Latinos self-identify as Afro-Latino, Afro-Caribbean or of African descent with roots in Latin America according to a Pew Research study , Latinx are outlining ways to bring these conversations to light at home. But in order to truly dismantle white supremacy in Latin culture, Latinx should not be seen as just one thing, Pimienta says. We don't deal with ICE. We don't have that situation. We need to be very real about our privilege when it comes to that, even though we're colonial subjects," he says.
While he says someone from Central America may not necessarily relate in every aspect to someone from Cuba, many non-white Latinx share being made the "other" in the U. But we also have differences," he says.
It's my job to try to find out and understand it for myself and try to convey it to others. It's my responsibility. Beyond holding conversations at home, educational programs like Ethnic Studies at colleges and universities can help dismantle racism, some argue. An option for those with educational resources or interest in education as Ethnic studies teaches the histories and stories of Black and people of color. Black and Latinx artists are using music as a way to educate for without access to Ethnic Studies.
The latest Black Lives Matter protests have sparked a wave of accountability that began with the police system and has swept through several corners of society, causing the music industry to experience its own wave of trials. Historically, the music industry has been complicit in systemic racism and erasure of Blackness.
The relationship between Black artists and the music industry is fueled by a historic dehumanization of Blackness that happens in the U. There is an infatuation with it. There's an obsession with it at the same time that there's a dehumanization of it. Blackface Minstrelsy happened in the U. A similar coalition was created in the U. Companies like Swedish music electronics company Teenage Engineering , which makes products used by dance music producers, plan to begin sharing its revenue with some Black musicians in the U.
Sony and Universal also announced inside initiatives to support their Black employees. Republic Records , under Universal, has vowed to drop the industry term "urban" in its genres and every other facet of the label.
The "urban" genre has been used as an umbrella term that boxes in Black artists and music industry professionals. Leading Latin music publication Remezcla, meanwhile, is taking the same pledge to stop using the Spanish equivalent of urban, or "musica urbana. When inspired by a social movement, a group of people decide, 'You know what? We're going to change the discourse about this particular genre of music. Beyond language, several aspects of the music industry need to rethink who it champions and promotes.
The ones that look like Los and Shakiras and stuff before they look at us," she said. There could be less stereotyping and a lot more support for Black artists, especially women and LGBTQ musicians who continue to face sexism and homophobia.
Prominent artists in Latin music genres are being asked to set an example, too. Eccleston referenced Bad Bunny in particular, an artist who is widely known for voicing his opinion on politics but was slow to speak up on BlackLivesMatter. Pimienta says non-Latinx artists creating Black Latinx music should recognize their privilege if they perform Black music.
Pimienta also argues that the industry needs to rethink branding Europeans as Latin. Already, Latinx in the music industry have started conversations on privilege and solidarity, with Conciencia Collective and journalists—including Mota and La Gata —holding livestream talks. I think we're going there, honestly. I'm optimistic about it. Because I think, if anything, music is going to teach us that," he says. I think the artist can reach people directly in a way that's never happened before.
Meanwhile, the Latinx music industry is taking on race issues but also holding space for women and the LGBTQ community to talk about the intersections of race and other identities. Goya and Pimienta have used their music to talk about their experiences being Black women.
Pabllo Vittar, Lauren Jauregui, Tatiana Hazel and Urias joined the collective in a conversation about how gender and sexuality affect Black and Latinx of color. While there is work that needs to be done in the industry, Pimienta says space for indigenous folk music and other music made by Black and indigenous artists—what she calls outsider music—that challenge identity norms is growing. I feel like we've gone through the shiny and the perfectly packaged and the perfect ideals of womanhood…" she says.
I feel like finally I don't have to explain myself. That's where I'm trying to go. Caloncho loves life. The tattoo on his left arm—a mom-heart-style illustration with "Vida" written in the center—is just one way he makes that known.
The curly-haired singer exudes a calm warmth in person too. His vibe is as sunny as the city he finds himself in on the last days of February: Santiago de Queretaro, a small colonial town in North-Central Mexico.
Caloncho is in Queretaro to perform for an intimate group of fans on the last stop of the Live At Aloft Hotels Homecoming Tour, a partnership between the new Marriott hotel in the city and Universal Music Group, which features artist performances in their home countries. Being helpful is equally important to Caloncho. More than making people feel happy, Caloncho, who studied international relations in college, wants to make a genuine difference in the world.
