ALSO check WEST COAST THEORY

“We wanted it LOUD and we wanted it with a lot of BASS…”

West Coast Theory is a new doc that explores all facets of the West Coast sound, including bass, incorporating live musicians in sessions, and the overall ‘formula’… with interviews from:

Battlecat
Fredwreck
Evidence
DJ Khalil
Rick Rock
Blaqthoven
DJ Revolution
DJ Muggs
DJ Babu
and more

Check out some additional vids on their youtube channel

This event should be dope. Please check it out and spread the word!

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.

This is a Suga Free appreciation post. Because Suga Free is some straight up hip hop and under appreciated.

Sometimes it’s easy to get lost in the pimp image, which is clowned as feminine, or the pimpish lyrics, which are more than just borderline offensive at times (lyrics to “Unreleased” off of the album Sunday School… “now fuck her up and pick her up, just beat her up and pick her up, now kill her ass and let god pick her up” – will make you laugh then most likely go ‘….wait’). If you were to get lost in these aspects of Suga Free, you would be thrown off the fact that he can rhyme is ass off. Most often, the pimp is seen as a comical icon, a tragic clown, in popular culture. For evidence, you can just look at Don Magic Juan in the green leprechaun suit. Sometimes a pimp is seen as a realist’s hero or a bottom-up hustler too, but in mainstream White America’s eyes, the black pimp is a clown while the white corporate pimps are usually just killer businessmen. It’s fucked up but most people like to call their boy who slays mad broads pimps, but hate the sh*t out of a real pimp.

Now, with the no-nonsense moral crusader Eliot Spitzer put through the ringer in a public stoning, while his fine-as-hell call girl ‘Kristen’ was all the while being pimped by an intelligent, educated, former ‘good-girl’, we have to ask why the pimp gets rocks thrown at him (or in this case, her) while the trick is just a trick. Sure, the madam, by all means a pimp in her own right, who hooked ‘Kristen’ with the big gig took a road less traveled, and what she did was, at the end of the day, outside of the boundaries of legality. But the papers seemed unusually busy skewering her character for operating in a service that is illegal while she was also educated. When did the highly in-demand sex industry become blue collar and what does education have to do with the sex industry? Maybe it was that the public is uncomfortable with a woman being in that position of power, mastering the domain of sex in a fashion usually reserved for males – porn directors, pimps, etc., and making more money than she would have most likely made in a legitimate job. Or it could be because she worked outside most people’s realm of comfortable dinner conversation. But truth is, I think that’s what you call player hating, my friend.

I’m not glorifying a pimp, I’m just saying he or she has a role in society that, by sheer longevity, must be somehow necessary.

But coming back to Suga Free, probably the only true and honest pimp in the rap game. Suga Free’s knack for spitting game is talked about in this video by DJ Quik (at about 1:40).

With that rapid fire flow and the constant breaks into comic routines, exclamations, sing-songs, role calls, you can’t deny the dude’s versatility.

Also, when you see Kool Boy and West Coast Pop Lockers in this next video popping to the soundtrack of “Don’t Fight the Pimpin’” kind of highlights that while the content is unique to a pimp’s profession, his songs are nothing short of West Coast staples. Just look how good it goes with the scenery and the dance, buddy.

EXTRA CREDIT:

Suga Free – Doe Doe and the Skunk

With the original Loose Ends track – Nights of Pleasure

The Teach-In’s purpose was not only to provide information and workshops to improve the efficiency and operations of the individual organizations but also to foster partnerships and even promote a larger, overreaching movement comprised of all organizations present united under common causes. Dr. Jared Ball, Rosa Clemente, Martha Diaz, Dr. White, and Mazi Mutafa from WBL, among others all stepped up to the plate as leaders amongst leaders and provided motivational insight through sharing of past experiences and a vision for the future. Lots of great information and tactics were shared for both traditional and guerrilla organizing.

We sat down with one of Los Angeles’ staple producers, Omid (or OD), to talk a little about his new works and artistic direction, in depth recollections about the making of Beneath the Surface, his debut project, and his role as an Iranian American producer in the world today. A genuine music man, Omid gives us a perspective from behind the boards in what is still a dynamic music scene. Visit him at mysp*ce.com/omidhiphop.

stream Gole Gandom by Omid
from forthcoming new untitled album

stream The Lakes of Turku by Omid
from Afterwords3



+

So thank you for your time. First, I wonder if you could tell us a little about the Afterwords 3 album that was released on itunes only. It seemed to have limited promotion and was not released on CD, what was the purpose of that?

Yeah basically it’s a lot of tracks that I made the last couple years. A lot of them had to do with when I was going to go tour Europe, just wanted to have some new stuff; I was working with this dance troupe out there and they wanted…

Yeah! I saw that online they choreographed something to your music, basically, right?

Yeah, it was like real experimental, interesting dance.

So was it expressionist dance or like jazz dance…

Yeah, yeah, kinda, kinda. Contemporary stuff, it was dope, it was different. So a lot of the songs from that, and just some tracks that a lot of people would just hit me up on the e-mail [about], instrumentals, just a lot of stuff that, before I put out my next album, that I wanted people to hear. Basically, it’s just a collection of tracks that I like that never really came out, and I said “I’ll put it in the Afterwords Trilogy!” Afterwords 1, was a little beat tape I did…

Yeah I remember that, actually one of my friends had that tape

Oh dope.

Yeah, yeah, yeah,

And then Afterwords 2 was a CD-R, and I thought it would be interesting, the first as a tape, second as a CD-R, and then make the third, which is digital, you know.

So this is different type of project, basically?

Exactly, yeah. It’s just a collection of tracks that the last couple years I’ve been workin’ on, and didn’t really fit one theme, and I put ‘em all together.

