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Race/Ethnicity of Each Band Memberfor anybody still wondering

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#1 ludicolo


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Posted 19 January 2005 - 02:48 AM

Cedric Bixler-Zavala = Mexican-American (Chicano)

Omar Rodriguez-Lopez = Puerto Rican

Jon Theodore = African-American (actually he's "mixed". He's Haitian on his father's side)

Ikey Owens = African-American

Juan Alderete = Mexican

Marcel Rodriguez = Puerto Rican

Edited by Cybrid, 24 January 2005 - 02:05 PM.

#2 Cybrid



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Posted 24 January 2005 - 02:39 AM

To flesh out this FAQ topic on race and ethnicity, I figured I'd link to some interesting articles and interviews where TMV members talk about their ethnicity/culture/background in relation to it's influence on their music. More detailed info about their influences can be found all over the forum and especially in the Acknowledged Influences FAQ Thread (read-only), so I'll try to keep this mostly "cultural". Since a lot is already known about Cedric and Omar's latin roots, Let's start out with Jon and Ikey...

Jon Theodore
From the Ink19 Interview

"Then there's a whole bunch of stuff from Haiti [that influences me], because my dad's Haitian. My favorite Haitian drummer is this guy called Azor."

From Modern Drummer, June 2005 issue

MD: I understand that your father played Haitian music in your house growing up, and I presume that Omar and Cedric heard a lot of Latin music. It sounds like rhythm is ingrained in The Mars volta.

Jon: The Haitian music that moves me has the drumming from the voodoo rituals. It moves me because the patterns are connected to different spirits; it's a spiritual thing that is interconnected with dancing, sacrifice and devotion. It's fully passionate. There is nothing contrived about it.

Most of profiles about Jon that I've seen around the net refer to his 2 month stay in Haiti learning "voodoo drumming". From what I've read, it's essentially African-rooted tribal rhythms that show up during Haitian religious events and practices. I remember reading an interview (that was translated from Spanish) where Omar said that "Drunkship of Lanterns" is the song where Jon's "voodoo" drumming style is most prevalent...but you can definitely hear it other songs too. I couldn't find any more info on Jon's own specific experience learning that style of drumming, but more general info about that style (along with info on the voudun religion and Haiti's culture) can be found at the following links...



http://www.vodoudrumset.com/ (not much of a site, but advertises a book about voodoo drumming techniques applied to a standard drumset--also contains cool audio sample)

http://www.vodoudrumset.com/demo.asp (here's another example from that book)


http://www.geocities....htm#listdances (many audio samples of voodoo dance and drum rhythms)


http://www.thecomato...showtopic=30683 (for general discussion and a few more relevant links)

#3 Cybrid



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Posted 24 January 2005 - 02:39 AM

Ikey Owens

Here's are some interesting interviews with Ikey where he shares some of his views on race and rock music...

Nothing to Prove
Ikey Owens and the sonic politics of race

From www.ocweekly.com

Touring with indie rock faves Mars Volta was a typical rock-star journey for Ikey Owens. There were rabid fans, criminally boring van trips and nights of keyboard banging with a band he loved. The crowd reactions were typical, too: "Who the hell is that black guy onstage?" "What’s he doing in a rock band?"

"Kids thought it was strange. People thought I was Mars Volta’s bodyguard," says the six-foot, 240-pound Owens. Rock fans weren’t the only ones hung-up about race. Many white musicians revealed their myopia in backhanded ways.

"They’d say what we were doing was just like the Beatles doing ‘Let It Be’ with Billy Preston," Owens remembers. Were these delusions of grandeur on the part of white musicians? Did these guys have no context of black musicians outside of Preston’s famed keyboard session work with the Beatles?

Maybe it was both, yet Owens never let the racist slips of the tongue or the dirty looks overwhelm him—it was all just part of the hazard of being Ikey Owens. To many, he has always been "the black guy" playing in a host of bands in Orange County and Long Beach, some as well-known as Sublime, Reel Big Fish and the Aquabats.

But Owens’ rock & roll career tells the bigger story of his 28-year-old life. He was one of the few black kids raised in largely white Lakewood. Friends and neighbors couldn’t figure out how a black kid liked "white" music like Tom Petty. They thought it odd that a black kid was enrolled in the gifted classes and not special ed. Then there were the often unintended but cruel asides from the mouths of supposedly liberal, open-minded people: the familiar "I don’t like black people, but I like you" was a frequent conversation stopper. And their sting lingered long after for Owens—petty prejudices and affronts that sliced like thousands of paper cuts until he felt as if he was bleeding.

"If you want to talk to some of the angriest black people, talk to one from the suburbs," says Owens. "You live among your enemies. If you open your eyes, you can see how much people hate you. You can’t win. If you have what they have, they’re jealous. You can’t figure out why they would dislike you because you’re supposed to be the ‘good example’ of your race.

