tag:blogger.com,1999:blog-16838795.post6266409129858709062..comments2023-10-23T14:38:04.866-04:00Comments on Masala: Citizen Touréjphttp://www.blogger.com/profile/07648447958027745721noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-16838795.post-21892461749096957092008-03-29T01:26:00.000-04:002008-03-29T01:26:00.000-04:00I disagree with the idea that musics mixing tradis...I disagree with the idea that musics mixing tradish and modern sounds are dying. that sounds also liek a very western obsession. The roots obsessed decry HH for losing touch with indiginous sounds. they blame american rap for detroying indigenous sounds yet They love ali farka toure, amadou & mariam, ethiopiques, things that sound like american jazz and rock music. Then you have hipsters into african rap scenes, daraa j, kuduro, trying to find the music with the most dangerous street cred/booty beats and/or backpacker rap in africa. both "scenes" are perhaps dying yet so small and insignificant as to be nearly nonexistant next to the reality of african pop music and the actually huge scenes alive and well of coupe-decale, mbalax, swahili pop, zouk. The anglo-blogosphere seems to have only discovered magic system within the past few months dispite being global stars since 1999.<BR/><BR/>Does anyone in africa actually listen to amadou & mariam? Has anyone ever seen a blog post about vivian ndour? <BR/><BR/>Indeed we are creating our own african music scenes in our heads yet ignoring the scenes alive and kicking. <BR/><BR/>Besides, its not like hip hop is some horrible opressor and representative of a totally western musical takeover. Africans arent mindless cultural zombies. They seem totally uninterested in most of western pop music, especially rock music, and listen mainly to music made by african americans, taking it on on their own terms and interpreting it in their own ways.<BR/><BR/>selon moi the only african rap scene I really know is the way overblown galsen scene which in my experience is not about partying but about being against the mbalax dance scene and about young middleclass urban men re-embracing islam and becoming socialist while rapping over american instumentals in wolof.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-16838795.post-92123002781971312312008-03-26T16:22:00.000-04:002008-03-26T16:22:00.000-04:00Un chose fondamentale à ne pas perdre de vue c'est...Un chose fondamentale à ne pas perdre de vue c'est que le hip-hop en tant que forme musicale (pattern rythmique & rapport musique/voix) est né aux USA. C'est donc normal que le HH américain soit une référence à laquelle tout le monde se rapporte. Le HH français le fait comme les autres.<BR/>La remarque est applicable pour le dancehall ou la soca.<BR/><BR/>Vouloir faire une production "du cru", dépourvue d'influences étrangères ou même avec des références réduites au minimum, est une vision rétrograde de la production musicale (ou même culturelle en général). La crispation identitaire ne mène à rien (note pour le QC), connaître ses racines tout en faisant avancer le mouvement global est la voie à suivre selon moi.<BR/><BR/>Le citoyen Touré pose la question d'une mauvaise manière. A un moment, les gars disent "mais ca coute trop cher de faire participer les musiciens connus à notre hip-hop!". Y aurait sans doute à creuser ici.Guillaume / Valeohttps://www.blogger.com/profile/10885366271018801875noreply@blogger.com