We spoke a little bit about the dancers, but I also read that you had an interest in working with a guy, Kurt Elling [jazz vocalist].

Yeah I talked to him before and he’s a really dope singer, a jazz singer. Grammy nominated guy, he does a lot of vocalese stuff. That’s someone with whom, in the future, I might do a song with. But that’s in the works.

The reason why I ask that question is that with the Good Life, where you started out, being so jazz influenced, and with Blowed being around the corner from 5th St. Dix, I was wondering about jazz vocalists and musicians that might have influenced your music or that you see yourself working with, besides Kurt Elling?

Well yeah, definitely been influenced by jazz. But as far as musicians that I want to work with? There’s a dude from the East Coast, a really dope drummer, Wynard Harper I think his name is. Dope drummer. That’s someone that actually performed at Leimert Park one time, and pretty much served everybody there!

Oh wow… he’s from the New York City area?

Yeah, he’s from New York.

OK, cool, I’ll look him up.

Yeah, yeah, the stuff I heard live was a lot [different], like his albums were a little more mellow and commercial, but, when he played, it was a whole different level.

Yeah, Kurt Elling I noticed, like I checked out his albums, like he seemed to be a little commercial too, but…

Yeah you gotta… you gotta, find the right songs. There’s a song called “Tanya Jean” That one sounds like Myka Nyne times ten.

Word, really?

“Tanya Jean” it’s on the album called The Messenger. And then he does another song called “Night Dreamer”, and he does a Coltrane cover, of “Revolution”, where he’s singing to all the notes of a solo.

I’ll check that out.

Yeah pick up the old stuff.

So do you feel like the audience has grown up from Beneath the Surface, to Distant Drummer, then Monolith, in the sense that Monolith was a more laid back, instrumentalist sound? It was a compilation of underground mc’s too but it seemed to be reaching beyond the standard hip-hop sound, especially of the LA underground. Did you grow as an artist?

I mean, yeah, I think so. I did Monolith in like ‘03, ‘04, and I definitely wanted to try some new things. Yeah definitely wanted to reach out, and sample a lot of different types of stuff.

More Eastern stuff?

Yeah, exactly. Exactly. And then with my new stuff, my next couple of albums, it’s gonna be real different, too. I think it’s gonna show a lot of progress. A lot of stuff I played out, but it still sounds sampled. So you know over the years, Beneath the Surface was more like “a fan of the Good Life / Project Blowed giving respects for their favorite artists”. Distant Drummer was like my quest to do something without any emcees, and see how crazy I can get, so big experimentation. Monolith was kinda like bringing it down to earth a little bit but still trying to grow musically. And then my next couple projects, like you remember the song “Sound of the Sitar” [from Monolith]?

Yeah, I do.

Yeah, I’m trying to do an album with that whole theme, like very Eastern sounding tracks. So it’s gonna be an album just of that.

That leads into another question actually, which is, in many ways your sound is distinct because of your use of Middle Eastern samples; Do you work exclusively with classic Middle Eastern material, or do you also listen to Iranian funk records from the ‘60’s and ‘70’s?

Yeah, I do, I do. And I also sample some Psychedelic Rock from the 60’s, where they would use a lot of the [Middle Eastern] instruments, and put effects on them. It’s really like, wherever I can get that sound from. And lately I’ve been listening to a lot of Turkish stuff, Persian stuff… I actually just got this really dope Iraqi record, spelled C-H-O-O-B-I, Choobi, you ever heard of that?

No! That’s crazy. What does it sound like?

[thinking] It sounds like some traditional stuff, but like if Aphex Twin kinda made it. It’s made in eighties but it’s so weird and it had different time signatures… it’s really crazy.

Kind of ahead of its time?

Yeah, definitely ahead of its time. It was made in like ’79 or ’80, but then a lot of effects, and just weird time signatures. Just weird stuff on it! So yeah, wherever I can get a specific sound from, I’ll use it.

I had another question about that; it’s about incorporating the Middle Eastern music into a 4/4, kick-snare element. Is it difficult to incorporate that, because a lot of it’s not in 4/4 rhythm, you know?

This album I’m working on, uh, if you go on my Mysp*ce, the first track [Gole Gandom – now the second track] is an example of what it’s gonna sound like. So that is an old school song, like old traditional funk, I took two different versions of it and chopped it up, and played bass under it. Basically that’s what I had to do, is use chopping a lot and effects, ‘cause otherwise it was like 6/4 time. 6/4 or who knows what it is [laughs]!

Yeah that type of music is very rhythmically complex so I definitely feel you on that.

Yeah and it’s old! And it’s got a lot of history, so to make it into hip-hop takes a lot of work. AND, to avoid making it sound like World Music and shit.

Right, right. Now, I want to go back a little bit and speak about you being a historical figure at the Good Life and Project Blowed. Why do you think the scene you came up into, and that you managed to bring to life on Beneath of Surface, and that album brought that whole scene together so cohesively, but what do you think makes that scene special, and LA special artistically?

That’s interesting you brought it up ‘cause, right now I’m working on a documentary on the Good Life. And you remember Figures of Speech?

Yeah, I do remember them.

Yeah, one of the emcees, Eve, she’s directing it. And I’m doing the music supervision, and all the sounds… and, it’s really bringing back a lot of memories. But basically, that scene, The Good Life, inspired me to become a producer. With the Beneath the Surface, I think I was able to capture those emcees at their peak, while a lot of them were making great music, but they weren’t able to either get signed, or do a whole project. I was just lucky enough to be able to capture that moment.

