by Former Special Correspondent Wendi Muse
I’ve been following Diplo for some time, observing his work with appreciation, other times disappointment, and sometimes both at once. Back in the early days, when he was throwing warehouse parties in Philly, and later profiling DJs from around the world on his Mad Decent podcast (now a full-on record label and official site), Wesley Pentz was brazenly admitting to pirate-everything, right down to the clandestinely operated podcast itself. There was something refreshing and almost alluring about the nature of backpacking around the world with a passport and a tape recorder. Often considered a modern-day, musical Columbus, though his reputation for “discovering” new musical worlds would be one that would soon bite him where the sun doesn’t shine, Diplo made a name for himself by appropriating a variety of music and presenting it all with chameleon-like efficiency.
Some of you may know him for his production work on MIA’s first, albeit bootleg, album Piracy Funds Terrorism, a mashed up, remixed set of tracks which would later find themselves cleaned-up and repackaged on the official studio album Arular, or later for the Clash and Wreckx-n-Effect sampling “Paper Planes.”
However, he ultimate climax in Diplo’s fame has been in recent years, arguably months, with his promotion for Blackberry…
…and his collaborative work with UK producer Switch (producer for M.I.A. and Santigold) for the dancehall outfit Major Lazer.
But this month, Diplo’s spike in popularity came from a place slightly removed from his music by way of scathing criticism by a DJ named Iceberg Venus X. You see, much like other forms of appropriation (see: imperialism, colonialism, and popular use of cultural artifacts), a backlash always follows. Read the Post It’s Complicated: DJs, Appropriation, and a Whole Host of Other Ish