writers connection

In risposta alla fobia dei presunti buchi neri --riguardante l'esperimento con l'acceleratore di particelle che avrà luogo domani 9 settembre a mezzanotte-- ai laboratori del CERN (Large Hadron Collider) di Ginevra, Svizzera, pubblico questo video la cui visione mi è stata consigliata da Miccia (Grazie! :-*) 

Large Hadron Rap 

segue un articolo sull'esperimento e una intervista con Kate McAlpine, la collaboratrice del CERN che ha scritto le rime del Large Hadron Rap 

fonte: http://www.corriere.it/cronache/08_settembre_02/rap_acceleratore_particelle_359bacaa-7902-11dd-b720-00144f02aabc.shtml

Successo su Youtube per la fisica cantante del CERN di Ginevra
Un rap per l'acceleratore di particelle
Come spiegare in musica il funzionamento dell'LHC, il più costoso esperimento di fisica degli ultimi anni

MILANO - L'ha scritto e interpretato una collaboratrice del Cern di Ginevra. Il rap che spiega il funzionamento del Large Hadron Collider (LHC) è tra i più visti su Youtube - e oltre a ciò è anche scientificamente corretto. Si trova a Ginevra ed è il vanto dell'intera ricerca scientifica europea: il più potente acceleratore di particelle al mondo è pronto a partire. Il 10 settembre un primo fascio di protoni farà il suo giro di prova all'interno dell'anello sotterraneo lungo 27 chilometri. O, come sostengono i più pessimisti, potrebbe creare un piccolissimo buco nero che potrebbe risucchiare, progressivamente, tutta la materia del pianeta, noi stessi e forse l'intero universo. Un buco nero creato artificialmente all'interno del laboratorio internazionale di fisica di Ginevra.

ACCELERATORE - L'acceleratore di particelle LHC rappresenta il più importante e costoso esperimento di fisica degli ultimi anni. Ed è anche tra i più complicati. Le dimensioni e la complessità del progetto non hanno però impedito a Kate McAlpine di affrontarlo e spiegarlo con ironia. Il Large Hadron Rap della giovane fisica 23enne, che attualmente svolge uno stage a Ginevra, ha già ottenuto un discreto successo in rete. In meno di un mese, il videoclip è stato visionato da quasi 600 mila persone. La ragazza statunitense canta e balla a ritmo di rap nel tunnel dell'acceleratore di particelle, con tanto di camice bianco, occhiali di protezione e casco blu. Il suo nome d'arte è Alpinekat e nel video musicale la giornalista scientifica cerca di spiegare ai profani in questa materia la complessità del progetto, appunto, cantando.

RAP - «Scrivere in rima è facile», ha dichiarato la studentessa del Michigan. «L'hip-hop e la fisica sono due universi a parte. A me sembrava interessante provare a metterli insieme». In un primo momento i responsabili del centro svizzero non vedevano di buon occhio questa sorta di melange, hanno in seguito autorizzato la «fisica rapper» a girare il videoclip all'interno dell'LHC. E ora sono entusiasti del progetto musicale: «Amiamo il rap e oltretutto il testo è scientificamente corretto», ha detto il portavoce del CERN, James Gillies. Un motivo può essere anche la tradizione musicale del centro di ricerca elvetico: una volta l'anno il club musicale locale organizza il festival open air Hardronic, al quale si esibiscono numerose band composte dagli oltre 3 mila tra scienziati, ricercatori e collaboratori che lavorano al CERN. Tra le più acclamate c'è il gruppo Les Horribles Cernettes, le cui iniziali ricordano oltretutto il superesperimento che partirà a breve. Come per Alpinekat, anche qui le canzoni affrontano generalmente temi legati alla fisica o alle particelle elementari: le hit si chiamano Collider, Every Proton of You o Big Bang.

Elmar Burchia
02 settembre 2008(ultima modifica: 03 settembre 2008) 

fonte: http://www.repubblica.it/2008/09/sezioni/scienza_e_tecnologia/big-bang-test/big-bang-test/big-bang-test.html 

L'esperimento fra 10 giorni. Guerra tra scienziati: "Un buco nero ci inghiottirà"
Il CERN di Ginevra: nessun rischio. Ricorso alla Corte Europea dei Diritti Umani

"Fermate il test sul Big Bang
o la Terra sparirà"
dal nostro corrispondente ENRICO FRANCESCHINI

"Fermate il test sul Big Bang o la Terra sparirà"

L'acceleratore di particelle a Ginevra

LONDRA - Per gli studiosi che si apprestano a spingere il pulsante d'accensione, si tratta di ricreare le condizioni che esistevano una frazione di secondo dopo il Big Bang: ovvero di riportarci indietro nel tempo sino al momento della creazione del nostro universo, all'inizio del mondo.

Ma per un gruppo di preoccupati ricercatori l'esperimento che dovrebbe cominciare tra dieci giorni in un immenso laboratorio sotterraneo, sepolto a un centinaio di metri sotto il confine tra Francia e Svizzera, comporta il rischio della fine del mondo, la distruzione e anzi la letterale scomparsa del nostro pianeta. Così, all'ultimo momento, gli oppositori del progetto hanno presentato un ricorso davanti alla Corte Europea dei Diritti Umani, che in teoria potrebbe bloccare il più grande, ambizioso e costoso test scientifico di tutti i tempi.

Oggetto della contesa è il Large Hadron Collider, un acceleratore da 6 miliardi di euro che, facendo scontrare particelle atomiche ad alta velocità e generando temperature di più di un trilione di gradi Celsius, dovrebbe rivelare il segreto di come è cominciato l'universo. Venti paesi europei, più gli Stati Uniti, hanno finanziato il progetto, che dopo anni di preparativi dovrebbe prendere il via il 10 settembre al Centro di Ricerche Nucleari di Ginevra.

