International Village

Those reading along already know of my work with the Communicycle Co-op in Chamblee, a diverse locale of Atlanta that is at once wonderfully unique and riddled with a complex web of issues. Chamblee is Atlanta's version of a Chinatown or a Little Italy, though its dwellers represent nearly every major culture from around the globe.

The city labeled this eclectic pocket the 'International Village,' hoping to leverage its strengths as a marketing point for tourists. Some think this is positive as it drives an influx of dollars into the local economy, and others consider it exploitive and ignorant of the delicate problems plaguing its neighborhoods. Wherever people land on this issue, it is difficult to argue the merits of the name itself. Chamblee's population heralds every corner all six populated continents.

I mention this in the Redline Project blog because it has inspired a thought for a piece of music. Syncretized sound, two indigenous musics coming together to form its own sub-genre, is in no way a new concept. I wonder what sonic possibilities emerge if indigenous tones from all over the globe came together in a single composition. Music formed this way would greet the ear as the fragrance from the Buford Highway Farmers Market's spice aisle greets the nose. Decadent, tantalizing, spicy, a bit over the top.

Definitely worth an exploration.

This brings up a host of technical issues. I am sure my attempts at playing such instruments would be an insult to those who actually know how. A better course of action would be to acquire source music, sample and rework it, and bring my own elements into the mix.

"Aha," you rightfully squeal, "Isn't that a case of copyright infringement?" I have learned in the last day that the issue of sampling someone's music, even as little as two notes in one documented case, is a point of contention that polarizes musicians and the lawyers that defend them.

Perhaps the earliest example of this: Some jerk ripped off the "Twinkle Twinkle Little Star" melody and created a rival children's hit known as the alphabet song. A third punkazoid wanted his piece of the glory and penned the ever-popular, "Bah Bah Black Sheep." Okay, there is no legal case involving these three songs, nor does this paragraph have anything to do with actual history. Forgive the feeble effort to interject some humor into what I fear is a mundane topic, to which I shall now return.

One case that every child of the 1980s and 90s knows about is the instance of Vanilla Ice using primary instrumental material from Queen's recording of "Under Pressure" to create the undulating theme of his hit single, "Ice, Ice, Baby." If Wikipedia is correct, this iconic recording went without reference to Freddie Mercury and his crew until years later when pressure from the media forced a resolution.

Though the debate rages ad nauseam in countless pockets of the web, it is clear enough to me that avoiding this boiling water is the way to go for the Redline Project. If I am to accomplish a work like this, I will need royalty-free samples or written permission for their use if I am going to give this a swing. The former sounds expensive and the latter seems like a time eater, but it remains that the idea has promise and intrigue.

Stay tuned.