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Meet the Costa Rican duo throwing underground dance parties 

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Meet the Costa Rican duo throwing underground dance parties 

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Do Not's dark, atmospheric music demands introspection - a need to repeat mantras and analyze what's going on around you. And their videos - where the protagonists are usually alone looking for some solace - are an extension of that introspection. Their work ethic extends that concept to the secret parties they have held in different parts of San José and the experience they want their audience to have while listening to their music.

At live performances, Do Not is Ernesto Bolaños and Huba Watson, but the crew seems to get bigger everyday. There's a team in Germany that works on their videos, there are publicists and friends in San José in charge of setting up the parties, and there's the music production branch of the project, in which other voices, engineers, and labels are involved. This is the global venture they envisioned when they started Do Not.

Their experience with promoting parties and musical production goes back seven years. They worked under the name Huba & Silica from 2008 until 2013, when they announced an end to the project. Huba & Silica stayed alive through many residencies over the years at El Steinvorth, one of San José most well-known indie venues.

After announcing this project's end, they did some soul searching. "We became convinced that we didn't have to work harder, we just needed to work better," says Bolaños. In this case, "better" meant not having money problems at the end of parties or video releases, as well as having enough money to finance future hardware and their next video.

This changed, Bolaños says, when they decided to hit the eject button and set out to make the music and curate the parties they wanted to see in San José. Since their reunion as Do Not, they have arranged secret parties under the name Crib. These shows are becoming an underground hit, a safe space for those looking for a special night. Their motto: "No flyers, no hashtags, no Facebook events, just us." Their sets are calm and introspective, and they build to the point where you can see people dancing with their eyes closed and smiling. It's not the space per se that counts, it's the way Do Not deliver.

They choose a home or a place with a nice view of the Costa Rican Central Valley as their venue, and no one knows the address until the day before the party. They hire security; they hire people to keep the place clean; they hire bartenders. It's a private party that doesn't bother to find a crowd because their approach - one that is more open and welcoming than all the secrecy might suggest - is just what the deep house/underground techno scene in Costa Rica needed.

Any San José venue will never offer that kind of safe experience, and the kids know it. And it's the kind of safe space where a community is created. Bolaños explains this with an anecdote: "After one party, a scratch was found on a car. We offered to pay the owner for it and after searching for a place to do the job, it just so happened that one of the partygoers had a car workshop and offered to do the job at a cheaper price. He said that he didn't want the parties to be jeopardized and that he loves what we did. It was awesome."

Since Do Not works on singles, the last two Cribs have featured the release of videos ("Down" and "Scarecrow"). For their fourth installment, they'll be releasing "Amnesia." After that party, Do Not will be in LA in October and November working on their first release for 2016. It's time for Do Not to burst out into the world. And it seems like they are well on their way.

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Meet Do Not, the Costa Rican Duo Behind San José's Secret Techno Parties

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Do Not 's dark, atmospheric music demands introspection - a need to repeat mantras and analyze what's going on around you. And their videos - where the protagonists are usually alone looking for some solace - are an extension of that introspection.

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Costa Rica

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Bolivia

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How Used Clothing Became Illegal in Bolivia

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How Used Clothing Became Illegal in Bolivia

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How Used Clothing Became Illegal in Bolivia

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In this scene from STATES OF UNDRESS, Hailey learns of the illegal used clothing market and how it came to exist in Bolivia.

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Cuba

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Cuba's Netflix, Hulu and Spotify-all without the internet

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Cuba's Netflix, Hulu and Spotify-all without the internet

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This is Cuba's Netflix, Hulu, and Spotify – all without the internet

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Spain

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Vídeos online en Flooxer: http://www.flooxer.com/ Todos los vídeos de XtremCities en Flooxer: http://www.flooxer.com/ver-videos/formatos/xtreme-cities/563200b64beb28efa2a15e20 Si te ha gustado el vídeo, suscríbete a nuestro canal: http://www.youtube.com/user/antena3?sub_confirmation=1 Cuatro deportes, dos ciudades y una manera épica de viajar. #XtremeCities en Madrid sigue con Bboying. Nuevo capítulo el 22 de febrero, en Flooxer y en el canal de Youtube de Antena 3.

