The Origins

When we are discussing how Sons of Mystro and the artwork they create has come to be we must acknowledge who they are and where they came from. These are not two any two people who share a joy and passion, they are brothers. Family. Therefor as you read on, you might consider where artist come from, who their family is, and what communities they belong to.

DJ Dad

Malcolm and Umoja McNeish's father, Handel McNeish, was a DJ who performed in different cities around the US between the 1970's to 1990's. Historically this was an important time musically; this was during the birth and rise of Hip Hop culture and music.

Growing up with a DJ for a dad would have exposed Malcolm and Umoja to these beats and rhythms from a young age. They would also have been influenced by the larger culture, the competitive nature, the joyous and celebratory atmosphere, and the crowd engagement from performers.

Hip Hop was born in the Bronx (an area of New York City) during house and block parties. During the 1970's Disco DJ's would play music for people to dance to at parties. However, when a song would stop and the DJ would be preparing another song to start, the party would hit a sudden lull and people would often leave the dance floor. DJ's discovered how to extend the beat track of one song and blend it into the next song. This eliviated the awkward pause and party-goers were able to continue dancing and enjoying the evening uninterupted. DJ Khool Herc, a man considered the grandfather or hip hop, invented "the break" by having two turntables and a mixer and started rapping (MC'ing) over the loops at house and block parties in the Bronx. This set the foundation of the culture of Hip Hop.

DJ's during this time engaged in friendly competitions or battles to see who could entertain crowds the most. They would try to come up with the most unique tracks, the coolest scratches, and the wildest mixes. Interaction with the crowd to hype them up and keep them engaged was essential. This competitive nature is an integral part of Hip Hop culture and can be seen in cyphers for MC'ing and B-boying (often referred to as rapping and break dancing).

CaribBean Influence

Handel McNeish was also born in Jamaica and immigrated to the United States early in life. Caribbean music was part of his culture, one he shared with Malcolm and Umoja. Caribbean music draws influence from African Diaspora, European, and even Asian influences.

Caribbean music is full of syncopated rhythms and uses call and response much like Hip Hops proclivity to engage and speak directly to its audience and have polyrhtyms as well. Though Caribbean music often has stringed instruments it tends to lean more towards guitar. You'll also often find horned instruments bringing depth and complexity to some styles of Caribbean music.

In this genre you can see many instruments you would find in most genres, however, unique to Caribbean music is the use of steel drums (or steel pan). These hollow sounding drums were invented in Trinidad and Tobago which are in the Caribbean near Venezuala and off the coast of South America.

Schooling and Education

Malcolm and Umoja started their early education in the public schools of South Florida. South Florida is has a diverse population of Latin/Latino, Caribbean, Black/African America, and Caucasian people. These demographics would have been reflected in their schools and communities exposing them to a rich texture of music, art, language, and culture. This eclectic background is present in their sound, how they choose music they include in their repetoire, and artists they collaborate with. This also makes them relatable to almost anyone who tunes into their music.

They started their music training in these public schools before joining a Performing Arts High School. Here the duo was able to develope the technical aspects of their craft, learn the history of their artform, and find influence from other performing arts such as theatre and dance.

RE-presentation of Classical Music:

Bringing your entire self to the Art form

The Racial Hierarchy of Classical Music

Classical music has historically been characterized by the overwhelming dominance of white composers and performers, resulting in a dearth of diverse role models and mentors available to Black musicians. This underrepresentation is pervasive, extending into orchestras, conservatories, and esteemed institutions, where Black musicians often find themselves as a marginalized minority. Moreover, entrenched stereotypes and preconceived notions regarding the capabilities of Black musicians can foster an atmosphere of uncertainty and skepticism, making it increasingly challenging for them to secure recognition and acceptance within the classical music world. In the realm of inclusivity initiatives, orchestras have notably lagged behind nearly every other industry in the United States. As of 2021, over half a century after Leonard Bernstein appointed Sanford Allen as the New York Philharmonic's first Black member, the orchestra still lacked African-American or Latino representation among its ranks.

The racial homogeneity of classical music is primarily an American issue. While the canonical makeup is influenced by European demographics before the twentieth century, its transplantation into the multicultural United States perpetuated and exacerbated the country's racial hierarchy. The white majority often embraced European music as a symbol of its superiority, and classical music institutions that emerged in the nineteenth century prioritized European compositions over nurturing American composers, emphasizing a fantasy of Beethovenian grandeur, as highlighted in Lawrence Levine's 1988 book, "Highbrow/Lowbrow."

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Black Musicians in the Classical Tradition

A revisionist history of music has typified a large erasure of Black musicians, composers, performers, and the like. Names like Joseph Bologne, Chevalier de Saint-Georges (1745 – 1799) violinist, who is remembered as the first classical composer of African origins; and Florence B. Price (1887 – 1953), the first African-American woman to have her music performed by a major symphony orchestra, that brought the music of the Black church into her compositions are whispered compared to their white counterparts.

By the 1900s, A number of Black musicians were writing operas, symphonic essays, concertos, and sonatas. During the 20th century, Black composers really began to incorporate their own unique characteristics into classical music. Americans' exploration of various techniques and styles injected fresh vitality into the realm of classical music, infusing their compositions with the vibrant sounds of urban Black America. In the 20th century, neoclassical composers like Ulysses Kay, for instance, aimed to revive the more conventional elements of classical music, evident in his works inspired by 18th-century principles. On the other hand, composers such as Alvin Singleton and Hale Smith leaned towards avant-garde and unconventional methods in their compositions. Meanwhile, figures like Tania Leon and Nkeiru Okoye integrated international influences into their music. Collectively, Black Classical music paved the way for a post-national style of African-American concert music. Classical music is a genre that is typically not categorized or associated with African Americans. As eloquently expressed by Nina Simone, "Jazz is a white term to define Black people. My music is Black Classical music," highlighting the tension and significance of African-American contributions to the genre and simultaneous exclusion from it.

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Where Are We Going Now?

Musicians in the classical realm who infuse elements from various genres or skillfully interpret contemporary music using classical instruments are trailblazers, defying the historical limitations placed upon Black individuals in the music sphere. They defy conventions and expectations, showcasing the boundless creativity and adaptability of their craft. In doing so, these musicians not only bridge diverse musical traditions but also challenge stereotypes, erasing the misconception that classical music is the exclusive domain of a particular demographic. Their innovative approach not only enriches classical music but also contributes to a more inclusive and diverse musical landscape, reshaping the narrative of what it means to be a Black musician in today's world while inspiring future generations to push boundaries.

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