MEIZU

I just finished editing 7,000-8,000 words strung across two articles – wait, I only handed in one of them, I have 5,000 words to go. Sigh.

But some stuff needs addressing:

1. a lot of people (read: less than 12) have taken my music and made videos. Here’s the latest, made by kids in Guatamela doing an animation workshop! It’s one of my favorites, for its sweetness.

Menos Basura! Compadres, aquí van algunos ejercicios que hemos preparado con la muchá en el taller de animacion. Seguimos con ello hasta final de septiembre. Practicando, jugando, avanzando. La musiquita es del colega Dj Rupture.

2. the mp3-player that UMemeCompetitor and a few others asked about. It feels like product endorsement, but let’s go. I currently use the Meizu Dane-Elec 4GB thingy. Here’s what I needed in a portable mp3 player:

  • the ability to play MP3s, WAV/AIFFs, and FLACs. FLAC = lossless compression. FLAC files are about half the size of full-audio (mp3s are roughly a tenth) and support metadata (WAVs/AIFFs dont)
  • an FM tuner that can also record. This is critical I think iPods/iTouch without FM tuners are pathetic, possibly immoral. Radio! as public space!
  • charging + transfering data via USB cable. I don’t deal with stupid proprietary plugs.

the tiny, thin Meizu does all that. It costs around $80 for a 4GB version with a big video screen. It has its wonky elements (namely taking minutes to rebuild library after you add new songs), but it does all the above inexpensively. Few other mp3 players do (if you know of alternatives, tell us in the comments). The Meizu is almost too small – these are earbuds, you can get an idea of its size:

meizu

& while we’re at it, I use free windows app Foobar2000 to play back audio files. Foobar can natively rip FLACs & mp3s. Its most unexpectedly useful component is the ability to play songs inside ZIP & RAR files.

I’m a nerd, but you’re reading this: you are too. It’s ok.

3. T-Pain vs the Vocoder!!!! (autotune as robot consciousness?)

via Fader blog

THE FOURTH LANGUAGE IS SILENCE

we’re in the middle of Ramandan (“they” are in the middle of Ramadan), so – among many other things – it’s a decent time to catch Arabic music performances around the world. That’s the good news.

The bad news: many Arabic and “world music” events in New York City target an audience who can afford $40 tickets. For example: Damascus sufi Hamza Shakkur with the Al-Kindi ensemble and The Whirling Dervishes of Damascus, this Sunday, $37-42. Steep!

Here’s what we of the hungry wallets will be missing:
[audio:Al-SalamAl-RabiTaqsimHuzamTaqsimSikahMawwalSikah.mp3]
Hamza Shakkur – Al-Salam Al-Rabi (14.5 MB) [via]


whirling dervishes and hamza shakkur

SUMMER READING pt. 1

I was hoping to scan some covers and share impressions of my summer reading – but it’s past Labor Day (Americanized MayDay) so summer is being ushered out. Time to get started!:

Shah of Shahs – Ryszard Kapuscinski. This book – about social upheaval, large-scale repression and its lingering impact, wrong-footed modernity, individual heroics and weaknesses that stitch together society – is almost too beautiful. Every page radiates poetic lucidity, even – especially – as he covers some of the more horrible aspects of Iranian life under the Shah leading up through the subsequent revolution. Kapuscinski’s observations spill into now; I can’t imagine a time when this book will not be relevant.

An excerpt from the introduction:

What’s more, you are never sure who has locked you up, since no identifying marks differentiate the various representatives of violence whom you encounter, no uniforms or caps, no armbands or badges–these are simply armed civilians whose authority must be accepted unquestioningly if you care about your life. After a few days, though, we grow used to them and learn to tell them apart. This distinguished-looking man, in his well-made white shirt and carefully matched tie, walking down the street shouldering a rifle is certainly a militiaman in one of the ministries or central offices. On the other hand, this masked boy (a woolen stocking pulled over his head and holes cut out at eyes and mouth) is a local feyadeen no one’s supposed to know by sight or name. We can’t be sure about these people dressed in green U.S. Army fatigue jackets, rushing by in cars, barrels of guns pointed out the windows. They might be from the militia, but then again they might belong to one of the opposition combat groups (religious fantatics, anarchists, last remnants of Savak) hurrying with suicidal determination to carry out an act of sabotage or revenge.

But finally it’s not fun trying to predict just whose ambush is waiting you, whose trap you’ll fall into. People don’t like surprises, so they barricade themselves in their homes at night. My hotel is also locked (at this hour the sound of gunfire mingles with the creaking of shutters rolling down and the slamming shut of gates and doors). No friends will drop by; nothing like that will happen. I have no one to talk to. I’m sitting along looking through notes and pictures on the table, listening to taped conversations.

