Aloha usuarios de Traktor y/o Google Drive.

Tenemos contenido original, yeii.

Hemos contactado con Counterfeit Material, un DJ y productor de la costa este de Estados Unidos. Nos intrigó su página de soundcloud y además vive en una zona donde se está armando una buena no solo en cuanto a música club se refiere, con bastantes colectivos y productores repartiendo mandanga por la red. Muchos de estos colectivos tienen una conciencia social brutal y un discurso que está reescribiendo identidades. De hecho para el siguiente mix hemos hablado con Moor Mother de Black Quantum Futurism, otro colectivo con un discurso al que merece la pena dedicar un rato. Un rato aunque sea.

Así es como Counterfeit describe su mix:

This is an audiozine about Jorge Cornell, Inca of the North Carolina Almighty Latin King & Queen Nation, and some of the events that took place involving him in Greensboro around 2009 – 2012. It’s also about the 1979 Greensboro Massacre, the Rackateer Influenced & Corrupt Organizations act of 1970, and the relationship between various anti-state, anti-prison, and anti-police groups in and around North Carolina, tracing the Greensboro Police Department’s heritage of hate and KKK support over the last 40 years or so.

Most of all it is about trying to tell some of the story of a man and a group that were adamantly critical of white supremacy, who tried to publicly fight against it, and the brutal repression they faced as a result. I offer it as a reminder to not forget our family behind bars, not to forget the families they left outside, and to maintain, cultivate, or initiate relationships inside and out, as an act of rebellion against the divide and suppress tactics of the state.

Y aquí os dejamos la entrevista, no la hemos traducido porque no nos pagan.


How would your ideal party be?

My ideal party would be: under an abandoned bridge in summer in Philly, near an imaginary river that’s clear water with gentle waves sparkling with moonlight, with volcanic sand at the riverbed that looks glittery too, and pink dolphins swimming around getting fed fishes by the DJs who are in Gundam suits walking around wrecking shit, at the door there’s femmes with stilletto nails running security, someone has a 50-foot selfie stick taking panoramic stills of the dance floor, which looks like that cartoon thing with a bunch of arms and legs coming out during a fight, but it’s actually just tons of queers & freaks moshing to club hits in a cloud of smoke/vapor/fog from all manner of medicinal combustibles, there’s an open bar of empty bottles for people to smash, projections of vandal choreography decorating walls around the world, a crushed velvet blanket covered in free jewelry, a bouncy castle with bouncy torches on the walls burning with real fires for obsolete flags and effigies, divination and tactile engagement booths, and a buffet table with like a thousand cans of mountain dew code red and all you can eat biscuits and country gravy, and someone cute who is nice to me who i trust is there and we give each other hugs sometimes.

What would be the next step on live streaming music? 

The next step on live streaming music is probably some sort of hearing tax? I’m thinking like, as sounds as a commodity grow and piracy becomes omnipresent and unstoppable, the savvy capitalist will probably find funding to invent a way to monitor and control which sounds we can legally hear. The pessimist in me sees the grotesque proliferation of visual surveillance that already exists, and the physical and psychic ways it controls bodies, and I assume the same will eventually become true for us inside our private spaces, due to bodily surveillance technology that we will probably ingest unwittingly from a box of mac and cheese or accidentally consent to have implanted after one too many hastily skimmed end user license agreements.

Lets say you where asked to do a set for boiler room in 2116, in general terms how do you think it will be? technically and also musically.

If I got asked to a boiler room set in 2116, it would be like pretty cool that i hadn’t died yet i guess, but to look my best I’d download a firmware update for my subdermal 3D makeup eyelid implants so i could wear my favorite paramagnetic holographic eyeshadow, spend about 200 space credits on a non-alcoholic hoverspritzer to get me loose, connect the bluetooth subwoofer butt implants and crank em up so i can feel the bass knock, and use the one arm whose veins i had replaced with MIDI and USB 17.0 cables to prosthetically play classical music (north carolina splash techno from the 90s, underground Frankfurt trance/rave hits from the 80s, and 240-BPM whatevercore from the 2020s coming out of the pile of rubble that used to be Capitol Hill in DC.

Crime has had many ways to reach our collective imaginary, do you see music being the best medium for this representation, specially compared to the media? In terms of how it is portrayed and the kind of analysis or critique that both mediums produce?

I feel like the best media for the representation of crime is specific to the crime’s context, like, a stalker’s bruised up face on a poster, or a selfie in your cute cocktail dress with a little rip on the side, or a video narrated by a a prisoner with a shirt mask showcasing of someone’s cell in flames. Different sound artists are going to have different risks, needs, experiential knowledge, and security priorities for transmitting signals about crime. So for example I’ll appreciate hearing about who’s a target in somebody’s eyes, how some people are using their critical thinking skills to get paid, and fun opportunities to be creative with property, or whatever, but i think these narratives are equally well suited to sharing interpersonally in diffuse unmediated moments; they certainly aren’t dependent on music.

Also, in my experience, music, whether or not it’s a substrate for criminal communication, has some power to generate support financially and emotionally for people who have found ways to maintain their self-determination and preserve their safety in a way that the police state and the carceral industry have deemed criminal. It can accumulate bits of care and dignity and social life that, if left unchecked, might be litigated away from them, or be erased during the many processes of punishment. So to the extent that immediate connectivity & support is available without any requirement of formal analytical or critical media formulations, music can function as an effective social tactic to push back against the racist regime of criminalization, I think, maybe ideally as a component of a broader prison abolitionist framework, one where we are consuming the content being communicated on other, less traditionally ‘art’ media.

