via Nah Right Lite

Lil Mama album out today. NYTimes has a piece on her potential. I said it before, this girl can rap her heart out. Too bad the music on her album is so poppish.

Saturday, May 3rd, 2008
James Brown Funkfest
Official Release for Nelson George & Alan Leeds’ “The James Brown Reader: 50 Years of Writing about The Godfather of Soul”

Special DJ sets by:
The Legendary DJ Scratch (EPMD)
O Spindles
Baby Dayliner
$aucey

87 Ludlow NYC Delancey & Broome 10pm, $5 w/ RSVP to: nicolenelch@gmail.com

HoodHype Show had NYOIL as a guest recently. They threw up a preview with audio snippets as they continue to edit the full thing down. Link

NYOIL on HoodHype Show [preview]

Peace to everyone that felt the need to respond to my most recent post about racial prejudice. Apologies to everyone who read it looking for a persuasive essay filled with supporting arguments and instead were met with a half-hearted attempt to explain my warped views on social inclusion and community assertiveness. My writing was lacking again, mostly because I didn’t write enough (professional writer I am not) and for pointing that out to me in a dickhead kind of way I want to thank RHS from Oh Word. Well, here I go again. Take it for what it’s worth.

I despise racism. This stems from the fact I’ve encountered it on the fucked side one too many times. But also because I view it as counter-productive to the goals of a certain movement that I follow with interest. To question this very personal belief is wholly obnoxious. But that’s beside the point. I understand the urge because the only representation of “G” online are my posts on grandgood.com. But if people think that’s all there is to me, or any other individual with a limited online identity, what else will they so easily choose to believe? Could it be that the sum of my posts do not represent me in my entirety? Could it be that one’s decision to simplify people and jump to conclusions about their personal beliefs is an attempt to more easily fit them into one’s own world view or self image? “You not like racism? That’s unbelievable, you never mentioned that to me before?” Is that considered an aversion to dissonance? Whatever. Back to what I was saying. One of the interesting things about my personal experiences with racial prejudice is that the people fucking me have been of a variety of races. Getting snuffed by a black fist or white fist while being called whiteboy or spic, same shit basically. Having an almost-Caucasian Argentinian, who comes from a neighboring country and probably shares some of the same blood with you, call you a fathead peasant? Just as upsetting. Sometimes my skin was too dark and sometimes it was too light, one of the perks of living in an ethnically diverse neighborhood. When I was younger I responded by stepping to people on some “what now!” shit. As I got older though I came to believe that violence is not always the most effective response or deterrent, especially when what you’re looking for is acceptance, not revenge. My mindset switched. I started to read about people like Dr. Martin Luther King Jr. and Mohandas Gandhi. My violent responses, although satisfying to a certain extent, didn’t force people to open their minds to understand where I was coming from, it actually helped to seal their minds more securely. This is a personal belief based on personal experiences. For the most part I believe it to be true. Can I imagine a scenario where organized violence is required? Yes. But let’s not get into that.

Thinking back to my childhood, I can’t help but feel as though I migrated towards hip-hop culture to escape feelings of social exclusion. And before panties get in a bunch, let me just state, I use the term hip-hop loosely. I am only going on 29 years old. Hip-hop to me was a very different experience than hip-hop was to Grandmaster Caz or what is now to Lil Mama. Whatever. I can’t find another term for it that I like. And while I’m at it, let me clarify my use of the term racism also. I don’t mean racial consciousness or racial identification, something that would relate more closely to racialism. In this context I invoke the definition you might find in and odd place like Webster’s Dictionary. Here it is for you lazy folk:

1 : a belief that race is the primary determinant of human traits and capacities and that racial differences produce an inherent superiority of a particular race

Yeah, so there it is. I don’t believe in this sort of racism. It’s just the way I see things at this time. But lets take it back for a sec. So for a variety of reasons I remember feeling most comfortable among heads that were into hip-hop. It’s where I felt relaxed and safe and I could stand still. It was sort of like a family born, we would gather up all the soldiers and form into an invincible swarm of kids, and then it was on again, drinking straight from the bottle warm gin drippin’ down my…pardon. What I was saying was, hip-hop embraced me as a youngster. Skip a couple of years and I’m in college. Again I start bumping into these instances of racism and social exclusion, manifested one prominent way via a variety of social cliques. These cliques tended to be defined by race. A lot of Chinese joined the Chinese fraternity. Indians joined the South-East Asia club, so forth and so on. Where do I end up? Zulu Nation. Well, actually, let’s call it Project 5. Yeah, the official NYU chapter of Zulu Nation was revoked my first or second year there due to some violence. But that’s another story. I remember Project 5 as being racially diverse. But our viewpoints were similar. And so was our passion for what we understood to be hip-hop. By the way, here’s a recent statement from the founder of Zulu Nation, Afrika Bambaataa, where he touches on race and musical xenophobia:

I, Afrika Bambaataa, have heard it all, read it all, in many magazines throughout the world, and seen almost all in this continuing bullshit about which rappers are better, east coast v west coast, Miami bass hip-hop is bullshit, British Rappers sound funny rapping, electro funk, techno rappers are soft, I like hardcore rap and beats, this one group is like that, old school vs new school, Rap wouldn’t be rap if it wasn’t for the battles, I’m the quickest, baddest rapper, deejay around, Go Go music in Washington D. C. is dead. It’s all about hip-house or house music all night long. I dis you, you dis me, my crew will take you out or kick your ass, fuck this or that, Nigger, Bitch, Nigguz, Nigguh, Hoe, Hooker, Bitches with Problems, Hoes with Attitudes.

Just look at yourselves, sounding like a bunch of fools, who really don’t have any true knowledge of self and knowledge of hip-hop culture and what it’s all about. First of all, let me tell you that the music (beats) that makes up hip-hop, comes from different nationalities and races, especially from black people, and if you think I am a brother who don’t know what he is talking about, just check out many of the music, beats, grooves and sounds that many of your rappers use to make their records or rap over. Hip-hop music in general is colorless and not racist. It comes from many categories in music, for example: Hip-hop music is made up from other forms of music like funk, soul, rhythm & blues, jazz, rock heavy l, salsa, soca (calypso), TV shows, kiddie shows, horror movies, techno, pop, disco, african, arabic, reggae -etc. . . . and if you use any records from these categories, you will see that the music is made by people from different races or nationalities from all over the planet, but it’s roots start with black people.

So yeah, I don’t understand why anyone would attempt to remotely defend any form of racism. And I can’t stress this enough, I’m not talking about racial consciousness. Anyone who thought that is kind of dense because it simply wasn’t what I said. I’m not saying we shouldn’t learn about the way race has and will continue to impact society. I’m just saying race should not be our defining quality as human beings. And in addition, race barriers serve to fragment our society, even among people who I believe should have common goals of empowerment and social reform. I tend to see the world through an economist’s glasses. I’m not saying I am an economist, I just tend to read about certain theories and subscribe to certain schools of thought. I personally would prefer to see individuals and groups identify themselves more enthusiastically according to social class instead of race or culture. That’s me. It might not fit with other people’s beliefs or goals but whatever. We all have progressive political movements that we monitor. Just so happens the one that I tend to be interested in the most doesn’t work well if race is the defining human experience. Workers of the world unite!…um, except if you’re Caucasian…but maybe if you’re yellowish. And to extrapolate that I do not see the importance of race because I choose to denounce racism, whether in the formation of hip-hop or any culture, besides being offensive, is just a reach.

Unfortunately my time is up! New 4 year record, 33 minutes on a post! Would have been 15 if I didn’t have three fingers in splints. My pinky is getting numb now and for that I will never forgive RHS. Making me explain myself and shit.

Yo, who’s hitting up APT this Friday? One time out!

Courtesy of Impose Magazine. (good looks Jeremy!)

The idea of creating crazy drum patterns came from funk. It’s now easier to do patterns with machines such as the MPC or the old school SP-1200, one of the first sampling drum machines. It still helps to know about drumming, though. I approach the drum machine the way a funk drummer would. I’ve studied the most popular drum breaks, including Funky Drummer (the main event as far as drumming goes). The entire hip-hop aesthetic is damn near built upon Funky Drummer. If you don’t believe me, see for yourself how many hip-hop songs sampled Funky Drummer.