Qualcuno, tuttavia, teme che l'esperimento andrà ben oltre le aspettative, creando effettivamente un mini buco nero, che crescerà di dimensioni e potenza fino a risucchiare dentro di sé la terra, divorandola completamente nel giro di quattro anni. Gli scienziati di Ginevra ribattono che non c'è assolutamente nulla da temere: ci sono scarse possibilità che l'acceleratore formi un buco nero capace di porre una minaccia concreta al pianeta, dicono, perché la natura produce continuamente delle collisioni di energia più alte di quelle che saranno create artificialmente dall'acceleratore, per esempio quando i raggi cosmici colpiscono la terra. Esperimenti di questo tipo, inoltre, sono stati condotti per trent'anni, senza avere risucchiato nemmeno un pezzettino della terra né causato danni di qualsiasi genere.

Vero è che il nuovo acceleratore ha suscitato attenzioni e polemiche perché è il più grande mai costruito, con una circonferenza di 26 chilometri e la possibilità di lanciare particelle atomiche 11.245 volte al secondo prima di farle scontrare una contro l'altra a una temperatura 100mila volte più alta di quella che esiste al centro del sole. La speranza è individuare, così facendo, le teoriche particelle chiamate bosoni di Higgs, giudicate responsabili di avere dato massa, ovvero peso, a ogni altra particella esistente. Ma gli scienziati ammettono che ci vorranno anni prima di arrivare eventualmente a un risultato del genere, per le difficoltà nel trovare particelle così infinitesimamente piccole nel caos primordiale post-Big Bang creato dentro l'acceleratore.

Abbiamo ancora dieci giorni per salvare la terra?, si chiede, con leggera ironia, il Sunday Telegraph. "I miei calcoli indicano che il rischio che un buco nero mangi il pianeta a causa dell'esperimento è serio", afferma il professor Otto Rossler, un chimico tedesco della Eberhard Karls University che ha presentato il ricorso alla Corte Europea dei Diritti Umani insieme ad alcuni colleghi. Replica James Gillies, portavoce del Centro Ricerche Nucleari di Ginevra: "Il ricorso non introduce nessun argomento che non sia già stato esaminato e respinto in passato, se questi esperimenti fossero rischiosi lo sapremmo già".

In ogni caso lo sapremo con certezza dopo il 10 settembre, se la Corte Europea, come sembra di capire, darà luce verde all'iniziativa: che non sarà la "fine del mondo", ma un po' di curiosità al di fuori dei confini della scienza, in questo modo, l'ha ottenuta.

(1 settembre 2008)

fonte: http://www.keplero.org/2008/03/and-i-feel-fine.html 

And I feel fine

L'avete sentito, no? Ne parlava ieri il New York Times, e oggi hanno ripreso la notizia anche i nostri quotidiani. (In rete ho visto che se ne accennava qui e qui.) Se non fosse bastato Dan Brown a dipingere il CERN come un covo di gente che prepara l'apocalisse, adesso ci si sono messi anche i signori Wagner e Sancho. I due hanno intentato causa per il rischio che LHC produca mini buchi neri che potrebbero distruggere la Terra (sono recidivi, perché hanno già perso una causa analoga contro il RHIC). Ora, la cosa non è una novità, in quanto le prime speculazioni teoriche sulla produzione di mini buchi neri al CERN risalgono al 2001. Ma il punto è che tutti gli studi condotti per accertare possibili conseguenze nefaste hanno mostrato che non c'è nessun rischio reale. Perché? Intanto perché la produzione di mini buchi neri è del tutto ipotetica. Poi, perché LHC non farà altro che prendere protoni e sbatterli l'uno contro l'altro a velocità prossime a quelle della luce. La stessa cosa la fa, da miliardi di anni, l'universo: i raggi cosmici che giungono in continuazione sulla Terra, sulla Luna e su qualsiasi altro pianeta non sono che particelle cariche pesanti accelerate a velocità altissime. Ma la Terra e la Luna sono lì da miliardi di anni, come chiunque è in grado di constatare. Il fatto è che buchi neri così piccoli come quelli che potrebbero essere prodotti da LHC scomparirebbero in un tempo brevissimo a causa del fenomeno di evaporazione di Hawking. E anche se non evaporassero, attraverserebbero la Terra a una velocità tale da non avere il tempo di interagire con niente. E anche se, per un caso assolutamente improbabile, uno di quegli ipotetici mini buchi neri rimanesse intrappolato all'interno del nostro pianeta, il danno che potrebbe fare sarebbe ben poca cosa (al massimo, avendo a disposizione tutto il tempo trascorso dall'origine dell'universo a oggi, miliardi di anni, potrebbe ingoiare appena un milligrammo di materia.)
Come al solito: catastrofismo più tecnofobia uguale bufala.

Il vostro amichevole vicino THX 1138 

Ice-T. Uno dei miei rapper preferiti da sempre. Ultimamente è il fulcro di una discussione in rete scatenata da un video, da lui stesso postato su youtube, che è un dissing rivolto a Soulja Boy, un giovane MC di Atlanta (Georgia). Qua sotto potete leggere (in inglese) un resoconto della questione:

Feud with Ice-T

In June 2008, on DJ Cisco’s Urban Legend mixtape, Ice-T criticized Soulja Boy for "killing hip-hop" and his song "Crank That" for being "garbage" compared to the works of other hip-hop artists as Rakim, Das EFX, Big Daddy Kane and Ice Cube.^[28] Soulja Boy responded in a YouTube video by mocking Ice-T's age (Ice-T was born in 1958) and claiming that he needed to support his family through his brand of music. Ice-T proceeded to offer a video response to Soulja Boy's reaction in which he made an apology for the harsh comment, but many felt it was a backhanded apology, because at the end of the video Ice-T's son appeared reiterating the same negative comment to Souljaboy as Ice-T had stated in the mixtape. However Ice-T did not apologize for his critique on Soulja boy's music even as to go so far as reiterating his belief that Soula Boy's music was "garbage". Rapper Kanye West defended Soulja Boy by arguing that Soulja Boy created a new, original work for hip-hop, thus keeping the authentic meaning of the music.^[29] Soulja Boy followed suit by posting another video on the internet in the form of a cartoon mocking Ice-T and ridiculing a video clip of Ice-T dancing.^[30]

Ice-T video:

What You Wanna Do (Party) - Ice T & Rhyme Syndicate

Remote Lounge NYC

High Rollers

I'm Your Pusher

Twice The Game

Your friendly neighborhood THX 1138

Una raccolta di video direttamente dalla Old sKool di New York - un saluto a Tha Joker, i video sono tratti dal suo blog...

fonte: http://thajoker302.noblogs.org/post/2008/08/29/true-school... 

