luka

Well-known member
Yeah look I know there's great Latin musicians and they do all sorts of impressive things. I just don't like it. It's not for me. If you like it then great, listen to it every day. Do that r rolling arrrriba thing or whatever just keep those smooth Latin vibes well away from me
 

Woebot

Well-known member
No, not exactly, but I think you were the first person I tested the theory out on. I said, cagily, that it represented the moment the African influence really made its presence felt for the first time and that that demographic shift was an important element in giving rise to grime

i always liked the idea - though i have no way to either prove or refute it.

as i understood it it hasn't anything to do with an "african flavour" - i didn't think that was what you were suggesting.
 
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sadmanbarty

Well-known member
i always liked the idea - though i have no way to either prove or refute it.

as i understood it it hasn't anything to do with an "african flavour" - i didn't think that was what you were suggesting.

Agreed, it seems to have some intangible truth to it.

On the other hand in the history of "Black-British" music (sound systems,lovers rock, Ragga jungle, road rap, etc.) was Grime the least indebted to other cultures, whether that be Jamaican, American or African? In other words do you think Grime comes across as the most British?
 

Sectionfive

bandwagon house
Andrew Weatherall

http://www.theransomnote.co.uk/music/interviews/andrew-weatherall-shock-troops-in-the-conway-hall/


"Grayson Perry in his Reith Lectures of 2013 described artists and musicians as the shock troops of gentrification. The first wave that sanitizes the battlefield and prepares the ground for the officer classes. I've had a studio in Shoreditch for twenty years but I've just been given my marching orders due to what I've been told is 'redevelopment'.

To be honest with you other people seem to be getting annoyed on my behalf. Deep down I knew about seven or eight years ago that my time was most probably up. It was the Saturday afternoon I saw the stretch limo disgorge its hen party payload onto the Old Street pavement but down in my bunker denial was beginning to set in and I felt increasingly like a Jungle dwelling Japanese soldier who refuses to believe the war is over."

It was a war that saw a fresh atrocity every day. A Ted Baker shop opening here, corporate "street art" appearing there. Luxury apartments springing up every fucking where.

A rapidly expanding charisma vacuum that if truth be told I and my fellow shock troops had to take a certain amount of responsibility for helping to create.

As I said there was a certain amount of denial but there's nothing like a notice to quit to help you come to terms with the reality of the situation."

"The solution for me my friend would be to have bought the building twenty years ago and to have sold it for an immoral profit a few years after the initial spotting of hens but I'm a shock trooper not a property developer. I've found another battlefield wasteland. Run down factories, giant broken extractor fans now the homes for oil slick pigeons. Shady looking yout' hanging about at the end of the street. The glory of gloom as that nice mister P.Orridge once described it."
 

trza

Well-known member
why do people talk about gentrification without talking about where the money is coming from its like they see the tall shiny building with financial sector offices and all the guys in suits and then they see the trendy neighborhoods in the same town and act like the two things aren't connected its not a coincidence that london and nyc are both financial centers or that a city like la or sf is where the capital from trade with asia enters and exits the country if you want a neighborhood to cry about look at the mission district in san francisco with a multigenerational cultural identity not some place where some guy had a video rental store with some really great movies twenty years ago.
 

Sectionfive

bandwagon house
Wiley's not as big as Canary Warf but he is big. 99% of the money only passes through financial centres on its way to somewhere else though and from the remainder, the locality will never see fuck all of it. Britain as a whole benefits fairly insignificantly relative to the amount of money processed within a square mile of the capital everyday. Lot of people in the Cayman Island living in poverty despite the mindboggling amount of transactions nominally happening there every day.

What's happening in London over the past decade or so has many different aspects to the kind of policies Giuliani pursued in NYC but the domination of property speculation is big uniting factor, just as it is elsewhere. The bubble will always burst sometime though.

Musically I don't think you can blame any one city for the way things are these last years, there is never going to be another jungle or at least not these big innovations every few years as there was for a while. So many other factors in play than blaming the cost of rent. Aside from the ease of access and information people have now, I think it's probably hard for underground music to achieve that same wow factor when house and trap in various guises are ruling the charts and Newsnight have Ruff Squad on in the background. It's good to see some of the OG grime guys doing well though even it's a shadow of the potential. Have to laugh at Drake talking about "touching road" and I never remember any gigantic star getting a Tuff Jam tattoo.

A lot of the stuff of Rinse now can be fairly mediocre but they are doing their thing and you cannot fault from where they've come to having enormous global figures like Kenny Dope on. Most of the pirates I can get online are still paying allegiance to the past. I can see why that deep tech stuff is popular and the drug element coming back is no harm at all but personally find it utterly predictable and disposable. Is that still the big vanguard sound or does even such a thing exist any more?

This was a great post from Slothrop on funky earlier in the thread

Partly because it hasn't got quite the same shock-of-the-new thing as UKG or jungle or hardcore had (being honest, who hasn't at some point spent time trying to explain to someone that Funky isn't 'just 90s tribal house' or 'basically a new version of broken beat') but mainly because the people that it's meant to be taking over have already got fairly energetic and well developed scenes catering to pretty much what they want to hear. 1997 wasn't a dance music vacuum, but it had much more of a garage shaped hole than 2011 has a funky shaped one...