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Guatemala

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Guatemalan kids uses art to express his environment

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Guatemalan kids uses art to express his environment

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Guatemala uses visual arts to address child crime

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Originally Published by Al Jazeera English on Nov 19, 2014 Guatemala has one of the highest child homicide rates in the world. With a murder rate 800 percent higher than the US, many of the country's children endure life in rough neighbourhoods with high levels of poverty, drugs and violent crime.

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Uruguay

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Awkward Uruguayan Teacher Wants to Pimp His Ride

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Awkward Uruguayan Teacher Wants to Pimp His Ride

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There's something in the water down in Uruguay. Not only is the small nation of 3.5 million an international cinematic powerhouse, but somehow Uruguay's filmmakers manage to put their country's unique stamp on virtually everything they make. Of course, there's plenty of thematic and stylistic diversity in the dozen-or-so national productions that come out each year, but the country has stood out most of all for their absurdist brand of deadpan comedy.

The latest addition to the country's growing body of awkward laugh-inducing art films comes from first time directors Federico Borgia and Guillermo Madeiro, whose feature has all the hallmarks of its cinematic predecessors while still managing to bring an original and fresh voice to the national scene. The film follows a martial arts instructor and car enthusiast whose mission in life is to get some fly graphics on his ride, and when he catches sight of a masterful flame job, he sets out to find the automotive virtuoso who painted it.

His mission eventually takes him to a small, provincial town where he discovers a quirky cast of characters that lead him to the artistic master - who also happens to be a sensitive body-building enthusiast. It's a classic story of the apprentice seeking out the hermit master (see: Luke Skywalker and Yoda,) only Borgia and Madeiro give the narrative a clever twist (no pun intended) by bringing it into the world of working-class small-town Uruguayos.

The film's clean, minimalist style will be familiar to fans of Uruguayan masterpieces like Whisky or Gigante, and so will the understated but convincing performances from actors Hugo Piccinini and Antonio Osta. In the end, it may seem like an absurd conceit, but with Clever Borgia and Madeiro remind us that the soul of a true artist isn't only found to the sacred spaces of galleries, museums, and top-ranked MFA programs.

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TRAILER: In This Quirky Uruguayan Comedy, an Awkward Teacher Wants to Pimp His Ride

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There's something in the water down in Uruguay. Not only is the small nation of 3.5 million an international cinematic powerhouse, but somehow Uruguay's filmmakers manage to put their country's unique stamp on virtually everything they make.

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Argentina

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The Barras Bravas - VICE WORLD OF SPORTS: RIVALS (Clip)

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Much like the ultras and hooligan firms in other parts of the world, the Barras bravas wield great and violent power over Argentina football fans and clubs.

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Peru

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A film by : NAUSEA www.nausea.pe Sponsored by BTH Business Tower Hotel powered by MORBO www.morbo.pe Producer: Jules Bay Directed by NAUSEA Cinematographers: Os Villavicencio and Will Flores. Editor & Postproducer: Gino Moreno.

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Chile

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Almost 20 years after Chile's independent music scene began, a new musical landscape focused on the here and now is emerging, and its energy and vitality is inspiring both newcomers and veterans to build a sense of community. For starters, emergent bands are playing tocatas (or shows) at rehearsal spaces or in living rooms like Espacio Elefante, a student-run venue inside Universidad de Chile that holds recitals for music students on its top floor and lets local bands book shows in its basement. Rodrigo Herbage from Dolorio y Los Tunantes, a musician and promoter who frequently books shows at the venue, finds it funny that "it's a space for underground music that is literally underground."

Ironically, the space hosts classically trained students playing on top of self-taught noise pop bands, sometimes simultaneously. In October of 2015, its ceiling collapsed, and although no one was physically injured, it left the scene's up-and-coming artists with one less venue to play in.

In Santiago, this is not a luxury local bands can afford. Surprisingly, this did not hinder their momentum in any way. On the contrary: bands like Medio Hermano, Patio Solar, Niños del Cerro, Tus Amigos Nuevos, and Playa Gótica are continuing to find alternative means to make their music heard.

