It sounded that it could be the Mexican answer to the dubstep wave that was everywhere back in 2010’s.
At first intended to highlight prehispanic/indigenous roots with house morphed into irresistibly frenetic, guaracha-based uptempo beats, combined with low-fi early-90s techno and samples of gun-clocking sounds in the hands of a bunch of underage DJs and bedroom producers that go by their real names like Erick Rincon, Dj Alejandro Triste (t3s), Alan Rosales or Javier Estrada . What you got is non-stop, tribal-mex-rave ecstasy with a naco twist.
3BALL as a genre never really got bigger than the initial morbid fascination with the boots and funny memes around it. Like with digital cumbia in 2009, every thirsty producer was somewhat flirting with 3ball but very few were able to disconnect the social prejudice attached to it to create a music valid genre with artistic appeal rather than a funny sound.
With the exception of Toy Selectah’s protegees’ 3BALLMTY who went straight for a pop-radio friendly sound and were able to cash on the pointy boots fever with videos and features, almost no other 3Ball producer made it to the point of making a sustainable living by djing only the Mexican rhythm.
Same prejudice that affects Regional Mexicana music in terms of how the genre will actually connect with young urban audiences got 3ball by the jugular sucking its very best, very fast and then disposing the once top gamers back to the drawing room.
However, Mexican/chicano rural-turned-urban youth did have a saying. Not in D.F. radio but in Texas’ nightclubs where 3ball, regional and trap (narcotrap) would be kings in the same realm with reggaeton and hip-hop.
In great numbers, these once Mexican kids; became Mexican young adults in United States. Working in construction, drivers, retail, clerical and all of those jobs white Americans still believe immigrants “stole” from them but they never detached the music they grew up with.
With money, also came the ability to party. And boy, these guys DO KNOW HOW TO THROW PARTIES!!
Being one of the pioneers in the 3ball scene in United States, Emmanuel Tamalero brought a whole new game to the latin genre, making a great counterpoint to what Monterrey’s scene had already created with Tetris, Alan Rosales and 3ballMTY, and at the same time, began a new chapter for the expansion of 3ball in the chicano underground scene in the south of the USA with massive parties, and weekly showrooms, until trap and EDM began flirting with banda music, and slowly 3ball found its niche and somehow stood away from the public highlight.
Almost a decade in, these parties are still massive.
Now in 2019, DJ TAMALERO joins DJ JUICE to bring back a rendition to Aronchupa’s epic track.
Flirting with Jazz, and of course, bringing the whole 3ball game to full throttle, we can get our hands to this heart pumping remix in the bottom part of the article.
“In great numbers, these once Mexican kids; became Mexican young adults in United States. Working in construction, drivers, retail, clerical and all of those jobs white Americans still believe immigrants “stole” from them but they never detached the music they grew up with”
Different story in Mexico.
3ball right now goes whether full aleteo, tribale, guaracheo or goes fusion with regional. Very few still release prehispanic and those who are still releasing regular 3ball sound are doing the “Tamalero 3ball style”.
The most awarded Mexican DJs in history, 3BALLMTY, just released their new song, entitled “Quisiera tenerte”.
This is a Houston Mexican Party.
DJ TAMALERO & DJ JUICE latest track
3BallMTY went full Urban mood
And the new way 3Ball has melted into the Aleteo/Zapateo/Guaracheo vibe
Banze gets Global Nomination for Brazil’s indigenous rights
Well deserved nomination for creating awareness about Amazons & Brazil’s current state of affairs.
Leopold Nunan is known globally as a performing singer & creative artist who has a strong political viewpoint on what’s going on in the geo-politics of the world, especially in his home country of Brazil. His most recent release ‘Banzé’ via Australian record label Wile Out, has been nominated for best ‘music video’ award at this years LABFF aka Los Angeles Brazilian Film Festival.
The song predicted the issues going on right now in Brazil, with the corruption of the current government in power. There has been a lot of global coverage about the devastating fires that have been burning all throughout the native lands of the Amazon forest, these fires have been growing in size ever since the government took away the land rights from the native people, focused on an anti-environment & anti-indigenous economic policy. At the end of the music video we introduce you to a Brazilian native Anuiá Amarü from the Xingu tribe, who speaks about the resistance against the current president.
want the world to view ‘Banzé’ as a message of action, for us all to
understand what is going on right now in Brazil is not ethical and to
create awareness of the devastating fires that are still burning in the
Amazon forest. As part of the ‘music video’ nomination “Wile Out” will
be hosting a series of ‘Global’ fundraisers in which they are partnering
with the Amazon Watch organization.
There will be a handful of events throughout the USA from the 11th – 20th of October with dates locked in the cities of Oakland (11th), Los Angeles (16th), New York (18th) and the LABRFF Award ceremony on the 17th of October.
Grupo Bongar + Maga Bo – Macumbadaboa
Impressive collaboration exploring the lesser known Afro-Brazilian genres with an electronic twist
“Macumbadaboa” unites the ancestral sounds of Grupo Bongar from Pernambuco, Brazil with the electronic and dub elements of Maga Bo, the American/Brazilian DJ/producer based in Rio de Janeiro. The project includes the participation of various well known Pernambuco artists – Isaar, Cláduio Rabeca, Lia de Itamaracá e as Filhas do Baracho, Lu do Coco do Pneu, members from the Xambá terreiro, children from the local community as well as the Malian kora player Adama Keita. The album explores many northeastern Brazilian rhythms such as coco, afoxé and maculelê as well as subtle elements of electronic and dub music.
The songs were recorded in an improvised studio set up by Maga Bo in the
Memorial Severina Paraíso da Silva – Mãe Biu, in the terreiro of Xambá
in Olinda. The intention was to bring Grupo Bongar into a familiar
atmosphere where Guitinho could compose music and lyrics on the spot,
inspired by the history of the Xambá community which was represented by
all of the photos, antiques and relics that surrounded them in the
“The lyrics emerged from observing the pieces that make up the Memorial. The old photos, the utensiles used in the terreiro in the time of Mãe Biu, the old percussion instruments, the maps of Nigeria and Cameroon (where the Xambá folk originated) and the articles of clothing from that time. Finally, everything that reminds us of our history and the history of our people,” explains Guitinho. “The repertoire of this album brings traditional songs for the orixás and the entitiies of Jurema. The original lyrics emerged in the moment, through my observation of the pieces in the Memorial, during the recording.” – Marileide Alves
Costa Gold Pt Funkero – A Queima Roupa (Remix Dom Mariachi)
Pagodao meets grime.. This remix from Dom Mariachi is pure gold.
Pagode is a Brazilian style of music which originated in Salvador, Brazil, and quickly went down to Rio de Janeiro region, as a subgenre of Samba. Pagode originally meant a celebration with lots of food, music, dance and party.
Apparently, as time has gone by, the term “Pagode” has been degraded by many commercial groups who have played a version of the music full of clichés, and there is now a sense in which the term Pagode means very commercial pop, a negative term and getting now ghetto-appeal.. it is perfect for Marginal-Original!!
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