Yeah a lot of these emcees you don’t hear from anymore, St. Mark 9:23, Puzoozoo and the whole Onomatopoeia, it’s like they were dope at the time and then you didn’t see them for a while, it’s cool that you were able to do that.

Yeah, to think about it, I kinda wish I did a Part Two to that project right after it. I wish I had, because around that time they were still dope. If I were to do a Part Two now, I don’t know if it would be as good. A lot of them are still making good music, but… it’s not the same.

What do you think about the Blowed now, would you do a project with some of the younger emcees?

Uh, Nocando, and Kail is really dope. I haven’t heard too much of the other ones, but those two definitely.

So did Blowed slip or…

Oh I haven’t been to Blowed in three years, four years probably…as opposed to going every Thursday for five years [laughs]! It wasn’t the same, and it was more of a freestyle spot, instead of people practicing all week to do a show. I had to move on.

And more about the Beneath the Surface project, I actually bought that off you outside of Fat Beats back when it was on Vermont in Silverlake.

Oh word? So we met?

Very briefly, man. Just for a second. I’m gonna name like five songs, and they’re songs that I like, and maybe you can give like two sentences about them – either about the emcees, the process of making the songs, or ideas you had while making it.

No problem

(in)sense

Word, okay that track originally, that was supposed to be for Medusa and St. Mark. And the concept, was like, well Medusa had a concept where she was the Mom, and St. Mark was the baby in the stomach!

That’s ill!

St. Mark’s concept, he wanted to do a song with some Egyptian pharaohs or something… they both had dope concepts but it was taking forever to do the song…

[laughs]

…and at the time I was kicking it with Slant and them, and they’re real cool, and I saw that they were blowing up. I was like, “yo, you want to get on this?” and they were definitely down, knocked the song out. And they were like yeah we got this concept you know each of us is like a sense, and luckily, you know.

Yeah the ‘smell’ verse was crazy.

That was Slant right? I remember that. We did that at Kutmaster Kurt’s house.

You Are In My Clutches

Oh that one, we were doing the Shockadoom project. And I picked up P.E.A.C.E. and we were driving to a studio and I was playing him that beat, and he just started doing the chorus! He started doing the “You are in my clutches”, and I was like “Ah man, we gotta record that shit!” [laughs].

So it was kinda natural then, it just happened…

Yeah it just, I was like check out this beat, and he started doing the chorus? I was like… alright… it’s over. We knocked it out in one take.

The whole thing in one take?

Yeah… in one take.

When the Sun Took A Day Off

That one… [thinking]. It’s funny how that one happened. I had that beat and originally, cause the album took so long to make I was going from studio to studio, I remember at the time I was recording at Fat Jack’s. I mean Acey was up there, I didn’t know him that well then. But he was like “What’s this project you were working on?”, and I was like “I don’t know who’s gonna be on it, but it’s serious.” And then this dude named Orion South…

He was partners with Phoenix Orion, right?

Exaactly yeah, they cousins I think. He was like “Yeah, just make us a beat” and I tried to get him on there. I made him that beat, but it was taking forever to knock out so I ended up doing the other song with Orion and Phoenix. And then one day Acey was like “What ever happened?” when we were wrapping up the project. I went to his house to drop off the beat and Jup [Self Jupiter] happened to be there. So I played it, and then he was beneath his breath, doing his rap, and he was like ‘huh, that’ll fit for this one concept! I’ll take a day off’, and then he started doing it, and you know… I was trying to keep cool, but [in my head] I was like “Oh shit, this is the craziest shit I’ve ever heard!” [laughs] And so it kinda happened like that, and they showed up to the studio, and dropped it.

So he did his verse live and it blew you away?

You know I could kinda hear it, I couldn’t hear every word, ‘cause he was kinda doin it under his breath, but I could tell that it was on some next shit. Basically Jup had the verses, and Acey rewrote his to fit the theme.

And what was it about, was it just like a fairytale kind a thing?

It was kind of like a small town where all this crazy shit happens, like a Jup concept of him taking it to another world, and kind of an intro to the album.

OK… how about Farmer’s Market [Farmer’s Market of the Beast] that was another one, with another crazy concept.

That one… that one started out with me hangin’ out with my friend – I was kickin it a lot with Radioinactive at the time, I mean I still do. Not as much as I used to but he was like “Yeah man, we should do this song about animals”, cause he had a goat verse he was working on, and I had laid that beat. And he was like “Yeah, we’ll get my homeboy Awol and Circus on it, and I also told Jizzm to be on it.” So then I was like, “Alright, if we’re gonna do a song with animals, we gotta get Xinxo!” He had already done a song where he was a butterfly, and another song where… he was always doing those type of things [I think there was also a song he did with a cougar on “A Tape From a Stolen Car”]. So originally we went to the studio, Xinxo didn’t show up, and Circus’ verse was three times as long! We recorded it on a reel to reel and the reel ran out! So were like “aw man you gotta do something else!”. So then we went to another studio, and he wrote another verse, which was still long, but not as long, and Xinxo happened to finally show up that night, and it just turned out like that. And at first I didn’t even know what to think of the song, I mean I knew I liked it, but it was so like, weird. [laughs] It was so long, and I was like “If I put this out are people gonna like this?” And so I ended up choosing to put it on there. Luckily I did it.

Yeah it came out amazing. It was weird and then it just grew on me.

Yeah I think it grew on me because, especially Circus’ part, I wasn’t sure about it. But then I played it, and I think Phoenix and them, when he came on, they were like “Oh shit! This is the craziest shit!” People that I didn’t really expect to like it was really pumpin’ it up! So then I started listening to it more, and then I was like “Oh… this is off-the-hook shit.”

OK this last one… BustMustJustUs?