In the last two decades, Chile's independent music scene has seen notable changes in its identity and complexity. The community originally blossomed as a small network of fans, journalists, and bands making do with whatever infrastructure was available at the time. In her dissertation on late capitalism and the country's indie music industry, Dr. Shannon Gardner reveals, "Throughout the 80s and even into the 90s, alternative music was largely circulated on pirated cassette tapes, whether dubbed by friends or sent through mail by relatives living abroad."

Journalists like Cristian Araya, founder of the prominent online music publication Super 45, was part of this generation and began reporting on music as a college radio DJ. His main focus was on artists from the U.S. and Europe, but he had the foresight and vision to give local artists a forum. To this day, it remains one of the pillars of Chile's independent music network.

After the dictatorship ended in 1990, Chilean citizens enjoyed easier access to information from across the globe, and along with the rise of the Internet, indie music culture had a newfound distribution network. The scene was no longer just for the adventurous digger or those with enough disposable income to buy imported records or travel for leisure.
Related: 10 Chilean Artists You Need to Know Right Now
As the scene matured, it spawned a wider diversity of acts, ranging in styles from folk, post-rock, indie-pop, and post-punk. DIY culture pushed young Chilean artists to be more self-reliant. Bands like Congelador produced beautifully arranged post-rock albums; the short-lived Supersórdo gained cult status by channeling Sonic Youth and the Melvins; and Pánico 's goofy, hyper-sexual disco punk broke ground.

The early 00s heralded Chile's golden age of creation and collaboration. Bands like Taller Dejao created what many deem a particularly Chilean style - lo-fi recordings of freak-folk and pop infused with nuevo canto and the influence of Los Prisioneros. The indie label Quemasucabeza nurtured future indie darlings Gepe and Pedropiedra by giving them license to experiment with their sound. This ebb and flow of local and global influences clashing and fusing opened doors for artists like Teleradio Donoso ( Alex Anwandter's pre-solo venture) and Fother Muckers released a sparkling and radiant brand of indie rock, heavily focused on production overflowing with dance pop brilliance.

By the late 2000s, the scene began to garner international attention; in 2011, Chile was singled out as a "pop paradise" by the Spanish newspaper . In that piece, Gepe declared that "10 years have gone by, but it seems like 30," a statement that shrewdly captures the extent of growth and change that followed the initial birth of indie in the late 90s. Dënver, Gepe, Javiera Mena as well as Fakuta and Astro garnered fame and success. Chilean pop became a blogosphere favorite, and even bookers and fans hailed it as a new chapter in Latin indie. But that kind of insular celebration may have shone too blinding a light for outsiders to see that it was pigeonholing the entire scene.

"It's not that we necessarily want to move away from the Chilean pop label, but we are not influenced by it."

According to Juan Fernando Rubilár, who currently fronts Medio Hermano, these artists "changed the way the media saw Chilean musicians." They became so successful, they didn't have to bet on the local music industry infrastructure, enabling them to reach markets outside of the region. Of course, local musicians still had to rely on venues and labels for support.

Rubilár's previous band, La Reina Morsa, was signed to Sello Cazador, the label behind other Chilean pop heavyhitters like Ases Falsos, Protistas and Adrianigual. Between 2010 and 2013, Rubilár played in spaces like Cellar and Club Mist, alongside acts like Dadalú and Portugal. "With the closing of these spaces, it felt like we were forced to book venues where music is not the main priority again." For him, 2015 marked the next step. That year, Rodrigo Herbage and Diego Sepúlveda of Cazador banded together to create a series of showcases or ciclos that booked bands in a variety of venues and spaces with music as their top priority.

After speaking with Herbage, it seems as though the current community is tight-knit and isolated. There doesn't seem to be any resentment towards the pop label coined by outsiders, but also little to no relevance for the reality of the community flourishing today. "It's not that we necessarily want to move away from the Chilean pop label, but we are not influenced by it," he explains.

