Hip hop producer Young Guru on how corporate restructuring in the music industry enslaves artists

A little realness that's actually real...
More from Young Guru on Jay-Z, his respectful disagreement with Prof. Cornell West's methdology, why conspiracy theories keep us from putting faces on corporate power (a riff on structure vs. agency), Dipset/Beenie Siegel drama, why stupid hip hop beefs ("corny and over") pale in comparison with real street violence, and more here.

The West Indian Roots of Hip Hop

Presented by City Lore and The Point CDC
Bring Out the Sound System
The West Indian Roots of Hip Hop
Saturday, February 28th, 2009, 3pm - 6pm
Free and Open to the Public
The Point CDC
940 Garrison Avenue in the Bronx NY 10474

Dr. Natasha Lightfoot of the Bronx African-American Oral History Project, will lead a discussion featuring hip hop pioneers and legends including DJ Kool Herc, Kool DJ Red Alert, Ralph McDaniels (Video Music Box) and VP Records co-founder, Patricia Chin. VP Records (named after founders Patricia and Vincent) was founded 50 years ago as a record store in Kingston called Randy's Record Mart, at a time when reggae existed only on the streets with DJs improvising toasts over the music, and large speaker systems brought out into the parks. They went on to record many of the DJ and reggae legends in Jamaica. Writers from the bi-monthly journal, Wax Poetics, will also be on hand to take part in the discussion.

The discussion will be followed by a demonstration on Jamaican and hip hop sound systems from the 1970s by DJ Kool Herc and Brother Vincent. The evening concludes with a reception, where audience members can view: From Mambo to Hip Hop: The Exhibit, a photo exhibit which complements City Lore's award-winning documentary directed by Henry Chalfant, From Mambo to Hip Hop: A South Bronx Tale; dance to the music of DJ Just Ice; and purchase West Indian fare provided by Bascom Catering with delicious roti, jerk and curry chicken, and salt fish.
For more information, please call City Lore at 212.529.1955 ext 306 or The Point at 718.542.4139 ext 27.

Train direction to The Point: 6 Train to Hunt's Point. Walk underneath the Bruckner overpass and take a left onto Garrison. The Point is one block down on your left.
Funded by the NYC Department of Cultural Affairs, the National Endowment for the Arts, the New York State Council on the Arts, and The Scherman Foundation. Publicity, Tools of War.
- - - - - - - - - - - - - - - - - - - - Graffiti: Freddy Sepulveda; Photo: Henry Chalfant; Design by Beth Higgins and Paco Levine
City Lore www.citylore.org 72 East 1st St. New York, NY 10003 t 212.529.1955 f 212.529.5062 e info@citylore.org

Conferences, Conferences, Conferences

One on "Materializing the Subject" from those material anthro folks.
The other on "The Complex," some kind of structure-agency thing. This one's up on the blog of a grad student at NYU's Department of Social and Cultural Analysis named Marisol Lebron. I don't know her, but I'm deep into her hip-hop academician blog, which in a random sampling takes on hip-hoppa Jim Jones' kinda queer video for "pop champagne", the racial politics of the "Arab/A-rab Money" song , and Beyoncé's blanqueamiento.

Anyhow, the conferences:

This conference entitled Materialising the Subject: phenomenological and post-ANT objects in the social sciences provides the opportunity for inter-disciplinary and trans-Atlantic debate about some of the most recent theoretical and methodological moves in sociology, anthropology, geography and philosophy. When considered together these moves reveal multiple approaches to a common theoretical concern - the dissolution of the subject/object distinction ? the corollary of which, across the social sciences, is the "turn to ontology" and the consequent effort to radically rework our understanding of what it is (for humans and non-humans) to constitute a world.

Moving beyond the actor-network as an analytical category, which usefully contests the assumption that humans and non-humans are separate entities and that reality is, therefore, objectively given and revealed by science; post-actor-network theory challenges the tendency to reify the form of the network/object as a stable relational configuration (Latour B. 2005, Law J. and Hassard J. 1999). The move now is to explain the emergence and experience of "things", such as diseases, as the fluid outcome of various, often contested, sets of material practices (Mol A. 2003). These practices are understood to be highly specific, spatially distributed assemblages or enactments (Law J. and Mol A. 2001) that gain their stability from perpetual performance. The analytical category, here, becomes "material practice" with distinct methodological implications and the notion of form shifts away from singularity and towards a multiple configuration of more fragile relational elements.

