The CMB: Cosmo Baker and Scott Melker
Just a quick one for the morning, another this afternoon. Yesterday was both so slow and hectic that 11 hit, still no worthwhile Tony Yayo jokes to share and I’m not going to waste my snakes; lucky you lucky me, the idea of scribbling this potentially awesome party came to me.
Cosmo Baker you know from the Rub, or Philly, or just himself— a little bit older than the Mash Up Posse he’s locked in with, grinding hip-hopcentric sets for longer and though I never made it for his ?uestloving days my guess is Baker predicted Diplo Hollertronix in a cruder, more nostalgia-bent form. If he still lived in 215 he’d probably have a blog post up everyday about that, but alas, he’s the rare Philly cat who escapes city limits without too big a chip on his shoulder.
This new party of his with Scott Melker, basically, is the professionalization of your usual genre-averse, dorm room, winamp-fueled romp, complete with the douchebag on the side who keeps changing up the playlist and the douchebag by your minifridge who drinks all the mixers. They’re playing out the smorgasboard of Songs That Stuck for casual music fans, pushing only the most surefire buttons for 21- through 29-year-olds who buy one or two LPs a year tops, and download songs currently popular on the radio even though they chould just listen to the radio. Ol Dirty Bastard’s “Gimme Your Money” came on and like six different people on the balcony, at the same time, said it was their favorite song ever–who knew, Pavlov.
There’s something to be said though, I don’t know what exactly, about being swept up in the crowd’s enthusiasm, despite your own wtf. Maybe Positive K’s “Got A Man” isn’t your favorite song but seeing a bunch of businessmen who just got off work from their banking jobs start popping their collars to it and doing (I guess) the Goldman Sachs moneybags shuffle–something powerful about so sudden a reaction, uninhibited by context overload, and I can hang with it.
Granted it’s a different stripe of sack who gets excited upon hearing “Hey Jealousy” or “Mr. Jones” or whatever, but I’m also struggling with why twentysomething kids fall hard for even average pop-rap in this context and not guitar tunes of the same quality. I could try to make the case for these songs working both because they have the benefit of associations but also don’t sound too different from the current crop of pop-rap (or hip-pop), and so it’s not campy to like them (e.g. new jack), but it gets tricky–it might be, ugh, “hip-hop for dancing.”