Sadat X - Who’s Rollin? (Remix) featuring Jael of Brother Reade (produced by Pawl)

via

Someone was kind enough to post this video up on youtube from a sole performance in Sweden. Parts 1 - 6

Great interview with Bigg Jus where he discusses the end of Subverse Music, his filming of Rock The Bells, the downfall of the Big Three Labels and his appearance in a Howard Zinn and Noam Chomsky documentary. We also learn “…he is working on a collaboration with Shape Shifter Existereo, working on a new solo record to follow-up his airtight Poor People’s Day, working on shooting videos for the new De La Soul and (listed last just to tease the fans) working on material for the first new Company Flow record since 1997.” Link

Dan the Automator’s solo album, finished years ago, will probably not be released for another few years, if ever. He’s scared to release it independently and he thinks it’s outdated. Link

It seems “Omakase” wound up a casualty of MCA’s 2003 merger with Geffen, which cost a number of artists their record deals and ultimately led the Roots to bolt for Def Jam. “It ended up being this two-year stalemate,” Nakamura says. “I delivered the record, but nothing happened, and I couldn’t get off the label. Before you know it, years have passed by, and the lawyers are getting involved.”

Nakamura is now free of Geffen, “but the record is old to me, so I have to revamp it.” He’s also unsure where to take the project. “There’s been a couple offers, and they’re good, but I’m a little afraid of it. When I do other records independently, the financial end is much better. On the other hand, you can’t get a really big record off independently.”

I don’t know about you but I hate it when I drop crumbs on my vinyl. Link

This bowl is molded from an original 12″ vinyl record, keeping the look-and-feel (and the grooves) of the record in tact. The original record label is laminated and the center hole is sealed with a clear film.

Found this article at chicagodefender.com. The writer raises a lot of real issues and good points. My only major critique is he doesn’t offer any positive solution and the way it is written makes it seems as though the reader should infer the only solution is the destruction of HipHop, not education or renaissance, which I think many would argue is well under way. Link

How hip-hop destroys the potential of Black youth

Hip-hop has grown from its inner-city roots to appeal to a diverse and worldwide audience. It is no longer the fad some once considered it.

Unfortunately, it is also having a profound negative impact on young Blacks. This aspect of hip-hop can no longer be tolerated.

Hip-hop is not just a style of music. It is a culture borne of poor, inner-city life in America that has evolved into the rallying cry of those unable to negotiate the nuances of the mainstream. It now serves to glorify formerly stigmatized characteristics of the lower class, preventing the impetus for upward mobility.

To start with, hip-hop lyrics involve recurring themes of braggadocio to the extent that one can only wonder if it is overcompensation for inadequacy.

Beyond the music, hip-hop culture encompasses street codes of behavior and an overall defiance of social convention. It is this defiance of mainstream life that is at the root of much of the underachievement now plaguing Black youth. Hip-hop orthodoxy infers that young Blacks who emulate mainstream attitudes are exhibiting weakness. This, of course, is a cardinal sin within that culture.

Black youth thus feel encouraged to eschew the important concept of deferred gratification at a life juncture most critical to future achievement.

Hip-hop also promotes the accumulation of gaudy symbols of success and to get them fast. When young men prance around with their ostentatious “bling,” they illustrate their worthiness to the opposite sex. Materialism becomes a means for winning sexual conquests. Yet another is cultivating one’s thug factor through braided hair, baggy clothing, ghetto diction and street reputation.

Not to be outdone, young Black women play a role in perpetrating hip-hop culture as well. By rewarding young men who accumulate the bling or those who live the thug life, they maintain the appeal of this destructive lifestyle. Considering this, is there is any wonder why crime has such a foothold in young inner-city life?

Talented inner-city youth who should be bright enough to realize the importance of preparing themselves for the future too often can be demoralized and browbeaten into hip-hop conformity. The culture of hip hop can cause some of our best Black students to be branded with accusations that they are “acting white” or not “keeping it real.” Moreover, many teens who aspire to normal jobs are subjected to ridicule since the hip-hop imperative respects only fast money, regardless of legality.