"You have everything: you’re not committing crimes, you have high SAT scores, you’re going to college, your parents do well. And the bottom line is you still live next door to people who are, at their core, prejudiced. Directly or indirectly, they don’t want to live next to a lot of black people," says Owens.

Black people were just as narrow-minded. They’d shoot Owens the evil eye for having white friends, listening to "white" music, or dressing like a punk or a surfer.

To those who know him, Owens’ outspokenness may seem surprising because he never comes off as an angry firebrand, says his former manager, Vince Pileggi (who manages Reel Big Fish and a host of other bands). "He’s not the stereotype that people want him to be, playing in rock bands. I don’t ever recall having a political conversation with him. We talked about music, mostly. Politics? We probably laughed about Bill Clinton and Monica Lewinsky."

Owens’ aural acts have made him something of a rebel, but recently, he has delved into music that all those quick-to-pigeonhole people he ran up against in his youth would expect of him: hip-hop, with his new project Free Moral Agents. But this isn’t commercial-radio bling-bling hip-hop. Even Owens admits that branding it hip-hop is something of a stretch.

"I romantically like to call it hip-hop," Owens says. "It’s my version of lo-fi hip-hop and soul mixed with high school band sounds."

It’s an apt description. Free Moral Agents’ music consists of soulful, bluesy sounds floating from Owens’ Wurlitzer and Roland keyboards. They slip into a cocoon of every sound a Pro-Tools production can muster: flutes, hip-hop beats, stony distortions, plus the tongue of J (born Ernest Jarrett), Free Moral Agents’ other half. It’s music to scare bland hip-hoppers like P. Diddy to death.

That’s because Free Moral Agents are riding high on the cut-and-paste aesthetic of today’s electronic underground. The Agents’ sounds either crash into the feedback of a wild Sun Ra star storm, or they’ll stride gracefully on an Astor Piazzolla-like spectral tango, sometimes during the same song. The Agents’ music is played live; there are few samples.

Most of their songs follow a similar logic where one style will wipeout into a completely different type of music. A brass quartet, a Mad Lib-like tumble through cranky jazz keyboards and some somber orchestral arrangements all share the same sonic space on their unreleased full-length (their single "Laydown" is out on Long Beach-based Pete Records). Free Moral Agents are about chaos, beauty and keeping listeners guessing.

Like any interesting art, it almost didn’t happen. By 1999, Owens was sick of rock & roll. His band, Teen Heroes, got a video played on MTV, then he quit before typical Behind the Music tensions caused the band’s crash and burn. A middle-class life beckoned, so Owens took a job as an assistant bond trader in Huntington Beach and was talking marriage with his girlfriend. His parents loved it. He was feeling so satisfied with his choices that he rarely played his keyboards.

Then, in the space of two weeks, his girlfriend dumped him, and he got laid off. Reeling from that karmic double-whammy, his old life easily reclaimed him. The guys in Mars Volta’s dub project DeFacto invited him to play on their European tour. He jumped at the chance to take a vacation from his rapidly imploding world.

Despite freaking out audiences with his skin color and musical choices, he had a fantastic time in Europe and realized he had been ignoring his real goals—writing music and making his own album. So he cut back on school, quit working the nine-to-fives and stopped saying yes to the many bands offering him session work. He got a part-time job as a clerk at Fingerprints Records in Long Beach and began looking for like-minded co-conspirators.

One guy was J. Like Owens, J was a black guy who grew up in a white world (in his case, Riverside). He related to Owens’ experiences of not fitting in, but, like Owens, he also saw a lot of benefits.

"If I didn’t grow up where I did, I wouldn’t have heard so much good music," J says. "Stuff that was originally black, like ska, reggae and jazz. I learned it from white and Mexican kids who appreciated that music."

Owens and J say they’re already thinking of the next Free Moral Agents album. As far as any major-label action goes, though, the prospects are pretty grim.

"There are no black, non-hip-hop or R&B bands signed to major labels at present, outside of some jazz bands," says Darrell M. McNeill, director of operations for the Brooklyn-based Black Rock Coalition, a nonprofit supporting musicians of color in an often-unfriendly industry. "You have the Roots on MCA, but it’s widely known that they pretty much had to slug it out for years before they could build enough clout to get proper financial support. They still don’t command the same dollar value as, say, Limp Bizkit, Korn, Puddle of Mudd, Incubus, Weezer or whoever."

The absence of black faces in rock can make it tough to get a gig even in backing bands, says Owens. People who package tours hire musicians like casting directors hire actors. They’re searching for a specific look, and black skin often doesn’t fit.

"I was going on auditions for different things, and there were bands I couldn’t play in because I don’t fit the image. I’m a big black guy. It doesn’t look right if I was playing with a guy like (white guitarist) John Mayer. They want people to look like him."

So why do it? Why should a black man play rock & roll when he’s just going to get punched in the face? For Owens and J, the answer lies in reclaiming freedoms both artistic and personal.

