It was something other people in the hospital could get sick from as well.īut it still didn't answer Semmelweis' original question: "Why were more women dying from childbed fever in the doctors' clinic than in the midwives' clinic?"ĭuffin says the death of the pathologist offered him a clue. This was a revelation: Childbed fever wasn't something only women in childbirth got sick from. Semmelweis studied the pathologist's symptoms and realized the pathologist died from the same thing as the women he had autopsied.
He pricked his finger while doing an autopsy on someone who had died from childbed fever." And then he got very sick himself and died. "There was nothing new about the way he died. "This often happened to the pathologists," Duffin says. It was something other people in the hospital could get sick from as well. I was definitely a complete asshole making this record.This was a revelation - childbed fever wasn't something only women in childbirth got sick from. I was much more of a stickler on this record than I was in the past even though I always thought I was a perfectionist. While his instincts as a producer and rapper are just as sharp and future-forward on Riot Boi as they were before, the album crosses a new threshold in terms of sonics. “When I first heard his music three years ago, I could already tell he was going to be major.” Diouf and Long were already working together on Riot Boi’s sparkly single Koi when Bipp came out. His spastic, hyper-feminine style has made him one of the more polarizing producers in pop. Sophie, aka London-based producer Samuel Long, blew up last year with the song Bipp. Those names will carry weight for those paying attention to the experimental outer limits of pop and hip-hop, but talking to Diouf, you know he was onto all of them before you were. “I wanted her on the record and there are very few appropriate songs to ask your mother to be on on my record.”ĭiouf also asked his favourite producers to contribute, and Sophie, Evian Christ, Lunice and Blood Diamonds agreed. Why did he want his mom to sing on that one? “That’s definitely where my head was at as a black man and has been before and probably will be forever,” he says. and the ensuing Black Lives Matter movement. He wrote the lyrics as social media and news reports were fixated on police violence against black people in the U.S. His opera singer mother – billed as Miss Geri – also appears on the final song, Change, a co-write with Dev Hynes (aka Blood Orange). Women going against the status quo are always who I’ve gravitated to.” Some guys are cool musicians, but my favourites are everyone from Aaliyah and Missy Elliott to Alice Glass and M.I.A. “Ja Rule and DMX’s voices scared me and irked me. “Since I was very young, most of the musicians I’ve identified with are women of colour,” he says. Feminine energy is all over the album, in his collaborations (Junglepussy, La’Fem Ladosha) and his celebration of dark-skinned women (Grace Alek Naomi). “Riot Boi” is a play on riot grrrl, the 90s feminist punk movement. I wanted to make something like that for my people.” “There’s a constant feed of songs that are great for heterosexual relationships or young Caucasian Americans who want to get into their feelings. “I wanted to use my platform to make music that’s good for dancing or crying for people who don’t already have those songs,” he says.
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I haven’t even been voting for a full 10 years, so to have a political voice you have to have definite opinions instead of vague feelings about things.”īased on reviews of Riot Boi, the narrative is back on the music, and he’s happy fans and critics are responding to its emotionally complex songs, even if the mainstream hip-hop world isn’t paying attention.
“I pushed myself to talk about politics,” says Le1f, born Khalif Diouf, over the phone from New York City. Riot Boi is structured like a wild night out in New York City, with all the dynamics of race, sex, politics and queerness laid bare over futuristic, playfully aggressive club beats and acrobatic, double-time flows that gradually wind down into contemplative balladry.
“I don’t care, whatever, it’s cool.” It’s perhaps the angstiest sentiment on Riot Boi (Terrible/XL), but more a reflection of his knack for aphoristic wordplay than the album’s overall tone. “Boys pass me like taxis do,” he laments in the chorus.
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Le1f was 16 when he first had the idea for what would become the song Taxi, a sombre ballad that draws a parallel between racist cab drivers and gay men, on his just-released debut album. LE1F with BAMBII at Apt 200 (1034 Queen West), Sunday (November 29), doors 10 pm.
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