Thursday, August 30 @ 10:30pm: Acorriente(Music, Chamamé/Jazz)
Location: Alma Bar, Ávalos 460, Resistencia, Chaco, Argentina
20 pesos
Friday, August 31 @ 3:30am: Dani Massaro (DJ Set)
Location: Caño Santa Ana, Plaza del Caño Santa Ana, 24006 León, España
FREE
September 2012
Friday, September 7 @ 3:30am: Dani Massaro (DJ Set)
Location: Caño Santa Ana, Plaza del Caño Santa Ana, 24006 León, España
FREE
Friday, September 14 @ 3:30am: Dani Massaro (DJ Set)
Location: Caño Santa Ana, Plaza del Caño Santa Ana, 24006 León, España
FREE
Friday, September 21 @ 3:30am: Dani Massaro (DJ Set)
Location: Caño Santa Ana, Plaza del Caño Santa Ana, 24006 León, España
FREE
Friday, September 28 @ 3:30am: Dani Massaro (DJ Set)
Location: Caño Santa Ana, Plaza del Caño Santa Ana, 24006 León, España
FREE
October 2012
Thursday, October 4 @ 7:00pm: Megan Branch (Theater, Actor)
CLEAN by Edwin Sanchez, directed by Christie Clark
Location: The New School for Drama, 151 Bank St., New York, NY 10014
FREE
Friday, October 5 @ 9:30pm: Megan Branch (Theater, Actor)
CLEAN by Edwin Sanchez, directed by Christie Clark
Location: The New School for Drama, 151 Bank St., New York, NY 10014
FREE
Saturday, October 6 @ 7:00pm: Megan Branch (Theater, Actor)
CLEAN by Edwin Sanchez, directed by Christie Clark
Location: The New School for Drama, 151 Bank St., New York, NY 10014
FREE
Tuesday, October 9 @ 9:30pm: Megan Branch (Theater, Actor)
CLEAN by Edwin Sanchez, directed by Christie Clark
Location: The New School for Drama, 151 Bank St., New York, NY 10014
FREE
Wednesday, October 10 @ 7:00pm: Megan Branch (Theater, Actor)
CLEAN by Edwin Sanchez, directed by Christie Clark
Location: The New School for Drama, 151 Bank St., New York, NY 10014
FREE
Thursday, October 11 @ 9:30pm: Megan Branch(Theater, Actor)
CLEAN by Edwin Sanchez, directed by Christie Clark
Location: The New School for Drama, 151 Bank St., New York, NY 10014
FREE
Friday, October 12 @ 7:00pm: Megan Branch (Theater, Actor)
CLEAN by Edwin Sanchez, directed by Christie Clark
Location: The New School for Drama, 151 Bank St., New York, NY 10014
FREE
Reflection and Response.
Events from the Collective is a calendar of upcoming events from the LIFESTYLE collective’s international community. Events can be submitted at anytime to the.lifestyle.rr@gmail.com or @LIFESTYLE_RR and will be added to the calendar as they roll in.
El Grillo Jujeño is a leader. Born in Jujuy, Argentina and moving to Buenos Aires 10 years ago, he turned his experience of ”desarraigo,” (uprootedness) associated with changing his location into a response that led to the creation of various social and artistic Collectives focused on the migrant experience throughout Argentina. He is also a folk artist himself, a lawyer, and a entertainment industry entrepreneur. A true craftsperson whose activities prove the power of Response.
Para empezar con algunos puntos básicas, de dónde vienes? Dónde estás?
Leading off with some basics, where are you from? And where are you at?
GJ: Nací en el norte de Argentina, en la Provincia de JUJUY, la misma se caracteriza por tener a parte de su territorio considerado “Patrimonio cultural, paisajistico e historico de la Humanidad”, hablo de la Quebrada de Humahuaca. También allí, en ese caprichoso y magnífico paisaje se encuentra el famoso “Cerro de los 7 colores” entre otras bellezas naturales, por lo que desde ya los invito a visitar esa maravillosa región.
Recuerdo una frase que dice:
“JUJUY le han puesto de nombre
Debe ser cosa de Dios,
En el idioma del cielo
Así se llama al amor.”
