Can Social Media Internet Technology Further A Transglobal Music Agenda?

We have done this before with transglobal internet collaboration of art with Ikohaus [carefully archived from 2009 for us by archive.org], but that was only four artists working between Australia, Italy and the US. Now our issue is how to put in place an infrastructure that we’ve created to promote and distribute a new music form from Kenya known as “Mizuka” (Kenyan – something fresh, new style).

There are a vast number of unrecognized artists from Kenya doing a new type of music, but because their interpretation doesn’t fit the commercial success formula of copying what African Americans are doing in the US, they lie languishing in local performances and distribution of their music.

Ikohaus Music Group in conjunction with Bamzigi of #3050 music have formed a joint venture to do something with this new music outside of the usual big corporate control. One difficulty to surmount is the sparsity of a broadband infrastructure in Kenya with a reach to the general populace. There, the possibility resides with the new initiatives of Microsoft in their development of “white space broadband” being deployed already in Kenya.

What the aforementioned initiative will portend for our musical collaboration, will be a more optimized penetration vehicle for the actual country producing the music to be able to download and view the content we will be producing. Right now our flagship service CPirateNetwork has already re-focused it’s format of HD streaming broadcast to Kenyan Mizuka music music primarily as the HIp Hop, UK Hip Hop and Jerk genre convulses to the stick and golden carrot approach of the corporate music industry.

Now it seems as the popular musical genres flounder in the race to become mainstream acceptable, the underground tenets of the 60’s necessity of invention resurface to play a vital role in the emergence of this new music form.  

The direction I see is very clear. No longer is there a need to rehash the Hip Hop education of the people via music. No one wants to learn about the corrupt strife of the world in song. The news of the world now permeates every nook and cranny of news feeds, blogs, tweets, posts and broadcasts while fans wonder about the same bleakness of drab Uk Hip Hop videos taken in slum, war torn like backdrops.

Now the UK artists like the Americans have discovered playing music in the clubs at $10-$15 a head is where the money is if you can make $800/night singing about how there should be a Palestinian homeland. The trouble with this purposed rebelry is that the mainly white audience like the old coffee house beat generation is only there to enjoy music and will probably not effect any change and just go about their normal 9-5 job the next day exhilarated by how “cool” Big X was with his military style hat cocked over his eyes and spouting profound verbiage of wrongful suffering on his way back to his heated flat.

1st President of Kenya

So that’s where we’re excited about being a part of a new music form from a relatively new country like Kenya that got it’s independence from the same throes of UK dominance  as where the rappers are from and have a just newly elected President Uhuru Kenyatta, related to the first President of Kenya Jomo Kenyatta.

The joint venture between Bamzigi of #3050 music Kenya and BlackCaesarX of the US has in it’s similarities the early musical history of the United States when it’s first and only form of contemporary music formed was “Jazz”. Maybe “Muzuka” will be Kenya’s Jazz but we’ll just have to wait for the future to arrive to find out.


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