Neo-colonialism and cultural appropriation seem to be the buzz words of 2013. With accusations being flung at everyone from Miley Cyrus to Diplo, bloggers seem hasty to brand artists with these sordid labels. We decided to ask Chrissy Murderbot what he thinks about the subject.
Chrissy Murderbot is an electronic music producer who has more recently been getting some notoriety for his take on a genre known as “Juke” or “Foot work”; a fast paced musical styling that started in Chicago. Chrissy is from Kansas, and that pisses some people off apparently. After talking with him I can honestly say this is not a case of a businessman swooping in and capitalizing on a culture, he saw as marketable. Chrissy a sincere artist who fell in love with the 160bpm rhythms of Juke and just wants to make the music he enjoys.
It’s easy to see how both sides of this debate could be right. One could say anyone of any cultural/economic back ground should be able to draw influence from whom they please and that art should be an expression completely free of boundaries. I also believe how ever we have a social and moral obligation not to misrepresent the cultures we sample. Is it important to approach other cultures with a level of respect and caution? What do white girls wearing Indian head dresses, Miley Cyrus twerking, and Macklemore rapping all have in common? These are questions we try to find answers to in this discussion with Juke legend Chrissy Murderbot, a man accused of “musical colonialism” in Pitchfork’s review of his Album ‘Women’s studies’.
Check out his mentioned Columbus day mix, which I thought was a response to these accusations. It showcases REAL cultural appropriation if I’ve ever seen it.
We would love to have an open discussion on this topic so please leave your thoughts in the comments (or simply resort to calling each other fags like every other comment board). Take a moment to embrace your inner opinionated internet thug.
Special thanks to False Flat for organizing the event.