In a parallel "relational" move in social anthropology, one which unsettles the Euro-American concept of the subject as individual, the material practice of exchange takes centre stage in a theory that explains how certain kinds of objects, like gifts, come to substantiate the specific form of sociality through which personhood is distributed (Strathern M. 1988 and 1991). Such an analysis makes possible comparisons and contrasts between different relational forms and notions of the person that objects come to substantiate among various human collectives (Viveiros de Castro 1998b, 2004). This includes a consideration of the effects of new forms of property arising from innovations in the production of socio-technical, subject/object hybrids such as genetically engineered human cells (Strathern M. 1996, J. Edwards 2005).

Having always done what sociologists of science and technology were just beginning to do in the West, anthropologists were praised by actor-network theorists (B. Latour 1993) for attending, in other parts of the world, to the subject/object hybrids that were constitutive of radically different understandings of human and non-human groupings, relations and capacities. Wishing to bring into existence an "anthropology of the modern world", one which treats the subject/object distinction as the foundational myth of modernity and which undermines, therefore, the objective premises of the asymmetry between "the West and the rest", Bruno Latour makes possible new terms of theoretical engagement for an anthropology which is increasingly "at home". At the same time, however, the link is clear and productive with a post-colonial anthropology coming to terms with the paradox engendered by modernity's loss of confidence and the modernising drive of post-colonial nation states.

Arguably, however, the "turn to ontology" relies, for its novelty, on a conceptualisation of epistemology that makes knowledge the outcome of processes of conscious abstraction, theorisation, formalisation, institutionalisation, representation and interpretation. This risks a reproduction of the dichotomies between "knowing" and "doing" and between "mind" and "body" that have already been challenged in phenomenological theories of embodiment and in models of situated learning in cognitive psychology. Indeed, despite the accusation, at the heart of actor network theory (Latour B. 1993, 1999c, 2005), that phenomenology is inadequate to the task of assembling a radical theory of object-centred-sociality, those of a phenomenological persuasion might argue that the insights of actor-network theory are not new to them (Ihde D. 2003); that the notions of 'intentionality, inter-subjectivity and life-world not only pre-empt the conclusions of the actor network theorists but do so in a way that makes the distinction between ontology and epistemology as untenable as the one between subjects and objects or "the social" and "the world".

Railing against the abstract concepts of the philosophers and seeking a new charter for method in the social sciences, sociologists (Law 2004), anthropologists (Henare A, Holbraad M & Wastell S. 2006) and geographers (Thrift 2007) find, in the ethnographic method what looks like common ground a material practice that is a philosophical one too. Clearly, there are lessons to be learned from conversations, across disciplines, about similar objects of analysis and how these objects are constituted and stabilised as "things", with all kinds of historically specific effects.

The objective of the conference is to provide an advanced forum for five in-conversation style debates between world renowned scholars and to make these live conversations accessible a) to a scholarly audience of 50 in the place where the conversations will happen in February 2009 - at the Manchester Museum ? b) to a wider public via an interactive website on which audio files of the conversations will be posted and c) to a wider scholarly audience via publication of the position papers and transcribed conversations.

Inspired by specific scholarly contributions to existing debate, the five conversations will encompass the following questions/themes for on-going discourse:

After Networks: spatio-temporal analytics.
Does it make any Sense to Say that Objects Have Agency?

Is Phenomenology Really an Albatross?
Skilled Practice: cognition as human-artefact-human orientation system.
Not Networks Per Se, but Distributed Enactments?

Click below for the programme

Continue reading "Materialising the Subject: phenomenological and post-ANT objects in the social sciences" »

I still think music has a lot to say to this whole object thing...

