Wednesday, June 15, 2011

Enjoying Macho (and fey) Gay hip hop from NOLA

I'd love to see some brainy critic deal with the issues of having a transgendered performer e.g. NOLA's Katey Red appropriating the basic rap format and having it be a celebration of a dance primarily performed by women, consisting of an incredibly athletic orbiting of da booty. I'm kinda happy to have lived along to see such a sex-political mash up!

And further up the battle lines - here's a video from fellow Sissy Bounce superstar (and I don't use the term lightly) Big Freedia

Big Freedia's sound is clearly much more macho - macho, gay, rap?



We watch "Treme" every Sunday night. Read this blog every Monday morning and the re-watch the episode Monday night. Great fun.
To supplement the excellent commentary:
for those who might want to grab some of these experiences for home enjoyment:

*"(Every Time I Hear) That Mellow Saxophone" - performed by Cyril Neville in this episode - you can find Roy Montrell's original on the excellent - "The Cosimo Matassa Story" a four CD set with a good 120 songs that you can purchase for as little as $13 new if you look around.

You'll find ALOT of the original versions of songs you've heard on the series on this collection and a good number of these songs appear playing on jukeboxes, or on car radios, etc.

*in one of the scenes at the Cajun Mardi Gras celebrations - they perform and there's a short sermon spoken at the grave of Dennis McGee, one of the fathers of Cajun music. Recently Tompkins Square records released a 2 CD set by Amede Ardoin, "Mama, I'll Be Long Gone" with the vast majority of songs featuring Amede AND Dennis McGee.

Amede is credited as one of the fathers of Zydeco - performing and recording from the late 1920's to the mid 30's. Legendarily he accepted a handerchief from a white woman to wipe sweat off his face at a performance and thereafter was beaten so severely he was committed to a mental institution where he remained till his death, not long after. SO... even around 1930 one of the most influential area musical units was racially intergrated.