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Moor Mother Goddess, “Zombie Pigs on the Range”

Moor Mother Goddess “Zombie Pigs on the Range”

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MMGZ shares haunting new track and talks her creative process

/ November 23, 2015

Moor Mother Goddess (or MMGZ), also known as Camae, is a soundscape artist, word magician, Black quantum futurist, and curator. She swears she has no style, but as a creator, Camae has versatile style for days. She is from Maryland but has been working out of Philly for several years. One of the many projects MMGZ is known for is ROCKERS, a Philly show series that showcases Black, Moor, POC (people of color), queer, trans, and female artists. In groups and as a solo artist Moor Mother Goddess has been on tour 100 times and that’s just this past week.

Check out her new track “Zombie Pigs on the Range” and read her words below on perfect work-in-progress projects, fame vampires, and more.

 

ZUBEYDA: What is the point of sharing the “art” you make? Do you throw out projects or leave projects
unfinished? To you what qualifies the stuff that’s public as worthy of sharing?

CAMAE: I don’t know really if there is a point to sharing music. Most of the time I am guided by something else, some unknown force. I like to attribute it to ancestral spirit. Most stuff I make I’m am surprised that I even make it. It is really me sharing a story a spiritual story. Sharing a message that has been felt by me. It’s not like I have a choice: if I don’t create I am continually haunted by the ancestral memory or message. Everything deserves to be heard but performing the material is different. Not everyone can understand certain messages so I’m more selective with performing the songs. I try to finish every idea or message that comes to me. I do not throw out projects. Everything is perfect even if it’s a work in progress.

It’s not like I have a choice: if I don’t create I am continually haunted by the ancestral memory or message.

Do you think of creating and performing as work or a hustle? Why or why not? If it’s work do you have a “brand”?

I don’t really think of it as a job or hustle even though performing is what I do for money. I think of creating and performing more like me living a dream I created when I was young. Capitalism is a monster that chooses to feed on you. I don’t chase monsters. I am not Buffy.

How would you describe your style? Talk about clothing and presentation and how it interacts with your performance as a musician and as a person in the world.

I don’t have a style. Let me say my style is no style. Clothing and props are extensions of money. I have no money or time to worry about style or aesthetic. I am enough. To me, if anything, style is my heart, it’s the courage to continue against the backdrop of structural racism.

What are the most questionable things that you see getting/having popularity in underground music and radical politics? Whats your take on who gets love in these scenes?

I see a lot of stealing of art. A lack of respect for so called black woman across the board by everyone, POC included. I see that people are desperate to get famous and will feed on anything moving. I see mediocrity being the norm. I see the failed education system. I see false information being shared. The scene is stuck in a vortex. The scene is desperate and divided all across genres. Radical music what is that even and who makes it I’m not sure I don’t even call my music radical, but against the white wall backdrop I can understand why folks think they are radical or may call my music that. Who gets shine in the scene are those are people who have money and connections, or a look that is easily digested, or people that make music that celebrates traditions of privilege.