Not at all, considering what the article is insinuating he has every right to be pissed and to call out the author. He's just doing it in Frank's special way of communicating.
And don't you ever think we are going to split up Puerto Rico in some silly map. It is all mine and my salsa mafia's, step off colonialist. ;)
Not at all, considering what the article is insinuating he has every right to be pissed and to call out the author. He's just doing it in Frank's special way of communicating.
And don't you ever think we are going to split up Puerto Rico in some silly map. It is all mine and my salsa mafia's, step off colonialist. ;)
I'll be in PR this December. Consider this a formal challenge and prepare for battle!
Not at all, considering what the article is insinuating he has every right to be pissed and to call out the author. He's just doing it in Frank's special way of communicating.
And don't you ever think we are going to split up Puerto Rico in some silly map. It is all mine and my salsa mafia's, step off colonialist. ;)
I'll be in PR this December. Consider this a formal challenge and prepare for battle!
Not at all, considering what the article is insinuating he has every right to be pissed and to call out the author. He's just doing it in Frank's special way of communicating.
yeah, you're right, but dude seems to have an oversize ego(from what I read and the kon & amir battle).
The map is very funny, the article to me is just a bit of silliness but I have to say that I agree with Quantic's reply in the comments section:
"I believe you can approach collecting music with the aesthetic of a butterfly catcher, searching for specimens to store away in a Victorian-era like fashion or you can recognise music as being living and breathing, I???m from the latter school of thought. Part of what I do as a producer is hear music off records, recorded 40 or 50 years ago and then try to find people who are perhaps still playing that style and then work with them. I believe it is important to employ young musicians, work with people who know the music well and try to keep it alive, vibrant and relevant to today."
Anyone taking music out of the World Music casket and dealing with it as something relevant, living and breathing as opposed to as an artifact gets my respect.
1) Musicians and their craft, the former properly paid and internationally recognized for their decades-old work, but brought to this status by someone outside of their indigenous culture, or
2) Music and musicians, their influence and power ebbing and eventually dying in an insular, esoteric coffin, but remaining culturally "pure" due to lack of outside interference
I think the first option is easily the better of the two, and I think that you'd be hard-pressed to find many artists that would disagree. I know that when I saw Orchestre Poly Rythmo de Cotonou live in Chicago this summer, along with literally hundreds of other people, their faces (and the decimated merch booth afterwards) told the story better than any cold, detached hypothesis ever could.
I love the face Frank pulls in his trailer when the Poly Rhythmo musician gets caught up listening to an old track and decides to wip out the bass, it's like " Ah Shiiiiiiiit, I can't believe it..."
the article reads the dude selectivley read the the Frank vs Kon and Amir thread, formed an opnion, and then googled for a couple of hours to flesh out the rest of the argument.
I wish Frank et al. really were the new colonialists--they'd be extracting a larger variety of records at a quicker rate, for the benefit of all with the means to hear and/or acquire.
Yeah, stupid, poorly-argued article, followed by a few decent comments (I have a lot of free time to read at my job:). One argument I didn't see made in the whole messy/silly "cultural heritage" debate is whether a neglected piece of one country's culture that's studied/saved from near-total obscurity/preserved from physical decay/finally given wide distrubution, etc. by another country's culture doesn't in a way "belong" as much to the latter as to the former. Lots of examples come to mind: Northern Soul in 60's/70's UK, American cinema in 50's France, Atget by 20's/30's Americans, etc. Obviously, Afrobeat/Afrofunk "belong" to the culture that birthed them, but given the neglect of this part of their culture in W. Africa today I would say it's as much, if not more, "ours" (i.e. diggers') at this point.
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Not at all, considering what the article is insinuating he has every right to be pissed and to call out the author. He's just doing it in Frank's special way of communicating.
And don't you ever think we are going to split up Puerto Rico in some silly map. It is all mine and my salsa mafia's, step off colonialist. ;)
I'll be in PR this December. Consider this a formal challenge and prepare for battle!
I always enjoy when supersheltered dudes mistake three-year-old hip-hop slang for strut-specific speak.
"I believe you can approach collecting music with the aesthetic of a butterfly catcher, searching for specimens to store away in a Victorian-era like fashion or you can recognise music as being living and breathing, I???m from the latter school of thought. Part of what I do as a producer is hear music off records, recorded 40 or 50 years ago and then try to find people who are perhaps still playing that style and then work with them. I believe it is important to employ young musicians, work with people who know the music well and try to keep it alive, vibrant and relevant to today."
Anyone taking music out of the World Music casket and dealing with it as something relevant, living and breathing as opposed to as an artifact gets my respect.
2) Music and musicians, their influence and power ebbing and eventually dying in an insular, esoteric coffin, but remaining culturally "pure" due to lack of outside interference
I think the first option is easily the better of the two, and I think that you'd be hard-pressed to find many artists that would disagree. I know that when I saw Orchestre Poly Rythmo de Cotonou live in Chicago this summer, along with literally hundreds of other people, their faces (and the decimated merch booth afterwards) told the story better than any cold, detached hypothesis ever could.
Colonialist, fuck, try number one fan.