Me encuentro a más de 1700km de mi ciudad natal, en la ciudad de Buenos Aires o mas conocida como “la city porteña”, lugar donde se hace mas palpable “el crisol de razas” que poblaron a este pais. Es la ciudad “mas europeizada” dicen algunos. Esta mega ciudad, tierra donde muchos la consideran lugar de oportunidades, donde al transitar sus calles uno comprende porque “el tango” nace aquí.
Les comento algo que a lo mejor les parezca extraño, pero que también es verdad: dentro de ese crisol de razas que hacen a la actual poblacion argentina, también se encuentra la “RAÍZ AMERICANA”.
Esta ciudad fue receptora no solo de la migración europea, sino tambien de la migración interna del pais, por lo que les aconsejo (si es que tienen intenciones de conocer Bs As), hacer un recorrido cultural a traves de las “PEÑAS FOLKLORICAS”, fiestas donde se interpreta, baila y canta MUSICA FOLKLORICA ARGENTINA y también latinoamericana. Descubrirán una Argentina autóctona, americana y regional. Todo eso debido a la enorme extensión del territorio que se extiende desde Ushuaia hasta La Quiaca.
Así es, Argentina es muy rica en historia. Y estamos hablando de historia identitaria y originaria de esta tierra sudamericana, por lo que los invito nuevamente a venir y conocerla.
GJ: I was born in northern Argentina, in Jujuy Province, characterized by having part of its territory considered a Wrold Hertiage of “Cultural, scenic and historic” value. I talk of the Quebrada de Humahuaca. Also here, in this moody and magnificent scenery is the famous “Mountain of 7 Colors” including more natural beauty, and now I invite you to visit this wonderful region.
I remember a saying that goes:
“They gave it the name JUJUY
It should be a thing of God,
In the language of heaven
This is called love. ”
I am more than 1700km from my home town, in the city of Buenos Aires, better known as “The Port City”, a place where the idea of “the melting pot” that settled in this country becomes palpable. Some say the city is “more Europeanized,”. This mega city, the land many consider a place of opportunity, where to walk it’s streets, one understands why “Tango” was born here.
I will tell you something that maybe seems strange but that is also true: in this melting pot of races that make the current population of Argentina there is also the “AMERICAN ROOT”.
This city was the recipient not only of European migration, but also of internal migration of Argentines, so I advise you (if you intend to travel to Buenos Aires), make a cultural journey through the “folkloric” parties where people perform plays, dance and sing ARGENTINE FOLK MUSIC and Latin American folk as well. One will discover a different sides of Argentina: native, American, and regional. This complexity is because of the vast expanse of territory stretching from Ushuaia to La Quiaca.
Indeed, Argentina is rich in history. And we’re talking about historical identity and the origins of this South American land, so I again invite you to come and get to know it.
Que quiere decir Reflection and Response para ti?
What does Reflection and Response mean to you?
GJ: Lo asimilo con hacerse una pregunta o cuestionamiento, o CRISIS!!!!!!!!
Analizar el problema y buscar probables soluciones. Desde hace años me cuestioné lo siguiente: Todos tenemos nuestros sueños y metas personales, pero también tenemos sueños que implican a la sociedad en su conjunto, y si no lo pensamos asi, deberiamos empezar a entenderlo, creo yo. Pensar en el otro.
Aristoteles habló del hombre como “ser social”. Personalmente, considero que todos debemos aportar nuestro granito de arena al medio que nos rodea.
En estos 10 años que viví en BS AS conocí incontables provincianos de todo el país que sufren el “desarraigo” pero mantienen sus costumbres, cultura y tradiciones en la medida de sus posibilidades. La difusión de esas actividades generalmente no llegan a los medios masivos de comunicación .
Esos provincianos son considerados para los porteños como intrusos y por otro lado, para los provincianos que residen en sus provincias, estos desarraigados son porteños.
GJ: I think of Reflection as the idea of presenting a question, challenge, or CRISIS!!!
Analyze the problem and find possible solutions.
For years I questioned the following:
We all have our dreams and goals, but we also have dreams that involve society as a whole, and if we do not think like this, it’s something we should begin to understand. To think of the other.
Aristotle spoke of man as a “social being”. Personally, I think we should all do our bit for our environment.
