Anarchist Cafe at The Smell Venue in downtown Los Angeles
diyzine.com
Sunday, February 28th, 2010
The Smell, 247 S. Main Street
Los Angeles, CA 90012
From 1pm - 8pm. $5
Anarchist Dating Game
Tired of not meeting any single activist?
Can't go out on a date in this Capitalist World
because you are too broke?
Enter the Anarchist Dating Game.
Email- femsavante@aol.com
POETS -
Ralf Camacho
Shannen Almeida
Cait from Weekend Warrior
Will from Silver Daggers
Natalie Richards
Tricia from Autonomy
Jang from Resist and Exist
Liz from Food Not Bombs
Joaquin Cienfuegos
Elyse from Tears of Gaia
Guerrilla Queenz are out to infiltrate hip hop & reggae with
Revolutionary But Gangsta lyrics that seek to elevate and
motivate the masses by bringing awareness to all types of
community issues. From love to politics, roots and culture,
these mujeres are overflowing in musical messages which
stem from an everpresent resistance & solidarity for all
indigenous struggles through out the world. Guerrilla Queenz
are Sistahs Centzi & Eyerie former members of Cihuatl Tonali
and Dj Papalotl of XMMP, who call themselves Guerrilla
Queenz in honor of all those Fallen Wombmyn Freedom
Fighters. We stand in COME-Unity with our words as our
weapons and sound as our power, power for the people."
Subsistencia are an Indigenous Tribal political punk band from Los Angeles. Subsistencia was born out of the frustration and the
realization of our oppression as a people with a history stemming over 500 years. Rooted in the anarcho-punk scene, the band consciously
began to develop a deeper desire to understand and educate ourselves in our culture, our history and our freedom as an indigenous people
of this continent. We believe we have suffered social degredation, political oppression and economic exploitation. Part of our mission as a
collective of musicians is to be able to create a space where the ideas to combat the enemy on these three levels is possible. We believe
through education and the unity of our nation we can truly defeat the enemy, that not only steals our land and imprisons our warriors, but
the world in general. Subsistencia is the word for subsistence in Spanish. We believe that is what our people have done for the last 5
centuries. Our time of subsistence must pass and be born into a time of life and growth. Part of our message is the genetic memory that
we carry as a people, and we include in our music the blend of pre-hispanic instruments and modern day instruments. The message of our
music is that unity, history, culture, spirituality and the personal revolution. Our collective began few years ago and we continue to grow
and learn more. We hope that through dialogue we can overcome many of the issues that separate us as humans, so that we can see ahead
and try to build something for our children and for the generations to come. We invite all nations to learn their history and their culture.
Though this may not be an easy road to take, it is one that will enable us to reach our true humanity.
In Lak Ech is a Mayan concept meaning you are my other me-tu eres mi otro yo. In the flesh, In Lak Ech is a performance poetry and
song collective of Xicana multi-media artists, writers, students, and organizers uniting to tell Her-story through poetry. In Lak Ech is
comprised of Marisol Torres, Felicia Montes, Claudia Mercado, Cristina Gorocica, Rachel Thorson Véliz, Liza Hita, and Marlene Beltran.
Their flowering words, which express their urban indigena realities are offered to the past, present, and future generations. Since their birth
on International Womens Day, 1997, they have been heard from the jungles of Chiapas to the concrete jungles of Mexico City, Los Angeles,
and beyond.
In Lak Ech has traveled throughout California and the southwest to give a voice to the many who struggle for dignity, culture, and life.
Through canto, comedy, poetry, and observation, they are a unique blend of modern day oral tradition, exploring politics, spirituality, love,
and pain.
Based in Los Angeles, California, the women of In Lak Ech not only perform poetry and song but also organize cultural celebrations,
participate in conferences, and conduct workshops for diverse communities. These performances have been used as tools for expression,
healing, communication, and organizing at various community centers, festivals, high schools, universities, and indigenous ceremonies.
In Lak Ech utilizes words to bring awareness and empowerment to the issues of women, family, humanity, and mother earth. As a result, In
Lak Ech is the seed that has inspired creative women circles such as Mujeres de Maiz. The collectives have become a significant presence
particularly in East Los Angeles through art shows, performances, and organizing efforts including magazines and recordings for the Peace
and Dignity CD compilation on the Xican@ Records and Film label. In Lak Ech's newest project is the creation and premiere of their first
spoken word and music CD released in August of 2007.
Aztlan Underground navigates time and space between the contemporary and the ancient to create music that reveals the unrestrained
voices of indigenous peoples of the world. Through their own personal journey of enlightenment, they uncover the raw, painful, solitude of
oppressed people transforming it with unbridled energy and emotion into their hard-hitting musical style.
For nearly 20 years, Aztlan Underground has cultivated a grassroots audience across the world from Europe to Australia and, most
importantly, the Americas, from Canada to Venezuela. Initially disregarded as stereotypical American Yankees, Aztlan Underground shocks
and awes foreign audiences with their respect for the ancient ways and songs of ancestors mixed with the modern, industrial sounds of
today. They have performed with every socially important act from Rage Against the Machine, Manu Chao, to Fermin Muguruza, and Dead
Prez. Aztlan Underground remains true to their name and beliefs by playing political rallies, underground venues, and anywhere the doors
open.
At home, the band is considered an institution having influenced a whole new generation of musicians, bands, and free-thinkers. Giving back
to the community, each band member, in one way or another, reaches out to troubled and incarcerated youth, families in need, and
disenfranchised neighborhoods. Yet their hearts lie with their families. Whether cheering their children at sports, jamming alongside their
brothers, or inspiring their father to make art, they never lose focus on family.
Growing up in poor, violent households where gang membership was the popular way out, Aztlan Underground band members found
music. Their early musical influences went from one extreme, punk and metal bands favored by their classmates, to the other, cumbias,
rancheras, and salsa heard at home. Picking up an instrument and grabbing a microphone was a cathartic experience that in a sense saved
their lives. Through the healing power of music, four mystified souls joined together and found their medicine.
Their message is one of self-determination and decolonization. They challenge their audience to look within themselves, to their own life-
giving forces, and human potential to realize that they are God. Individuals and the collective are strong and divine. They ask to confront
personal demons and society’s ills to create a world filled with hope, answers, and a way forward. From the hurt and rage, they inspire
positive action within themselves and others
Collaborating as a circle with no bosses and no leaders, each member contributes their personal story to the creation of a song. Four
versions of the same story are told in four different ways at the same time. With this ritual, Aztlan Underground has independently produced
and distributed three albums: Decolonize (1995), Sub-Verses (2001), and the self-titled album Aztlan Underground (2009). The band’s
albums reflect a process of self-discovery and realization evolving from the anger of Decolonize to the new self-titled album featuring an
evolution towards a more global, humanitarian struggle. The new album maintains the indigenous infusion of sounds and timelessness where
the songs stretch the boundaries of the standard composition and become 8- to 9-minute nonconformist journeys.
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