Optimism gives people faith, he believes. The day before, he swapped his guitar for a pair of gloves, rubber boots and a face mask to do something beneficial outside of music. The tour stop has enabled him to build a partnership with a local nonprofit in Queretaro raising awareness on the pollution called Habitantes del Rio.
The historic river, which at one point provided water for many to use, has become extremely contaminated over several years. Local authorities have initiated plans and programs to clean the river, but to no prevail. Habitantes also set up cleaning dates throughout the year to help solve the issue.
So far, they have taken 15 tons of trash from the river. Caloncho learned of the organization while at a music festival. Cameras and photographers follow the singer around as he gravitates towards one part of the river, a muddy corner that looks like a small landfill in the making. The green water flows by behind him. I love to do what I do. I was really excited to clean the river, to be part of it and to let the people know that they have something vital that's actually a treasure.
The singer hopes the cleanup, now documented on his social media, can inspire local fans to help out as well. In college, Caloncho faced one of the most debated questions related to the actions of human beings: "Are human beings good or bad? For him, though, there is power in choice.
Every choice of consumption that we get to get every day, everything we choose, is going to have an impact and environmental weight," he says. The singer will begin working on his forthcoming album in a few days and feels strongly about including songs that will make people think.
Caloncho wants to include more of his thoughts on society and human emotional intelligence, even incorporating discourse, something he says is not easy to do. I think it's kind of personal in that way. While he loves to make music and going on tour, he admits leaving his children at home is tough. I love existing, I love my daughters. Caloncho released an EP titled Pa with his youngest baby girl on the cover last year.
Evidently, his determination to make a difference in and out of music is also tied to fatherhood. I could just relax and do love songs and chill but I want to be useful. Maybe it's related to being a father now, I don't know," he says.
Caloncho released his first EP, Homeotermo , in That year he was also nominated for Best New Artist. His journey into music began thanks to his late grandfather, who also gave him his nickname, "Caloncho. He used to play mostly with an accordion. The Beatles were another early influence; their CD is the first he ever purchased. They created pop music and it's always a reference when recording. I love their sound. The band is influenced by a variety of Mexican and Latin American musical styles and genres including boleros.
Together, they combine some of the most praised songwriting in the Spanish language. After his intimate performance in Queretaro, Caloncho will continue a spring tour with the side project. Whatever happens, Caloncho is content with taking it slow. I'm getting to know myself as composer, and as a human—like everybody else.
For anyone working in the music world, Austin, Texas is the place to be in mid-March each year. South By Southwest brings together the industry's brightest minds, biggest players and sharpest talents to explore the business and craft of music. Attendees network, listen and soak up wisdom to bring home and implement in their own music communities, wherever they may be.
RR: The guys from the Dirty Heads are like my best friends. It depends on the atmosphere, to be completely honest. I listened to the new song by Designer. I played it like a million times. What else…Major Lazer, too. Yeah, shit like that. LIP: What other music, in the area of ska or rock, have you been enjoying recently? I listen to them a lot. RR: Honestly, I tell them to come to a show. Experience a live show, and then decide.
Kahne preferred drum samples and loops instead of the live rawness they sought. Enter Paul Leary, the guitarist for the scatological psych-carnival the Butthole Surfers, whose deranged subversion had been a formative influence. The admiration was mutual. Sublime roundly disagreed. Sessions were scheduled at the Austin altar of Willie. But before the band headed to Texas, Leary went to Long Beach for preproduction.
Dysfunction reigned. The plan was to spend a week in a practice studio, but Nowell vanished as soon as Leary arrived. Two days went by and still nothing. On night three, Leary reached the band and agreed to get breakfast with them the next morning. But the restaurant conveniently served giant tankers of beer. He had a wonderful sense of really dry humor, and a look in his eyes like there was always something else on his mind—something troubling him. No notes were recorded during preproduction.
But for all the extracurricular disarray, Sublime were consummate professionals in the recording booth. Most studio recordings are painstakingly composed of different layers of instrumentation from distinct takes. Most of the songs on Sublime were cut live on reel-to-reel.