Rubilár echoes that sentiment; the label seems to have shaped the media more than local artists. Herbage is young, informed, and enthusiastic, but he doesn't claim to know it all, either. During our conversation, he seemed respectful of artists past and present, but he was also aware that the scene's history planted roots all the way back in the 90s.

Chilean music isn't a one-trick pony.

Stylistically, the new generation is a carefree crowd that plays noise, power pop, and garage. During our conversation, Sepúlveda half jokes, "I think seeing Mac DeMarco at Ex Oz had more impact on these newer musicians than anything else."

Trying to understand the identity of the South American nation's musical community based on the amount of effort put into a specific genre, especially one like pop, would be an essentialist and homogenous endeavor. As Rubilár explains, "There has always been activity in the independent music scene, only the players and spaces change."

Local media seems to understand that reality, too. During Rolling Stone Chile 's brief existence, it published a list of the country's 50 best albums. The list's first 10 slots were given to legends like Violeta Parra, Victor Jara, Los Tres, and Los Prisioneros. It places La Ley just above Gepe, while slot 11 belongs to Supersórdo. Chilean music isn't a one-trick pony, just because outsider publications have characterized the nation's rich cultural legacy as such. Chileans know what they have, and they appreciate it.
Related: On the Eve of His First US Tour, Gepe Looks Back at the Chilean Pop Revolution
"Right now my main question is, 'What comes next?'" Herbage seems a bit anxious, but excited about the future of the scene. He's definitely comfortable with venues coming and going, the media paying attention, and then leaving for greener pastures. He mentions the possibility of booking tours to nearby cities, but nothing seems set. This step-by-step way of working might be inherited from figures like Francisco Morales, who ran CFT, a small DIY space that booked experimental and underground acts. Fans and patrons remember it fondly, and the venue's success showed people like Herbage that booking small but meaningful shows was possible.

Fast forward to 2016. Events like Nuevo Verano or Ciclo Fisura consolidate different skill levels and knowledges, helping to bridge the gap between inexperienced bands and more established venues. The evolution of Chile's scene doesn't just yield an onslaught of new and exciting music, it fosters a community of vibrant, passionate people building something through cooperation and camaraderie. While the sustainability of the scene remains to be seen, artists and stakeholders are being smart about managing fame, ethos, and community building, and those who came before them seem happy to pass the torch.
Dive into Chile's new pop paradise with our Apple Music playlist:

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20 Years After Chile Changed Indie Music, a New Pop Paradise Emerges

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Almost 20 years after Chile's independent music scene began, a new musical landscape focused on the here and now is emerging, and its energy and vitality is inspiring both newcomers and veterans to build a sense of community.

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Puerto Rico

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Community House "Casa Taft 169" Celebrates a victory in Puerto Rico

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Community House "Casa Taft 169" Celebrates a victory in Puerto Rico

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Uploaded by DEFEND PUERTO RICO on 2017-07-17.

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Ecuador

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10 Artist Leading Ecuador's Electronic Music Boom

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10 Artist Leading Ecuador's Electronic Music Boom

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It seems as if suddenly the music world woke up and realized that Ecuadorian artists should be listened to more closely.

The buzz around producer Nicola Cruz could be considered the spark for many looking further into the country's scene, but this musical panorama couldn't possibly be contained to one genre tag or expression of the multiplicity of cultures that the region contains. Reworkings of fox incaico rhythms and danzante traditions can be found alongside cryptic reggaetón, or meme royalty interpretations of techno-folklore beside looping, pedal-fueled electro-folk. Ecuador may be one country, but it's one with many national identities, and its music reflects that.

What's considered Ecuadorian national music has always been, by nature, a mix of cultures; with the arrival of European colonizers also came access to their music instruments and a new range of rhythmic structures, from which guitar, mandolin, and other string instruments were integrated into Andean traditions, and continue to form the basis of much of sampled material in this electronic era. The popular understanding of this music as música nacional, however, does overlook other traditions like that of coastal Afro-Ecuadorians, communities of the Amazon, and minority groups of the 14 distinct indigenous communities of the country.