In these 10 years I have lived in Buenos Aires I met countless migrants throughout the country who suffer “rootlessness” but retain their customs, culture and traditions as much as possible. The spread of these activities generally does not reach the mass media.
These migrants are considered intruders by those born in the city. On the other hand these same transplanted migrants are considered “rootless,” for the provincials who reside in their home provinces.
Que más estás haciendo actualmente? Que proyectos estás pensando trabajar próximamente? Como se encuentran esos proyectos con tu idea de Reflection and Response?
GJ: What else have you been working on recently? What are you looking to work on next? How do these projects fit in with your ideas on Reflection and Response?
Es por esto que decidí solidarizarme y aportar mi granito de arena a este mundo difundiendo lo hacen los provincianos y sobre todo los jujeños en BS AS, personas solidarias, trabajadoras, reunidas en centros de residentes o como “solitarios heroes”, (QUIJOTES DE LA CULTURA) que difunden sus tadiciones, cultura, música, comidas… TIPICAS ARGENTINAS!!!!!!!
YO YA NO SOY UN QUIJOTE SOLITARIO gracias a TODOS los que se animan a soñar con un mundo mejor y todos los que nos acompañan en nuestros emprendimientos.
Creo que es importante que las nuevas generaciones conozcan su pasado y puedan valorar la importancia que tiene el sentido de la IDENTIDAD.
CAMINATA DE LAS QUENAS
Es por eso que pensamos en la magia de los niños de Jujuy y me convertí en uno de los 4 organizadores del proyecto “CAMINATA DE LAS QUENAS”, Proyecto cultural, educativo, identitario, musical que se realiza todos los años en los meses de Julio en BS AS y en agosto en JUJUY. (IMPORTANTE: Este año es el Bicentenario del Exodo Jujeño)
GJ: Thus I decided to express my solidarity and contribute my bit to this world spreading the work of migrants, especially those from Jujuy, living in Buenos Aires: caring people, workers, residents gathered in centers or “lone heroes” (QUIJOTES OF CULTURE) who spread and promote thier traditions, culture, music, food … TYPICAL ARGENTINA!!!
I AM NO LONGER A SINGLE QUIXOTE thanks to ALL who dare to dream of a better world and all who join us in our endeavors.
I think it is important that new generations know their past and that this knowledge can help them appreciate the importance of a sense of identity.
WALK OF QUENAS
This is why we believe in the magic of children in Jujuy and I became one of the four organizers of the “WALK OF QUENAS” This project focuses on culture, education, identity, and music and is performed every year in July in Buenos Airs and in August in Jujuy. (IMPORTANT: This year is the bicentennial of Jujuy Exodus)
This week the LIFESTYLE brings the Feature series back with a global conversation based around Reflection and Response. Leopoldo Pérez Obregón’s craft is unique, innovative, yet informed by the various cultures of his home region of Corrientes, Argentina. His band Acorriente represents this dedicated craft and has shared the stage with the biggest names in Argentine folk music at the National Chamamé Festival in Corrientes. Check the interview below for more about Leo’s current and upcoming projects with content after the conversation. He is a craftsperson in motion.
Para empezar con algunos puntos básicas, de dónde vienes? Dónde estás?
Leading off with some basics, where are you from? And where are you at?
LPO: Yo nací en Corrientes, norte de Argentina, una de las provincias más pobres del país. Ahora vivo en Buenos Aires, aunque no estoy seguro de eso. No importa que pase el 90% de mi tiempo en esta ciudad, siento que sigo viviendo en Corrientes y acá sólo estudio o trabajo.
LPO: I was born in Corrientes in northern Argentina, one of the most impoverished states of the country. I currently reside in Buenos Aires, although I’m not sure where I live. Although I spend 90% of my time here in this city, I feel that I’m still living in Corrientes because I only study and work here.
Que quiere decir Reflection and Response para ti?
What does Reflection and Response mean to you?
LPO: No creo en las ideas que sostienen que el arte es esa cosa mística, romanticona y siempre bella que surge de expresar los íntimos sentimientos. Esa búsqueda por la espontaneidad irreflexiva y holgazana es una de las cosas que no me gusta encontrar entre los artistas. Por eso es que la idea de Reflection and Response me dice mucho, porque creo que del autismo en el arte no puede salir nada bueno.