As the music industry resembles more and more an institution like entity, do you see the digital medium as a way to increase and expand peoples discourses?

I see more and more people whose experiences have been historically marginalized making space for themselves; centering, prioritizing, and celebrating their narratives and discourses, in a way that is disruptive and corrosive to white and cis and civil society. It feels like digital media has given people more opportunities to find one another without being subject to coercive power relations. Like if you’re in a small town where there’s only one music scene and it’s dominated by straight cis het white dudes, you might have a chance to DM someone out of town you hope to generate a collaborative relationship with or some affinity or whatever, without having to wait on a white patriarch with a ton of accumulated social capital to arbitrate and skim and leech off your new relationship. Not to mention travel — which i feel like is a kind of social media, that i see people are finding access to more cheaply as logistics approaches total saturation and perfection — as a tool that strengthens people’s chances to become fugitive, to escape old power dynamics, and find nourishment and care outside the context they were first assigned, to find power outside the patterns of social relations that domination, colonialism, hegemony and/or society has defined. So whether or not discourses are expanded or not, i think peer-to-peer direct communication over digital media like music and bus tickets has the potential to trouble and eventually dismantle traditional power structures socially in a way that is exciting to me.

Do you think that the digital age is reshaping peoples discourses only in terms of format or also the content?

I have noticed my own sensitivity to content sharpen in the last 5 or so years of my life, which i think is a change for the better. I also respect the ways people are treating knowledge of self as the locus for their creative work: having opportunities to source materials from the past that allow you to express unalienated joy or grief, for example, feels empowering, just as much as having the chance to hear about the risk of being triggered or traumatized by a piece of content. I think that lately I have become deeply critical of how and why any media is produced, and that in certain cliques or scenes I have been able to see adjacent and other types of discerning and sensitive sensibility contribute to powerful, uncompromising expressions of fury, identity, failure, growth, heritage, hatred, resistance, and struggle. And I think that podcasts and pirated music (which are basically the two most important types of media to me in the ‘digital age’ besides tickets) have a lot to do with expediting and enriching the processes that allowed people to develop these sensibilities.

Who are your three favorite music collectives/labels as of today?

My first favorite music crew is my own crew, the (f)lawless team in Philly, which is informal and diffuse, coherent as a temporary & modular party that raises money for criminals outside the bounds of respectability politics. It changes and grows some, but has included myself, DJ Femmesurrection, DJ G-Sissy, DJ Yung Nila, DJ Haram, as well as a squad of other folks who do all the logistical, informal, social, and affective labor that goes into making events happen. Besides us, I have so much respect for the #ATMData group, which is SCRAAATCH (E_Jane & Plus_C), Marcelline, and DJ Haram, because they consistently bless west philly with abrasive, unaccommodating, sharp, unpredictable, non-generic club-not-club nights multiple times every month with acts ranging from performance artists to DJ sets to harsh noise. And I have to show love to Metropolarity, a queer sci-fi/speculative media collective, who are mostly writers but who work through across and outside of a multitude of genres. The works of Metropolarity inform/disrupt my style, taste, and understanding more than a lot of musicians do, and they’ve shared a lot of their insight, sensitivity, and perspectives. Ras Mashramani, Alex Smith, Magus 18 & Rasheedah Phillips are the members and all have individual and collective work I love and value.

Counterfeit – Extra Rough Cut Dip
Interview with Jorge Cornell (aka King J, Inca of the NC ALKQN)
Oneohtrix Point Never – Woe is the Transgression II
Audio from Documentary Footage on the 1979 Greensboro Massacre (https://www.youtube.com/watch?v=Xg8_xgzfArc)
Counterfeit – Death to the Klan
Underground Resistance – I am UR (Counterfeit ADR/Drumline Edit)
Cold Steel (NC A&T Drummers) – Entrance Tunnel
Arpanet – Twin Paradox
Rasheedah Phillips Reading at the Philly Zine Fest 2013
Ab Soul ft. Danny Brown & Jhene Aiko – Terrorist Threats
Interview with Jorge Cornell
Audio from Latin Kings: a Street Gang Story (2003)
Kilamanzego – Beef is What We Originally Said It Was
Info on the Racketeer Influence Corrupt Organizations Act (RICO)
Counterfeit – Extra Dry
Audio of Greensboro Police Department Arresting Jorge Cornell at a Street Fair
Kool & Kass – Pleasance (WDGAF)
Audio from ‘Against Innocence’ by Jackie Wang
Audio of Jorge Cornell Playing Hide & Seek with His Daughters
Ashrae Fax – Armpit
Kanye West ft. Kid Cudi – Father Stretch My Hands
DJ Rashad – Shoot Me
Tyler the Creator ft. Kanye West & Lil Wayne – Smuckers
Audio Footage from Fox 8 News Coverage of the NC ALKQN RICO Trial in Winston Salem
Harvey Milk – Sunshine (No Sun) Into the Sun
Interview With Dr. Brian Carey
JPEG Mafia – Cops are the Target (DJ Haram IED Bootleg)

Bastante loquer, eh…
Pues aquí un remix de SOD



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