The new Qwel and Kip Killagain album will be on sale as well as a tour CD. Link

Just a lil’ early warning on what’s coming up ya’ll… The New Wine Tour starts in June, kicking off in Chicago with the release party @ Reggie’s June 6th. The tour will continue the following week with these dates:

6/10 - Columbus, OH @ High Five
6/13 - Des Moines, IA @ Vaudeville Mews
6/14 - Minneapolis, MN @ Dinkytowner
6/16 - Denver, CO @ Quixote’s
6/18 - Missoula, MT @ Badlander
6/19 - Seattle, WA @ Nectar Lounge
6/20 - Portland, OR @ Berbatis Pan
6/21 - Boise, ID
6/22 - Santa Cruz, CA
6/23 - San Diego, CA
6/24 - Pasadena, CA @ The Terrace
6/25 - Flagstaff, AZ
6/26 - Mesa, AZ @ Blunt Club
6/27 - Albuquerque, NM @ Moonlight Lounge
6/28 - San Antonio, TX

The New Wine Tour will feature Qwel, Robust, Dirty Digital (Qwazaar & Silence) & DJ Dallas Jackson. We will have full info on all the dates soon.

We are also going to have a tour CD featuring a gang of new material from all the artists on the tour and some other guests… along with the brand new Qwel & Kip Killagain “The New Wine” CD

This Friday Stones Throw artist and Los Angeles DJ Dam Funk will be visiting APT in NYC [Downstairs]. This man is a former G-funk producer and founder of the Funkmosphere on Monday nights at Carbon in Culver City, LA, who kills it with boogie (damn I still hate this word LOL) classics. Check out the remix he did for Baron Zen’s cover of the Gap Band classic “Burn Rubber” on Stones Throw and his upcoming EP set for release later in ‘08.

Friday, May 02 @ Tha Get Up! / Duane Harriott welcomes Dåm Funk - 10p / $10

Duane keeps it rolling with an amazing string of guests. Last month, he had Maurice Fulton. The month before it was Theo Parrish. And now… Dåm-Funk. You may know Dãm-Funk from his remix of Baron Zen’s “Burn Rubber” & his debut solo joint “Sidewayz” both out now on Stones Throw, but he also throw’s one of the freshest Monday night parties in L.A. called FUNKMOSPHERE which focuses on rare joints from the early 80’s based Boogie/Funk, Modern-Soul, & ‘current’ Modern-Funk sub genres respectfully. An L.A. native, raised in Pasadena, CA & now based in the Leimert Park section of Los Angeles, Dãm is now currently recording his debut ‘EP’ for Stones Throw Records with full support from label president & friend Peanut Butter Wolf which promises to be the ‘Modern-Funk’ project everyone’s been waiting for to emerge from the left coast.

Here’s some vids to let you know what you will have in store at APT. The sound and visuals are a little crazy but you can see what type of shit he’s working with. (props to user centralline14 for upping those)

Dam-Funk @ Funkmosphere New Year’s Pt. I
Pt. II
Pt. III
Pt. IV

Dam Funk was also recently featured in the newest Wax Poetics, Issue #28, which is supposed to be the bomb.

The only song I can listen to on the album. via Rock The Dub

June is shaping up to be a good month for shows. Black Sheep and The Beatnuts at the Knitting Factory, Video Music Box 25th Anniversary in Central Park, Paid Dues Festival at Nokia Theatre and now this. Dope. buy tickets

RAEKWON + CAPPADONNA

2008-06-19
8:00PM
Doors @ 6PM

$25.00 Advance
$28.00 Day of Show

SRO * ALL AGES

see also:
Black Sheep in NYC (6/11, 9pm)
The Beatnuts Live in NYC (6/14, 11pm)
Video Music Box 25th Anniversary Concert in NYC (7/18, 7-10pm)
Paid Dues Festival feat. Rakim, Gza, De La Soul, Hieroglyphics and more (June 4 to June 14)

Going down tonight at Southpaw in Brooklyn, NY. venue info

Wed. 4/30
a Lupas Charity Event with:
OC, Jeru Tha Damaja, Ugp & The Lordz…
hosted by the one and only, Sasha Jenkins (ego trip)
come celebrate Bella’s 30th bday as well

$10
8 pm doors/9 pm show
21 and over please…

Part of Sputnik’s Subway Series. Star studded lineup for only $18. I can’t wait to see Large Professor and Craig G perform. buy tickets

May 15, 2008 8:00 PM

Bar Sputnik
262 Taaffe Place
Brooklyn, NY 11205

Sputnik Subway Series Volume 1 is proud to bring back live performances from legendary acts: Brand Nubian, DJ Premier, Large Professor, Craig G, DJ Evil Dee and upcoming talents G.I.C. and the Funk Face.

NOTE: No-one under 21 years old will be admitted.