And the other conference:

Call for Papers: "The Complex" - Princeton University American Studies Graduate Student Conference

The Complex
Princeton University
Program in American Studies Graduate Student Conference
May 2, 2009

The Idea is thus defined as a structure. A structure or an idea is a "complex theme," an internal multiplicity—in other words, a system of multiple, non-localisable connections between different elements which is incarnated in real relations and actual terms.
Gilles Deleuze, Difference and Repetition

We got our thing, but it's just part of the big thing.
Zenobia, "Corner Boys," The Wire Season Four



What are the various "complexes" that inform American Studies, and how can American Studies help us understand the strategies and subjects of "the complex"? From entrenched systems of power to the vagaries of psychological fixation, this conference will foster a conversation on the structures, exchanges, and perceptions (or misperceptions) that continue to shape and reshape American Studies. It will also open a space in which the topics, methodologies, and preoccupations of American Studies can begin to interrogate the "complex" as a mode of cultural formation and connectivity (or the lack thereof). Taking interdisciplinarity itself as a topic for discussion, this conference will use the "complex" to explore the possibilities and limitations of both physical and conceptual boundaries.

Keynote Speaker: Asst. Prof. Mark Goble, English Department, University of California, Berkeley

Please submit a 500-word abstract and your c.v. to Lindsay Reckson and Nika Elder at AMSconference@gmail.com by January 15th, 2009. Papers will be due two weeks prior to the conference for circulation, and should be no longer than 15 minutes.

Possible iterations of the complex might include (but are not limited to):
Freudian and Jungian Complexes; the Military-Industrial Complex; the Panopticon; Markets & Circulation; Globalization; Infrastructure; Conspiracy Theory and Surveillance; Stage Sets and Crime Scenes; Publics and Counter-publics; the Academy, the Church, the Factory; Networking & Collaboration; Canons; Semiotics; Obscurantism; Discourse Networks; Circuits; Interfaces; Cyborgs; Media Theory; the Wire; Systems Theory; Grids; Maps and Blueprints; Collections

Any conference that includes a quote from The Wire in the call is OK by me.

ChocQuibTown tiene una cancíon nueva

La puedes bajar aquí.

From Mambo to Hip Hop

City Lore www.citylore.org November 24 , 2008 From Mambo to Hip Hop -THE EXHIBIT Courtesy of Benny Bonilla Opening Reception Friday, December 5th, 6:30-8:30 pm FREE The Point CDC 542 Garrison Avenue (at the corner of Manida), The Bronx Featuring DJ Grandmaster Caz of the Cold Crush Brothers And the premiere of the "From Mambo to Hip Hop" rap by Roberto Sanabria A photographic exhibit featuring the works of Bronx photographers Joe Conzo Jr., Francisco Reyes, Tom Pich, and Carlos Ortíz, as well as hip hop documentarians Martha Cooper and Henry Chalfant. The photos convey images of the Bronx, its Latin music history and the origins of hip hop. A screening of the ALMA award winning documentary, "From Mambo to Hip Hop: A South Bronx Tale." And pre-order forms to get your own DVD of the documentary which will be available soon. Refreshments will be served. Take the #6 to Hunts Point. Cross the Bruckner Blvd. and take a right on Garrison. The Point is one block down on your left. For more information please call 212.529.1955 ext 305 or 306. Funded by the National Endowment for the Arts City Lore | www.citylore.org | 72 East 1st St. New York, NY 10003 t | 212.529.1955 f | 212.529.5062 e | info@citylore.org

Updated address and time:

****FINAL CHANGES****

ADDRESS and TIME

for From Mambo to Hip Hop - Exhibit Opening Reception

TIME: 7:30pm - 9:30pm

Friday, December 5th

The Point CDC

940 Garrison Avenue (at the corner of Manida), The Bronx

Black on Both Sides: Hip Hop's AfroLatin@s Represent

the afrolatin@ forum presents:
Black on Both Sides:
Hip Hop's AfroLatin@s Represent!