Right, that one was supposed to be an OMD track. But the beat came out so hype that I had to jack it for my album [laughs]. But I was like “2Mex you gotta still be on it” and at the time I don’t think I had done “Sunny Side Up” so I wanted Khule on there. And then, it would have been too short with just two emcees, and I wanted to get Wreccless who at the time was in Hip Hop Kclan still so… he came on that too. So you know get the Afterlifers on there to [rip it]

Are there any other songs on there you wanted to talk about? Those are the ones I had written down…

I mean each song, started out different that what it was intended to be. Who’s Keeping Time? instead of Rakaa Iriscience, it was supposed to be Volume 10.

Oh, that would have been sick! Word. What happened to Volume 10, I’m surprised he wasn’t on that project.

Yeah he was supposed to be on there. Myka Nyne was supposed to be on that too. [laughs] He flaked on the session, he was supposed to have a solo song. He said he showed up to the studio and I wasn’t there but I, I…. I’m not buying that one!

[laughs] Yeah, man.

And… Medusa was supposed to be on the song with St. Mark and J-Smoov. And then that song actually had a cool story.

Oh, Line Posting In Pedro?

I took ‘em…that is San Pedro, hence the name… and in the sky, man, I don’t know what was wrong. There was something going on that day, the sky was totally like pink, and it had all these crazy colors. And St. Mark didn’t have a verse ready. So he was like “alright just turn it on”. He just went down and freestyled for 3 minutes singing! Which is what you hear parts of. And that was the first time… I didn’t even know he sang. And he’s doin’ that shit and I’m like “What the fuck?” It’s crazy. So he just basically sang for three minutes freestyle. J-Smoov ended up saying, “Alright, I gotta rewrite my verse,” after hearing that. So he went back rewrote his verse, and then based on Smoov’s verse, St. Mark wrote a verse with the same pattern as he did. So then the singing is the original freestyle that I chopped up to have an intro, middle, and outro. So there’s an original version, which is him singing throughout the whole thing.

Would you ever release that?

Yeah when I find ADAT’s eventually, I’ll definitely release that.

So anything else you remember about that project?

I think those are the more interesting stories, yeah.

So the last question is about your background as well as your politics. How do you see your role as an Iranian American in hip-hop, and also your role as an artist and the connection between politics and art.

Yeah I mean on Monolith, we did that anti-war song with Bus[driver]… I would try to at least here and there. I mean there’s only so much you can do as a producer, ‘cause you’re not saying words, but that’s another reason that I try to choose the more political cats. Or like even Sach who isn’t… like up front he isn’t political, but he’s real political if you listen to it. Just a lot people with a lot of messages and just try to work with emcees who are on the same wavelength as far as, you know, view of the world and things like that. I try to fit that in but not where it’s too preachy. And as far as my origin, just the fact of using that type of [Middle Eastern] music in there to maybe get people to say, “Oh okay, they got some cool sounds… maybe they’re not a bunch of crazy killers after all!” [laughs]. To show the artistic side of the culture, you know what I’m saying?

Word! So in a way you feel like you might be enlightening people to the culture…

I hope so! I hope so, yeah. And that’s while I’m getting enlightened myself, trying to learn, ‘cause you know I’m still a student and learning too. I’m definitely influenced by that. I was raised here [in the States], so I didn’t get the full spectrum, but…

My friend goes back to Tehran occasionally, do you ever go back there?

No but my brother did a couple years ago they had a great time, and eventually me and my wife want to go visit too, yeah!

Cool, thank you for the interview, it was a real pleasure!

-


Omid went on to talk more about his next (untitled) project, the documentary film on The Good Life café (which is being produced mainly by Eve from Figures of Speech with additional significant contributions by Omid), as well as the state of the music industry. In the independent game, where somebody like OD has lived solely from making unique music that caters to a globally-scattered niche fan base, it’s becoming harder and harder to get by using the same platform. But ultimately he has been able to succeed with his work and has come even further in developing his sound on Afterwords 3. So pick up this new prelude to future projects, it’s an impressive piece. Also be on the lookout for the Good Life documentary in the works!

Peace,

T.Reynolds

Check out this live footage from Rico’s Loft, and you can peep the song Take Hold which I have been singing the lyrics to all morning, and coincidentally found just now. Peep Puzoozoo’s weird, super-rhythmic, singing style, and his sister Vixen’s abstract delivery, on top of Slant’s prototypical Blowed style production.

Take hold, enter with, numerous, things, and the luminous (?), brings and the rumor is your skins, are very high priced, the value is your life, take hold never fold, continue to fight




The lyrics are not necessarily incredible but put together like this, it becomes memorable stuff (sh*t, I remembered these lyrics for about 7 years now?).



Also check out Vixen’s solo joint Twice As Hard, on another one of Slant’s beats (you see the style yet?). I remember seeing footage of Vixen serving the daylights out of another female emcees at Blowed (I think on Murs’ LA underground documentary VHS joint), and got respect for her because of it. She just had style is why.



Dope all-in-together footage with all three members on top of some live instrumentation. Raise your hand if you fux with “in(sense)” off the Beneath the Surface album. Around 4:26, it gets rhythmically ridiculous courtesy Slant Eyes Cali-9 and then everybody ‘jumps on it’ accordingly. You can see the sibling love in the house (I think?).



More of Puzoozoo’s original ass style, which is bananas. Never heard this track before. But this shit is some real genre-less shit although it’s undoubtedly hip hop. I’ve only seen Puzoozoo a couple times at the Blowed but he always sneaks up from the entrance, holds it down hard on stage, and his physical presence on the mic is a direct contrast to his delivery. Right here you can almost see some similarity to how Busdriver has developed as an artist.



