narcotic rush of shared information.
With almost no formal education whatsoever, many would learn how to rig, rewire, rebuild and master the essentials of computing in these glorified junkyards. They learned from ragged men with soldering irons in their pockets that pushed wheelbarrows filled with screens, wires and keyboards, with the wild-eyed look of juju men drunk on that vile moonshine called ogogoro.
Louis Chude-Sokei is a professor at the University of Washington in Seattle- which means I used to sit endlessly in the skyspace 5 minutes away from the classrooms where he was obviously dropping serious knowledge. There are many powerful registers that he moves through in this essay- and when it is so easy to find cringe-inducing writing about poor countries- especially where tech and development are concerned- we must recognize the beautiful moment of being alerted to such powerful well written analysis (with bonus points for Tom “OH MY GOD I GET IT” Friedman pop-shots). Here’s hoping that when I write Prof. Chude-Sokei back asking him to contribute to DA he responds.
Discussion question: Can we learn from 419 Yahoozzzee boys about telling stories on the internet and building relationships out of digital ether? IE HOW TO MAKE $OLID ALL THAT IS MELTED BITS IN THE CLOUDY AIR . It’s time to start looking at alternative economies and networks and re-purposing/learning from their success. If such limited bandwidth can translate into this much cash and we arnt doing shit with our TI connections then it is time to employ a new model.
We are dropping a 12 track tropical compilation just in time for when things start to get cold in New York and hot in Rio. Ten unreleased TROPICAL tunes + anthemic FUNKY THAT WE HAD TO COSIGN and A HEAVYWEIGHT NEW MASTER OF NGUZUNGUZU’s EL BEBE AMBIENTE. We feel bad that we have not kept up our LEGENDARY New York Tropical parties- but we just do not have time to promote a crew club night in New York- but maybe again in the future, with some good partners we would get into it again- because NEW YORK TROPICAL WAS A FUCKING BLESSING. The first time I went was before I had really started working with DA and everything about it was perfect. From the German Belgian installation art that slowly dissolved as the dancefloor spread to all surfaces, to the perfect Sangria, the heavy weight dancehall soundsytem that we rented from SoundMan Grimm, a crowd that reflected the diversity of the music…. basically NYT was one of the dopest party series I’ve ever taken part in (although sadly I never got to play caus I was busy learning things in school and hanging out in Europe).
For the comp we hooked up with DA resident internet excavator Seacrest Cheadle 892 u mean computer mean2 computer did u mean competitor a force that has been so next level for so long that it is basically my only internet news source. We have been dreaming of doing projects with him/it/her/zee since before the first .com crash but he’s basically the zeitgeist embodied and besides pretty regular appearances at Korea Town Karaoke Bars and Neurogenetic labs in undisclosed locations- she is damn near impossible to locate. but somewhere in the #based ether we convinced it them 2 make a deadline… and magically, it worked.
Our promo machine is at about cotton gin status at this point… so we just moving FWD looking towards a more cohesive way to reach a larger audience. I dont open or listen to almost any of the promo email I get, and you dont either. But some of it will keep coming but really this whole thing is about relationships. I, for one, am working on my relationship to the ocean and fresh fruit juice in Brazil. I suggest you keep a dream journal while you ask these questions.
There are also tracks on this compilation from important and soon to be important musicians like Lamin Fofana, Kingdom (flipping RITA INDIANA OMFG!), Lido Pimienta, Matt Shadetek, DJ /Rupture, Chief Boima, DJ Orion, Sonora, Salem, Knight Magic, La Ola Criminal, Maga Bo.
Tracks will be sold digitally via Hulk Share and on custom GuccixDuttyArtz all-over-print USB sticks
Joyful music for an expensive, shitty city with decaying infrastructure where DUTTY ARTZ lives & loves.
This was originally posted at mattshadetek.com
Check out a little viral video I just made for the song Funny Cats off my album Flowers. It’s got a bunch of LOLcats images and funny cat videos from YouTube cut to my song.
There were two inspirations for this video. 1) I actually like these stupid cat videos on the internet and feel like the effervescent silliness of them fits the song well 2) they get 40 Million hits on YouTube. So the idea here is to see if combining my song with this kind of viral content can make it get more hits and more importantly reach people who aren’t blog-reading, social-networking music nerds but instead regular people who watch funny cat videos on YouTube. I’ll let you know how it works.
I’m leaving America next Sunday. There’s nothing left for me here, and I’m not coming back. At least, not for a year. I’m not quite ready to leave, but I’m contractually obliged to- so this Sunday I’ll fly from JFK on a convoluted itinerary to Buenos Aires. I found out in the spring that I had received a Watson Fellowship. Wayne and Jace deserve credit as much as I do- they helped me craft my proposal. And there was some tactical chaos magic that nudged my chances just enough to matter.
So I’ll be gone for twelve months starting this august- attempting a sort of grand tour. Five months in S. America. A month in Jamaica. Six Months in Africa. Or something like that. So far only the first three months are planned. I’ll be in Argentina for a month, then Brazil for two. There’s a project behind all of this- a nebulous (now) attempt of getting a grasp of what it is that we (Dutty Artz) are engaged in from a broader prospective then I’ve previously had access to.
I’m looking for sustainable/scalable business models, new productions techniques, pirate economies, massive sound-systems, broken_links, and a bevy of things that I’m only faintly grasping at right now.
I’m taking a fancy camera and some HD recording devices and there are notions of collecting my documentation outside of the internet- creating a kind of visual/taxtual accompaniment to the Global Ghettotek fascination that I’ve been continually inoculated against but cant seem to quit. The whole project will be as open source as possible. I have no fucking idea what I’m doing, and need a lot of help. But there is powerful positive energy in the universe and I have my stars aligned and my crystals vibrating at 60 HZ just like the man at the botanica told me to do.
My email is TallyBower AAAATTTTTT GGGGMMMAAAAIILLL so if u have any suggestions, any friends anywhere along the way, beef to pick with the colonial underpinnings your reading in my mission, a favor to ask, food to try, places to surf, or anything that I need to know, or that you want to do for me, or that I can do for you. please just let me know.
It’s nearly impossible to leave New York- there’s too many people that I love, and projects that I care about- but nows as good a time as ever to get away.