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International Music Spotlight: Ugandan Hip Hop

Those who know my musical taste know I’m a big fan of world music (Putamayo, anyone?) – both traditional cultural music as well as the more modern fusion of ethnic sounds with, say, an awesome dance beat. As such, I’ve decided to start an international music spotlight series with occasional posts highlighting specific genres from specific cultures each time. Off we go!

I’m no expert when it comes to hip hop, that’s for damn sure. But I do know when I hear something I like. And I like a lot of hip hop…and how revolutionary its artists can be. Some of them truly empower their followers with their impassioned lyrics. Some of them are heroes in their communities and fierce activists. Hip hop* is music with a purpose.

*Obviously, I’m referring to the underground (or at least less mainstream) artists whose works are centered around poignant topics like political corruption, poverty, war, HIV, social change etc…NOT mainstream “hip pop” stars who rap about meaningless crap (e.g. money, drugs, sex) but have catchy beats that propel their songs to success in the clubs and on the charts…though those artists certainly have a right to their place in the musical spectrum.

The global hip hop scene could be conceived of as being still in its infancy – at least in terms of large scale awareness. Despite an increasing number of destinations like Flight 808, an international hip hop site/blog, and Nomadic Wax, a “record label, production company and events production company specializing in hip-hop and underground music from around the globe”, most international underground hip hop is, you know, still underground.

Today, I chose to spotlight Uganda, because my aunt has been working in Kampala for several years and it’s next on my wish list of places to travel to.

Ugandan Hip Hop (Lugaflow)

An excellent starting point is this documentary called Diamonds in the Rough:

O’Reilly Radar has a good description of the film, which follows Bataka Squad, a Ugandan hip hop group who raps in their native tongue, Luganda, and uses their art form to raise awareness of local issues, inspire youth and do all kinds of good. Click here for a brief history of the group.

Bataka Squad is a great example of a local group who refuses to sell out and play the kind of music that is popular in favor of staying true to their roots and disseminating their message. Thanks to their perseverance, they have not only garnered a local following among Ugandan youth but have caught the attention of a more international audience ranging from the first African hip hop summit in South Africa in 2005 to the Power to the Peaceful Festival in San Francisco in 2007. They even met Bill Clinton.

After the Artist Activism workshop that I mentioned in a previous post, I’ve been thinking more and more about the inherent power of music and its ability to empower people, spread positive messages of hope and change [insert obvious Obama plug here], and educate the international community about local issues.

On that note…

Grime: The Gritty UK Love Child of Garage, Dancehall, and Hip Hop

A recent post on I Guess I’m Floating, and the comment war that followed it, introduced me to a genre I (much like IGIF writer Nathaniel) had no previous exposure to: Grime.

I won’t go into a detailed breakdown of the origins of the genre, the tendency toward social and political commentary, the stylistic elements and what not. You can all read. Go to the wikipedia link if you’re so damn curious!

What piqued my interest was the debate in the aforementioned post’s comments about which bands are true Grime and which aren’t and whether music-minded people are retarded for not knowing about the genre. Since I fall among the ranks of the uninformed, I did a little poking around.

Clearly, Dizzee Rascal is thought of as the one of the top Grime artists (along with his mentor, Wiley). The “futuristic electronic elements and dark, guttural bass lines” [Wikipedia] of the genre are well represented in Dizzee’s “Graftin”. Some of the commenters suggested Skepta‘s “Sweet Mother”, which I found interesting with the juxtaposition of its frenetic rapping and choppy breakbeats over the laid back islander vibe of the chorus. Listening to his freestyle (9 min freestyle? holy crap…), you get a feel for the competitive element involved in Grime, reminisent of American underground hip hop battles, with all its shit-talking and jab-taking.

I haven’t quite decided whether I like this music or not…but it’s intriguing.

For a good insider view into the genre and culture, check out this Grime Documentary:

Brad Sucks Does Not Suck

Self-proclaimed “one man band with no fans”, Brad Sucks (Brad Turcotte) is one of the pioneers of “open source music” and the Free Culture Movement. By waiving all the rights to his songs and giving fans access to the source of his songs for remixes, Brad has not only built a huge following, but his songs have been licensed for commercials and many of his fans choose to pay for his music.

This serves to further reinforce the school of thought which maintains that giving fans access to free music (whether for listening or download) actually results in increased sales in the end (of CDs, digital music, concert tickets, merchandise etc.)

Here is one of my favorite Brad Sucks songs (in a fan-made music video done as a film project and editing test):

Carefully, Correctfully Wrong has an interesting way of describing Brad’s sound: “…a smooth mix of indie rock and electro, mixed with sardonic lyrics and pounding disco beats. It’s what the Scissor Sisters would sound like if they weren’t trying to be the Bee Gees.”

Brad Sucks is a great example of a DIY musician who has taken full advantage of the tools available to artists online. Other than his official site, you can find him on MySpace, CD Baby, ccMixter, Last.fm, Magnatune, iLike, Sellaband, Jamendo, MOG and Twitter to name a few. Not only does Brad Sucks encourage remixing of his songs, he invites fans to submit their remixes so he can post them on the site.

I love the simplicity of his site and the plethora of options he offers his fans for how to enjoy his music. On the home page you can view the progress of his next album, view his upcoming gigs (you can also “demand” to see him live…), buy the album there (or Amazon, iTunes, CD Baby etc). On the music page, you can listen to songs, download them for free, buy them on a number of sites, or make a donation etc.