True school...

SESTO STREET 2

graffiti writing / breaking / rapping / deejaying

ingresso gratuito

ore 15 
sottopasso di via dei Mille, Sesto Fiorentino (FI) 

bombolette a go go - 3000 metri quadri per i writers!!!

ore 21
cortile della biblioteca comunale Ernesto Ragionieri via Fratti 1, Sesto Fiorentino (FI)

breakdance show: 
FLY SQUAD (Pisa). Direzione artistica: Dario Toma

Live set: 
MC ACID ONE. Presentazione di "Splatter" (PL Music, Self)

info: 
http://www.switchproject.net
info@switchproject.net

bonus 12" covers: 

 Beastie Boys "Cooky puss" 12"

3rd Bass "Brooklyn-Queens" 12"

Stasera Hip Hop Night al Ginger Zone di Scandicci (FI) con Long Bridge All Stars e vari affiliati (vedi sotto la lista dei partecipanti). Un saluto a Da Joker che mi ha segnalato questo party l'altro giorno , a Rashid che è in Danimarca e a Willie. YO!
THX 1138 

fonte: http://thajoker302.noblogs.org/post/2008/06/16/long-bridge-all-stars-dj-set-gingerzone-sabato-21-scandicci-fi 

Long Bridge all stars dj set @ GingerZone, Sabato 21, Scandicci (FI)

Published on 08:08, 06/16,2008

[...] dalle 18 presso il Ginger Zone di piazza Togliatti si alterneranno sul palco, [...] Dj Tardo AKA Youngfader [...] Tha Joker AKA Il Primario, L8 di cuori da Genova, Dondiegoh da Roma, Yomegas, Creep, Mr. Check, Swami, Skanda, Tullo Soldja e All in. Il microfono aperto ci sarà, i classiconi per i breaker ci saranno, lo skate-park ci sarà...e voi?


flyer (clicca per ingrandire)

Stasera venerdì 20 giugno 2008 a Casa Luzzi vicino a Pratolino (FI)

Hip Hop / D'n'B night

ORE 20,00 - PIZZERIA

0RE 23,00 - C.U.B.A. CABBAL + D.J. DSASTRO + LA PRIMIERA + open mic (WELCOME FREESTYLERS!)

ORE 02,00 - NUCLEAR CHILD DJ set (DRUM'N'BASS + ELECTROFUNK)  

ingresso 2 €uri 

info e strada:

http://www.inventati.org/casaluzzi/ 

Casa Luzzi é situata a 20 min. dal centro storico della citta, nella prima collina fiorentina a Montorsoli tra le province di Fiesole, Firenze e Sesto Fiorentino.

Come arrivare: prendere la via Bolognese da piazza della Libertà, passare Trespiano e Montorsoli, dopo il benzinaio girare a SX verso M. Morello poi 300 mt SX e sei arrivato.

Autobus: 25/A dalla stazione ferroviaria S.M. Novella (ultima fermata).

da http://www.inventati.org/rebeldia/spazi-sociali/manifestazione-7-giugno.html 

Rebeldìa Riempie la città

Il 7 giugno il Progetto Rebeldìa riempe le strade per immaginare la città che non c'è.

Rebeldìa non è soltanto uno spazio. E' un'idea diversa di società, oggi messa in discussione da un piano edilizio che vorrebbe sostituire questo laboratorio di pratiche sociali con un parcheggio, ignorando di fatto il problema dalla sua sopravvivenza.

Difendere il Progetto Rebeldìa significa difendere il lavoro delle 25 associazioni che lo abitano: per dare piena cittadinanza ai migranti, per costruire un'economia senza sfruttamento dell'uomo e dell'ambiente, per opporsi alle politiche di guerra, per liberare le culture e riparare le biciclette, per i diritti individuali e collettivi, ...

Un'idea è vuota senza l'azione delle persone che la mettono in pratica.
Sporchiamoci le mani e scendiamo nelle strade.

Il Progetto Rebeldìa si merita uno spazio,
Pisa si merita il Progetto Rebeldìa.

CORTEO 7 GIUGNO
CONCETRAMENTO
p.zza Sant'Antonio ore 17 

a seguire Assalti Frontali in concerto piazza Carrara

Grand Wizard Theodore (right).

 

Questo evento, molto atteso, non e' sicuro e le ultime notizie (inviatemi da Wave) dicono che il concerto e' spostato il 28 febbraio prossimo (forse!!! non si sa con precisione quando ne' dove!!!);  mi scuso con i lettori per i continui cambi di programma, non dipende da me! Vi consiglio di consultare una agenzia di prevendita (tipo boxoffice o simile) per essere sicuri di non beccare un bel pakko!

Your friendly neighborhood...

