Metralleta de Oro: Bringing the Bling to Cumbia | KCET
Metralleta de Oro: Bringing the Bling to Cumbia
Weekly Vote Winner: Artbound's editorial team has reviewed and rated the most compelling weekly articles. After putting two articles up for a vote, the audience chose this article to be made into a short-format documentary.
From the outside, the flashy sign baring "The Office Night Club" on Lincoln Heights' North Broadway business corridor makes it look just like any other divey-y nightclub, mostly frequented by the neighborhood's older Latino clientele; and for the most part, this is true. Except on this particular Thursday, when the liveliness inside its narrow retro kitsch hallway rivals that of the popular Airliner venue -- home to the electronic music showcase Low End Theory -- across the street, and these two neighboring venues attract the similar crowds: hip young adult Latino Americans.
Though, at The Office, it is not indie band solo projects with cult followings nor rare punk rock groups in their original lineups that attracts the youth. It is the soulful and rhythmic bass lines of vintage cumbia and sonidero playlists assembled by Metralleta de Oro, a newly formed trio of young Mexican American DJs that have been taking over the sound system on the third Thursday of every month, for the last four months. They specialize in Sonidero, an extremely rhythmic sub-genre of the Mexican, Central and South American cumbia genre notable for its thumping repetitive bass lines and dance-inducing tempo played through powerful speakers.
At 10:30 p.m. on a Thursday night, the smallish dance floor is mostly filled with young, hip-dressed dancing couples gently swaying each other around to the Spanish lyrics and just having fun. But there is always one or two older couples that take their dancing a little more seriously and twirl each other around with synchronized sharp dips and turns, probably reliving their younger days dancing the exact same thumping songs in central Mexico. The night's wallflowers sip Golden Road IPA off the bar's craft beer-only tap and fixate on the TVs airing the DJs' programmed "Dinamita TV," a reel of bits and pieces of fuzzy black and white Mexican TV cartoons and vintage Mexican movies edited to move to the sounds of their music.
On stage, the three DJs' thick gold chains hanging low with a gold plated AK-47 charms sway back and forth as they take turns spinning their set on stage and playing various cumbia instruments through out the night. The group aims to bring the same youthful hip hop "baller" element to cumbia, a genre of music generally associated with working class living in Central Mexico and consequently, Los Angeles.
"Cumbia's heavy bass hits hard man, just like hip hop's [bass]," says Eduardo Gomez, a 33-year-old Long Beach native known as DJ Fondo in the group. "I grew up listening to this stuff at family parties and quinceañeras my whole life, so why not glorify it with chains?" Alongside Gomez, the group is made up of Nectali Diaz, known as DJ Sumo (33), and Diego Guerrero (29), known as DJ Fuego. "You can't passively listen to cumbia, it appeals to me mostly because of its afro rhythms, the roots aspect is what I love." The three met in art class during their freshman year in high school, but Metralleta de Oro just formed this last Summer. "Cumbia music to us is roots, it's music that we can identify with in many ways, our parents grew up listening to this stuff and so did we," affirms DJ Sumo. Metralleta de Oro uses aspects of kitsch and satire on their musical and visual selections, in order to criticize, depict, exaggerate, or comment on the spectacle of different Mexican popular sub-cultures, such as their chosen sonidero cumbia specialization.
Metralleta de Oro is joining the cultural revolution of cumbia reappropriation dubbed "Nueva Cumbia" happening all around Mexico, enjoyed by alternative-minded young adults that decided to embrace and sometimes revamp their culture's time-honored genre of soulful music. I first experienced this in Guadalajara, in crammed dance halls and parties where groups like Sonido Satanás played until 4 a.m. to an overcapacity crowd, every weekend. In Mexico, these outings were usually accompanied with obscure, but very traditional regional agave liquors and Mexican craft beers. The Mexican Institute of Sound is another very popular group that usually play in Los Angeles at least a few times a year, though they are more electronically charged.
Metralleta de Oro plays every third Thursday night of the month at The Office Club in Lincoln Heights. Entrance is free. They are also available for private parties and events. To get a glimpse of their music, check out their soundcloud.
What is nature? Evan Meyer of UCLA’s Mildred E. Mathias Botanical Garden; Rosemarie Garland-Thomson, disability justice and culture expert; and Rebeca Méndez, a designer and artist whose work addresses climate change, tackle this complex topic.
On Tuesday, November 6th around 80 community members passionate in learning more about California’s recycling industry attended SoCal Connected’s screening/panel discussion of “Life in Plastic: California’s Recycling Woes” at the Pasadena Public Library.
Exactly 25 years ago, 59% of California voters passed the “Save Our State” initiative, better known as Proposition 187, which called for throwing undocumented children out of schools and hospitals and for teachers and nurses to become de-facto immigration
Noah Baumbach’s ‘Marriage Story’ Takes The Audience On An Emotional Journey at the Winter KCET Cinema Series
After the screening, KCET Cinema Series host Pete Hammond conversed with director Noah Baumbach, Laura Dern, and producer David Heyman.
- 1 of 218
- next ›
From the typeface of “The Godfather” book cover to the Noguchi table, the influence of Japanese American artists and designers in postwar American art and design is unparalleled. Learn how the World War II incarceration affected their lives and creations.
"Artbound" looks at the dinnerware of Heath Ceramics and a design that has stood the test of time since the company began in the late 1940’s.
Inspired by Oaxacan traditions, Dia de Los Muertos was brought to L.A. in the '70s as a way to enrich and reclaim Chicano identity. It has since grown in proportions and is celebrated around the world.
Gospel music would not be what it is today if not for the impact left by Los Angeles in the late 60’s and early 70’s, a time defined by political movements across the country.
A behind-the-scenes look at the contemporary art world through the eyes of a legendary art dealer and curator, Jeffrey Deitch.
- 1 of 11
- next ›