Also. Is it just me or is this guy a freaking marketing genius? With a self-deprecating artist name like “Brad Sucks” and an equally likable album name, “I Don’t Know What I’m Doing”, and the simple almost child-like branding style, he gets your attention immediately and is not easily forgotten.

Brad Sucks genuinely understands the power of encouraging direct artist-fan interaction by giving his listeners what they want, when they want it, and how they want it. And by letting them have a voice.

And he definitely does not suck.

SanFran MusicTech Summit 2: Guestlist Wish, Artist Activism, and Label Survival

Brian Zisk has done it again. After the wildly successful SanFran MusicTech Summit last February at Hotel Kabuki, he rallied the troops for round two of what I hope will be a regular event going forward. The first Summit, which I reviewed here, set the bar high. What a brilliant meeting of minds from the music and technology industries!

Through a mix of thought-provoking panels on new technologies, heated group discussions about the future of (online) music, and lots of giddy lobby schmoozing, this event provides its very diverse attendees with a plethora of opportunities to learn, contribute, and meet resourceful people.

SanFran MusicTech Panel

Photo by Crazywanda. Some rights reserved.

For the virtual comment box, here’s a suggestion: How bout a list of attendees on the website? (Yes, there was a Facebook page you could RSVP on, but not everyone on the planet uses Facebook. Silly planet.) A simple list of attendee names, companies, and titles would be great.

The Web 2.0 Expo brilliantly utilized Crowdvine to set up a social networking site for their event. Here, you could create a profile, view other attendees and ping the people you wanted to meet. Consequently, my first day at the expo was consumed by meetings with some very cool people. Though randomly networking is great, it would be awesome to knows who’s gonna be there beforehand. Brian, whadya think?

My co-worker had the idea of placing RFID tags in everyone’s nametags so you could track people’s whereabouts throughout the day and find those you need to meet, but eventually we all agreed that would be too creepy…”Hey man! Saw that you were in the bathroom, so I thought I’d come introduce myself…” Ha.

At the Artist Activism Workshop Mike Relm, Chris Skarakis (founder and VP of Music at Fuzz), and moderator Erin Potts (Executive Director of Air Traffic Control) discussed how artists can be activists using new technologies. Very inspiring.

Mike Relm, whose live shows feature audio/video mashups “manipulated in real time with a turntable-like device” [Wikipedia] showed us a powerful Katrina video with vivid images, music, and video clips that he made to raise awareness of the disaster.

I so love where this trend is going. There are obviously a ton of ways to get involved in your community or on a more global scale, but musicians are in the perfect position to make a real difference due to their visibility. As much as we (and especially Actual) hate on American Idol, I have to admit I was impressed by how much money they raised during their Idol Gives Back special ($65 million or something, right?). At least they are doing some good with the massive captive audience they have…

But no matter how big or small your reach, there are always ways for musicians to get involved. And organizations like Air Traffic Control, Project Noise and Axis of Justice to help you on your way.

At the Record Labels and New Technologies panel, I walked in anticipating an hour of (big) label bashing, but was quite mistaken. Rather than harping on why big labels are evil and how they are all going to disappear, the consensus seemed to be that record labels are not going anywhere. They are, however, changing. Drastically. Whereas a new artist used to need a label to even get started, now the label has a very different role to play. Turns out that independent labels are actually doing quite well – at least the ones that have found innovative ways to market their bands online. Dave Allen, of the Gang of Four, pointed out that artists and their labels should keep the end user in mind and what most end users want is at least 1 free mp3, not DRM, and the ability to play music on different devices. Dave also has a great music blog, Pampelmoose. Check it out.

In between panels and meeting new people, we also ran into our friends Todd Tate (co-founder of Angry Coffee and now one of our rockstar MixMatchMusic beta testers), Hannes Hesse (the Bubblegum Sequencer guy), and my hero Tom Conrad (CTO of Pandora) among others. One of our guys was chatting with Vince Wilburn, Jr., nephew (and spitting image of) the late Miles Davis (and accomplished drummer and producer)! Seemed like a very cool guy.

All in all, another rockin Summit. Great job, Brian!

Why Evolving Music Needs Obama

Evolving Music is about change. Evolving Music is about Mixing and Matching the talents and visions of different people – regardless of their age, race, musical background, geographic location, beliefs, or gender. Evolving Music is about working together in the spirit of collaboration, challenging convention, embracing new technologies, promoting transparency, and participating in the free exchange of ideas.

Whether you agree with his politics or not, Barack Obama is a great example of these ideals. I think that Evolving Music could benefit greatly from his leadership. To all those who share the vision of a completely new music industry unencumbered by greedy record labels and a new musical landscape where musicians and music lovers alike have unprecedented opportunities to connect, create and discover music I say: Yes, We Can.

While other politicians inevitably get caught up in mudslinging and hate campaigns, Obama is consistent in his messages of Hope and Change. Not to mention that he handles criticism with dignity and humor (and in this case music):

I think we need someone like Obama to support this (r)evolution. He has a technology plan based on refreshing ideas like open and transparent government (imagine that!), aggressive support of broadband access, etc. The speed with which technology is emerging is mind boggling and we need someone who understands the digital age and its implications to keep encouraging the kind of collaborative and open-minded innovation taking place today. More and more, through social media and access to information online, “the people” (as trite as that phrase sounds, I feel it rings true here) really are becoming empowered and we need someone as young, hip, and savvy as Obama to lead the way down an entirely new path.