Online platforms like Boiler Room have become a presence in Quito, but so far the representation of the Ecuadorian scene favors a house-, techno-, and male-dominated perspective. This is just a beginning, and if anything, these moments all contribute their part in smashing expectations of a bubbling scene and the range of localized communities it encapsulates. Beyond international entities coming to Ecuador to explore the music scene from the vantage point of their own expectations of electronic music, in this list of artists, the intention was to listen closely, and to learn.

Lascivio Bohemia

Quiteño artist Lascivio Bohemia seems to have the psychedelic chops to be some sort of music producer medium, channeling the threads that connect hyper-regional cultural microcosms while still managing to highlight what makes each tradition singular. Afro Andes EP, the most recent album from the former student of the Conservatorio Nacional de Música, intertwines subtle electronic touches on traditional songs from Afro-Ecuadorian communities based in Esmeraldas with heavy use of la marimba and el cununo instrumentation. Lascivio Bohemia has a knack for timing; in 2015, UNESCO declared marimba music and traditional chants and dances from the Esmeraldas province and Colombia's South Pacific region to be inscribed as an Intangible Cultural Heritage of Humanity. With previous releases on Chile's Regional imprint, Lascivio Bohemia's catalog is a journey through tempo changes, 6/8 rhythms, violin recordings from Inti Raymi celebration samples, dancehall, and dub-driven basslines.

N-T-F-L

Head over to N-T-F-L's SoundCloud page, and one of the first tracks you'll be greeted with is "untitled," which is pretty on point for the extent of clues given away for the who/what/where/when/how of the enigmatic producer. With genre tags like #muerte, #dale, #death, #nah, or the especially intriguing #naah, I had to know more. N-T-F-L's affiliations are loose, and that's to the benefit of the multiple dimensions of his productions; his tracks dip between dismantled and often chopped and screwed trap, reggaetón, tribal, and beyond, constituting a catalog that creeps effortlessly between corners of the underground.

Quixosis

Quixosis - née Daniel Lofredo Rota - explores the rhythmic structures localized in Northern Ecuador, looking closely at its "codified stories, woven conflict, beauty and tension." His most recent album Telar, released by Frente Bolivarista, reconstructs musical traditions like sanjuanito, albazo, danzante, and fox incaico with electronic elements teetering on the psychedelic. Quixosis' approach is intentionally inward-looking, as he told Sounds and Colours earlier this year. "For the sake of the future of Ecuadorean electronic music, producers need to understand the subtleties and richness of their local musical heritage, instead of copying some aesthetics found on the Internet, as many do now across the world." And he certainly has the means to do this thoroughly: after his grandfather passed away a few years ago, he left behind about 300 perfectly preserved magnetic reel-to-reel tapes of música nacional from his Caife record company founded in the 1950s, which Quixosis later digitized and documents in his Memoria Análoga blog.

Delfin Quishpe

If you hadn't already been acquainted with Guamote's own Delfin Quishpe, you are welcome for this momentous life occasion. The artist responsible for the World Cup's first, best, and only trance-rap-tribal anthem "Vamos al Mundial" (and its beautifully green-screened video) will forever be commemorated in my mind as his best work, though a tecnocumbia cover of Soda Stéreo's "Cuando Pase el Temblor" is understandably making the rounds. The Andean techno-folklore artist's collaboration with Wendy Sulca and La Tigresa del Oriente for the "En Tus Tierras Bailaré" video was called the "YouTube We Are The World" by Calle 13's Residente. How can you not love this artist? Delfin hasta el fin, ya tu sabes.

Daniela Albán

Guayaquil-based artist Daniela Albán has all of her bases covered; she started DJing in 2009 at the age of 18, and the young producer/DJ also has a handle on live instrumentation with chops in drums, bass, synth, and guitar.

While decidedly dipping into traditions that cull a smooth blend of deep house, dub, and ambient, Albán doesn't stray from forays into jungle, jazz, and hip-hop. With an embrace of the esoteric with tracks/mixes like "Enigmatic Connections" and "Transición," the young producer recently teased a freshly spaced-out, 2-step garage lite track "Astral Plane."

