Friday, November 16, 2007
Hooray For Hip-Hop!
"There was no time to hide, no time to run . . . rain of bullets, detonation, and explosion." — Muerte en el Ghetto, by Ghettos Clan
The radio station sits tucked away in a residential section of Medellín, Colombia, in a ramshackle stucco building with cracks in the walls and chipped slate floors. Even from outside you can hear the metronomic beats, the brittle walls no match for a bassline that crunches every third word as you negotiate with the armed guard behind the metal gate. The security may seem excessive, but last summer a powerful bomb went off outside the office of a national radio station here, taking about 100 homes with it.
You get used to this constant parade of men in army fatigues, shadowy ghosts that lick at your periphery as they patrol downtown sidewalks, guard driveways that wind endlessly upward, or slide bomb-detection devices under cars en route to the mall. These men are sentries in the 38-year war between Colombia's constitutional government and the guerrillas, with the U.S. and its $1.3 billion Plan Colombia squarely in the middle. After a recent breakdown in peace talks, the Bush administration last week proposed an additional $98 million to train and arm Colombian troops who'd then protect Occidental Petroleum's oil pipeline from guerrillas. The White House also wants to train a counter-narcotics force for a region controlled by right-wing paramilitary groups.
But on this November night, the only thing approximating violence is the irascible thud-thud-thud of the bass. Upstairs, inside the broadcasting room, are several mics atop a large round table, two well-worn Technics 1200s, and a computer. DJ Dee mans the ones and twos, mixing from one hard trance record to another, nodding in time with the rhythm, his focus on the beat absolute. Three friends, dressed in wife-beaters and multi-zippered club pants, watch every drop of the needle. When DJ Ilana Ospina, promoting her gig the following night at a local club, slides a dubby techno track into the mix, they encircle her, astonished at the sight of a woman working with the calloused fingers of a pro.
Ospina, 29, was born in Bogotá, but now lives in New York. "I have a French passport because part of my family is French," she says. "It changes everything. I was lucky." She left for Paris in '91 to pursue a new life.
For many kids, that kind of exit isn't an option. Securing a visa can be extremely difficult, and even if they do find a means out, getting the working papers needed to stay abroad is next to impossible. "As a student, I took a loan with the government to study in London," says Carlos Estrada, a 31-year-old Medellín club owner. "But it was with the condition that I go back to Colombia afterward to work. It's a vicious cycle."
These kids are confined, for the most part, to urban areas, because the risk of kidnapping renders much of the countryside impassable. And for many of the poorer ones, trapped within ghettos, living on the edge of society means dealing with the daily specter of death in the form of murder, bombings, and random gang violence, or the threat of being drafted as paid assassins, sicarios, by the outlawed paramilitary groups. For them, salvation can be found through sharing music—the kind brought back by artists like Ospina, and the kind they create using bare-bones equipment, often with no more than their bodies and a mic.
"I've been down what they call the 'bad steps of life,' and I now realize that's not what I want," says Javier Beltrán, a/k/a Javi Herc, a Bogotá-based hip-hop producer. "I use hip-hop not as a mechanism of escape, but as a mechanism of living."
The Village Voice by Adrienne Day
A Documentary on the Hip-Hop Scene in Medellin, Colombia