Destiny again. It had to be El Legendario Bombay. It had to be page 99.
Upon entering, I immediately saw why the place was called legendary. It oozed underground Hip Hop. Graffiti covered every wall. In the past, there had been a waist-high mural that wrapped around the bar featuring skeletons in fluffy rat costumes. Now most of it was covered over in aerosol paint, paint pen, postal stickers, and permanent ink throwies. The above-waist, mirrored walls were now covered over in tattered black plastic tarp, which was itself covered over in white mop paint pen tags. The tile floor was thick with dried beer and tracked-in road grime. Google Maps had not been wrong. The place had been permanently closed; but it was still quite active that night. A crew of two dozen men and a few women sat drinking beer, listening to the Chicano music of my youth. Most of the audience seemed to be in their late 30s. Their clothes were baggier than Heticko’s which was a sign of his relative youth at 25 and the changing trends of a scene. Most wore tan Dickies pants and either a plain white cotton tee-shirt, a tan khaki shirt, or a black one with La Sociedad Café printed in Old-English style font. Most wore thick löc-style sunglasses. The darkly lit scene could have passed as a sepia-toned photograph save for the glints of the deep red and thickly lined lipsticks of the women, and then there was the pop and lock dancer wearing the royal blue tracksuit and white gloves. Two beautifully maintained, chrome laden lowrider bicycles sat on the stage. Tomás, the owner of TT Caps arrived after me. He sat at the bar to chat with El Bombay’s owner. Both were in their late 50s and had invested in Hip Hop as more than a fad years prior. They had both given the youth culture space to flourish, but now had to watch as their business dried up.
My dissertation explores life in desmadre, or the overwhelming, noisy chaos that continually changes underfoot in the streets of the metropolitan valley surrounding Mexico City, the largest urban landscape within North America. I chronicle the experiences of contemporary rap artists as they move through the city, creating a Hip Hop scene in looped interconnectedness. And while my work is attuned to the Voice of these artists, it’s always grounded by my relationship to the streets and by that feeling of destiny I feel when I’m in the wrong place and the right time, when I encounter everything I need to be Hip Hop, to be ethnography. After weeks of futile attempts to find a Hip Hop scene by safe and traditional means, I found Bombay in a moment wondering aimlessly and dangerously down a dark alley in Tepito, a barrio born into its bad reputation. Following that moment, dedication and destiny launched me across the entire valley from La Paz, Iztapalapa and La Ciudad Nezahualcóyotl to Tacubaya, Colina Del Sur, and el Reclusorio Norte, all to find Hip Hop.
Ultimately, I find that by practicing their poetry and their breath control rappers learn to render the aural sensorium and echo the city itself through their bodies—from the noises of its mass transit to the acoustic registers of its ambulant vendors; from the sounds of familiar language games, poetics, and popular culture to appropriated Nahuatl vocabulary and place names. By learning to navigate through the city, flowing against its conservative logic for their own artistic and cultural purposes, rappers come to embody a difficult to explain yet deeply felt awareness of desmadre. Rather than seeing chaos as a source of frustration (to state control), as inefficient (to capitalist profit), or as unnecessary imperilment (to fearful citizens of the general public), rappers find direction and purpose in creativity and community. By engaging with others in desmadre they recognize their place, authenticate their experience, and overcome anonymity through the choral voice, hearing their own subjectivity echoed back and affirmed by others who have travelled a different route. …And so do anthropologists.
It had to be page 99. It had to be El Legendario Bombay. Desmadre again.
Ruben Enrique Campos III. 2020. Word To Desmadre: Hip Hop, Voice, and the Rhythm Of Chaos In México. University of Hawai’i, Phd.