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Word to Desmadre: Hip Hop, Voice, and the Rhythm Of

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Word to Desmadre: Hip Hop, Voice, and the Rhythm Of WORD TO DESMADRE: HIP HOP, VOICE, AND THE RHYTHM OF CHAOS IN MÉXICO A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAIʻI AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ANTHROPOLOGY APRIL 2020 By Ruben Enrique Campos III Dissertation Committee: Christine R. Yano, Chairperson Ty P. Kāwika Tengan Jonathan E. Padwe Christina Higgins Roderick N. Labrador Keywords: México, urbanity, voice, resonance, hip-hop This is for my family, for our love of music. Acknowledgements I wish to thank the artists of Anáhuac for their music and their generosity. First, thank you Pavel for the beautiful gift that made my cover art. Now in no particular order: R-Baster, Slack, Khampa, Leslie, Karen, De EM, Alex-o, Hase, Reyvax, Cyteros, Dianita, Diego, Kriber, Dhaudi, Siete, PerroZW, Aczino, Montebel, Dos Letras, Eric el Niño, Kolmillon, Jerry Funk, El Pinche Pastok, Afromega, Presunto, Fisko23, Preck, E Track, Tenso, Livera, Toshee, Jack Adrenalina, Rojo Cordova, Mexica SKSK, Jezzy P, Miicherry Sirena, Dayra, MC Luka, Lirika Inverza, Eso- O, Van-T, Forte Realtá, Elemsiburrón, Gahlahad, Nedman Guerrero, Crow, Spia 104, Sidu La Chiquita Maravilla, Dragon Fly, Audry Funk, Kauking, Lil Franco, Kirko, Ximbo, Caporal, Yleer, Joseph D. Jacobs, Krater, Towhee DFK, Herack, Leydi Garcia, LCK Rap, Efrain Master Lopez, Pelon Gutierrez, MC Indigente, Danger Alto Kalibre, MC Lokoter, Travieso, Simpson Ahuevo, and Juan Pueblo. Thanks to the many organizers including Heticko, Magali Cadena, Feli, Lalo, Alexis Tigre, Brenda Roxo, Lizbeth Hernandez, Jovany Avilés, Ruben Romero, Mardonio Carballo, Fernando Espejo, Akusado, Carlos AG, Tiosha Bojorquez Chapela, Mariana Castillo, Andrik Noble, Klaudia Bgirl, Fernando Contrerasa Miranda, Alek Scratch, Fer Martinez, Causante Enrique Llevanos, Eze tal Marco, Luis FS, and Topis. Thanks to the crews, 55, VFK, and Pulciga Rec. Again, thanks especially to Pavel and Samara. I would also like to thank my best friends and caretakers in Mexico, Nahui, Alex, Fher, and the dogs, Javier, Abril, and the kids, and all my friends at Hotel La Selva. I also owe gratitude to every stranger and kind pedestrian in México that helped me navigate through the city and arrive safely to my destination. Many thanks go to my clients of English as well, who certainly enriched my understanding of México and its many cultures. I could not have accomplished any of this work with out the guidance and support of many professors. I would like to especially thank Dr. Christine Yano for reading this document again and again and always giving me confidence. I am also grateful to my committee members Dr. Ty P. Kāwika Tengan, Dr. Jonathan Padwe, and Dr. Christina Higgins. Thank you Dr. Andrew Arno. I miss you. I would also like to thank Dr. Monisha Das Gupta, Dr. Brian Chung, Dr. Ethan Caldwell, Dr. Jonathan Okamura, Dr. Ulla Hasager, Dr. Ibrahim Aoude, Dr. Noel Kent, Dr. Rich Rath, and Dr. Davianna Pomaika'i McGregor. Many thanks to Dr. Quemuel too. I especially want to thank Kawehi Kina. I also want to thank every student who has come through the Ethnic Studies Student Association as well, and our friends in Native Hawaiian Student Services, Black Student Association, La Raza Unida, and ACCESS. In writing this dissertation, I also benefited from the help of my colleagues at the University of Hawaiʻi at Mānoa including Maura Stephens, Zakia Boeger, Mattias Van Omman, Phianphachong Intarat, Dylan McCurdy, and David Goldberg. Thanks Paul Christensen and Eric Cunningham. Thanks Skayu Louis and Kyle Kajihiro. I also received support from the Graduate Student Organization. I could not have accomplished life in Hawaiʻi without my best friends Chris, Darby and Cormac Filimoehala, Ethan Capone and Phu Tran, Jonah Moananu and Kelsey Walter, Micah McLaughlin and Amber Sowiak, Fletcher Gaydos and Maria Robben, and Lindsay Delong. Thanks to the Underpass Crew, Jeremiah French and Chantelle Gaugrin and Saikrishna Upadhyayula. Thanks Rachel Hoerman and Lani. Thanks Joel, Sarah, and all the folks that supplied kava. Thank you Hawaiʻi Hip Hop, especially Punahele and Rukka, Kealoha Mahone, the Broke Mokes, DJ Packo, Seph-One, PaizLee, Kristylez, Jon Evangelista, Justine Takamoto, Jermaine, Devon, Cease, and Sosa. I owe an unimaginable debt of gratitude to my mentor, Dr. Rod Labrador. Sir, you have been everything for me over the last decade. I cannot express how much you mean to me as a scholar, a career coach, a collaborator, an accomplice, and especially as a friend. This all started with my parents before my parents. So thank you Grambam and Grandpa Peterson. I love you and miss you. Thank you Grandma and Grandpa Campos. I love you and miss you. Thanks to all my Aunts, Uncles, Cousins, and Kin on both sides. Thank you Kellie. Thank you Karrie. Thank you John. I love you Lucas and Landon. I love you Layla and Holden. Also