I also found some ridonkulous footage of Slant and Puzoozoo doing Tippy Toes (also on Self-Help I think), and some other verses and completely killing it at Project Blowed’s 4th anniversary. Some more vintage shit of how Blowed used to rock. I’m not sure if you hear the old host Chu in there or not.



Slant Eyes killing some more freestyles, peep the signature LA Claw hooking out the moist eyeballs of spectators amidst all types of mechanical and fluid chops.

This made my morning! I’m telling you, the LA Underground, at one point, could have been the next Grunge of Seattle, or the forward to the Crunk of the South, but instead, was an undertone to the Jiggy of Diddy.

Driving up into the back of the parade, police man letting some traffic through the procession.

After running up some blocks all the way to the front, I got a glimpse of the front of the parade, with marchers. As you can see, the RBG was in full effect.

This flatbed was real loud; don’t let those little speakers fool you. This was keeping the music for the parade on and filling up several blocks.

The SUV club X-ryders had a large presence. All admiring kids and other parade viewers were given the nod and the wave by these dudes.

Here’s a front view.

Here are some marchers toward the front.

Raising awareness about Darfur

C-roots movement representing. Bringing that lively youthful energy to the parade.

This guy is an allstar. Not only did he rep with the greatest van decoration, but he also gives free classes at his Bedstuy offices for doing your own taxes. This makes everybody more knowledgeable about the process and also leads to more returns, hopefully! But besides all of that, you can’t help but like this dude when you look at him.

The sun was getting lower as the parade went down Fulton. Here you can see the back end of the parade with police bringing up the rear.

That Graffit doc, Infamy, in 10 parts, featuring Toomer TKO (LA), Earsnot IRAK (NYC), Jase BA, Enem (Philly), Claw (NYC), and others.

Part I
Part II
Part III
Part IV
Part V
Part VI
Part VII
Part VIII
Part IX
Part X



see also:
Infamy The Movie

Recently, I was talking to a talented NYC cat about digging, and as an emcee and producer with an east coast aesthetic, he expressed that he favors 70′s records much more than 80′s synthesized funk. Let me say I’m also partial to the 70′s, but I must also state that the 80′s should not ever be slept on, like a toddler crying for milk during the night. So for right now, let’s check these 80′s funk pages out one by one. (Keep in mind also that by the time you read this post, some of the songs might have been switched out for others, but still may have the same titles… so, like a fat woman’s ass in a crowded subway car, don’t hold me to it)



1. Monster Funk

Rating: $$$ 1/2

Monster Funk is a page that features some great, easily likable funk jams. The first jam, generically titled “Funky Shit”, is sappy as shit, except in a very gangster way. This jam has stayed on the page while the others have been switched out over time, showing great lasting power. Make sure you listen until the powerful breakdown at around 2:45. “I reaaaally like it” indeed. “Old Skool” creeps up on you and bops you in the head. See how that windy synth sneaks up while the funky bassline distracts you and soon the guitars come in like it was rapper’s delight but more computerized, and by the time the vocals come in it’s too late. Shit is real. “Rare Funk” starts with some digital wizardry and space alien-like communications, like it was the Arecibo Response, and soon you are hearing about messages from the stars mid-coitus. “Monster 13″ is a warning about a loose woman, and features great arabian sounding breakdowns and a “rock it don’t stop” chant, plus some old school raps.


2. Funky Town

Rating: $$$

Funky Town moves very fast. By the time you get used to one set of funk tracks, new ones will be put up. This page tends to be heavy on the sentimental lovey dovey type jams, but do not forget how gangster it stays up in there (or all these pages for that matter). I won’t even break down the tracks because by the time you read it, they might be different. Let me just say the group I am listening to right now is blistering with funk! (LOL @ putting extras – but seriously it’s solid)



3. Funk 1312
Rating: $$$

Funk 1312 is usually pretty good, and simarly changes its songs very frequently. Some of the stuff they post lacks a certain edge sometimes though. To be fair some of the best overall selections at one time at one place I have found on this page.



4. Funk Rider

Rating: $$$ 1/2

This page changes its songs fast too, but I’m going to go out on a limb and say specifically that “Funk Rider 4″ you may recognize as the backbone of Mac Dre’s classic with E-40, “Dredio”. This track has been done and redone a grip of times though. “Funk Rider 1″ has a good opening drum beat. This page is very consistent.



5. Mister Groove
Rating: $$$$

This particular DJ, Mister Groove, offers his own self made mixes of many classic funk jams, such as Kleeer’s “Tonite”, Ameega’s “Funky Size”, Cameo’s “She’s Strange”, and Vaughn Mason’s “Feel My Love”. I give this page a rating of four $’s because his mixes keep the music fresh, never stale, so that even tracks you know really well sound brand new. The best part is that you can also hit him up to order his mix CD’s. I hit him off with a money order that I mailed to him, taking a risk on it, and got my mix CD back very quickly. So if you want an introduction to rare 80′s funk, I would hit him up and not be too scared about losing your money.



6. Whisper Funk
Rating: $$$ 1/2

What I like about Whisper Funk is that it’s run by a female. There’s a certain selection a female funk enthusiast will bring to the table that is very different from a guy’s selection. This page always has at least 2 good tracks, even if slightly geared towards the ladies, and it usually promotes a sound that is different from the host of other pages. I always check for this page.



