Rob Harvilla recently covered M.I.A’s “Paper Planes” on his podcast and the discussion dropped me right square in 2004 Mountain View listening to San Jose State student radio. In an era of Hoobastank and Evanescence, her first song, Pull up the People hit like a ton of space invader bits with its originality and appetite for confrontation.

Pull up the people
Pull up the poor

Slang tang
That’s the that M.I.A. thang
I got the bombs to make you blow
I got the beats to make you bang bang bang

It felt like I was hearing the future. It was Marxist/insurgent/militant sentiment and resentment standing on top of an anti-capitalist and anti-globalist platform as described in Hardt & Negri’s Empire.¹ . The album art and her videos had a complete visual aesthetic: bright, garish, and adjacent to street art or 8-bit video games. Her fashion integrated the fast-fashion (bright, garish, produced in southeast Asia, petrochemical-laden, and cheap) demands of the slavering jaws of Western consumerism. She took Target basics like ugly t-shirts and bike shorts and crossed them with blingy hip-hop street style as ripped off the streets of Mumbai, Colombo, Delhi, or Rio. It was a whole declaration.

With its square beats and computer-inflected … noise you could feel the anger and the sense of how much of a fuck she did not give.

Said M.I.A. in Spin of the era: “I don’t just want to talk about coming from a war…I want to talk about…how the first world is collapsing into the third world.”

With New York and its skyline still reeling from the terror that third-world agents can unleash, this seemed prophetic and frightening. For Westerners who’d matured under the Pax Americana in the 70’s-90’s, it was hard to legitimately imagine what a collapsed Western society might look like. Surely not National Socialism, certainly not Shining Path socialism. What would that blighted end-state look like?

About that same time, the South African hip-hop/rave/wtf band, Die Antwoord raced onto my radar. They were 23 minutes into the future of where M.I.A. was seeing culture heading.

As part of their zef aesthetic, they would unite dated, shitty clothing, weed-whacker-delivered hair styles, daring tattoos, violence, outrageous sexuality, and horror film elements. Said Yo-Landi Visser, half of the duo: “[Zef is] associated with people who soup their cars up and rock gold and shit. Zef is, you’re poor but you’re fancy. You’re poor but you’re sexy, you’ve got style.” In short, nihilistic, sexy, tattooed, and pugnacious. I recall interviews with the duo: they stood in dusty roads amid modest, sun-scarred, cinderblock homes in Johannesburg. They looked and felt like the visual aesthetic to accompany Tom Friedman’s book Hot, Flat, and Crowded.

If M.I.A. was telling where we were going, Die Antwoord were a time capsule from the future sent back in time to help our stymied imaginations.

What if it was a myth about a protection and not a benighting?

Cover Image Credit: Lauren Roth

We arrived at JFK on the evening of November 15^th, 2014, and have been living in New York ever since. We arrived late in the evening, spent the night at a hotel near JFK, and then moved into our apartment in Park Slope on the 16^th. So much has changed over this decade, but we’re still, to our mutual surprise, here.

I’d like to reflect on the major moves of my life:

• Austin → South Bay Area
• South Bay Area → Austin
• Austin → San Francisco
• San Francisco → New York City

And how, upon reaching New York, I couldn’t find anything else to opt for and how it felt better to opt against everything else. And so I/we’ve stayed.