THX 1138 

Talib Kweli Interviews Madlib on the Rap City TV show

da http://en.wikipedia.org/wiki/Madlib 

Madlib

From Wikipedia, the free encyclopedia

Madlib
Madlib at Stones Throw Records special, 4 December 2005
Background information
Birth name	Otis Jackson Jr.
Also known as	Yesterdays New Quintet The Beat Konducta Quasimoto DJ Rels The Bad Kid Ahmad Miller Monk Hughes Malik Flavors Joe McDuphrey Monk Hughes and the Outer Realm The Joe McDuphrey Experience
Born	October 24, 1973 (1973-10-24) (age 34)
Origin	Oxnard, California, United States
Genre(s)	Hip Hop, Jazz, Electronica
Occupation(s)	Producer, Rapper, DJ, Multi-Instrumentalist
Years active	1993 – Present
Label(s)	Stones Throw Records Antidote Records Blue Note
Associated acts	Peanut Butter Wolf Madvillain Lootpack Jaylib
Website	Madlib at StonesThrow.com

Madlib (Mind Altering Demented Lessons In Beats)^[1] (born Otis Jackson Jr. on October 24, 1973 in Oxnard, California, United States) is a California-based DJ, multi-instrumentalist, rapper, and music producer. Known under a plethora of pseudonyms, he is one of the most prolific and critically acclaimed hip hop producers of the 2000s and has collaborated with myriad hip hop artists, including The Alkaholiks, De La Soul, Ghostface Killah, Talib Kweli, A.G., MF DOOM (as Madvillain) and the late J Dilla (as Jaylib). Madlib describes himself as a "DJ first, producer second, and MC last,"^[2][3] and he has done several projects as a DJ, mixer, or remixer. Alongside collaborators J Dilla and MF Doom, Madlib has been a primary influence on an upcoming generation of producers and musicians, many of which prefer an abstract aspect to their work. Artists frequently compared to Madlib include Los Angeles' Flying Lotus, and Philadelphian musician and producer Jneiro Jarel.

[edit] Early Career

Madlib was born in Oxnard, California to musician parents Otis Jackson, Sr. and DoraSinesca Jackson. He was raised in Oxnard, and currently works in Los Angeles. He began making music with the rap group Lootpack in the early 1990s. After his father started an independent label Crate Diggas Palace (CDP) Records in 1996 to promote Madlib and his CDP crew, including younger sibling, Oh No the Disrupt, and released an EP "Ill Psyche Move", Lootpack caught the attention of Peanut Butter Wolf, founder of the Stones Throw Records label. They released two singles and a full-length album on the Stones Throw imprint in 1999. Madlib also worked with rap group Tha Alkaholiks for several albums.

Madlib's first release under the guise of Quasimoto, titled The Unseen, was in 2000. The album was met with critical acclaim and named by Spin Magazine as one of the top albums of the year. Madlib (as Quasimoto) was also named as Hip Hop Connection's Newcomer of the Year, in its annual readers poll for 2000. The distinctive high-pitched voice of Lord Quas is attained by playing the original beat at a slow speed, recording the vocals over that slow speed, then speeding the vocals along with the original beat back up to its original tempo. This can be done easily using any modern recording software. Furthermore, some of the samples that are sped up and slowed down include Madlib's own voice (primarily) and Mario Van Peebles recordings.

In 2001, Madlib took a turn away from traditional hip hop music, releasing his first Yesterdays New Quintet LP, Angles Without Edges. Yesterdays New Quintet is a Jazz-based, hip hop and Electronic-influenced quintet made up of four fictitious characters, Ahmad Miller, Monk Hughes, Malik Flavors, Joe McDuphrey; and Madlib under his real name, Otis Jackson Jr. Madlib has continued to record other albums under the different guises of YNQ members, including 2002's tribute to Stevie Wonder, Stevie, 2004's tribute to Weldon Irvine, A Tribute to Brother Weldon, Joe McDuphrey Experience, and other singles and EPs released only on vinyl. He also created the pseudonym Sound Directions to create the YNQ like Record The Funky Side of Life. The first, released in 2002, was a collection of old dub reggae tracks from Trojan Records, and was titled Blunted in the Bomb Shelter. The second, Shades of Blue was released in 2003 and is a remix of Blue Note Records. This album features original Blue Note recordings, some remixed and resampled, and some replayed by Madlib, as well as rapping by M.E.D. aka Medaphoar.

[edit] Success

Madlib performing at All Tomorrow's Parties.

2003 heralded the first of two collaboration projects. Working with the late Detroit hip hop producer J Dilla, the duo known as Jaylib released Champion Sound. The other was Madlib's collaboration with hip-hop producer and rapper MF DOOM, known together as Madvillain. The 2004 Madvillainy album was highly anticipated, and well-received, topping many critics' year-end lists.^[4]Both albums attracted attention from the fans of the two collaborative artists, Dilla & Doom.

The 2005 Quasimoto album, The Further Adventures of Lord Quas was accepted well and continued the Quasimoto tradition of using vocal samples from Melvin Van Peebles. This was followed by a YNQ album called Sound Directions: The Funky Side of Life, marking his first collaboration with session musicians. His first collection of original (previously unused) hip-hop instrumentals Beat Konducta Vol. 1-2: Movie Scenes was released in March 2006, and on New Year's Eve, a digital release Liberation with Talib Kweli was made public for free download for the first week of 2007. In August 2007, the sequel to Beat Konducta Vol 1-2: Movie Scenes was released.

Yesterdays Universe completed the cycle of releases by Yesterdays New Quintet and introduces a new collection of artist names created by Madlib: The Jazzistics, The Young Jazz Rebels, Jackson Conti, Suntouch, The Jahari Massamba Unit, Kamala Walker & The Soul Tribe, The Last Electro-Acoustic Space Jazz & Percussion Ensemble, The Yesterdays Universe All-Stars, The Otis Jackson Jr. Trio, and The Eddie Prince Fusion Band.