Saturday, October 11, 2008
10:00 AM to 6:00 PM
Schomburg Center for Research in Black Culture
515 Malcolm X Blvd. (135th St)

Black on Both Sides brings together a cross-generational line-up
that includes hip hop pioneers and emerging artists for critical
conversation and performance. Panelists will include DJ Laylo, Ariel
Fernandez, Black Artemis, Carlos REC McBride, Frank Lopez, Rokafella
and more.
Free and open to the public. Due to limited space, we ask that you
pre-register by sending an email to: afrolatinoforum@ gmail.com

For more information contact: afrolatinoforum@ gmail.com


This event is organized by the afrolatin@ forum in collaboration
with the Hip Hop Theater Festival, the Hip Hop Association, and New
York University's Center for Multicultural Education and Programs
and in association with the Caribbean Cultural Center, African
Diaspora Institute. It is co-sponsored by Africana Studies and
Latino Studies at NYU, the Schomburg Center and the Columbia
University Latino Heritage Month Committee.

Hip Hop archive acquired by Cornell

The Cornell University Library’s department of rare books and manuscripts has just acquired a "significant archive on the history of hip hop and rap music, documenting its emergence in the Bronx in the 1970s and early 1980s. The collection includes nearly one thousand sound recordings, the photographic archive of Bronx photographer Joe Conzo, Jr., textile art, books and magazines, and a collection of more than five hundred original flyers designed by Buddy Esquire and others."

Link

Aymara Rap as racism in Bolivia heats up / Rap Aymara y racismo boliviano

Mitad Tupac Shakur, mitad Tupac Amaru, y más necesario que nunca con los abusos que se están cometiendo actualmente en Bolivia.

Half Tupac Shakur, half Tupac Amaru, all the more necessary given the madness that going down in Bolivia these days.

If you don't know what I'm talking about, check the links:
Si no sabés de que estoy hablando, chequeate los enlaces:

Link (Article in English/Artículo en inglés)
Enlace (Videp en español / Spanish video)

Internet distribution and topical hip-hop

Lil Flip, who put together a tribute song for the deceased Pimp C, put on his Myspace page, is quoted in the Houston Times as saying he released the song on the internet because "Record labels like to stick with the way things were in the old days," Flip says. "Taking eight months to set up an album, things like that. But sometimes fans just want something then and there. You've got a song or video being played on TV and radio, but the album's not out. Now you can give it to them without any wait."

I know, right - duh, but it makes me wonder about artists like Flip, who have one foot in the old mix tape/net economy and one in the majors. How are the two integrated? How not?

Secondly, it just goes to show how digital distribution technology is such an important tool in the cultural production of the descendents of Africans. The good old topical song, from the diss or tribute rap to the Puerto Rican plena to the griot epic of Sundiata, is only helped along by the net. So you don't have to do the robot to be a part of black futurism.

Pimp C., RIP

Pimp C of Houston legendary Houston hip hop outfit UGK was found dead this morning. Link
Below is a killer documentary on Houston hip hop.

Part I


Part II


Part III


Part IV


Part V

In One Fell Swoop, Jay-Z Impresses Critics, Fans, the U.N. and Wall Street

From the New York Times (link):

The accolades Jay-Z have recently poured forth from all sectors. His new album was critically acclaimed and sold more than any other last week, which tied him with Elvis at 10 chart-topping albums.
And the acclaim was extended in some unlikely places, such as the dark, rarefied set of the Charlie Rose show. Jay-Z and Mr. Rose traded compliments for the full hour, which culminated in Mr. Rose offering a heartfelt lesson about the meaning of life.
Even the United Nations recognized him for helping to improve water and sanitation across the world with an improbably informal shout-out from Secretary General Ban Ki Moon:
"My man Jay-Z has been a wonderful partner to the UN, and a champion of those in need around the world."
Financially, paychecks for his work as chief executive of Def Jam records, a recording artist and builder of a clothing company made him the richest man in hip-hop, according to Forbes.
Last year, he made 34 million in American dollars, but it was his use of stacks of euros in a recent music video that added to jitters credited to Gisele Bundchen and garnered the attention of Wall Street watchers everywhere.
“Jay-Z, the New Alan Greenspan,” the headlines cooed, but another piece of financial advice dispensed during a rap song seemed less likely to win a similar following. In “Laff at Em,” he divulges his portfolio, saying that he has 200 million in cash and 35 million in stock.
While that might seem far less diversified than investors working with similarly-sized pools of capital, he didn’t say whether it was in dollars or euros, a crucial difference in a year that has seen the euro gain 11 percent. In the unlikely case that he dumped all of his cash into euros at the beginning of the year, he would’ve almost quadrupled the gains made on the S & P 500, which is up 3 percent.