Muchos artistas viven enamorados de su propia obra, y suponen que siempre sus creaciones son “innovadoras” porque asumen que el campo cultural en el que operan es una tábula rasa que empieza a escribirse desde el momento en el que ellos compusieron su primer canción o terminaron su primer lienzo. Cualquier intento de creación que presuma un campo cultural vacío, y que su aparición es acontextual, está destinado a ser un fracaso, a la irrelevancia, aunque pueda conseguir al principio alguno que otro aplauso fácil.
De esta manera entiendo que es fundamental que la comunidad de artistas no sea una comunidad de ciegos y sordos que pretendan crear siempre ex nihilo. Necesitamos saber que se hizo antes, y qué están haciendo los demás, para que nuestras propias creaciones tengan relevancia y puedan dialogar con los aportes anteriores que otros seres humanos fueron haciendo y hacen alrededor del tiempo. Si cada uno está preocupado por producir mucho y reflexionar poco, entonces hay mucha respuesta, pero poca interacción entre todos nosotros, y eso tampoco sirve.
“El que se larga a los gritos no escucha su propio canto”, dice una canción de Atahualpa Yupanqui, uno de los más grandes folkloristas que tuvo la Argentina. Seguramente a él le hubiera gustado mucho la idea de Reflection and Response.
LPO: I don’t believe in ideas that decree that art is some mystical thing, romantic and always beautiful and comes from expressing intimate feelings. I’m not attracted to the drive for spontaneity and idleness in artists. Indeed, Reflection and Response is meaningful for me because I don’t believe much can come out of from artistic isolation. Too many artists live enamored of their own work and believe that their work is somehow “innovative,” because they think the cultural field in which they operate is a blank slate that began when they started to compose their first song or finish their first canvas. Any intent to create based on the idea of a completely new or vacant cultural field with no context is destined for failure and irrelevance, though it may achieve some cheap applause.
Based on these ideas I find it fundamental that the artistic community not be blind and deaf and pretend to create out of nothing. We must know what was done before, what others are doing and creating in order for our creations to be relevant and can dialogue with previous ideas that human beings have been working on for all time. If everyone is focused on creating great quantities of work with little reflection, there remain many answers with limited interaction between the artistic community-something that doesn’t matter.
“One who strays too far from cries does not hear his or her own song,” sings Atahualpa Yupanqui, one of the most important folk artists in Argentina. He would have surely agreed with the idea of Reflection and Response.
Que más estás haciendo actualmente? Que proyectos estás pensando trabajar próximamente? Como se encuentran esos proyectos con tu idea de Reflection and Response?
What else have you been working on recently? What are you looking to work on next? How do these projects fit in with your ideas on Reflection and Response?
LPO:Acorriente es una banda que hasta ahora logró insertarse bien en el campo cultural local. Creo que eso responde no sólo al talento individual de cada uno de los músicos que componen la banda, sino a una lectura buena del contexto artístico actual y a una intencionalidad de intervención sobre el campo cultural muy premeditada, y creo que exitosa en cuanto a sus cualidades estéticas también.
La banda puede disfrutarse sin conocer cómo ni qué es la música de Corrientes -que vendría a ser el chamamé-, pero si conocés el contexto probablemente puedas disfrutar de otras cosas que hacen que la banda tenga algo muy particular para decir.
Te mentiría si no te dijera que está entre mis planes recibirme de abogado. De algún lado tengo que sacar dinero para hacer música! Tengo un proyecto para hacer un registro audiovisual de dos músicos que a pesar de su talento sólo quedaron como grandes músicos de pequeños pueblos. Quiero reivindicar la figura y el talento de esos personajes ocultos por la pobreza y la marginalidad. Como proyecto artístico este año si puedo terminar eso estaría más que contento, además de hacer alguno que otro show con Acorriente.
LPO:Acorriente is a band that has been able until now to get involved in the local cultural scene. I believe that this comes from not only the individual talent of each member of the group, but also an astute understanding of current artistic context and a deliberate intention to get involved in this scene, and also positive aesthetic qualities. Although one can enjoy the band without an understanding of music from Corrientes, known as chamamé with an understanding of our cultural context one can enjoy particularities in our music that shows the band has something to say.