Fabrikante

Guayaquileño artist Fabrikante is dead set on innovating a corporeal, DIY approach to music production that hones in on his own beat-boxing techniques. His first album Memoria y Profecía de Doña Petita Pontón was made exclusively with sounds created with his own voice. With new album Kariño Universo, Fabrikante has found avenues to showcase his hope that his musical transmissions impart "the experience of a retro-futurist party between oneself and the cosmos." Lead single "Kausanguichu" features guest vocals from Ecuadorian poet Steph Apolo recited throughout the track, and the first track on the album with an official video, "Chimo Vibración," offers a self-reflective, remix-like approach to Fabrikante's interpretation of cultural and religious symbolism.

Nicola Cruz

One would be remiss not to include Nicola Cruz as an artist playing an integral part of the new musical iterations coming out of the outer-Ecuador world. Born and raised in France but rooted in Ecuador, where he now resides, Cruz is responsible for his signature "Andes step"- spacious productions recalling reworked huayno and cumbia melodies and samples. Cruz's particular sound quickly became travel-tested across Latin America, the U.S., and Europe with his debut album Prender El Alma in 2015 (ZZK Records). Cruz also appears in our list on indigenous resistance from earlier this year, alongside Otavalo's Los NIN, plus Lido Pimienta (Colombia), Tzutu Baktun Kan (Guatemala), Luzmila Carpio (Bolivia), Aurelio Martinez (Honduras), and more.

N.SOB

Quito-based producer N.SOB seems to have a fine-tuned self awareness to the lurking, bass-heavy vibe that colors most of his tracks. The "#latenight" hashtag he put on one of his SoundCloud uploads does a fine job of pinpointing the shadowy, sleep-deprived feeling. The noise-cast track "Praum" offers a seriously inventive take on baile funk deconstructions, momentarily breaking down into an almost hardstyle-influenced tamborzão beat. "Uh yuyuy" unmistakingly keeps the structure of huayno while stripping it to its bare parts, taking another unexpected turn into grime. Fittingly, N.SOB will appear alongside Siete Catorce for his tour stops in Quito and Ibarra dates with amaF alaM and Chambacu.

Domē Palma

Experimental folk composer Domē Palma is proof that sometimes all you need is a guitar, looping pedal, and your own voice. Palma's work feels comfortably tucked into the intersection of minimalist instrumentation and an embrace of chance explorations in production; her approach, evident in the title track of her EP , is a fresh take on the singer-songwriter looping technique. Palma works closely with the netlabel CVRA LVDORVM, which released her debut EP. The label also functions as a booking agency, organizing tours for local and international artists as they make their way between Cuenca, Guayaquil, Montañita, and beyond. The catalog has built the platform to promote an extensive roster of Ecuadorian artists like Arkabus, Método MC, Abbacook, and Sara Ontaneda.

amaF alaM

Welcome to #Ancestral666, a space that producer/DJ amaF alaM has carved out for himself. While working closely with local musicians and fellow producers in the Quinchuqui community where he has roots, amaF alaM's perspective is likewise influenced by the fact that much of his family immigrated to the United States in the 1960s wave that uprooted many from the country. Though he clearly draws closely from indigenous traditions, his sample sources are also difficult to predict, dipping into smoothed-out reggaetón edits on "DURO - L$D25" or an imagined versus track with Luzmila Carpio on "Pacha Mama Tayta Inti." amaF alaM is preparing to release his Anta EP with Brooklyn-based label APOCALIPSIS in late November, while continuing to release a steady SoundcCoud stream of edits and experimental club music nights with his Wañuy Sound System party series.
Editor's note: The author of this piece runs APOCALIPSIS, amaF alaM's label.

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10 Artists Spearheading Ecuador's New Electronic Boom

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It seems as if suddenly the music world woke up and realized that Ecuadorian artists should be listened to more closely. The buzz around producer Nicola Cruz could be considered the spark for many looking further into the country's scene, but this musical panorama couldn't possibly be contained to one genre tag or expression of the multiplicity of cultures that the region contains.