Must be something to recent holes being filled Chicago, Southern US, South Africa, beats that wouldn't have made a 1993 Strictly Rhythm B Side and most bizarrely of all, mid-00 Booka Shade.

Would be interesting to know how much the state of London and NY has contributed to the decline of traditional rock scenes, which had been limping along for a decades anyway.
 
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I touched upon this sort of thing in the latest Enders episode, but thanks to Croydon five-o I'm going to have to edit it to make it more ridiculous.

Reminds me of Not the Nine O'Clock News: "Suspect was cautioned for smelling of foreign food in a public place"
 

rubberdingyrapids

Well-known member
http://uk.complex.com/music/2016/05/dizzee-rascal-interview-boy-in-da-corner-retrospective

The world’s changed since Boy in Da Corner. The area that I come from is not the same. I don’t want to be rapping like it was. This album is gonna be more based on the UK and how it’s changed. That’s my aim.

Can you explain what’s changed and how that affects your music?
Crazy gentrification! I’ve covered it on some of my albums. I’ve got a track called “Slow Your Roll” where it breaks down how I blew up, I went away, I came back and the area changed due to gentrification. How the people I grew up are now trying to kill each other. Just explaining that story of what it was like to go back to that area pre-Olympics and how after the Olympics a lot of things changed. I performed at the Olympics [in London in 2012] and the area has basically changed. It’s not what it was when I grew up. The crazy thing about it was when Red Bull asked me to do this show they told me that it was gonna be in Williamsburg. Williamsburg was the first place I performed in America in 2004 on the back of a flatbed truck, right when the neighborhood started getting gentrified.

I’ve been in Brooklyn for ten years. It was already very gentrified when I moved in, but now? Sheesh. They’ve built these gigantic glass condos right on the water where abandoned factories used to be. It’s certainly stark.
That’s what it’s like going on now! There’s no way that I can ignore that. I know a lot of people want a Boy in Da Corner II album to take it back. That’s not realistic. The closest thing I can do is give you the passion that I had and the excitement and energy of the album. But I’m not the same person that I was and where I’m from is not the same place.
 

Leo

Well-known member
a heartbreaker:

On June 25, Other Music will close its doors after more than twenty years as a global destination for adventurous sounds and a hub of music culture in New York City.

Other Music opened at 15 East 4th St. in Manhattan in December of 1995, a time when underground music was exploding and the East Village was the center of NYC’s musical universe. Founded by Chris Vanderloo, Jeff Gibson (Gibson left the shop in 2001) and Josh Madell, who had together established the original Kim’s Underground music shop on Bleecker St., and staffed by passionate fans who made it their mission to connect open-minded listeners to great music, Other Music soon became a trusted authority for indie rock, electronica, avant-classical, hip-hop, dub, psychedelia, folk, jazz and improvised music, and so much more.

Other Music approached culture as an ongoing conversation, constantly searching out new and innovative sounds. They reviewed thousands of new releases in a standard-setting email Update, which reached close to thirty thousand subscribers weekly. The shop hosted hundreds of intimate in-store shows, including seminal performances by Neutral Milk Hotel, Elliott Smith, DJ Shadow, Vampire Weekend, The National, St. Vincent, Courtney Barnett, Mac DeMarco, Stephen Malkmus & the Jicks, and Tinariwen, to name just a few. They threw some wild parties in NYC and at SXSW in Austin, with artists like Autechre, Jim O’Rourke, Yo La Tengo, The xx, James Blake, Jay Reatard, and many more.

Other Music’s staff has always been the lifeblood of the store, the creative energy that defined its aesthetic. Over the years, the shop has employed so many talented musicians and DJs, including members of Animal Collective, Mountains, Queens, 75 Dollar Bill, EZTV, Nude Beach, Widowspeak, Raspberry Bulbs, Anti-Pop Consortium, Daniel Givens, DJ Duane Harriott, DJ Clay Wilson, DJ Scott Mou, and many more. Other Music staff have gone on to become key players at labels including XL, Captured Tracks, Dead Oceans/Secretly Group, The Orchard, Finders Keepers, Light In The Attic, Ghostly, and Atlantic Records, while others have achieved success in the music industry as publicists, tour managers, and event bookers.

In 2012, in partnership with Fat Possum Records, they launched Other Music Recording Co., to support the same kind of diverse and innovative artists championed at the store. The label has worked with an incredible roster of musicians from across the globe, including Shintaro Sakamoto (Japan), Anna von Hausswolff (Sweden), Monika (Greece), Boogarins (Brazil), Xylouris White (Crete/Australia), Mutual Benefit (U.S.A.), and many others. OMRC will carry on, continuing to support adventurous artists and spreading great music throughout the world.

Other Music is proud to have worked directly with so many talented and visionary artists and labels, and more than anything, for the passionate and thoughtful customers who walked through its doors every day for twenty years. The shop has sold millions of records, won awards and accolades, and hopefully touched more than a few lives. Times change. This business has changed, this city has changed, but records will keep spinning, and they ask only one thing -- that you keep supporting great music, wherever and however you can.
http://us5.campaign-archive1.com/?u...&e=[UNIQID]&mc_cid=44f568c7b7&mc_eid=[UNIQID]
 
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