Percee P's first album, Perseverance, entirely produced by Madlib, was out in September 2007. Some other records are supposed to come out such as the Supreme Team album (with Karriem Riggins), as well as a solo album on BBE Records. It has been reported that Erykah Badu made some new songs over Madlib's instrumentals, and that he would work on a project with Sa-Ra. For years, rumours of Madvillainy 2 and Jaylib 2 have circulated, but no information has surfaced, besides one new Madvillain song on the Stones Throw Records compilation Chrome Children in 2006.

On October 29th, 2007, Madlib made a rare public appearance on BET's Rap City, alongside collaborator Talib Kweli.^[5]

Madlib produced the recently-leaked Erykah Badu single, The Healer, which leaked in late 2007/ early 2008. The song formally debuted on Gilles Peterson's BBC Radio show in January 2008.

[edit] Discography

Main article: Madlib discography

[edit] External links

• Madlib at StonesThrow.com
• Madlib at MySpace
• Madlib RBMA video lecture session

[edit] References

official info page: http://www.stonesthrow.com/madlib/ 

Your friendly neighborhood...

THX 1138

Qui di seguito potete leggere un'interessante articolo del 1986, tratto da RM Hip Hop Magazine, che descrive la scena hip hop di quegli anni. Buona lettura.

Your friendly neighborhood...

THX 1138

"THE ROOTS OF HIP HOP" - RM HIP HOP MAGAZINE 1986

In the beginning there was Africa, and it is from Africa that all today’s black American music, be it Jazz, R'n'B, Soul or Electro, is either directly or indirectly descended. The ancient African tribal rhythms and musical traditions survived the shock of the transportation of milllions of Africans as slaves to the Americas, and after 300 years of slavery in the so called Land of the Free the sounds of Old Africa became the new sounds of black America. Rapping, the rhythmic use of spoken or semi-sung lyrics grew from its roots in the tribal chants and the plantation work songs to become, an integral part of black resistance to an oppresive white society.

This ad-lib vocal style progressed throught the scat-singing of the early jazz days via pioneers like Cab Calloway and Slim Gaillard to the street poetry of the Last Poets in the Seventies. Musically, the old African folk songs and drum rhythms developed into the blues and urban jazz that by the 1950s made black America’s music known around the world.

Through the ever-present influence of gospel, Fifties rhythm and blues and various technical innovations like the electric guitar and electric organ, black music arrived at soul in the early Sixties. By the end of that decade, with the help of James Brown, Sly Stone and others too numerous to mention, it had mutated into that glorious hybrid, street funk, which is where we come in.

For many, soul is the ultimate expression in black music; but with soul you could either dance or listen to the music - with funk there are not two ways about it: you’ve just gotta dance. Throughout the golden years of street funk in the early and mid Seventies, bands like the JBs, Brass Construction, The Fatback Band, The Jimmy Castor Bunch, Parliament and thousands of others blasted out a sound that meant sex, sweat and shuffling feet.

Funky music was now the thing and with every week seemingly bringing forth dozens of excellent new releases, the future looked bright. Unfortunately, the growing popularity of funk coincided with the rise of disco, the bland Ritchie Family / Donna Surnmer school of dance music, where string sections, thudding drum machine beats and sugary vocals replaced live percussion, swinging horn sections and the gritty voice of urban funk.

The new commercial element of disco drove the hard funk sounds underground and in New York especially the young black kids disillusioned by the lack of excitement in the new glitzy musical regime ruling the clubs began delving back into the past catalogue of early Seventies funk classics. Nowhere was this rejection of disco more extreme than in the rough, tough Bronx district of New York City.

In parks and community centres, up and coming DJs were playing to packed crowds of youngsters eager to hear the old funk tunes. Pretty soon (by 1976/77) the DJs and dancers we’re paying special attention to the percussion breaks in records like Jimmy Castor's 'It's Just Begun', Dennis Goffey's 'Scorpio' and Herman KeIly's 'Dance To The Drummer's Beat': in fact to any record with a good drum break, including tracks by the Rolling Stones and other white rock bands.

The kids who were into the breaks started calling themselves B-Boys and the wild, acrobatic style of dancing which accompanied the playing of the breaks became known as breaking. The better Bronx DJs like Kool Herc, Afrika Bambaataa and Grandmaster Flash started mixing two copies of the same record to make the breaks last longer; with fast cutting between the decks a 20-second drum break could be turned into a five-minute mix! Besides experimenting with the technical side of DJ-ing like cutting and scratching, the Bronx Jocks were also experimenting with the new, weird and wonderful electronic sounds coming out of Europe.

Kraftwerk's 1977 hit 'Trans-Europe Express' was a great B-Boy favourite and the cool driving metallic Kraftwerk mixture of computerised drumbreaks and synthesisers was something a lot of the more musical kids on the scene wished to emulate. While all this was happening on the hot and sweaty dancefloors of the Bronx, out on the streets another vital element of the hip hop scene was falling into place.

The old, black tradition of using rhyming slang to put down your enemies (or friends) had developed, through smart-ass street jive of the early Seventies, to become for many urban youngsters a new way of talking. Half speaking, half singing the rhythmic street talk of rapping was soon being heard in the clubs, with aspiring rappers doing their thing over the local sound systems, the DJs providing backing tracks of instrumental versions of the latest dance hits.

By the end of 1978 the Bronx was weIl and truly on the boil. Everything had come together: the scratching techniques of the DJs, the body-moves of the break dancers and the vocal style of the rappers. While in the background a youthful obsession with video games that was to influence so many early electro tunes, the growth of graffiti art and a new vocabulary of "homeboys" and "fresh tunes" meant that the new hip-hop culture was primed and ready to explode.

It's a fitting testament to human creativity that a generation of deprived kids in the burnt-out poverty of the boogie-down Bronx managed to create a lifestyle, a music and a culture that was shortly to sweep the world. With all this activity going on it was only a question of time before the new rap phenomenon found itself on record. Surprisingly, though, the first rap record as such was on the B-side of the once great Fatback Band's 1979 release 'You're My Candy Sweet'; the flipside rap was called and performed by King Tim III (Personality Jock) and gained the single a great deal more success than the fairly mundane A-side deserved.