many thanks to my Taylor, von Zabern, and Whitesel families and my Poortman, Herrera, Benjamins, Howe, and Ford families. I could not have done this without you either. I especially want to say good Yoshi! Mom, I love you so much and I cannot express my gratitude for everything you have given me in life…but can I get another haircut. Dad, thank you for everything, especially my ears. Sorry I stole your records. Finally, Heidi. I love you so much. Thank you for dedicating your life to this dissertation and supporting my scholarship. What’s next? Abstract This dissertation explores life in desmadre, or the overwhelming, noisy chaos that continually changes underfoot in the streets of the metropolitan valley surrounding Mexico City, the largest urban landscape within North America. I chronicle the experiences of contemporary rap artists as they move through the city, creating a hip-hop scene in looped interconnectedness. Artist develop their artistic voice in three ways. First, by practicing their poetry and their breath control they learn to render the aural sensorium and echo the city itself through their bodies— from the noises of its mass transit to the acoustic registers of its ambulant vendors; from the sounds of familiar language games, poetics, and popular culture to appropriated Nahuatl vocabulary and place names. Second, by learning to navigate through the city, flowing against its conservative logic for their own artistic and cultural purposes, they come to embody a difficult to explain yet deeply felt awareness of the desmadre, rather than seeing that chaos as a source of frustration (to state control), as inefficient (to capitalist profit), or as unnecessary imperilment (to citizens of the general public), they find direction and purpose in creativity and community. Third, by engaging with others in desmadre artists recognize their place, authenticate their experience, and overcome anonymity through the choral voice, hearing their own subjectivity echoed back and affirmed by others who have travelled a different route. Based in ethnography, sociocultural linguistics, mobility and sound studies, my research situates the artist’s voice at the nexus of subjective materiality and ideology, the body and its social horizon. I conclude that to understand hip-hop one has to be hip-hop, moving through desmadre, embodying the aural sensorium, and developing a choral voice right alongside other artists. Table of Contents Chapter 1: How to Become Hip Hop in Mexico City 1 It Started on the Train 1 How To Talk Hip-Hop in México: A Matter of Voice in Desmadre 4 The Main Argument 10 Theoretical Review 11 Dialogism: The Voice Echoes its Social Horizon 13 Performance: The Voice Creates Self and Society 16 Phonosonic Nexus: Bodies Make Sound and Cultural Meaning 21 México is Chaotic, Hip-hop Gives Direction 23 Hip Hop Literature Review 27 The Scene 36 Methodology 38 La Crónica 44 The Significance and Aftermath 48 Gender 52 The Outline 56 Chapter 2: History: Music and Power Resound in México 60 Introduction: Representing Desmadre Through Sound 60 Part One: The Resounding City 65 From Anáhuac to Ciudad de México 65 The Golden Age of Nationalism 69 The Nation Breaks: 1968, 1985, 1994 73 Early Hip-hop in the City 76 Part Two: You Have to be There 79 Una Infinidád de Grupos 79 La Raza Cósmica Outside the Library 83 Conclusion: A Chronotope of Looped Interconnectedness 86 Chapter 3: Methods and Movement 89 Introduction: The Story of Ollín 89 Learning Like an Anthropologist 90 Part One: Navigating to Find Hip-hop-1 95 Forgetting the Bird's Eye View 95 Meeting Heticko at Bombay 98 Community Centers from Biblioteca Vasconcelos to Ciudad Nezahualcóyotl 103 Concerts in Parks 109 The Studio of Victoria Emergente 113 Prisons 115 Hip-hop is Destiny 116 Part Two: Hip-hop is Placeless 119 La Chinampa: Hip-hop is Placeless 119 Conclusion: From Overview to Underground 128 Interlude: A Moment of Silence for this Small Crónica Break 130 Choking Back Knowledge 130 Chemical, Social, and Methodological Effects of Marijuana 133 Chapter 4: Learning in the Streets 138 Introduction: Breathing in the City; Breathing out Rap 138 Hip-hop As Cultural Text, Remix 142 Part One: Learning in Class; Learning in the Street 144 Breath Control 144 The Cypher Effect 149 ¡Un saludo para el Bubu!: Traveling Together Through Desmadre 150 The Development and Dissolution of a Crew and of a Style 155 Part Two: The Dialogism of a Posse in Hip-hop 157 The Dialogism of Los Hijos de Poeta 157 Slack 159 Khäf Vocablo 161 Khampa 164 R-Baster 165 Generations 167 ¡Güau!: Dialogism Beyond the Word 169 Stability in Desmadre through Looped Interconnectedness 172 Conclusion: Each One Teach One 173 Chapter 5: The Voice As Sample And Loop 178 Introduction: Hip-hop as Sound Study 178 Part One: The Sample, The Loop, and the Studio as Ritual Space 185 Siete Teaches the Loop 185 Finding R-Baster’s House by Graffiti 187 Democratic Group Audition 189 Part Two: Voice, Embodied Practice, and the Resounding City.
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