My sweet Pelanga brothers have encouraged me to post again, after a long hiatus. Today I’m going to drop you two tracks that I have sworn to mix together, and one day hope to gift you in a sweet mixtape.
Part 1: Lapaz Toyota – Guru (Ghana)
What do you expect to see when you hear “Lapaz Toyota”? Tunda said it makes him think of a Bolivian mototaxi dealership. It turns out Lapaz is an area of Accra, Ghana – working class. It’s not every day a music video shows women swooning or dancing on top of crappy cars. I did a bit of looking around and apparently the song is about being happy with what you have – it deliberately counters imagery that implies fancy cars and happiness are connected. Watch the moves, they come in around 1:30.
Then there’s a tonne of random videos showing other people dancing Azonto to the Lapaz Toyota track, like this one: http://www.youtube.com/watch?v=bvpvCaxUnHo
Part 2: Gangnam Style – PSY (Korea)
This video has been making rounds like wildfire on the interwebs, and my friend sent it to me a day after I came across Lapaz Toyota. Gangnam is also a neighbourhood – but in contrast with Lapaz, it’s one of the shwankiest districts of Seoul, South Korea. Now, if you look closely at a few of the moves, you _will_ see some similarity to the Azonto, I swear. And that’s not the only similarity you’ll spot: watch for similar shots, little kids breaking out some sick moves, and comment on anything else you spy!
Conclusion? Booty. Get yours moving.
Next Pelanga is August 25th.
Yours in full blown dance nerdery,
DJ China Tu Madre
While we’re on the topic… here is over 12 minutes of bootymoving for your enjoyment. It goes to double time after 10 minutes, so don’t be fooled by any repetition. It keeps changing as it moves along. Watch, try, repeat. Then come to our the Pelanga en La Peña Tonight! Saturday, May 7th
Improving the world by moving more booties at a time,
I adore this track. It hails from the Dominican Republic – shout outs to Pozole, for the handsome collection of music he’s posted from there already… and to William, who might actually be able to answer my little puzzle question below.
Fun puzzle question:
There are two hidden references made to birds through this song; neither of them are directly sung.
(Need a hint? one would be in the little song reference in the middle of the track, the other is in the genre name)
Last week, Caracol Radio reported that FARC guerrillas opened fire in the middle of Timbiquí and left explosive devices around the town on their way out, forcing more than 150 families to evacuate. We join the community of Timbiquí in rejecting this, the latest in a series of violent episodes in a conflict that the Timbiquireños have no interest in being a part of.
Ethnomusicologist David Lewiston went to the town of Guapi in 1968:
“The heavy rain in the region forms myriad rivers, which flow down to the Pacific […] there were so many rivers that there were few bridges or roads between coastal communities. The only forms of transport were boat and light plane. […] This community of a few thousand people was entirely black except for three mestizos – two of the doctors […] and the priest.
Because of the town’s isolation, its music had been conserved with remarkable purity.”
Lewiston did some of the earliest recordings of currulao. He didn’t keep track of who the musicians were in each song, but attributes this one to “the Torres family”. We think it might be the family of Gualajo, an influential fourth-generation musician who claims that when he was born, his umbilical chord was cut on top of a marimba.
This tradition is alive and well. Two years ago, Tunda and we had the sweet joy of attending the Festival Petronio Alvarez, the annual gathering for musicians and friends from the towns up and down the Colombian Afro-Pacifico. Thousands of people make the journey by whatever means necessary, even if it involves hauling drums and marimbas on a canoe. We’ve never seen a crowd that is that lively, and yet is so positive and peaceful. It was among these throngs that we decided to start La Pelanga.
Nidia Góngora and the Grupo Canalón from Timbiquí won the prize for Best New Marimba Song with Una Sola Raza:
We haven’t told too many people about the Petronio, because it felt like a huge family reunion that one feels honoured and blessed to be a guest of. For better or for worse, the word is getting out. We are very happy to see this incredible music slowly get the recognition it deserves – we just hope that as the festival’s popularity increases, its role as a community event stays strong.
Naturally, the region is no longer as remote as it used to be. While the Colombian government continues to show little interest in it, the public is starting to discover the region’s immense cultural treasures. Some great new music is coming out of the Pacífico and receiving acclaim – from the work of Grupo Bahía Trio, to ChocQuibTown‘s “hip hop that smiles”, to Quantic’s collaboration with Nidia Góngora. No doubt, this is just the beginning…
With all our respect and solidarity with Timbiquí and the Colombian Pacífic Coast,
DJ China Tu Madre and Papicultor
PS – Shoutouts to Luis and Ale of Lulacruza (you can support their latest project here), a Franz Tunda, Dimamusa, Pablo, and Meche – let’s do it again! Also to Mariacecita, who loves and shares la música del pacífico, and to our friend Karent, puro talento timbiquireño; if you haven’t watched her movie, El Vuelco del Cangrejo, you’re in for a treat!
The other night, this had us laughing so hard our stomachs hurt. I thought we should share it with those who have not yet been exposed to the phenomenon of Rafaella Carrà. The choreography is… well, watch it for yourself and see.Happy Friday! p.s. long before Madonna and Michael Jackson’s music videos, she was churning this stuff out. Perhaps some of you have more information to share on the influence of her video style in the 70s on those that followed:
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