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Panama

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Panama: Meet the Kids Behind the Beats | Beat Making Lab | PBS Digital Studios

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Yaci, Osvaldo and Darin - three Panamanian youth - go from cowbell to MPC while learning the skills to become beat makers. Check us out Wednesdays for more stories, and beats from Panamanian festivals, schools and prisons.

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Venezuela

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Full article

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How a Kamikaze Smuggles Gas - BLACK MARKET: DISPATCHES (Clip)

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Gas smuggling is a common practice between Venezuela and Colombia. One smuggler explains how he does it and why. "Kamikaze Gas Smugglers" airs Tuesday, Aug. 23rd at 10P on VICELAND.

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Nicaragua

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Nicoya DJ donates his time when not making beats for Lil Yachty or Young Thug

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Nicoya DJ donates his time when not making beats for Lil Yachty or Young Thug

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Née: Diamante Blackmon
Raíces: All over the place - his background is Nicaraguan and Guatemalan ("My family is from Nicaragua...Managua to be exact, so I'm actually Nicoya but was raised in Guatemala...which also makes me a Chapin," he tweeted in 2012). He also spent some of his childhood between Maryland and Los Angeles.
Sounds like: Thunderous, mayhem-inducing trap.
You should listen to Carnage because ...the DJ pours his blunt, audacious personality into stadium-sized beats. Plus, he's a good samaritan on the low.

Carnage has been wreaking havoc in the club for a minute now. He found his footing early on with a 2012 remix of Hardwell's "Spaceman." Since then, he has kept Top 40's love affair with EDM-inspired hip-hop strong, thanks to his thudding releases. He paired up with iLoveMakonnen for the infinitely catchy "I Like Tuh" last year, and then collaborated with Lil Uzi Vert, A$AP Ferg, and Rich the Kid to release the explosive "WDYW."

The DJ is a mainstay on the festival circuit. You may have caught his trademark blonde hair and bucket hat behind the turntables at Coachella, Electric Daisy Carnival, and Ultra - all wild performances that helped him cultivate a loyal legion of fans, dubbed the Chipotle Gang (The moniker comes from Carnage's passion for Chipotle. He loves the chain so much that he has a Chipotle Gold Card, which gets him free food from the franchise forever).

But one of the most intriguing things about this guy has nothing to do with music. His larger-than-life, outrageous persona is coupled with a surprising penchant for philanthropy and dedication to his roots. Sure, Carnage shows are synonymous with debauchery - he's rumored to have doused the audience with a cocktail of confetti and dollar bills at show in Chicago a few years ago. Yet that excess often goes toward good. He made a major donation to the California organization Seeds of Learning to build a children's rec center in Villa Japón, Nicaragua, and has kept the cash flow to his home countries going - he says a school in Guatemala is coming soon.

For a while, it seemed like Carnage wouldn't be in the trap genre forever. His legendary 2013 Twitter rant got instant attention. Lately, though, he seems to be at peace with the music scene and has been deploying hits with rap's men of the moment. This summer, he got Lil Yachty on "Mase In '97," and then co-produced "Don't Call Me" with Felix Snow, featuring Shakka and Young Thug. We'll wait patiently as he continues to blow up.

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Carnage Is the Philanthropic Guatemalan-Nicoya DJ Making Beats for Young Thug & Lil Yachty

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Née: Diamante Blackmon Raíces: All over the place - his background is Nicaraguan and Guatemalan ("My family is from Nicaragua...Managua to be exact, so I'm actually Nicoya but was raised in Guatemala...which also makes me a Chapin," he tweeted in 2012). He also spent some of his childhood between Maryland and Los Angeles.

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Paraguay

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History is typically told through the male perspective - in other words, it's literally his story - and women haven't always found themselves accurately represented. "It's the inconvenient truth that women have always been 50 percent of the population, but only occupy around 0.5 percent of recorded history," said British historian and author Bettany Hughes. "Physically the stories of women have been written out of history, rather than written in."

The same can be said about women in Latin America. Specifically, in Paraguay, women only won the right to vote in 1961. However, nearly a century earlier, they were at the forefront, rebuilding the country after the Guerra de la Triple Alianza. Today Paraguayan women continue to make strides, even outside of their native country.