Sadly, even when hip-hop devotees do take positive steps and attempt to enter the mainstream job market, they often find themselves devoid of the skills necessary for the best career paths. Because hip-hop is frequently the cultural norm for inner-city young Blacks, it is only natural for these young people to see no harm in applying for a job with unsightly cornrows, baggy clothing and using less-than-acceptable English.

But what about the differences between Black and white youth consumers of hip-hop culture? Why do they seem not to be as adversely affected as Black youth?

For white youth, hip-hop tends to serve as little more than a medium for rebellion, much like rock and roll was during the 1950s. Only rarely do the children of the white middle class try to take on hip-hop as a way of life.

Thanks to the global reach of the American entertainment industry, it is no surprise that angry and underprivileged youth in Europe, Africa and Asia are now enthusiastically embracing hip-hop. It’s important not to forget that hip-hop culture was intertwined in last year’s violent rioting of Black and Arab youth in France. Recall how the rioters dressed and conducted themselves in a thug-like manner, as well as the hip hop music they blasted while torching vehicles and property.

Let’s face it. Hip-hop culture deadens the drive toward civility and legitimizes backwardness. It is high time the general public comes to terms with the social damage it perpetuates. If not, we can all count on yet another inner-city generation suffering from wasted potential.

Jeffrey Hicks is a member of national advisory council of the Black leadership network Project 21. Comments may be sent to Project21@nationalcenter.org.

The Residents will be feeling the love as MoMA screens about 270 minutes of video from the groups last 35 years at New York’s Museum of Modern Art in October. Hardy Fox and Homer Flynn from The Cryptic Corporation will introduce the videos on the 19th and 20th. link

Program 1 - Thursday, October 19, 6:00
Program 2 - Thursday, October 19, 8:30
Program 3 - Friday, October 20, 6:00
Repeats:
Program 1 - Saturday, October 21, 2:00
Program 2 - Sunday, October 22, 6:00
Program 3 - Sunday, October 22, 4:00

After eight long years, Erick Sermon and Parrish Smith are back together again and will be performing live at BB Kings in NYC on October 14th. The guest host for the evening will be DJ Mister Cee but don’t think the surprises will end there because I expect a crazy amount of artists to be in the venue that night. Redman? LL Cool J? K-Solo? Keith Murray? Busta Rhymes? Tribe? Get your tickets NOW!

Erick Sermon and Parrish Smith are back to reclaim their rightful place in the spotlight with one of the most highly anticipated reunion shows in rap history. EPMD is one of the most respected and successful hip hop groups of all time; a two-man musical tag-team whose penchant for turning rap business into the listening pleasure of millions of fans worldwide has resulted in four gold albums- Strictly Business, Unfinished Business, Business As Usual and Business Never Personal- and a streak of classic singles (”It’s My Thing,” “You’re A Customer” “Strictly Business,” “You Gots To Chill,” “So Wat Cha Sayin’,” “The Big Payback,” “Golddigger,” “Rampage,” “Crossover,” “Headbanger”) as impressive as any in hip hop history.

Still deciding what to do after stuffing yourself with turkey, mashed potatoes and candied yams? For two nights only, Ra will be blessing us with his presence at BB Kings in Times Square. He doesn’t perform often so be sure not to miss out. The last time he was in NYC, hip-hop icons Grandmaster Caz (Cold Crush Brothers) and Raheim (Furious Five) came out and did some new material. Nov 24th Tickets, Nov 25th Tickets

Ask any serious emcee who their influences are, and without a doubt, Rakim Allah will be high on the list. An intelligent and incredibly skilled microphone fiend, there are very few artists who have had the impact and influence as The R. The Queens native exploded on the scene in 1986 with the release of one of hip-hop’s all-time classic singles, “Eric B. Is President.” His baritone,
wisdom-filled verses were the perfect accompaniment to Eric B’s airtight drum programming and perfectly executed cuts. Rakim’s nonstop flows, conceptual lyrics and deadly serious delivery revolutionized the art of emceeing. Their legendary union produced four solid albums and several timeless singles. After a five-year hiatus, he returned with his first solo album The R in 1997, followed by The Master in ‘99. One of the most important and esteemed emcees to ever grip a mic, Rakim will forever be credited for taking hip-hop lyricism to a higher level.