Sloppiness was an asset, an inspired rope-a-dope honed over a nearly nonstop decade of gigging. Quotables now long fabled in bong-rip lore often started as off-the-top gibberish. Leaving piles of tape on the floor, Leary and his engineer, Stuart Sullivan, took minute Bradley rambles and ingeniously polished them into three-and-a-half-minute gems.
When they showed up Barney Gumble drunk to sessions that started at noon, Leary suggested an earlier time.
The next morning, Sublime arrived armed with a pitcher of margaritas. A drug stash supposed to last the duration of recording barely made it a few days. Needing a re-up, Nowell sent a friend back to L. Wilson says that for the most part in Austin, he and Gaugh stuck to beer and weed.
What else? Well, Lou Dog scratched up all the floors of the studio. When Sublime decided to hit the sauna, they draped a towel over a light bulb and set the chamber on fire. They borrowed a white Chevy Suburban that belonged to Pedernales and promptly crashed it. They wrecked the condominiums that had been provided to them, and had to be moved at least three times.
Happoldt swears to this day that it was actually a Charlie Chaplin toothbrush stache. After a break to play some SXSW shows, the tailspin accelerated. It was normalcy. Depressed, he spiraled down to Mexico for a bootleg valium spree. The cleaning crew at Arlyn fretted over the needles they found.
Enraged, Nowell fired Leary, his manager, and everyone else he had the capacity to dismiss. Later that evening, he calmed down and called up Leary to let him know that he understood and respected his decision. In the a. Bradley had apparently agreed to check back into rehab. To understand Sublime is to understand the telepathy of Nowell, Gaugh, and Wilson, which is to understand the cultural dialect of Long Beach.
The two cities are naturally intertwined: same county, same radio stations, same smog. Different sets, but the same gangs. The differences are subtle to outsiders but significant to anyone attuned to the socioeconomic and tattoo differences among the , the , and the area codes let alone when the split off around the time that Sublime dropped 40oz.
It is to L. He could write pop hits off a Gershwin flip and then have them remixed by Snoop and the Pharcyde. That was Sublime, that was Long Beach. Imagine if mayonnaise could surf. Bradley was raised hood-adjacent; in the O. Latin jazz, hip-hop, rock … Cal Tjader on one corner, P-Funk on the next. His father, Jim, was a successful general contractor; his mother, Nancy, taught piano and flute, and sang with perfect pitch. It was a musical lineage. At family parties, the Nowells and their kin brought out guitars, banjos, and harmonicas for impromptu jam sessions, sing-alongs, and dances.
A lot of Patsy Cline, Waylon Jennings, and Hank Williams, too, especially after Jim went through his urban cowboy phase shortly after the divorce. Born in Long Beach, most of his first 10 years were spent on a Tustin Hills plot of land that led out into the old Irvine Ranch.
These were the last days of agrarian Orange County, where his backyard abutted asparagus fields and orange groves. After his parents split, the quiet and shy book obsessive, who loved surfing and sailing, became increasingly rowdy. He was either completely out of control or sedated. In the wake of the marital dissolution, Jim and Bradley took a father-and-son trip to the Virgin Islands, which exposed the younger Nowell to the Caribbean sounds that captured his imagination.
Shortly thereafter, he met Eric Wilson at tryouts for a junior high band. Wilson hailed from a multigenerational clan of musicians. His father, Billy, a big band jazz drummer, had one of those vagabond 20th-century adventurer careers that might as well have come straight out of a Jack London novel.
His career ended in the Long Beach Municipal Band, which offered a decent pension and the time to teach everything he knew to his trumpet-player-turned-bassist son and his best friend, Bud Gaugh. Apart from the usual candidates Bad Brains, the Minutemen, the Wailers, the Clash, the Dead Kennedys, Millions of Dead Cops, dozens of other canonized and forgotten punk, reggae, and classic rock bands , Bill Wilson was the most formative early influence on what eventually became Sublime.
He has continued to play music with his wife, Nicole, in a surf rock band called Del Mar. Wilson also had been playing in a succession of area bands in recent years, among them Shortbus, when a recording engineer friend who had met Rome introduced them Gaugh recalls a phone call he got from Wilson telling him about the young singer. The chemistry felt right, and they decided to continue.
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