Paramount Theatre
Essence of SXSW
RECEIVED Wed., March 25, 2015
Dear Editor,
On Saturday night, I spent a few hours walking up and down Sixth Street, taking in the street music for a change of pace. On this strip, I had the occasion to watch freestylers over makeshift drum circles made out of water jugs. It wouldn’t be a stretch to understand why so many African-Americans were referencing social justices; a few stitched in "Ferguson" hashtags. One particular street performer I watched angrily referenced police brutality and the incarceration system. “I don’t know, it just comes to me,” he said to me.
I also had the occasion to experience a Middle Eastern group commenting on the two-state policy, and just missed a hip-hop group from Caracas owing to a booking at a different showcase featuring the music of the American heartland. When Katie Toupin of Houndmouth sang, “You know I am nobody's girl/ I just wasn’t made for no diamonds or pearls,” it felt as if she was speaking for those of us who want this country to speak for the 100 percent, or at the very least pay women that much.
On a coffee break, I picked up a New York Times to catch up on the Israeli elections, and, coincidentally, on my way to Russian House, I spoke to a kind Ukrainian hostess about diaspora. She opened up about friends she knew at Maidan, then outlined the night’s itinerary, featuring Pakistani music and a set of music from Ghana.
Throughout the week, I kept hearing references to what makes a SXSW moment. There are too many to put in a bottle, but there’s no question what makes the Festival of the moment is that the discourse that trends in Austin is an instrument for free dialogue. I couldn't help but be proud that we can still pull that off as a nation.
On Saturday night, I spent a few hours walking up and down Sixth Street, taking in the street music for a change of pace. On this strip, I had the occasion to watch freestylers over makeshift drum circles made out of water jugs. It wouldn’t be a stretch to understand why so many African-Americans were referencing social justices; a few stitched in "Ferguson" hashtags. One particular street performer I watched angrily referenced police brutality and the incarceration system. “I don’t know, it just comes to me,” he said to me.
I also had the occasion to experience a Middle Eastern group commenting on the two-state policy, and just missed a hip-hop group from Caracas owing to a booking at a different showcase featuring the music of the American heartland. When Katie Toupin of Houndmouth sang, “You know I am nobody's girl/ I just wasn’t made for no diamonds or pearls,” it felt as if she was speaking for those of us who want this country to speak for the 100 percent, or at the very least pay women that much.
On a coffee break, I picked up a New York Times to catch up on the Israeli elections, and, coincidentally, on my way to Russian House, I spoke to a kind Ukrainian hostess about diaspora. She opened up about friends she knew at Maidan, then outlined the night’s itinerary, featuring Pakistani music and a set of music from Ghana.
Throughout the week, I kept hearing references to what makes a SXSW moment. There are too many to put in a bottle, but there’s no question what makes the Festival of the moment is that the discourse that trends in Austin is an instrument for free dialogue. I couldn't help but be proud that we can still pull that off as a nation.
Chris Coomey