“Vengo, en busca de respuestas con el manojo lleno y las venas abiertas/ Vengo, como un libro abierto, ansiosa de aprender la historia no contada de nuestros ancestros.”
(“I come for answers, with a bundle of full and open veins/ I come as an open book eager to learn the untold story of our ancestors.”)
The first lines of Ana Tijoux’s new album Vengo, which dropped yesterday, set the scene for an album of introspection. In her third full-length album, the Chilean rapper introspectively looks at her life and the world at large in terms of decolonization. But “Vengo” isn’t just the title track, it captures the spirit of the whole album. You hear her vocals dip from conversational and knowing, to soft and thoughtful, then rising in an urgent call to action—all delivered in cadence in Tijoux’s signature expert flow.
For a few hours on Saturday, March 1, 100 red quilts covered in words lay over the west lawn of the US Capitol. Together, the bright squares formed the first public display of a project called The Monument Quilt, a crowd-sourced story collection and art project about sexual violence.
“I will read, believe and be transformed by every story here,” one anonymous visitor wrote on a blank swatch of fabric. “I so badly needed an ally to be there for me when I came forward with my own story.”
Lowell examining some tasty trash at SXSW and the cover of her new EP. (Photo via Lowell's Instagram)
SXSW has changed a great deal in its 27 years. For most of two decades, the country’s largest urban music festival had a reputation for leaving the big name stars to other circuits, and centered itself around showcasing up-and-coming artists who were looking to be signed while they were in town.
When we meet Davina (Natalia Dyer) in Leah Meyerhoff’s film I Believe in Unicorns, she seems like many teenage girls—a dreamer lost in her own imagination, clad in Converse shoes and slip dresses, and perpetually taking pictures of her feet.