Choc Quib Town

Raperos chocoanos Choc Quib Town hicieron una entrevista con los locos de Vice Magazine, una revista muy hip de NYC (y Montreal, Canadá.) Felicidades a los de CQT, pero todavía quiero una camiseta de esas!

Colombian rappers Choc Quib Town did an interview with the locos at Vice Magazine, which besides their Do's and Dont's, have some pretty interesting video stuff they're doing these days. Concgratulations CQT, how about one of those t-shirts?

Bling!

The Times, quoting Forbes magazine, lists the richest hip hop moguls. Who's #1 - Jay-Z? Puffy? Eminem? 50? See the article to find out...

Reggaetón tumaqueño

I promised I would put up some reggaetón from Tumaco. Here's a crash course - it's coarse, crass, crude, but its danceable and fun as hell and you know you love it. My personal favorite is Leka el Poeta, who goes back and forth between rap and reggaetón. He has a kind of creativity for diss records that make his Tiradera against Cali group Element Black quite frankly the best diss record I've ever heard in any language - period. I couldn't find any video of it, unfortunately, but look it up - there's this genius four bars where Leka manages to simulatenously deliver a blistering diss, rep local cuisine ("más comida que la papa aburrajada") resurrect old-fasioned traditional Tumaco words ("sos rebambuquiada") and invents the untranslateable compound insult "catredobletripleultrasuperhipermegatriplemalpariculillevada".

Prometí que iba a colocar reggaetón tumaqueño - he aquí el curso intensivo. Vos dirás que es una música facilista, ordinario, horrible, insultante - listo pues pero también es liricamente creativo, eminentamente bailable y vacanísimamente gozadera, y sabés que si no lo gozás en público lo harás en privado.

Mi favorito personal de los tumaqueños es Leka el Poeta. Él pega igual de duro en rap o en reggaetón, y tiene una creatividad para las tiraderas que hace se tiradera al grupo caleño Element Black mi favorita número uno de todas las tiraderas de la historia en cualquier idioma. No encontré video de ella, pero buscatela - hay una parte en que Leka logra simultaneamente entregar una tiradera bastante contundente, representar la comida colombiana ("más comida que la papa aburrajada"), sacar de la olla al lenguaje popular tumaqueño tradicional ("sos rebambuquiada") e inventar la palabra compuesta más ofensiva de la historia ("catredobletripleultrasuperhipermegatriplemalpariculillevada".)

Aside from these brilliant diss records, here is his most popular dance song, with the quaint title of - "Negra de trasero grande baila" ("Dance, Big-Assed Black Woman").

Aparte de sus geniales tiraderas, aquí su disco bailable más pegado, titulado "Negra de trasero grande baila."

Here he is being uncharacteristically uncontroversial on the Jorge Barón show.

Aquí está con Jorge Barón.

Two new videos of Leka's. I have to say though, for a guy who takes Element Black to Task on the Tiradera for "kissing ass and copying the Puerto Ricans", it's pretty ironic that these two recent videos completely bite Don Omar (on the first one) and Daddy Yankee (on the second). Oh well.

Dos videos nuevos de Leka. Pero tengo que decir, para un man que dice de Element Black en su Tiradera que "lamben en copian a los puertoriqueños," es bastante irónico que estos dos videos copian a Don Omar (en el primero) y Daddy Yankee (en el sugundo). Pero bueno.

A former rival of Leka's (a rivalry that produced another ingenious diss record on Leka's part), now reconciled, is Misteriosos, who is probably the favorite in Tumaco, with his real deal old school Bounty Killa type of voice (and, ironically, a skinny little kid's body!). My favorite song of his, "Culo llegue" doesn't seem to have a video, but here's another good one, "Guapetéalo."

Anterior rival de Leka (rivalidad que produjo otra tiradera de parte de Leka), ahora reconciliado, es Misterioso, probablemente el favorito en Tumaco, con su grave voz estilo vieja guardia panameña/jamaiquina (pero da risa que en lo físico es un pelao flaquito). Mi disco favorito de Mistrerioso, "Culo llegue" no parece tener video, pero aquí hay otro disco bueno, "Guapetéalo."