 

ok. more books soon!

MO’ ACCORDION

 

accordionaccordion

Accordion lovers of the world unite! Or at least tune in this evening to my radio show from 7-8pm 91.1fm NYC(streamable at wfmu.org as always), as special guest, writer Carolina Gonzalez, will give us a tour of New World accordion styles. Gonzalez co-authored the first guidebook on Latino culture in NYC, Nueva York: the Complete Guide to Latino Life in the Five Boroughs, and will be breaking out rare vinyl and wonderful stories of the squeezebox as it travels around Latin America.

carolinaaccordion

UPROOT VIDEO DEBUT

as reported here & elsewhere, i’ve got a new mix CD called Uproot coming out in October, and the video just went live today, on Pitchfork:

a few years back I saw an amazing video by PanOptic at a DUMBO gallery. When we were brainstorming ideas for the 1st tune on Uproot, I instantly thought of it.

PanOptic, a boutique production company/directors’ collaborative operating out of Soho, very kindly agreed to rework the piece into a music video. Taking inspiration from Kafka’s The Trial, director Gary Breslin developed ideas of a mobile prison – manifested here as the restlessly folding structure which frames the person as he walks through a bleached-out industrial cityscape. The abstract ‘prison’ walls are (partly) night-vision footage of NYC subway tunnels as taken from a moving train… add to that PanOptic’s high-level motion graphics and visual magic, and blam, we’re good to go.

FREEING UP CHORDS

my WFMU radio show will not be broadcast (or podcast) today, August 20th – because WFMU’s Free Music Series + Lincoln Center are presenting a FREE CONCERT at Lincoln Center’s Damrosch park from 6-10pm, featuring good friends The Ex & Gétatchèw Mèkurya (famous Ethiopian saxophonist with a contagiously great sense of humor). wow! also on the bill: Extra Golden (not that Benga – the other, far more popular Benga), and the Either/Orchestra with Mahmoud Ahmed & Alèmayèhu Eshèté.

last time i hung out with The Ex & Gétatchèw it was like this (… except that by the time I got backstage, Gétatchèw – a giant in the world of Ethiopian jazz, as chronicled in part by his Ethiopiques release – had crowned Andy with his monkey-skin headdress in exchange for Andy’s guitar)

the last time we all played together was in Flemish Belgium. I was slotted after The Ex & Gétatchèw, set changeover took awhile, and by the time I got onstage most of the crowd had left. I DJed to an emptying room. But then I realized: exactly one person had begun to dance – a tall, gorgeous Ethiopian woman in short-shorts (who was there with her parents I think).

So that was a new, very interesting situation: playing to exactly one person instead of DJing to the kinetic volume of a dancing crowd. And that one person liked the cumbia/afro-colombian stuff. After several songs a few more people joined in (not that there were more than 15 or 20 of us) – by the end even Kat was dancing, and Afework Negussie the masenqo player kept passing me tunes from his mp3-thingy to blend in. That night became a strange, reassuring, ego-free ‘open secret’ afterparty in the heart of Flemish country, where our contingent reality was not only possible but present, embodied, aglow.

Sometimes you play a big rave-type event and you make a bag of money but it feels spiritually vacant. Sometimes you play for a handful of people and you don’t simply ‘strike a chord’ as we say in English, you find yourself within one.

I think this is what, from my perspective, makes The Ex so special: their ability to conjure up meaningful situations and community in ways that are no less natural or moving for being completely unexpected. (Gétatchèw asked them to be his backing band.)

This song came from the Afework’s mp3-thingy. Hulum Zero Zero. He is singing about the Ethiopian government…

[audio:HulumZeroZero.mp3]

Solomon Tekaligne – Hulum Zero Zero

CUUUUUUUUMMMBIA

más y más

cumbia outtake main

[Pablo Lescano / Damas Gratis.]

Slow Burn, my cumbia feature for the July/August issue of The Fader magazine, is now available online (albeit without the lush full-page photo spreads). Several years of listening and research followed by a whirlwind week running around Buenos Aires gave rise to this article, I hope you enjoy.

To accompany the essay, I did a cumbia mix for Eddie Stats’ weekly column, Ghetto Palms.

Click here to find the downloadable mix along with my tracklist & some notes about what’s what. (and if you facebook or whatever, this page has the mix in its embeddable internest-y glory.)

Y si lees castellaño, aquí tenemos un artículo bastante académico sobre cumbia villera. [spanish-language cumbia villera article, thanks W&W]

[RIP IMEEN – this is where the IMEEN player went]