I would be lying if I did not say that graduating with a law degree wasn’t in my future plans. Somehow I have to make money to be able to create music! I’ve been thinking of doing an audiovisual collection of two musicians who are talented yet are only considered great artists in small towns. I would like to vindicate the talent of these people who have been marginalized because of poverty. I would be more than happy if I’m able to finish this project and do another show with Acorriente.
Quien o que te inspira?
Who or what inspires you?
LPO: Las mujeres Peter! Me inspiran las mujeres! Igual que vos, empecé a hacer música para tener muchas chicas. No, mentira, fue una mezcla de cosas. En realidad creo que hay que trabajar mucho y tratar de buscar menos el momento mágico de la inspiración, yo no me inspiro, pienso mucho en mis composiciones. Cuando atravieso momentos emocionales fuertes no me salen mis mejores cosas porque me cuesta pensar.
LPO: Women, Peter! Women inspire me. Just like you, I began to play music in order to meet women. Joking- it was a mix of things. In reality I believe it requires a lot of work and the attempt to find that magical moment of inspiration. I don’t get inspired, instead I labor over my compositions. My best work doesn’t come out when I dare to work from strong emotions because it becomes difficult to think.
Hay algo más que quieres que sepa el Collectivo?
Is there anything else you would like the Collective to know?
LPO: Sí. Quiero que sepan que tengo un trauma con que las cosas me van a explotar en la cara. Cada vez que voy a mear, por ejemplo, cuando me voy a secar las manos con la maquinita esa que sopla viento me agarra un miedo! Ni hablar del dispenser de agua caliente para el mate o del motor del auto.
Ah, y soy peronista. Muy importante.
LPO: I would like people to know that I am traumatized by that which blows up in my face. Whenever I go pee, for example, when I put my hands under the dryer I get a fright! Not to mention hot water from the thermos for mate or car motors.
Ah, I also am a Peronist. Very important.
Saludos a…?
Shout out to…?
LPO: Un gran saludo a mi amigo personal Roger Waters que viene a tocar a la Argentina dentro de poco, y al compañero Peter Muller, para que nunca se olvide de los pibes del barrio.
LPO: A shout out to my good friend Roger Waters who is shortly coming to Argentina to perform, and to my homie Peter Muller, so that he never forgets the neighborhood kids.
Claudia Rojas is a true craftsperson. Growing up in Argentina and Uruguay, Claudia studied various creative mediums including voice. Choosing to pursue her education at the University of San Andrés in Buenos Aires, Argentina, she continued to use music and performance as Refection and Response. She played briefly in a group with Peter called Harold and the Gauchos, see The City and Solitude. Claudia has recently graduated and now works for the historic Teatro Colon and assists with Classical performances. Peep the interview to see a unique youthful perspective on the realities of Classical performance in the contemporary world!
(Reflection and Response) is a very creative process that involves seeking messages in things that might not necessarily speak to us.
Leading off with some basics, where are you from? And where are you at?
CR: I am from Buenos Aires and I still live in Buenos Aires.
What does Reflection and Response mean to you?
CR: Reflection and Response could mean many things, however, should I try to reduce the meaning it to its bear essentials, I would place such a meaningful thing in the productive interaction between a human mind and anything else. It is a very creative process that involves seeking messages in things that might not necessarily speak to us.
It seems we cannot bear to live in a meaningless world, and so, we engage in conversation with anything in the same way a little girl does so with her seated bears at her tea party: pouring out the faint infusion and happy with the endearing delusion that things are put out there for a reason.
Now I could go on about the incredibly creative process that is the engagement between two or more minds in naturally dysfunctional conversation, but a lot has been said about the destiny of anyone to be misunderstood. What interests me, rather, is what happens when someone reflects and responds to something someone made a long time ago, especially when that something is artistic. I believe it is then that we become those furry things that, in stillness, we feel the warmth of the calling from a vessel that remains true, and all that we’ve been handed at one glance, or hearing, is a cup.
How does your work at ISA Teatro Colón fit in with that definition?
CR: The greatest challenge of any opera theatre is to keep opera, ballet and symphonic music alive and current. You must encourage, in the words of this interview, reflection and response between artists and the general public.