A new album from up and coming producer Mils known for production work for Pigeon John, CMA (Grouch/PSC), Scarub and luckyiam.psc from the Living Legends is officially out today. link, order

01. Faux Real - Intro
02. Jealous & Scared feat. Paul Barman
03. Upside Down feat. Pigeon John
04. Supposed 2 Be? feat. Luckyiam.PSC & Sappy Samson
05. Heart feat. Shayleen
06. The Creditor feat. Eekwol
07. Astum feat. Suga-D, Big Dro, HellnBack, Eekwol & DJ Icewater
08. Your Name Here feat. Lance Knight
09. Control Through Fear feat. Manik1derful, Obcidian Optimo & DJ Moves
10. Fun While it Lasted feat. D-Dose & Shayleen
11. Hitchhiker’s Guide feat. Scarub
12. Born into this World feat. Kay the Aquanaut
13. Aiden’s Song
14. He Never Came Back feat. Langdon Auger
15. Restfull Vigil - Outro

Interesting Wu-Tang/Dixie Jazz “mash-up” project. If you’re anything like us, you probably aren’t comfortable with anything labeled mash-up so we’re going to refer to this as a blend project (peace to Dj Double R & G Bo the Pro, Ron G, Kid Capri, Chill Will and other pioneering mix tape djs). Produced by Dj BC who also does weddings. Link via

“I’d rather poo in my mum’s Sunday roast than have Danger Mouse produce a Portishead record” - Geoff Barrow

Has it really been 9 years since the last Portishead record? Where does the time go? Their mysp*ce page has audio up from something recorded in 2003 which isnt anything really except for a random beat but a new album is supposedly in the works. Portishead producer Geoff Barrow recently formed a new superband with Dominic Aitchison from Mogwai called Crippled Black Pheonix and are releasing an album sometime in 2007. link, Wandering Star

The dollabin: one more crate EP from Everyday Beats is a nice late-summertime listen and is available for free. link

Is Hyphy a real movement or is it a gimmick?

HipHop fans can only wonder what their music would sound like in a world with more practical copyright laws. In this post, El-P talks about having to re-record some music to try to match the original samples he had selected for a song from his upcoming album, I’ll Sleep When You’re Dead. If you ever wondered why producers don’t sample drums anymore, it’s not because fruity loop drum kits are dope. Link

this is the last song on the record. being that i only pretend to be a musician, it was a pain in my ass to switch meters from 6/4 to 4/4 then back again repeatedly. the end of the song had 2 james brown samples that were the fucking shit, but i bowed to pressure and im gonna have them resung and changed up. fuckin sample laws. i swear to god when the first nuke is dropped in the middle east im immediately dropping an album that is produced with no regard for any sampling laws what so ever. every beat will have impeach the president drums, james brown screams, 16 bar philip glass loops and a verse from biggie grafted on the end of that bitch. you cant telll from the flick but this song has over 80 seperate tracks of music. for those who arent familiar, thats a pro tools file. pro tools isnt some magical cheating machine, it a digital recording and editing program.

I would go to this if I was in Texas. Link

Some of the good people behind Equinox Records recently launched RapHistory.net, an online database for rap records from 1979-1989. Currently in beta version, I think the idea is to make this all encompassing. They are taking submissions but wouldn’t it be great if it was programmed wiki style? Link

They also just released the next two 10inches in their instrumental series. Check the snippets.

Arcsin “Uprock Citizen EP”
A |
(01) ARCSiN „The Tomorrow People“ mp3
(02) ARCSiN „Uprock Citizen Brigade“ mp3
B |
(03) ARCSiN „Epileptic Velvet ” mp3
(04) ARCSiN „Jar of mice” mp3

DJ Scientist “Journey Goodbye EP”
A |
(01) DjSCiENTiST „Atarius“ mp3
(02) DjSCiENTiST „Autum Leaves“ mp3
B |
(03) DjSCiENTiST „Journey Goodbye” mp3
(04) DjSCiENTiST „Atarius Remix” mp3