7. Funkmosphere

Rating: $$$$

Funkmosphere is a page linked to a Monday night event at the bar Carbon in West LA, called Funkmosphere as well. I give this page four $’s even though the selection on the page isn’t the best ever, simply because the actual party is off the chain. Both Funkmospheres are run by Dam-Funk, former G-Funk producer and now current DJ and musician bringing the funk sound into modern day. The page selection is always solid but does not really represent the depth of knowledge that the actual event showcases. For example, the tracks usually sound a lot simpler than they really are, and usually build to a whole next level of dope, but only after a wait that doesn’t translate as well onto the net (hella nerdy comment I know). Other tracks like “KlassikGFunkness”, or Agony of De Feet by Parliament is not that rare but really is an undeniable track. On the other hand, “Rareindieboogiefunk” is both rare AND really good.



8. Ol-Skool Funk

Rating: $$$ 1/2

This page, Ol-Skool Funk, has really stepped it up recently, keeping true to never playing songs other pages have highlighted, and also keeping the vibe very on point and deep. The track titled “Firme” is really on point. I personally love these types of jams. “Ol” is some great daytime music, and “Sk” is better for the late night hype. These tracks all stand out and have depth.



9. OC Funk

Rating: $$$$

This shit is all banging (well as of right now). “Classic Funk 4″ is the Midnight Star joint “No Parking on the Dance Floor”, which features the recognizable squealing synth in the chorus. “Classic Funk 1″ is a banger, a very strong funk track. But, “Classic Funk 2″, or “You’re the One For Me” by James “D-Train” Williams is really my shit though, to tell you the truth. Did he just say “Bust a nut on a cloud, shout out loud”? Apparently I’m not the only one who has asked this question, as you can see in the comments here.



10. AffiliateSS Funk

Rating: $$$

Gawddamn get it while it’s motherfuckin hot (before they change the tracks). “Momma Said” just knocks. Momma I want to grow up to be a music lover, too. What he said. The other tracks are solid, but not standout.



11. Santana Style Funk

Rating: $$$$

This here is one of my all time favorites. One reason is because they currently have a “SA Style Three” that is tremendous and is on my myspace page. One of the best feelgood tracks of all time. And another is because a while back, they posted “Willing” by Ameega, the Madagascarian (?) wonderchild, which was also tremendous.



12. G-Funk 2007

Rating: $$$$

Germany brings the heat! This cat, has had “Trust In Me” by LJ Reynolds up for hella long, and that’s my track, for real for real. Also check out “Nights Over Egypt”, now that’s some smooth ass funk. Shit is how you say, clean as fuck? Don’t sleep on the chorus. “Oh Honey” is that old school ol-skool jam. That jam that was old-school in the old school days, that you may have played with your girl in junior high. Thank God for the Europeans, because without them we would consistently forget about our own culture.



13. Ol Skool Funkateers 714

Rating: $$$

The last one I will cover. He holds it down, and even has one of my favorites, listed as “Tha Dome Song LOL”. Strictly by coincidence, I am ending with the number 13. It has nothing to do with being hit over the head and brainwashed with the number thirteen all day as I was surfing the sites, I just couldn’t do anymore. I didn’t fit all the sites together that are out there, cause I’m lazy, but this is kind of a beginner’s list. Happy surfing to the funk lovers and FUNK LOVE… Chea

You all heard this fighting style referenced on numerous occasions by members of the Wu-Tang Clan. Some people call it BS, some say it would never work against a traditional style. But according to a growing number of sources, during close range fighting, such as inside cells or hallways, it has been practiced for quite some time. 52 Hand Blocks is one of many Jail House Rock styles and there is a documentary coming out soon.

- Link to trailer for upcoming 52 Handblocks documentary
- Video of 52 Handblocks versus other forms at close range – But to be fair the guy looks a lot stronger than his opponents who fight in more traditional styles
- Discussion of the fighting style – Some highlights of this discussion include input from Doug Century, who did a piece in Details magazine about 52 blocks back in 2001.

“I’ve talked to some prominent prizefighters such as Zab Judah and Bernard Hopkins who know of the technique, did several long interviews with Dennis Newsome, and John Sowett (sp.) who published the book Martial Arts around the World. Newsome is probably the most scientifically knowledgable about it — he won’t refer to it as a martial arts, but as a prison survival art. Much thanks for posting old Black Belt article: I never thought of Floyd Patterson’s peekaboo stance, later picked up by Tyson, as being influenced by Jailhouse fighting, but it’s very probable.”

- And an excerpt from a 1974 Black Belt Magazines article:

From BLACK BELT MAGAZINE, July, 1974: “Karate in Prison: Menace, or Means of Spiritual Survival?” by Anne Darling and James Perryman, p. 21:
Another ex-inmate says the first time he ever saw a karate technique was in Coxsacki, a New York prison, in 1948. “The different prisons had and still have their own fighting styles,” he says. They were prison martial arts, not traditional styles. In fact, Kid Gavilan (world welterweight boxing champion, 1951-54) used a Coxsacki variation, and Floyd Patterson’s peekaboo style was a Coxsacki variation, too. Because of limited space in prison, we learned wall-fighting techniques. Then a lot of former G.I.s in the joint had learned hand-to-hand combat – they came home, styled it, made it hip, and gave it soul.”

Miguel “Miky” Pinero, while an inmate of Sing-Sing, wrote a play called “Short Eyes” about the killing of a sex offender in a house of detention. The play is now a smashing success at the Public Theater in New York. Pinero describes his introduction to prison martial arts: “The first thing I did in the joint was to check out the style and learn to fight with a home piece – somebody from my neighborhood on the streets. I learned the Woodbourne shuffle, an evasion technique that first was used in the joint at Woodbourne and got passed around. Then I learned wall-fighting, and somebody taught me the Comstock style.

The Comstock style, named for an upstate New York prison, involves what one inmate calls “the use of dirty fighting techniques.” The object is to lure an opponent into thinking he is going to get a “fair one – then go for a quick, sneak kick to the ankle, kneecap, or family jewels.”