What makes this challenge difficult? There has been a great divide between art and the public. Centuries ago, art and public sensibility were much more connected through the understanding of the sacred. There’s a ritualistic side to art that was understandable sometime ago thanks to religion and the aperture to a more symbolic life. Contemporary life has diluted such sensibility; indeed, there’s been a lot of talk about art’s death through its loss of aural qualities. Art has become so conceptual in some ways that it runs the risk of thinking itself purely divine instead of a humble representation of something much greater.
This doesn’t mean I’m saying that art has lost its power at all, but I can think of examples in which artists have become irresponsible. Art in general has become so plural and so hard to keep track of that one needs institutions to show us different narrative paths to art, just like one needs writers/journalists/historians to understand what has happened so far in any national or international setting.
Places like Museums or Theatres have the great challenge of coordinating sensibilities pertaining to different intellects, imaginations and times. They remind us that there is an emotional parity between different people that express such sensibility in different artistic currency. But people are not wrong in feeling intimidated; we do tend to appreciate some more than others.
Who or what inspires you?
CR: The idea that there is so much work to be done!
Is there anything else you would like the Collective to know?
CR: Yes. I am no one to tell you what art is or is supposed to be. My impressions of the art world are quite personal.
Shout out to/ Thanks to…?
CR: I would like to thank Peter for inviting me to participate in this amazing blog. He has been the only person that has persuaded me to publish anything this year. I’m sure there’s quite a bit of talent in achieving that.
First of all I’d like to thank everybody whose been riding with us through the Argentina Thursdays and V’s Recollection series. The periods when we produced these pieces were super important to our growth as artists and fundamental in learning how these mediums really act as reflection and response to our everyday environments. It has been such a joy to share this period and discuss it with others.
To end I go back to the beginning. Buenos Aires, 2010. I began getting back into writing flows during this period, and my first one in awhile was about something that happened far from Argentina, on a street somewhere in Tunisia. My friend and LIFESTYLEcollective member Nassim told about when he started practicing religion again after he saw a boy have a seizure and then miraculously stop. I felt the story would be a cool narrative to put into song. I took a famous track from the Amelie soundtrack, Comptine d’Un Autre Été, sped it up a bit threw some drums and some basic melodic elements and wrote the track.
I rerecorded an acapella today (December 8th) in Madrid.
Full Track (Early 2010)
Acapella (December 2011)
Yea he got up on the bus/ Summer in Tunisia sweat and dust/ And the wheels started to roll/ Things would change little did he know/ 10 minutes later he him lying there/ Eyes wide open in a broken stare/ Epileptic seizure mothers so scared/ The people move back to give the boy air/ While the uncle tried to resuscitate/ The mother realizes he’s slipping away/ Eyes fill with tears as she turns to pray/ Starts to cry shrieks of pain/ And my friends watches this from the bus/ Feels the mother and her grief for her son/ Suddenly he sees it from her eyes / Lost in the moment inside his mind
Suddenly the dude starts to breathe/ The passengers move back to their seats/ The mothers’ tears turn to joy/ And our protagonist smiles for her little boy/ Suddenly the sun starts to rise/ Move from the dark to the morning light/ The people move back to regular business/ And our dude thinks about what he’s just witnessed/ Quite a transition from near death to a new day/ All wrapped in two hours on a Tuesday/ Bus moves on as his thoughts move fast/ Wondered about death since his father passed/ He said he didn’t change right after then/ But after this moment he gained perspective/ So in the next few years he did his 5 prayers a night/ Started to live a more righteous life||
I think it was dope that Nas could tell the exact picture, the moment when he decided to start practicing again. Reflection and Response at its fullest, in a desert out in Tunisia then back to France, Nas’s country of birth. It’s pretty dope that Nas’s initial moment of spiritual clarity became my initial moment of artistic expression through hip hop.
Buenos Aires, early 2010. Coplas. Found throughout the Spanish-speaking world, the set up is a call and response format accompanied by a bombo, or drum. The coplas I recorded by folk music activist Pablo Martinez are Andean in origin. The instrument that sounds like an elephant is called an “erke.” I played the erke in Pablo’s folk music band, and play the erke part between the vocal parts on the track.