Probably the best-known Tumaco reggaetón act in Colombia is Master Boys, who have scandalized the country with their ultra-raunchy hits "La quemona," about a cheating wife, and "Micaela", about a precocious young girl who goes to the doctor to find a cure for a strange sensation she's feeling. Here are their videos.

El grupo tumaqueño más reconocido a nivel nacional es probablemente Master Boys, quienes escandalizaron el país con sus éxitos super-sensuales "La quemona" (sobre una mujer infiel) y Micaela (sobre una vírgen precoz quien va al médico para tratar una sensación extraña que siente). Los videos:

Master Boys' "Micaela" live/en vivo:

Last but not least, a newer duo, Brayman y el Negro José, with "Manitocao," warning women about a pathological butt-grabber on the dance floor. Which goes to show that yes, reggaetón does in fact have its own standards of decency, and that butt-grabbing goes over the line...

Finalmente, un duo más reciente, Brayman y el Negro José, con "Manitocao," advirtiendo las mujeres de la llegada de un pervertido en la pista. Lo cual muestra que el reggaetón sí tiene un estandar de decencia, y que el "Manitocao" pasa la raya...

Sabor tumaqueño en el Internet/Tumaco flavor on the net

I just found this nice little web page from the beautiful city of Tumaco on the Pacific coast. Link

Among other things, they have a page with music videos, from the Fania All-Stars in Africa to vallenato, as well as some good Tumaco reggaetón. (Tumaco is the legendary home of some of Colombia's best rap and reggaetón artists: Leka el Poeta, Master Boys, Misterioso, and others, which I'll write about in another post...)

Acabo de encontrar una página bacana sobre la lindísima ciudad de Tumaco, la Perla del Pacífico. Enlace

Entre otras cosas, tiene una página con videos de música, desde los Fania All-Stars en África
al vallenato actual, además del buen reggaetón tumaqueño. (Tumaco tiene unos de los mejores raperos colombianos, entre ellos Leka el Poeta, Master Boys, Misteriosos, y otros. En otro post escribiré un poco sobre ellos...)

Global

A Korean ensemble with Pachelbel's canon on gayageum, beatboxing, a DJ, and breakdancing. Good for ethno classes?

Enlace/Link

Un conjunto koreano toca el Canon de Pachelbel en gayageum con beatbox, DJ y breakdance. Bueno para las clases de etnomusicología?

Noticias/News

• Colombia abrueba entrada de maíz geneticamente modificada al país, a pesar de temores que contamine los cultivos de máiz natural. Enlace (traducido)
• Colombia approves importation of genetically modified corn, despite fears that it will contaminate natural corn crops. Link
• Cierran colegio en Buenaventura por amenazas. Enlace
• School in Buenaventura closed after teachers receive death threats. Link (translated)
• Plata para (algunos pocos) desplazados en Cali. Enlace
• Money for (a few) displaced people in Cali, many of whom are from the Pacific. Link (translated)
• Porteños protestan recorte de $3.000 millones de pesos del presupuesto del Hospital Departamental de Buenaventura. Enlace
• Protests in Buenaventura over 3 billion peso cut in the budget of the Departmental Hospital of Buenaventura. Link (translated)
• Shakira va a la India. Enlace Ahí, como en todas partes, les gusta "Hips Don't Lie." Personalmente, esa canción me parece una mierda que hicieron en 5 minutos en un estudio con un sample de una salsa y de un clarinete colombiano con ese Wyclef que por vendido no tiene ninguna credibilidad dentro del hip-hop. Pero bueno, perdoname la vida por no cumplir con mi obligación como colombiano de entusiasmarme por cualquier pendejada que muestre una Colombia positiva al mundo aunque sea de la más mediocre.
• Shakira's going to India. Link (translated) Seems like there, like everywhere else in the world, people love "Hips Don't Lie." Personally, I hate that frickin song, which was assembled in 5 minutes in a studio from one sample of a salsa song and one sample of a Colombian clarinet, with Wyclef who's happy to have a camera to cheese-grin into since he has no hip-hop cred whatsoever. But hey, that' s just me, sorry for not keeping my responsibility as a Colombian to love any mediocre piece of crap that shows a positive Colombai to the world.
  

