The Merrill Garbus of tun-yards wears her own privileges.
Here are some white American musicians feel comfortable fact: 40 pop songs from the former to the mountains every American music, bluegrass music has a color person’s work and the foundation of creativity. The most common argument about the use of surfaces is that artists clearly borrow from well-known sources; Justin timberlake decided to use quasi neutral Ralph lauren style repackage his blue eyes of terror, this is one of the most recent white performers, their soul to black, the fact that admit it or not.
For Merrill Garbus, for their part, in the most cerebral sci-film – two Yards of synthetic drivers of global rhythm and artistic punk dream mashup is always better than most openly face funding problems, and part of her debt admitted at some point in time to stop the work. After the release of Nikki Nack in 2014, she was determined not only to face her cultural debt, but also the way she tried to sweep them aside, even in the multi-cultural savvy voices of tune-yards. In their new music, she vows that she and her music/life partner Nate Brenner will no longer end white rights at the spiritual level of pendleton.
“For me, it’s already at the point of crisis,” Garbus said earlier this week from her home in Auckland, where she and Brenner were calling. “I can’t say nothing about my work.”
Garbus, who once studied Mr. Smith, wrote most of the lyrics for the Tune’s lyrics and designed an anti-racism course for himself. She attended a six-month anti-racism workshop at the east bay meditation center. She read the famous anti-racist educators Tim wise’s writing discussed in this paper based on the enthusiasm of racial justice, this is a national, gradual activism of the network, is committed to “let white become a part of the ethnic majority”. Looking for a new music community, she learned to DJ. Knowing that her sincerity seemed to some extent the hypocrisy of white liberalism, she sat in the uneasiness of this consciousness, accompanied by many other vexations. She and music, Brenner created in collaboration with a small number of partners, will arrange centralized their excitement beat driven and complicated, build a sound glass house, in order to better illuminate Garbus secrets and lies with her own internalization of confrontation.
I can feel you walk into my private life is the most complex, most cerebral sci-film – Yards album, reviewed her friend Laurie Anderson 1983 classic Mr Heartbreak or Frankie to Hollywood’s early popular songs and other popular and classical fusion of social observation. This album in music and Garbus as many language: friction each other in synthesizer line in the way there is a feeling of tension, occasionally interrupted by accurate site drums, it enhances the Garbus revelation about fighting and eliminate the racist closest level.
Garbus is always inspired by the African diaspora, and believes her co-producer, Brenner, is asking her not to stick out “sunshine” when she asks for more challenging songs. “There’s a lot of talk about how music interacts with words,” she said. “A lot of times, the first time, is, no, that’s not what I said.”
The struggle produced an album with more clear vision – and sound – better than anything previously offered by tun-yards. For Garbus, this is just the beginning. “I’m working on it,” she said. “I don’t think it’s the past, I’m going to do it for the rest of my life.”
1. “heart attack”
This is my first beat on op-1. It’s like a mini keyboard, but it can do all the tasks – it has a four-track recorder, a sampler, a drum machine and a sequencer. It’s like this clever machine, it costs a lot of money, and it’s worth every penny. I’m reading this book “Last Night a DJ Saved My Life: record jockey’s history” and listen to the track of the old house, wondering what the parameters of the house song are? What is the rhythm of life? In my limited knowledge of family music, I think these songs are rhythmically boring. But back to those older records, I said, “no, no, no! In fact, these people (and the women I think) are referencing the recordings they’re listening to to create these new, complex rhythms.Inspired by this, I want to have a rhythmic effect – real syncopation and unexpected effects.
2. “other To group”
I love the ukulele effect we get here, working with [engineer] Beau Sorensen. We put this ukulele on all these pedals, and then he thinks he’s going to procrastinate at the end, and I just like the bass that’s created out of it. Topics, I began to write songs in front of the primary – just like I did a lot of song – and then after choose finished, it shows my on both sides and side effects of a lot of problems on their own, and in most cases, this is such a bull * * *. But when did I stand up and say, “is this completely wrong?”