"To be George Clinton, who just stopped doing Motown and picked up Marshall amps and guitars, meant he no longer had to prove anything to anyone. He was beyond everything else. That’s what my aspirations of a black artist are," Owens says. "It’s about becoming secure in your art and yourself, being able to do whatever you want."

Ikey's views on current black or hip-hop oriented artists attempting to "reclaim" rock music...
From http://www.auralmino...ralagentsg.html

"You can't just reclaim something if you don't really, really know about it. A lot of people who are into hip-hop have a really rudimentary knowledge of rock music. In the dealings I've had with MCs and DJs, they know rock, but they don't know it know it. They know the big stuff--they know Hendrix, they know Zeppelin, they know some of The Beatles, but they don't know The Byrds or Can. The savior of black music right now is TV On The Radio. Do you want to know what black rock should sound like? That's what black rock should sound like, to me. They're the most amazing thing I've heard in a long time."

#4 Cybrid



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Posted 24 January 2005 - 02:10 PM

Omar Rodriguez-Lopez

Omar on Puerto Rico and growing up with music...
From Thenitmustbetrue.com

When did you figure out that music was your outlet? How young were you, and did you start off with guitar or was it something else?

"I probably started off with percussion. As long as I can remember music was an outlet for me. I'm Puerto Rican and our culture revolves around our salsa music, so when you're a kid in Puerto Rico pretty much everyone in your family plays a conga or a maraca or a guitar. All family get-togethers are centered around music and playing music, and I would go to practice with my dad and everything else. So as far back as I can remember I've always been surrounded by music, whether it be in my mom's stomach with my dad playing a song to me on guitar, or now. It's always been an integral part of what my soul is at this point in time. I started off by playing percussion and I moved on to playing bass, then I moved on to guitar and keyboards and anything else."

More from Omar about growing up with salsa music...
From Fader Magazine

"In my house Spanish is spoken, and we still have arroz con habichuelas every night when I go home, and Christmas [is totally different]. [Being Puerto Rican] is basically trying to exist within the States as if you're still on the island, which is a strange paradox. I mean, I didn't even have any white friends until I moved to El Paso, and when I did it was still only Puerto Rican people at the house and going to Puerto Rican functions. Shit like that.

So to me, salsa is everything. Everything I interpret, be it rock music or punk rock music or whatever stage I'm at is filtered through hearing the clave and hearing things without the one: nnn-chhhka-chhhka-chhhka, nnn-chhhka-chhhka-chhhka... whereas rock music is always on the one. So for me it's always there in a sense of rhythm or style or notes--in the fact that everything I write is in minor keys."

And a bit more...
From Total Guitar Magazine Issue 120

What album would you consider to be a big influence on your guitar playing?

"The most influential album would definitely be Electric Harlow (1971) by Orchestra Harlow. Just because it's a record I grew up with - it was always played in my house - and it was probably the best salsa record of that era. You know, I really wanted to be a piano player, but I got stuck with the guitar [laughs]. But every time I hear that record, I come up with new ideas."

#5 Cybrid



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Posted 24 January 2005 - 03:22 PM

Cedric Bixler-Zavala

Aside from just simply being Mexican-American (Chicano), one has to wonder how Cedric's father's occupation and education might have also influenced his son's approach to music and lyrics...
From The University of Texas at El Paso

Dennis Bixler-Márquez is Professor of Multi-Cultural Education and Director of the Chicano Studies Program at UTEP. He received his B.A. in Political Science and M.E. in Sociocultural Education from The University of Texas at El Paso and an M.A. in Spanish and a Ph.D. in Bilingual/Multi-Cultural Education from Stanford University. His primary areas of research are border security issues, educational sociolinguistics, language policy, multicultural education, immigration, and Vietnam War Latino issues.

#6 starla zero

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Posted 16 March 2005 - 10:38 PM

From this interview with Cedric;

"My family is bilingual. My dad teaches bilingual education in El Paso. His dad was German; that’s why I have colored eyes and lighter skin. My dad’s mom’s Spanish - as in people from Spain - so she had red hair and spoke proper Spanish (Castellano). My Spanish is more lingo - Spanglish, basically. Bordertown Spanish. But my mom is total dark-skinned Mexican"

#7 boop-oop-a-doop



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Posted 13 June 2005 - 02:43 AM

Paul Hinojos = Mexican

#8 Dr.Octagon


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Posted 18 March 2008 - 11:49 PM

Thomas Pridgen = African-American

Juan Alderete = Mexican/Caucasian

Adrin Terrazas-Gonzlez
= Mexican

John Frusciante = Caucasian

Marcel Rodriguez-Lopez
= Puerto Rican

#9 anen



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Posted 09 November 2008 - 08:48 PM

Paul Hinojos = Mexican

was born in Los Angeles CA= Mexican-American (chicano)

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