However, it was the next rap 12" that finally made the world aware of what was going down in New York City. 'Rapper's Delight' by the Sugarhill Gang on Sylvia Robinson's Sugarhill label was a 14 minute rap epic that used Chic's massive disco hit 'Good Times' as its rhythm track. It seems appropriate somehow that the last really big hit of the disco era should be used to herald the arrival of rap on the music scene.

The spark that lit the hip hop fuse, 'Rapper's Delight', became the fastest selling 12" single in history with up to 60,000 copies a day being snapped up in shops across the States alone. At last here was something spontaneous, tough and from the streets to replace the vapid sounds of Boney M and co; the emphasis switched from the Studio 54 mega-disco style of nightclub with its flash light shows to hot, humid basement clubs where all that was needed was a DJ who knew his stuff, a good sound system and an MC rapping on the mike.

The effect on the established soul world was electric (comparable with the effect punk had had on the white rock establishment) and despite the fact that new releases like the Younger Generation's 'We Rap More Mellow', Kurtis Blow's 'Christmas Rapping', Jocko's 'Rhythm Talk' and the Funky 4 + 1 's 'That's The Joint' took the dancefloors by storm, the media pundits kept saying that rap was a novelty , an overnight sensation that wouldn't last. Oh yeah?

Grandmasterflash & The Furious FiveThe major record labels, having lost touch with the street, were caught truly by rap's success and small New York labels like Sugarhill, Enjoy, Tuff City and Profile were making all the running. Amongst other great tunes 1981 saw the ultimate vinyl example of the new DJ's skills as Sugarhill released Grandmaster Flash's, ‘Adventures On The Wheels Of Steel'. In an eight-minute vinyl tour de force, Flash cuts and scratches his way through Chic's 'Good Times', Blondie's 'Rapture', Queen's 'Another One Bites The Dust' and Spoonie Gee's 'Monster Jam', to create one of the most imaginative dance records ever made.

Meanwhile, another of the early Bronx DJs, Afrika Bambaataa, inspired by the Sugarhill Gang's success, got together with a white producer called Arthur Baker and the white owner of the newly-formed Tommy Boy record label, Tom Silverman, to record a tough rap version of Gwen Guthrie's 'Jazzy Sensation'. However, it was the second single on Tommy Boy that really rocked the house. Released early in 1982, 'Planet Rock' by Bambaataa And The Soul Sonic Force, with Arthur Baker again producing, was as innovative in its way as 'Rapper's Delight', or Flash's' Adventures On The Wheels Of Steel'.

Using one of the Kraftwerk rhythm tracks so beloved by Bambaataa and the B-Boys, 'Planet Rock' was proof positive that drum machines and synthesisers could still conjure up a party atmosphere when used by the right people. Electro funk had arrived. After 'Planet Rock', the floodgates were well and truly open and there was no stopping the hip hop movement.

Other left-field funk records like D-Train's 'You're The One For Me' and the Peech Boys' 'Don't Make Me Wait' helped to create a climate where every month saw yet a new dimension added to black dance music, and it was a mixture of the D-Train type electro funk sound and the new tough rap vocals that produced, in late 1982, Grandmaster Flash's magnificent 'The Message'. With its no-holds-barred view of urban poverty, 'The Message' struck a chord with a generation of kids on both sides of the Atlantic growing up in the economic depression of Reagan's America and Thatcher's Britain; thousands more converts were won over to rap and the dancefloors echoed the sounds of young black America.

The years 1982-3 were filled with classic seminal electro / rap and a quick round-up of some of these great sounds shows the strength of the new music. On Tommy Boy came ‘Looking For The Perfect Beat’ by Afrika Bambaataa And The Soul Sonic Force, the video-game inspired ‘'Space Cowboy' and 'Pac-Jam' by the weird and wacky Jonzun Crew.

On Enjoy there was the Fearless Four's 'Rockin' It' and the Disco Four's 'Country Rock Rap'; on Quality there was Felix and Jarvis's 100mph 'Flamethrower Rap'; on Jive Whodini's 'Magic's Wand' and on Sugarhill 'Yes We Can-Can' by the Treacherous Three. 1982 also saw Sugarhill sell a million copies of an album called 'Drop The Bomb' by Trouble Funk, a Washington go go band who created their own version of New York's electro-rap by adding that heavy, heavy percussion sound that has come to be identified with the capital city.

All across America, the electro scene was smoking, and as records like 'White Lines' and Shannon's 'Let The Music Play' started combining more soulful vocals with that hip-hop beat, so electro continued crossing over to a wider audience. By 1983 at the very latest, almost anyone in the Western world who watched TV, listened to records, or read newspapers was aware of this new culture sweeping in from New York City.

Breakdancing, rapping, scratching and graffiti art all became a recognised part of the vocabulary of youth culture and dance music. But hip hop was still treated with contempt by many. Here in Britain, even though as early as 1982 young black and white kids were already forming their own break-crews, and clubs like London's Language Lab were packing them in to hear Britain's first generation of rappers, so the old soul establishment with its radio and press mouthpieces, continued whingeing that electro wasn't soul, that rap was boring, desperately clinging to their self-appointed roles as arbiters of good taste in black music.

But the kids weren't listening. Young blacks and whites on the streets listened first to Lionel Richie and then to Grandmaster Flash and made their choice; the punters deserted the established soul scene in droves, searching for that perfect beat, and defenders of the true soul have struggled in vain to keep up with developments ever since.

The year 1983 saw the release of two hugely popular electro tunes in Grandmaster and Melle Mel's 'White Lines' and Man Parrish's 'Hip Hop Be Bop (Don't Stop)', a record which more than any other helped give electro its new alternative name of hip hop. In the same year Run DMC released 'It's Like That / Sucker MCs' and rap headed out in yet another new, minimalist direction.