Think Spanish gospel.
Pablo Coplas
Aquí estoy porque he vendio
Porque he venido aquí estoy
Si no les gusta mi modo
Como he venido me voy
Una sola mujer tengo
Dos hijas quiero tener
Una pa de vez en cuando
Otra pa permanecer
Jujeño yo soy señores
Yo no niego a mi región
Jujeñito lengua dura
Canta cuando hay ocasión
Here I am because I have arrived
Because I have arrived I am here
If you don’t like my way
As I have arrived I’ll go
I have only woman
I want to have two girls
One for every now and then
The other for always
Gentlemen I am Jujeño
I do not forget (negate) my home
Young Jujeño of hard tongue
Sing when there is an occasion||
I then did a remix of Pablo’s track and added some drums, piano, bass, and chopped up his vocal sample. This remix was a fun way to collaborate with a kind of music that I had never heard before.
I’ve Got A Feeling off the Beatles’ Let It Be in one of the dopest songs ever. The groove that makes up it’s verse just oozes cool. Cue Buenos Aires early 2010 and some inspiration and you get the ingredients that make up “Feeling!!!” I sped up that verse, added some original drums, and chopped it up even more in the middle part. There’s also some subtle original guitar work at the end of the track. There’s another classic rock sample right around 1:25. Free exclusive a capella of an upcoming unreleased track for whoever tweets the LIFESTYLE the answer.
Buenos Aires, Las Cañitas/Belgrano district, 16th floor circa 2009. One of my first projects in Argentina was a remix of the legendary Ray Charles’ Drown In My Own Tears. Chopped it up, threw some of that Logic synth on there. Pain is universal.
Tears!!!!!
Same location 2010. Whitney Houston’s I Will Always Love You is stuck in my head. Took the line right before she starts singing the verse and did some things. The flute you hear at the end is the homie Jaime, who plays flute and charango in a folk music band in the city.
I wrote a song called “The City,” sometime in 2007. I then recorded it with my band at the time, Tuition Well Spent (see below for more info). I rerecorded a version in 2009 with my duo in Argentina, Harold and the Gauchos.
Even though the instrumentation is almost identical on each track, the two versions have different vocalists and display different takes on the song. I think it’s dope to see how each version contrasts.
The Tuition version is more polished. Recorded over two days using Pro Tools in the Digital Audio Workstation at Odegaard Library at the University of Washington, Mike and I took our time with takes and mixing.
The Harold version was done on the fly. Only having practiced the song a few times before pressing record, Claudia and I hadn’t necessarily perfected our arrangement. The “dale,” that I blurt out at the start of the track lends itself to the jam session vibe. However the looser more improvised feel lends itself to a different understanding of the song.
Does anyone else have experience with how changing one part of a piece can lead to new feeling, new reflection?
The City: Tuition Well Spent
The City: Harold and the Gauchos
The City
I was swimming in the River when the river but the river said he don’t mind
Said go on now got my own place to find
So I went on down to the shining deep blue sea
But none of them fishes want to swim with me
And I feel lonely, I feel blue
Get up slowly I got nothin much to do
Ladies ain’t never had too much luck with them
I see an opportunity and all they see is a friend
And 18 odd years that’s how it’s been
I finally met Shirly but shea’s already with Ken
And I feel lonely, I feel blue
Get up slowly I got nothing left to do
Bored in the city in the city it looks so drab
Wanna find a way to get away this strange land
It seems like the sky scrapers they all laugh
In a one man room playing the blues getting pennies in a straw hat
Oh I feel lonely, I feel blue
Get up slowly I got nothing left to do
Bored in the city in the city it looks so drab
Wanna find a way to get away this strange land
It seems like the sky scrapers they all laugh
In a one man room playing the blues getting pennies in a straw hat||
I used to be in a band during my first few years of college called Tuition Well Spent. Before I left to Argentina I recorded a melody I had written with Mike, the vocalist from Tuition. When I was in Argentina and learning how to use Logic Express 8 I found the vocal parts and decided to see what I could do with them. I can be heard using drum sticks to tap a rhythm out in the background during the vocal track. I also let Mike know that I felt the take by the grunts at the end.
