Gomez Comes Alive!, DJ Ant. Valadez & Kutmah

Posted by Gomez Comes Alive!, April 21, 2008 03:35am | Post a Comment
This was my first night at Footsies spinning @ Ant. Valadez's Odds & Ends. DJ Kutmah also joined in and along with Ant they simply rocked the place. Here are some photos of the evening festivities:

DJ Ant. Valadez with Sasha Ali & John Lee Hooker looking on.

DJ Ant & Amoeba's own Miguel.

Kutmah: ones and twos.

Raul y Daisy + friends.

Footsies ace bartender Jeanna.


Posted by phil blankenship, April 20, 2008 08:59pm | Post a Comment

Quest Entertainment QB902005

Invasion USA

Posted by phil blankenship, April 20, 2008 10:05am | Post a Comment

Cumbia Villera

Posted by Gomez Comes Alive!, April 20, 2008 02:55am | Post a Comment

Pablo Lescano of Damas Gratis & His Keytar

A post-depression era Argentina begot Cumbia Villera, a street electro-cumbia with lyrics that rivaled gangster rap. It started in the ghettos of Buenos Aires by Peruvian and Bolivian immigrants that brought their own style of Cumbia into Argentina in the late 80’s. Most Argentineans considered it lower class, especially by the music critics that have a stronghold on what is deemed important in Latin music. Two of the biggest groups from that scene, Los Pibes Chorros and Damas Gratis, have a widespread fanbase in the villas of Buenos Aires as well as fans all over Latin America. ZZK label co-founder Grant Dull called the success of Cumbia Villera “Argentina joining the rest of Latin America,” which meant the post-depression Argentina was no longer an oasis for the Eurocentric.  Argentina is now just as fucked as the rest of Latin America.

During the eighties, the modern Cumbia groups started using keyboards rather than the traditional accordion or a horn section. One of the coolest features of Cumbia Villera was their use of synthesizers, especially the infamous Keytar.  Pablo Lescano, who fronts the band Damas Gratis, is a master of his axe, as well as the other Keytar players that play in that style. All the bands have a particular look in both dress and in album art that separate them from other Cumbia groups. It’s a hybrid of Heavy Metal, Reggae, Gangster Hip-Hop, Sonidero and Soccer. It would be easy to mistake Pibes Chorros for a Metal band, with their long hair and their use of the Grim Reaper and Jesus Christ. Cumbia Villera’s heyday was in the late 90’s, right after Argentina’s economic collapse. Since then most of the groups continue to play in front of large crowds but it seems like Reggaeton has stole some of its thunder.

Tristan Tzara

Posted by Whitmore, April 19, 2008 08:16pm | Post a Comment
I often seem to be a bit late in writing about historical events on the anniversary of said occurrence; I blame time itself for not allowing me a few minutes to catch my breath, so here I am, several days late, again, celebrating the birthday of one of my favorite characters of the 20th century.

On April 16th, 1896 Samuel Rosenstock (a.k.a. the once and future Tristan Tzara) was born in Moinesti, Bacau Province in Romania. Most famous as the author of the Dada Manifesto and co-founder in 1916 of the original anti-art and literary movement, Dadaism, along with Hugo Ball, Emmy Hennings, Marcel Janco, Hans Arp and Richard Huelsenbeck, Tzara is often credited with discovering the name Dada. One version of the story has him hanging out at the acting Dada headquarters, the Cabaret Voltaire, in Zurich,Switzerland, and randomly selecting a name by stabbing a French-German dictionary with a knife, picking the word impaled by the blade’s point. Dada is a French child's colloquialism for hobby-horse. If it isn’t true, at least it’s good myth. Besides the knife play and original manifesto, Tzara, as leading agitator, also wrote many of the earliest Dada documents including La Première Aventure céleste de Monsieur Antipyrine (The First Heavenly Adventure of Mr. Antipyrine, 1916) and Vingt-cinq poemes (Twenty-Five Poems, 1918). Some of his later works include his masterpiece L’Homme Approximatif (The Approximate Man, 1931), Parler Seul (Speaking Alone, 1950), and La Face Intérieure (The Inner Face, 1953).

[Last year for Tristan Tzara’s 111th birthday I decided to place 111 pink post-its, each numbered sequentially, on randomly chosen objects- buildings, cars, envelopes, people - anything and everything that got in my way as I carved out my day; I believed it to be a perfectly useless and wanky endeavor to pursue. This year for his 112th birthday I thought I’d celebrate by lying about what I actually did last year. Next year I plan on observing his 113th birthday (and prime number) in Zurich by partying at the remnants of the Cabaret Voltaire, and re-live what I did there 20 years ago; relieve myself on the wall outside, just around the corner from the front entrance, on the side street under the Commemorative Memorial plaque. Of course, I suspect, I’ll re-invent, once again, events in Zurich.]

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