As some electro grew harder and more uncompromising so tracks like jazzman Herbie Hancock's 'Rockit' helped remove the last remaining barriers of prejudice against the new sound and showed the effect hip hop was having on the whole black music scene. From 1984 onwards hip hop has taken many forms, some more successful than others. Although New York still calls the shots, other cities Stateside like LA, with the Egyptian Lover and Uncle Jamm's Army, are producing their own style of electro.

In New York the slow and low, heavy and hard school of rap found its champions in Run DMC and the emmergent Def Jam label whose use of heavy metal guitars has opened up yet another field of electro-funk. Amongst the usual egotistical subject matter of most raps people like Brother D and the Collective Effort, Captain Rapp and the Kold Krew have tried to educate people politically with respectively, 'How We Gonna Make The Black Nation Rise', ‘Bad Times (I Can't Stand It)' and 'Don't Let 'Em Drop The Bomb'. In '84,

Tommy Boy put out Keith Leblanc's 'Malcolm X - No Sell Out' and drum patterns were never the same again; in the same year two DJs called Double Dee and Steinski produced a megamix of GLOBE and Whizzkid's 'Play That Beat, Mr DJ' and mixing was never the same again. Over the last two years electro releases have come fast and furious, the music has had its ups and downs and yet it is still moving in the right direction. Every time there seems to be a lull in the scene, along comes an innovative new track like UTFO's 'Roxanne, Roxanne', Doug E Fresh's 'The Show', Full Force's' Alice' or Kurtis Blow's 'lf I Ruled The World' to open a new dimension to the sound and keep that vital creativity that hip hop has alive and growing.

Now that Britain has its own hip hop performers and artists like Dizzy Heights, the Family Quest, Hardrock Soul Movement, DSM and many others, electro has become a truly international phenomenon. Hip hop has certainly come a long way from those early, chaotic days down in the Bronx and the music's success is best summed up by the opening line of Afrika Bambaataa's 'Renegades Of Funk’: 'No matter how hard you try, you can't stop us now.'

RM Hip Hop Magazine, 1986 . COPYRIGHT RM HIP HOP MAGAZINE

link:

http://toledohiphop.org/images/old_school_source_code/ - old skool N.Y. flyers

http://en.wikipedia.org/wiki/Electro_%28music%29 - electro music

http://en.wikipedia.org/wiki/Old_school_hip_hop - old skool hip hop 

da wikipedia http://en.wikipedia.org/wiki/Mf_doom :

Daniel Dumile

From Wikipedia, the free encyclopedia

Daniel Dumile
Background information
Birth name	Daniel Dumile
Also known as	MF DOOM The Super Villain Viktor Vaughn King Geedorah Metal Fingers Metal Fingered Villain Zev Love X
Born	January 9, 1971 (1971-01-09) (age 37) London, England
Origin	Long Island, New York, United States
Genre(s)	Hip hop
Occupation(s)	Rapper, producer
Years active	1989–Present
Label(s)	Metal Face Rhymesayers Fondle 'Em Big Dada Nature Sounds Shaman Works Stones Throw Sound-Ink Insomniac, Inc.
Associated acts	KMD Madvillain DangerDoom Monsta Island Czars MF Grimm
Website	MF DOOM site (not updated since 2004) Official Myspace

Daniel Dumile (pronounced /duːməleɪ/) (born January 9, 1971) is a British born American hip hop artist who has taken on several stage names in his career—originally Zev Love X, most famously MF DOOM, and in side projects such as King Geedorah, Metal Fingers, Viktor Vaughn, and collaboration projects such as DANGERDOOM and Madvillain. He remains one of the most popular and critically acclaimed indie artists today. Little is known about his personal life, though he did reveal in a 2006 interview on his MySpace page that he is married with two children, one of them teenage.

[edit] History

[edit] Early years with KMD

Dumile, the son of a Trinidadian mother and Zimbabwean father, was born in Southeast London, England,^[1] then moved with his family to New York and was raised in Long Beach, New York.

As Zev Love X, he formed the group KMD with his younger brother Subroc and another MC called Onyx The Birthstone Kid.^[1] A&R Dante Ross learned of KMD from the rap group 3rd Bass, and signed them to Elektra Records.^[2]

Dumile and KMD's debut on record came on 3rd Bass's song "The Gas Face" from The Cactus Album,^[1] followed in 1991 with KMD's album Mr. Hood, which became a minor hit through its singles "Peachfuzz", "Who Me?" and heavy video play on cable TV's Yo! MTV Raps and Rap City.

Subroc was struck and killed by a car in 1993 while attempting to cross a Long Island expressway before the release of a second KMD album entitled Black Bastards.^[1] The group was subsequently dropped from Elektra Records before the release of the album due to controversy over the album's cover art^[2] which featured a cartoon of a stereotypical pickaninny or sambo character being hanged from the gallows.

With the loss of his brother, Dumile retreated from the hip-hop scene from 1994-1997. He testifies to disillusionment and depression, living "damn near homeless, walking the streets of Manhattan, sleeping on benches".^[3][1] In the late 1990s, he left New York City and settled in Atlanta. According to interviews with DOOM, he was also "recovering from his wounds" and swearing revenge "against the industry that so badly deformed him."^[1] Black Bastards had become bootlegged at the time, leading to DOOM's rise in the underground hip-hop world.

[edit] Birth of MF DOOM

Dumile began to rap at open mic events at the Nuyorican Poets Café in 1998 where he withheld his face by putting a stocking over his head. His new identity was influenced by Marvel Comics supervillain Dr. Doom. He wears the mask while performing and isn't photographed without it, except for very short glimpses in videos such as Viktor Vaughn's "Mr. Clean" and in earlier photos with KMD^[1]

The release of Operation: Doomsday in 1999 by independent label Fondle 'Em marked the official turning point for Dumile in his reinvention of himself from a major label recording artist of minor status to independent artist, where he would find his greatest success. In 2000, Doom released his first collaboration with MF Grimm, entitled MF EP. Since then, the MF's have begun a bitter feud.