- Does Kimbo Slice know 52 Handblocks?

The internet is showing leanings towards accepting this cat as the new truth. From Okayplayer to I don’t know where else, on some Neo shit. Referencing DMT (dimethyltryptamine – for a laymen’s explanation check here) is a sure way to get my attention, since I’ve been reading about its usage and natural occurrence in our Pineal gland during dreams and upon death. Some tremendous lines here by Jay Electronica that remind me of a more coherent and direct Anti-Pop or Bigg Jus.

Last night in the Bronx, at the storefront headquarters of Sistas on the Rise, the life-long activist Victor Toro celebrated his new freedom after being detained by the immigration branch of Homeland Security over the weekend. A room full of us came through to show support and listen to the activist talk about his personal struggle, from being locked up and tortured by the US-funded and endorsed Chilean dictator Pinochet, to the grassroots organizing that he has been spearheading for a long while in the Bronx and the consequent harassment he has endured from the NYPD because of his activism.

Founding La Pena del Bronx in 1987, Victor Toro began fighting for immigrant rights and the youth of the Bronx as one of the millions of illegal immigrants living and working in the United States (well besides all the ones who came from Europe back in the day). Before that, he was a member of Movimiento de Izquierda Revolucionaria, or Movement of the Revolutionary Left in Chile, which was disbanded, imprisoned, and scattered after Allende’s leftist government was overturned by Pinochet’s US-backed regime in the early 1970′s [actually, September 11th, 1973 to be exact]. For more information on US intervention and covert ops in Latin America read Empire’s Workshop by NYU professor Greg Grandin, which goes to great length in uncovering the United States’ little talked about role in upheaval, massacres, and rampant poverty in South America.

Translating the testimony of Toro was the activist’s nephew and Chicago-to-BX emcee and activist, Rodstarz from the group Rebel Diaz, which just got back from a tour of the West Coast and is on the rise. Shout outs to Rod for organizing the event and having us and good luck to him and his fam, and shouts to everybody in attendance.

Links:
Victor Toro in the New York Times
Victor Toro in the never too word savvy New York Post – Feds Arrest Activist Alien? Come on. [although Rodstarz pointed out that they did mention "CIA-Assisted military coup led by Pinochet" which is a big admission]

Repost this article and spread the word.

Some of this shit is so-so and some is certified dope. Ever since I won a car-CD discman player thing for the ride at a show like 6 years ago I been on a nonstop CVE / Blowed PR spree, not even getting payed, not even caring. This guy DJ Handprints who put this together supposedly has some other exclusive Blow’d mixes so go check him out, I’m feeling this mix. myspace.com/djhandprints

1.JUSTICE STYLE PRODUCED BY NAUHI.
2.FOREVER CVE.
3.SESSION ROCKIN.
4.MISS ME WITH THAT! FEAT: NUVETHAD.
5.DARLING INDI.
6.STRUGGLE MUSIC FEAT: ELLAY KHULE. PRODUCED BY KILLING TIME.
7.WHAT IT AINT!! FEAT AKIM (CYPHER7). AND MONSTER.
8.I’M A PIMP! PRODUCED BY KB.
9.GET BUSY. FEAT: DEVINE MC. PRODUCRD BY KB.
10.BLUNT FORCE TRAMA. PRODUCED BY UNSTABLE.
11.SETTLE THE SCORE. FEAT: BK. PRODUCED BY c-note
12.FAST LANE.
13.THATS WHATS HAPPENING!! FEAT: AFIYA
14.MONEYB BACK. PRODUCED BY KB.
15.WAR RAPS.
16.MOVE ON. FEAT: IMP (BY ANY MEANS MUSIC).
17.DIRYT SOUTH CENTRAL.
18.MR UNIVERSE.
19.WHY SHOULD I?
20.DO WHAT U CAN. FEAT ACEYALONE.
21.CV ROCKs!!
22.IM WITH U. FEAT AB RUDE.
23.STREETS R US. FEAT FAXX. (2000 CROWS)
24.WHY I CHOP!!!

This video features the Blue City Crew, an early incarnation of the Boo-Yaa Tribe, who, if you ask them (and consult a calendar), were the predecessors to bands like Ice T’s Body Count, which achieved crazy hype and criticism due to their song “Cop Killer” in the early nineties, and pioneers of the gangster rap / rock style along with Suicidal Tendencies.

The Blue City Crew were then based in Japan, where the Devoux brothers escaped to avoid repeats of prison time (Ganxsta Ridd) and death (Youngman, the youngest Devoux brother – who was murdered). Gradually building a buzz overseas through performances and, I’m sure, the overall novelty of an all-Samoan rap act, the brothers were eventually able to make their way back to the US and sign to 4th and Broadway, releasing the debut “New Funky Nation” in 1989. Through their affiliation with West Side Piru and Park Village Compton Crip, two Los Angeles street gangs with heavy Samoan representation and on the opposite sides of the red and blue line, and their increasingly menacing image, the brothers built a legendary rep with both street credibility and real talent (you ever heard these brothers harmonize? – forget the actual song BTW, please). They supposedly combined the “Boo” from the blood slang “that’s boo”, and took the PVCC call ‘yaaaah’ and combined those, but if you remember kids were saying “boo-yah” all over the place back then from basketball courts to busstops, and Cypress Hill also had that lyric “shotgun go BOO-YAH” so who knows if that factoid was an afterthought, but that’s the word.

It’s a trip how far they came, no?

As far as the video you can see some original West Coast style shit, from the poplock which was born in Fresno to the Tut. Me and a friend in I think 10th grade or something had a old school dude show us how to put your back against a wall and strike your positions against that to keep your Tut very sharp and realistic.

