The cover of Kala was based on a PhotoBooth selfie she snapped on her Mac and IMed to someone while traveling through Africa, India, and Jamaica. She wanted to “go around the world and look at the ugliness,” she said. “You weren’t gonna fix it, but I sort of believed you could through art. — LOOK AT ME QUOTING MY OWN DAMN ARTICLE. Anyway I went to MIA’s book talk yesterday, you can read my piece here. She talks pre- and post-internet art, every album (forthcoming too), her Versace collabo, getting her mates off smack, and hating current web design. MORE IMPORTANTLY, CUTE PHOTOS OF HER KID.

mmmmmm-hmmm.

(via bangingonthedashboard)

Problematic and all, THIS IS MY BITCH. She’s just like LEMME GHOST RIDE THIS SHIT AND FILE MY NAILS BECAUSE YOU ALL ARE SO WACK AND I’M THAT BITCH AND YOU DISINTEREST ME SO HARD I CAN’T EVEN BOTHER WITCHU.

Problematic and all, THIS IS MY BITCH. She’s just like LEMME GHOST RIDE THIS SHIT AND FILE MY NAILS BECAUSE YOU ALL ARE SO WACK AND I’M THAT BITCH AND YOU DISINTEREST ME SO HARD I CAN’T EVEN BOTHER WITCHU.

(via bangingonthedashboard)

This video is definitely beautiful, but all that glitters is not gold. What at first glance seems revolutionary - arabs looking fabulous and outlaw in a western music video- really big ups the stunts of some of the most privileged brats the world has ever known, Gulf boys w/ plenty of time for car tricks in countries run by imported slaves & where women can’t even legally drive. Made in Maghreb because in the Arabia they would have arrested you… for all the wrong reasons. — Global/globe-trotting DJ/Arabic music expert/G Filastine on MIA’s new vid, which I too have complex feelings about tho they are not as informed as this. Obviously it looks fucking awesome, and I love MIA, and this song, I cannot stop bumping it. BUT, HERE ARE SOME THINGS TO THINK ABOUT. Particularly IRT the fake “Arabic” writing on the single, the red carpet burqa she wore (which I still can’t decide if it’s amazing and subversive or pretty fucked up), and the background dancers in hijab (the latter examples greatly offended friends who are Muslim). What do we think about when we think about cultural appropriation, and who do we ascribe it to? Also, who “gets to” ascribe it? MULLING
shana—e:

Radical and progressive leaning white folks are so pressed over MIA working capitalism to her advantage and refusing to stick to the confines of the oppressed brown person narrative they all bought into.It’s so much easier to launch attacks against brown people that have acquired wealth because and in spite of capitalism than examine the complicit role we all play in the continued marginalization of people of color around the world - just get that hypocrite bitch off the television.
Here’s hoping for an MIA/Yeezy collab. An entire album. Speaking it into existence!

YURP

shana—e:

Radical and progressive leaning white folks are so pressed over MIA working capitalism to her advantage and refusing to stick to the confines of the oppressed brown person narrative they all bought into.

It’s so much easier to launch attacks against brown people that have acquired wealth because and in spite of capitalism than examine the complicit role we all play in the continued marginalization of people of color around the world - just get that hypocrite bitch off the television.

Here’s hoping for an MIA/Yeezy collab. An entire album. Speaking it into existence!

YURP

(via shana--e-deactivated20130513)

#BGDW

Album Art

teramerapyar:

RP Patnaik - Thiruvizhan Nu Vantha

M.I.A. sampled this in ‘BirdFlu.’

FROM THE YEAR TWO-THOUSAND AND DIPLO, NEVER FORGET*

*I said that about a Deize Tigrona song I played on my radio show yesterday but since I basically decided “two-thousand and diplo” is a genre I had to put it into print. So yeah I’m sampling myself in a post about a sample WUUUUTTTTTTTTTT

(via bangingonthedashboard)

ArtistR.P. Patnaik
TitleThiruvizhan Nu Vantha
Albumpalmsout.com sample wednesday 39: MIA