3. 123 “ABC”
Many of these songs are confusing. They feel taught. I know all these annoying lyrics are coming from me and trying to figure out how to put them together. We’re singing this song with this quarter note, and I think that’s f *** it. ABC, 123. And from there, I think, what if this represents a new language? Many of these albums are things I’ve tried to deal with, rather than being away from the real world. Think, if I can face the reality of climate change, mass extinction, white privilege and a white fragile reality, then maybe I can guide the audience also look at things, rather than on what we do all the way to escape.
Have you ever heard of this podcast, how to survive the end of the world? It was two sisters, autumn and Adrienne Marie brown. Adrienne Marie Brown wrote a book called Emergent Strategy. She has a lot of background in organizing activists. The podcast and her book really broke things and encouraged the audience to face what actually happened. It really motivates me. I’m a Pisces – I’d rather live in a dream. I don’t want to touch it. But it feels like we need to be here, not in that fantasy world.
“My heart is filled with compassion, and I just want to say to the white people who sampled the music, you’re in colonialism,” says merrill gasp. “It’s named after it.”
Eliot Lee Hazel/by the artist.
When whites began to fight racism, what often happened was the idea that the white self was born. It’s like, “that’s what everyone else is — not me!” In the post-trump era, progressives and liberals found themselves wanting to stay away from other whites. But if we grow up in this country, we’re racists, and that’s what this song is about.
The most exciting line for me is “man, I want to take you home.” A lot of the lyrics from this album came from me, and I wrote down all the important things I didn’t want to admit that were in my place. I listened to some Somali dance tapes from the 80s, and I thought, I want to be in my music! There was a colonial atmosphere. “I’m an exception,” I thought. Want, want, want.
Although my heart is full of sympathy, I just want to know the white people about the other people’s music: you’re in colonialism. Let’s call it what it is. In particular, given today’s strong momentum, there are more restrictions on entering the United States. For people of color, “hey, I’m glad you like it, and now I can travel in your country.”
5. “the good faith”
I used some of the language of meditation practice in this song. At the seminar I attended [the six-month course at the dongwan meditation center was called “white and race awakening”] we were asked to watch a videotape of police homicide. We read the narrative of lynching, detailing what actually happened. Then we were asked to sit still and be honest with ourselves. I know there’s a lot of criticism about the whole white space, and I don’t necessarily want to be able to get into all white space – that’s the trigger! But my experience with a group of white people is to be very honest with myself and the other person, and know that we don’t hurt people of color because we use them… That’s the question I have to ask myself: do you really want to know? A lot of times, I don’t want to know. We deny our racism because it feels ugly.
I like to think of myself as an honest person, but I now understand myself as a person who is always dishonest. Whether my habit is to keep others happy, before I act on behalf of others, I do not really put myself in the truth; Or a lot of things related to whiteness. I just want to hold on to such a white man and deny all these other facts. Meditate to make room for these things, face them, and then hope to move on.
I’ve been making that song. And, at the risk of being vulnerable, I’ll tell you, I’ve cried a lot. What I’m trying to learn is only from my own experience. I don’t know anything about the history of whiteness. I don’t know much about the “right” word for racial justice radicalism, organization or “political use”. That doesn’t mean I can avoid the responsibility of telling my story. That’s what happened. I’m white. I heard my voice and a friend talking to me in Kenya. Many people think I made fun of another white woman in the “colonist”. No, this is me.
“Look at your hands.”
The beginning of the drum. When I started the DJ at a club across the street from our street, I started it. I used to let me do something, and I was good at practicing, practicing mixing it with other records. I’m trying to figure out, can people dance?
I wrote a lot of lyrics on my way to and from our studio, walking along lake Merritt in Oakland. And something else is looking at my own hand… Slow down and simplify. You know – this is my hands! Is my phone in my hand? Where does my phone come from? What is in my hands, but also my own consumption? What do I do in the world? Want to ask some questions, such as song most cerebral sci-film – Yards , “little tiger” with the words “you owe you one, the ownership of the people you don’t know” – what the invisible line to connect our each other, you don’t even acknowledge our daily work?