The Afropunk Festival continues until the 12th (possibly the 13th), but so far I've only caught the first day. Lots of people with lots of melanin in kind of weird clothing, stuffed in a parking lot. (# 34 and # 2 are the most appropriate...) Sounds like a good time.
I haven't seen the Afropunk film yet, because I've missed all of the 2309480293842 screenings near me. Perhaps I'll get to see James Spooner's newest film. Click here for more on the film/movement/etc....
The Apes:
I don't really get them yet. I have a feeling they are a band that sounds better recorded. Think Celebration vs. DJ Spooky vs. Gravy Train's odd-ball kitschiness without the excessive sexual innuendo. The bassist seemed to be having a conversation with someone in the audience the whole time. I seemed to keep yawning the whole time. Find out for yourselves.
Afrika Bambataa:
I had no idea Afrika was going to be there. What can I say? The Master of Records (capitalization is required) in the flesh with Zulu Nation. Except now he's older, bigger, without his shades, and spinning mediocre sets for an older crowd featuring James Brown and Stevie Wonder...and then Beyonce and run-of-the-mill dancehall. What happened? I don't know but God, I would kill my first born for one of those dookie beaded zulu nation chains.
Janelle Monae:
She was the act I really came to see. After a longer than expected set from DJ Prince (eh), and after having to peer between the annoying free posters that were given to some in the crowd, Janelle jumped on stage singing her poppiest, most danceable single to date: "Violet Stars, Happy Hunting". This girl has taken cues from the most unlikely of places: Disney, for example. Her entrance very obviously imitated the kind of announcement you'd hear waiting online for a ride at Epcot: robotic, child-friendly, and full of fog. Her onstage persona is the marriage of a cartoon character and a wind-up doll; like a cartoon she's only seen in her character black and white threads- a white and black jacket, highwasted slacks, cummerbund, and bowling shoes. Her bug eyes and quirky dancing might as well be part of her outfit.
Janelle crowd-surfs and throws water, ripping a page out of the aging rock n' roll handbook, but sings with an absolutely mellifluous, controlled, and expressive voice taken from Leena Horne's book. Hell, she even looks like Leena. I'm not sure if she's been influenced a lot by working with Outkast or if they're just on the same funky wavelength, but the wigged, heavily costumed guitarist might as well have been born with the name Andre 3000.
I appreciated seeing the live drummer and guitarist, but it would have been great if she could have recreated onstage a lot of the polished background music present on the record, instead of just having a DJ spin it from colored vinyl. I'll give her a break. She's a relative newbie so she can't quite roll with a deep musician crew just yet. That word 'musician' is key, though. As if I were attending some jazz concert or an old-school rock concert, she gave the musicians a bit of time to show off their skills, herself included. With jazz guitar backing her, she sang "Smile", a song well known in Nat King Cole's repertoire. It is this era she exudes in the very essence of her being, and it is this era she has recreated and given a futuristic edge in the essence of her passion.
Is this really music of the future like people proclaim? I wouldn't go that far. It's not that novel- it's pop music with a twist, and admittedly, it's a bit corny. Other people have blended genres before and in a much more unique, unnerving way. Of course, it doesn't have to be earth-shattering to be interesting. Is it good music? I'd absolutely say yes. The little twist she puts in pop music is just refreshing enough to work.
Palatable uniqueness is the first step to expanding the public's musical palate. Thanks Janelle, you "afropunk" (of sorts), you.
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