In honor of Women's History Month, here are seven Paraguayan women you should know:

1

María Felicidad González

Orphaned at a young age, María Felicidad González lived a life of struggles. But ABC Color said María Felicidad always overcame whatever came her way. By 1905, she graduated from a teachers college, but she returned to school in Paraná to further her education and become a professor.

She started her career at the Escuela Normal de Paraguay, but eventually she went beyond the classroom. Realizing women needed more representation at the national level, she founded the Consejo de Mujeres. She and Ruby Gutierrez became the first Paraguayan women to represent their country at an international conference. In 1922, they attended the Pan-American Conference of Women.

In 1932, she left teaching behind to join the Consejo Nacional de Educación. And during la Guerra del Chaco, she worked with the Red Cross.

2

Las Residentas

February 24 is known as el Día de la Mujer Paraguaya because of Las Residentas. In 1974, historian Idalia Flores de Zarza proposed commemorating the women who helped rebuild the country after the Guerra de la Triple Alianza (1864-1870).

The women started by donating their jewelry and other items to help finance the war. By the end of the war, because there were a lot of casualties, the women stepped up and helped Paraguay recover.

3

Carmen Casco de Lara Castro

Carmen Casco de Lara Castro, aka Doña Coca, started helping political prisoners - sometimes getting arrested in the process - at the end of the Paraguayan civil war in 1947. Ultima Hora reports that she tirelessly fought for these prisoners, and put pressure on the government.

Doña Coca - who founded the Casa de Amparo de la Mujer - played a big role in getting February 24 recognized as Día de la Mujer Paraguaya. She also founded the Commission for the Defense of Human Rights in Paraguay - one of the first independent human rights organizations in Latin America.

She served as a senator from 1989 until her death in 1993.

4

Margarita Mbywangi

Margarita Mbywangi, an Aché tribal chief, became the first indigenous person to hold the position of minister for indigenous affairs, according to the BBC. Former president Fernando Lugo appointed Mbywangi - who was kidnapped and sold several times into forced labor as a child.

"When I was young, at about age 4, some white [people] kidnapped me in the jungle and I was sold several times to families who owned haciendas," she said, La Nación reports. "When I was growing up, my loved ones told me I was indigenous. I didn't know what that word meant, but I continued to read and read on the subject and then I found out I was the daughter of the earth, daughter of the jungle, a daughter of my country's history."

5

Serafina Dávalos

Serafina Dávalos made history as Paraguay's first female lawyer, and according to Portal Guaraní, she's also considered the country's first feminist.

In 1907, her doctoral thesis, titled "Humanismo," talked about gender equality. "If we want to build a country that is truly democratic, where liberty, justice, and equality are beautiful realities, we need to start by restructuring the home with the intent of achieving perfect equality."

6

Silvia Díaz

Silvia Díaz is an afro-Paraguayan of the Kamba Kua community, who now lives in the United States. This February, the Mayor's Office on Latino Affairs recognized the lawyer for her work with immigrants. She earned her legal degree from the Universidad Técnica de Comercialización y Desarrollo and worked for the Attorney General's Office of Paraguay.

Even in the U.S., she is focused on the Afro-Paraguayan community. She is the international representative for a non-profit organization that "aims to advance the human, educational, legal and property rights" for Afro-Paraguayans, according to her LinkedIn page.

In 2015, she received the 2015 United Nations Office of the High Commissioner Fellowship.

7

Adela and Celsa Speratti

Born three years apart, sisters Celsa and Adela Speratti made history together. The two dedicated their lives to education, and they made it possible for countless lower-income children to attend school. Battling illiteracy became one of their focal points.

herstory, women's history month.

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Herstory: 7 Paraguayan Women Who Changed the Course of History

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History is typically told through the male perspective - in other words, it's literally his story - and women haven't always found themselves accurately represented. "It's the inconvenient truth that women have always been 50 percent of the population, but only occupy around 0.5 percent of recorded history," said British historian and author Bettany Hughes.