Links:
Waveomatic talking about the LA Scene and Blue City Crew
Tutting

I used to jack cassette singles (cassingles if you’re nasty) from Wherehouses when I was in Junior High. I was pretty good at it too, had my method all down [although I didn't use a staple remover like one of my homies], until I got caught by the rent-a-cops at Tower Records, which had a way more sophisticated anti-theft operation involving cameras with joystick zoom operators. I got caught stealing what else but the Ill Al Skratch album. How embarrassed I was, for I knew deep down that an Ill Al Skratch album was no good. Anyways, the I Smooth 7 single was one of the better ones I picked up in those days. And for all you snotty ladies (do ladies even read these blogs?) that might call me a scrub for doing this, don’t ever forget all those clothes you stole from the swap meet by wearing them under the outfit you walked in with. You see, I know these things.

The album this song was on, which was entirely produced by one of the most talented producers on the West Coast, and in the game period, Battlecat, was supposedly never released but I don’t remember if that’s the case. Although I Smooth 7 is not the best MC out of the Good Life ever, the beats you can check in these unreleased snippets from Westcoast2K are tight. Check Ab Rude featured on the bonus cut: “Strugglin”, and the shout out to Mass Men on “For Da Love Of the Ghetto”.

If you saw the Percee P video for “Put It On the Line” and wondered where they got the footage of the South Bronx, check the 1980 documentary “Eighty Blocks From Tiffany’s”. Savage Skulls and Savage Nomads are interviewed heavily for the doc. An old guy who goes by ‘Caveman’ who used to be a Savage Skull member told me that they used to do the same type of robberies in Brooklyn that they show in the reenactments, robbing trucks going down Myrtle Ave. that were on their way to a lot of warehouses in that area.

Percee P: Put It On The Line

Eighty Blocks From Tiffany’s in 8 Parts:

Part 1
Part 2
Part 3
Part 4
Part 5
Part 6
Part 7
Part 8

Bonus: Former gang leader Nicky Cruz of the Mau Maus finds God after being called a hopeless cause and a demonic force by his would be rehabilitators.

previously:
Documentary: 80 Blocks From Tiffanys

The head organizer for the Nigerian branch of the Bronx-based non-profit organization Grassroots Artists MovEment (or G.A.ME) was gunned down on February 1st, 2007, in an apparent robbery.  Though there was talk that perhaps this was not a random act of violence but a direct targeting of a radical young leader, the organization nevertheless lives on in Nigeria through the incredible work that this charismatic young man had completed before his untimely passing. 

The organization is commemorating both the young man’s life and work, as well as the goals of activism through music in the same vein as greats such as Fela Kuti.  The event is to celebrate freedom fighters around the world and ‘music as a weapon’.  All are welcome!  The event will take place at G.A.ME headquarters,  Bronx NY @ 235 172nd St. (between Sheridan and Selwyn) at 7:00 pm this Friday, June 22nd.  Take the B train to 170th and walk north to 172nd.  Take the 4 to 170th and Jerome Ave.

Read about Fleet Militant’s work as told by G.A.ME NY director Omowale Adewale.

Watch Fela Kuti’s documentary Music Is a Weapon in six parts.

This article, which appeared in the San Francisco Chronicle earlier this year kind of touches on the diversity and unique style that is characteristic of the Bay scene and the Bay itself. Please check out the mp3′s to get a sample of what groups like Agualibre, Crown City Rockers, Bayonics, and others are getting into musically. My personal favorite is Bayonics’ “Keep It Clean”, but I’m biased ’cause I know cats who worked with them.

Back to the live show aspect. Way back some years, I guess in 2002 or around then, I remember being really impressed by Lyrics Born’s performance at Fais-Do-Do’s in LA which incorporated a full live band and did it in a way that was natural and smooth, and more importantly uncommon in Hip-Hop. I kind of attribute Lyrics Born’s particular approach to his stage show to his being from the Bay. After all, with all the time I spent staying up with the LA Hip-Hop scene I can tell you it was nary a live Hip-Hop show to be seen, other than perhaps Medusa’s incredible live shows, which also often went down at Fais-Do-Do’s. I’m not saying that there wasn’t a live Jazz / Funk influence in underground LA hip-hop, after all the Blowed was right around the corner from 5th St. Dix, and there were dudes like Miles (producer for T-Love) who would fuck with live instruments during shows, but really I’m just observing a certain penchant for old school, musical showmanship in hip-hop that was rare at the time in the specific geography of LA, which I don’t think was as rare up in NorCal. I guess you can claim that Ozomatli counts as they had a cool mix of styles and even an emcee in Chali 2na, but to me they were an individual band, and didn’t really exist within a cohesive scene. The most live shit you would see at a LA show was usually Cut Chemist and Numark doing something wildly fascinating with obscure instruments, like Come Clean with the original African instrument sampled by Primo, or Tried by 12 with the koto or shit like this:



Even in the case of the new Los Angeles based mixed-genre band Toca, fronted by OG Afterlifer Xololanxinxo, it is the Berkeley-grown Ramos brothers that are ultimately credited for masterminding the outfit. Coincidence? Anyways check out some of these bands. You might be feeling their new school take on old school things and their Bay sensibilities.



myspace.com/bayonics



myspace.com/manicato

myspace.com/agualibre

myspace.com/dynamicisth

myspace.com/feloniousonelove

myspace.com/fouronefunk

myspace.com/crowncity

myspace.com/alphabetsoup3000

myspace.com/kapakahi

myspace.com/thefeed

myspace.com/inspectordoublenegative