Just noticed this post about a remastered Blendz Vol. 1 Tape [1991], then I came across this on the Smoking Section. I’m still looking for Ron G’s 187 Tape from ‘93. Visit Dj Ron G.

Download Link
DJ Ron G- Double Trouble tape (1993) (Tape Rip)
DJ Ron G - Blast From The Past Vol. 2
DJ Ron G - It’s On (1994)

“I KNEW THAT I HAD TO MAKE A TAPE THAT WAS HOT AND DIFFERENT FROM WHAT ALL THE OTHER DJ’S WERE DOING AT THE TIME. I NEEDED THE BLENDS TO BE HOT, TOO. I WANTED TO PLEASE AND APPEAL TO PEOPLE WHO WERE 16-40 YEARS OLD. I WAS 16 YEARS OLD AT THE TIME I MADE THIS TAPE AND I WANTED TO BE INVOLVED IN HIP HOP. I PICKED UP ALL THE NEW HIP HOP RECORDS FROM GUYS LIKE BIG DADDY KANE, BIZ MARKIE, EPMD & CLASSIC JAMES BROWN ONES. I ALSO BOUGHT ALL THE HOT BREAKS AND BEATS THAT THE YOUNG HEADS LIKED. THEN I GOT ALL THE OLDIE BUT GOODIE MUSIC FROM MY MOTHERS HOUSE AND RECORD STORES. STUFF LIKE MARVIN GAYE, MICHAEL JACKSON, ANITA BAKER, PEBBLES, TEVIN CAMPBELL AND MANY MORE. AFTER I GOT ALL OF THIS, I WAS READY TO MAKE THIS MASTERPIECE. WHILE I MADE IT I WOULD TAKE A BREAK FOR A DAY OR TWO TO SEE WHAT WAS HOT AT THE MOVIES OR THE HOOD THAT I LIVED IN…THEN I WOULD BE CREATIVE WITH IT. WHATEVER I DID THOUGH, HAD TO MAKE MY MOTHER HAPPY. SHE WOULD TELL ME TO TURN THE MUSIC DOWN, BUT IF SHE HEARD ME PLAYING A MARVIN GAYE RECORD, SHE WOULDN’T SAY ANYTHING. FROM THERE ON OUT, IT WAS ON!”

This study was conducted by the Parents Television Council. It is an attempt to determine the extent of adult themes that exist within music video content that is viewed and marketed to minors. Procter & Gamble, the world’s largest advertiser (read: boss) by some measures has set up a toll free hotline ((800) 331-3774) in response to the report’s findings. Link (via)

Link

related:
Pete Rosenberg Interviews NYOIL On The Nas Situation [video]
NYOIL Seeks Intellectual Battle With Nas In Vain, But Fans Will Have To Start Asking Questions

Afrika Bambaataa will be honored at the Bronx Museum. They are labeling this a Gala which might make for a nice outing with your man or woman. BX museum is a nice spot, if you haven’t been I would recommend checking it out. Link

Hip-Hop “godfather” Afrika Bambaataa will be among those honored by the Bronx Museum of the Arts at “A Bronx Feast,” the museum’s Spring benefit gala.

Noted for being one of the founders of Hip-Hop Culture, Bambaataa has influenced other musical genres, as his creation of “electro funk” helped fuel the development of Freestyle or Latin Freestyle, Miami Bass, Electronica, House, Hip House, and early Techno.

The music pioneer, a co-originator of break-beat deejaying, was also instrumental in spreading rap and Hip-Hop throughout the world with the formation of his group, the Zulu Nation.

In addition to Bambaataa, the Museum will recognize renowned Latin jazz flutist Dave Valentín as well as artists and collaborators John Ahearn and Rigoberto Torres.

A Bronx Fest will kick off at 6:30 p.m on May 6.

Attendees will preview three of the Museum’s current exhibitions: Making It Together: Women’s Collaborative Art and Community, Highlights of the Permanent Collection: Women Artists and Teen Council Presents: Jamel Shabazz.

The gala will also include a silent art auction featuring the works of prominent visual artists and alumni from the Museum’s Artist In the Marketplace (AIM) program such as Joe Fig, Chitra Ganesh, Carlos Garaicoa, Kate Gilmore, Sara Oppenheimer, and Phoebe Washburne.

For event details or to purchase tickets, call Esther McGowan at (718) 681-6000 ext. 155