Jr. Jein de Buenaventura

Con tantos raperos buenos que hay en ciudades dela Costa Pacífica como B/tura y Tumaco, no entiendo porque no hay colocan sus trabajos en YouTube. Y sí tienen trabajos buenos. Aquí está el Jr. Jein de Buenaventura, "Puro Vacilón," pintando la Buenaventura gozadera que recordamos y anhelamos. (Que Jr. coloque el video de "Bien bacano"!)

I still don't get why, with so much good rap and reggaetón coming out of Colombian Pacific coast cities like Buenaventura and Tumaco, they're not bombarding YouTube with their stuff. Anyway, here's one of them, Jr. Jeim from Buenaventura, showing us the funloving Buenaventura we remember and wish for in the future with "Puro Vacilón. (I hope he somebody puts up the video for "Bien bacano," another good song of his...)

"Hip hoppaz, check it."

International hip hop event in Brazil, that's looking to bring together hip hop groups from across Latin America.

Un evento internacional de hip hop en Brasil, que busca integrar grupos del hip hop latinamericano. Dice así:

HUTUZ LATINO AMERICANO, evento de Hip HOP que busca o intercâmbio cultural entre grupos de rap do Brasil e demais países da América Latina

Em 2006 recebemos para o HUTUZ LATINO AMERICANO no Centro Cultural do Banco do Brasil :
MC Zaturno e MC Sammy Houston - Chile, MC Emanero - ArgentinaContra Las Cuerdas - Uruguai.Los Zombres - Brasil

O HUTÚZ Latino Americano faz parte da programação do HUTUZ, o maior festival de hip hop da América Latina, que acontece durante todo o mês de Novembro no Rio de Janeiro.

Gostaria que divulgassem este e-mail ( claudia.madureira.rio@cufa.org.br) ou (carolina.madureira.rio@cufa.org.br ) para os interessados em enviar mp3 para seleção dos grupos deste ano.

Solicito ainda que seja enviado apenas 1(um) mp3 por email.

Para mais informações acesse: http://www.hutuz.com.br/06/hlatino2.php

Saúde e paz!

Carolina Luz - Produtora
CUFA Rio de Janeiro
Tel: (21)3015-5927
"Dia 04 de Novembro - DIA DA FAVELA"

Rua Carvalho de Souza, 137
Sala 111 - Madureira
Rio de Janeiro CEP:21350-180
www.cufa.com.br
www.hutuz.com.br
www.libbra.com.br

Oye, hablando de Chocquibtown - Afro-Pacific hip hop from Colombia

Chocquibtown, three talented young rappers from Quibdó, Chocó are like the great hope for Colombian hip hop. This first video, filmed in Quibdó, is a call for cultural unity for the entire Afro-Pacific region in Colombia.

Chocquibtown, tres jóvernes rapers talentosos de Quibdó son el futuro del hip hop colombiano. Este video, grabado en Quibdó es una llamada por la unidad cultural de todo el litoral afro-pacífico colombiano.

This song, San Antonio, is a rap riff on a famous Afro-Catholic religious song from the southern Pacific - I love Chocquibtown's version. The video features Tumaco's own Rocky Tello mouthin' off to a bombo beat. You can also see my white-ass arm in the crowd.

Este disco, San Antonio, es una versión rapera de la famosa alabanza religiosa Afro-Católica, tradicional del Pacífico Sur - me fascina la versión de Choquibtown. Ahí también está Rocky Tello de Tumaco, y se distingue el blanquísimo brazo mío en la muchedumbre.

Finally, an interview with Tostao and Goya from Chocquibtown, followed by a little featurette on another group Goya is ivolved with, Sidestepper.

Finalmente, una entrevista con Tostao y Goya de Chocquibtown, seguido por una cosita sobre otro grupo del cual hace parte Goya: Sidestepper.

Oye - Tostao, Goya, Alexis - esto es la putería, los felicito y los quiero mucho. Chocquibtown es lo que HAY!