The “private life” of the tune is public soul-searching.
For nearly a decade, the song-yards’ Merrill Garbus has been playing and dancing on stage, using a number of different instruments and reliable cycle pedals to trick the sound. Although the signature sound of tun-yards is different, Garbus is not the person who labels music.
“It’s always the hardest thing,” she said. “I appreciate that I can’t classify my music, because once you do that, you start making assumptions and start closing people.”
In the front row: most cerebral sci-film – yArDs
In the front row
The tone of the concert.
On her album “Nikki Nack” four years, Garbus already from most cerebral sci-film – Yards performance out of something: the name of the band is no longer a stylized mixed uppercase and lowercase letters, facebook is gone. Instead she added new electronic voice, some from Haiti and the influence of music – most notably, she more profound understanding of the position of her music as a white woman.
Add booth joined the NPR Mary Louise Kelly (Mary Louise Kelly), discussed how this consciousness through most cerebral sci-film – Yards of the fourth album “I can feel you into my private life”.
The audio version of the conversation will take all of the air considerations on Friday, January 19, and will be available online at night.
Paint on your face.
I have grown up publicly in my 30s. There are some 38-year-old songs I’ve written that I can’t write, and there are things that I don’t think are appropriate right now. In the face of my paint… You know, I took the lipstick, instead of putting it on my lips, I wanted to put it on my nose, or put eye shadow on my face. To me, this is almost a Picasso of makeup. But now I’m thinking about cultural encroachment on so many things, because I have a lot of influence in all forms of black music — from Mali, music, from South Africa, music, hip-hop music. So, I think in terms of cultural appropriation, I have a lot to answer, why don’t you take out the paint on your face?
Black life is important and learns from her audience.
I looked at our audience, mostly white people. About that time, I believe it was the death of Eric garner, we played a program, and we played our song “go,” which was specifically about police brutality. I held out my hand, saw a young black man, raised his hand, did not clap, and immediately did not see the white hand. I didn’t see the people around me in solidarity with him. That image just burned in my head, and I felt, “there’s something wrong here, what we can do is not happening. How can I do this? I think my first step is to study, study how these things in my life, and that is the source of the album title, it felt like our monitor paranoia age is relevant, real privacy fears, but also how these things live on me – how can I not to call others, blame others, but really look at this in me.
Whiteness as a “cultural vacuum”
So I don’t know that I’m misappropriating specific things, and there’s definitely a lot of cultural encroachment that we see in pop culture. But I think whiteness is a cultural vacuum… Because it’s not true. It is now described as a white culture for very political reasons, for economic reasons. As a white man, I was beginning to explore the gap between white people from different cultures and the source of this white idea.