During this time, Doom also began releasing instrumental albums, in a series known as Special Herbs.

[edit] Mainstream recognition

DOOM's first commercial breakthrough came in 2004, with the album Madvillainy together with producer Madlib under the group name Madvillain. Released by Stones Throw Records, the album was a critical and commercial success. MF DOOM was seen by mainstream audiences for the first time as Madvillain received publicity and acclaim in publications such as Rolling Stone, New York Times, The New Yorker, and Spin. A video for "All Caps" and a four-date U.S. tour followed the release of Madvillainy. Additional videos for "Rhinestone Cowboy" and "Accordion" were released on the DVDs Stones Throw 101 and "Stones Throw 102: In Living the True Gods," respectively.

In the same year, MF DOOM's second solo album MM..FOOD was released by the Minnesota-based label Rhymesayers Entertainment. As Viktor Vaughn (another obvious play on Dr. Doom, whose "real name" is Victor von Doom) he has released two albums Vaudeville Villain & Venomous Villain (also called VV2),

Though still an independent artist, MF DOOM took a bigger step towards the mainstream in 2005 with The Mouse and the Mask, a collaboration with producer DJ Danger Mouse under the group name DangerDoom. The album, released on October 11, 2005 by Epitaph, was done in cooperation with Cartoon Network's [adult swim] and frequently references characters from its programs. DOOM also made an appearance in "November Has Come," a track on Gorillaz's 2005 album Demon Days. In 2006 DOOM hosted the [adult swim] Christmas special and he could be seen in between shows and other such things.

[edit] Current and upcoming projects

MF DOOM produced tracks for both of Ghostface Killah's 2006 albums, Fishscale and More Fish; and the two are currently at work on a collaboration album entitled Swift & Changeable. So far only one track has been released from the album, "Angels", which appeared on a Nature Sounds compilation in late 2006. DOOM has also revealed plans for a second Madvillain album with producer Madlib, with one song, "Monkey Suite", first appearing on the Adult Swim/Stones Throw Records album Chrome Children. Other potential projects mentioned by DOOM include new albums from DANGERDOOM, The John Robinson Project and KMD,^[4] as well as further albums under both his Viktor Vaughn and King Geedorah aliases. However, many such DOOM projects have been rumored in recent years without materializing.

Despite no new DOOM releases in 2006, Kidrobot and Stones Throw released an 8" tall Madvillain toy available to coincide with the release of the Chrome Children CD/DVD (hosted by Peanut Butter Wolf) which featured a DVD performance of Madvillain and several other Stones Throw artists. MF DOOM also continued to work with [adult swim] doing voice-over work as Sherman the Giraffe on Perfect Hair Forever, being the voice for The Boondocks ads and previews and hosting their Christmas Eve 2006 programming.

MM..FOOD was reissued under the Rhymesayers label on July 24, 2007 as a special edition CD & DVD package.

MF DOOM will also be doing production on the second album of past collaborator, Kurious which is due early 2008. He has also made an appearance on Stones Throw's B-Ball Zombie War on a track called "Mash's Revenge" along with Guilty Simpson and the late J Dilla. Lately, DOOM has co-won a mtvU Woodie Award with Madlib in the category Left Field Woodie for Madvillain's "Monkey Suite" video.

According to an interview with long time collaborator John Robinson, MF Doom will release his third LP under the "DOOM" moniker in 2008, titled "Doompostor." ^[5] As explained by John Robinson and C-Rayz Walz, live lip-syncing and impostor-sending dating back to Rock The Bells in NYC (July 29, 2007) has been orchestrated by Dumile as both a marketing mechanism and a basis for understanding his new album.^[6]

[edit] Style

MF DOOM's lyrics are sometimes perceived as eccentric. With an abundant use of polysyllabic rhymes and bizarre metaphors, MF DOOM combines complex syntax with phrasing to create a rhyme flow that is both exhausting and entertaining. His songs commonly lack the typical verse/chorus structure in favor of showcasing extended rhyme schemes and strophic or repeating beats and melodies.

Samples from old cartoons (particularly Fantastic Four cartoons in which characters often refer to their arch-enemy, Dr. Doom) frequently find their way into MF DOOM's productions. Even before his work on the Adult Swim-influenced DANGERDOOM project, his raps alluded to popular movies and TV shows, often Star Trek and the Godzilla films.

Unlike many rappers' first-person point of reference, MF DOOM refers to himself in the third person to better convey his own semi-fictional persona. DOOM himself is a caricature, a masked incarnation of the "supervillain" that his lyrics describe, which combines with personal traits and experiences to create an endlessly fascinating topic for his own songs.

Originally, MF DOOM sported a mask that was very similar to Dr. Doom, the Fantastic Four villain. However his current mask designed by Lord Scotch, a New York graffiti artist, is modeled after the mask worn by Russell Crowe in the film Gladiator The mask is said to hide the metaphorical scars remaining from the death of MF DOOM's brother Subroc in 1993; MF DOOM has also given a number of alternative meanings for the mask, including the preservation of creative anonymity in the increasingly image-driven genre of hip-hop:

[edit] Discography

Main article: Daniel Dumile discography

[edit] References

[edit] External links

Wikiquote has a collection of quotations related to:

Daniel Dumile

• Official MF DOOM myspace page at MySpace
• MF DOOM & Madlib as Madvillain
• Official Madvillain myspace page at MySpace
• MF DOOM & Danger Mouse as Dangerdoom
• Official DANGERDOOM myspace page at MySpace
• MF DOOM complete discography (hosted by Stones Throw)