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Archive for February, 2008

DSS mag 1-98 Bern – scans

February 26th, 2008 Comments off

dss zine 1-98
cover scan 

dss_zine_1-98.rar

clikka sul link per scaricare l’archivio contenente le scansioni della zine

tanx 2: Wave, Agent, Edua, PST, ATD, WC, PL, FCE

Your friendly neighborhood…

THX 1138 

Toronto frozen tag

February 22nd, 2008 Comments off

Toronto hip hop frozen chicken (-30° C)

toronto freezed tag
foto: Federico F. (2008)

click to enlarge

Categories: graffiti writing, varie Tags: ,

The Hip Hop Anniversary Tour (???)

February 22nd, 2008 Comments off
Grand Wizard Theodore (right).

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 

Categories: deejaying, emceeing, hip hop kulture Tags:

BONASSOLA BURNERS ’08

February 22nd, 2008 2 comments

cito da un commento contenuto qui (http://writers-connection.noblogs.org/post/2007/11/13/intervista-a-wave)

BONASSOLA BURNERS ’08 (writers contest)

La manifestazione, denominata
Bonassola Burners ’08 consiste in un contest di Street Art e avrà luogo
il Giorno 28 giugno 2008, nel territorio comunale di Bonassola (SP).
Essa sarà parte del ciclo di eventi estivi ideati e gestiti
dall’Associazione Ricecake Foundation e prodotti dall’agenzia
Megacomunicazione srl su incarico del Comune di Bonassola.

Selezioni:
L’iscrizione è aperta a maschi e femmine senza limiti d’età o di
nazionalità. L’inoltro delle richieste di selezione ha come termine
inderogabile il 10/03/2008, secondo le seguenti modalità:

gli
interessati dovranno inviare i propri dati esclusivamente tramite
e-mail (all’indirizzo info@ricecakefoundation.org) minimo 3 foto delle
proprie realizzazioni, 2 bozzetti cartacei, una breve presentazione
completa dei dati personali, un recapito e la compilazione della
liberatoria dawnolodabile dal sito web http://www.ricecakefoundation.org.

Tutti i
candidati verranno pubblicati sul sito http://www.ricecakefoundation.org. La
selezione dei 4 partecipanti sarà effettuata da una giuria
specializzata composta da writers, designers, un art director e
rappresentanti del Comune Ospitante. I nominativi dei writers
selezionati al contest del 28 giugno 2008 saranno pubblicati sul sito http://www.ricecakefoundation.org e in altri spazi connessi all’iniziativa
entro il 30 marzo 2008. L’organizzazione contatterà direttamente i
finalisti ai recapiti da essi stessi forniti. In caso di impossibilità
di uno o più concorrenti a prendere parte alla manifestazione,
l’organizzazione si riservera’ di una nuova selezione fra i primi
concorrenti esclusi. i 4 concorrenti che accederanno alla finale
saranno ospiti del Comune di Bonassola nei giorni 28 e 29 giugno 2008
presso le strutture turistiche della città.

Svolgimento del contest: Il
contest avrà luogo sabato 28 giugno 2008, a partire dalle ore 20.30 con
termine alle ore 24.00 I 4 writers selezionati dovranno eseguire in
estemporanea una realizzazione a tema libero o indicato dalla giuria
ricorrendo alle tecniche connesse all’arte di strada (spray, stencil,
stickers, rullo…). I supporti (pannelli in legno misure 4×2 metri),
gli spray e il materiale atto alla preparazione dei supporti saranno
forniti dall’organizzazione, e in collaborazione con il Technical
Sponsor Graffiti Shop, Pavia.

Premi:

Primo classificato: il primo premio
consiste in una concessione comunale che permette UN INTERVENTO in
forma libera su un sito pubblico messo a disposizione dal Comune, nei
tempi e nei modi scelti dal vincitore, l’opera dovrà ovviamente essere
compresa nei limiti oggettivi del buon senso.

Secondo classificato:
attestato di partecipazione+prodotti promozionali Graffiti Shop

Terzo
classificato: attestato di partecipazione+prodotti promozionali Graffiti
Shop

Quarto Classificato: attestato di parteciapzione+prodotti
promozionali Graffiti Shop

Giuria: La giuria sarà composta da: –
Enko/Michele Costa, writer e grafico; – Suede/Maurizio Pieraccini,
writer e grafico; – Piero Mega, art director e pittore; – Andrea
Poletti, architetto e sindaco del Comune di Bonassola; – Luca Bellandi
Assessore al Turismo e Attività culturali.

I writers durante il contest
potranno autonomamente gestirsi il sottofondo musicale con autonomi
impianti acustici.

Megacomunicazione si occuperà del reportage
fotografico e della gestione in loco dell’evento. La comunicazione
dell’evento verrà mediata attraverso i seguenti canali:

http://www.ricecakefoundation.org, il portale principale attraverso cui si
selezioneranno i candidati e si darà il feedback della manifestazione
(reportage foto, brevi video…);

– materiale promozionale su carta:
locandine, poster e flyers in distribuzione nell’area di Bonassola
provincia della Spezia; una parte dei flyers verrà distribuita presso
negozi specializzati in abbigliamento e colorifici, anche al di fuori
di provincia/regione;

– materiale promozionale elettronico: e-mail e flyers,
da veicolare via mail a liste di distribuzione; locandine .pdf e banner
Flash da inoltrare a riviste specializzate, webzine e fanzine, oltrechè
a negozi del settore (streetwear, colorifici, skate…) in provincia e
oltre (Alessandria, Milano, Torino, Genova, Bologna…).

http://www.ricecakefoundation.org Sito di riferimento della manifestazione

***end of transmission***

Talib Kweli Interviews Madlib

February 21st, 2008 Comments off

Talib Kweli Interviews Madlib on the Rap City TV show

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

Madlib

From Wikipedia, the free encyclopedia

Jump to: navigation, search
Madlib
Madlib at Stones Throw Records special, 4 December 2005

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 AngelesFlying Lotus, and Philadelphian musician and producer Jneiro Jarel.

Contents

[hide]

[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.

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

[edit] References

  1. ^ Interview with Madlib
  2. ^ Wax Poetics, #1, Winter 2002
  3. ^ Mugshot Magazine, Vol 2, Issue 3, 2003
  4. ^ Madvillain: Madvillainy (2004): Reviews
  5. ^ YouTube – Madlib & Talib Kweli Interview
Persondata
NAME Jackson, Otis, Jr.
ALTERNATIVE NAMES Madlib; Quasimoto
SHORT DESCRIPTION Rapper, producer
DATE OF BIRTH October 24, 1973
PLACE OF BIRTH Oxnard, California, United States
   
   

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

Your friendly neighborhood…

THX 1138

Categories: beat making, emceeing Tags:

“SCRATCH” a Doug Pray documentary film

February 18th, 2008 Comments off

Doug Pray’s ‘Scratch’ – Introduction

http://www.youtube.com/watch?v=q6iGexp7Pn8

Categories: deejaying, hip hop kulture Tags:

“The Roots Of Hip Hop” – RM Hip Hop Magazine 1986

February 18th, 2008 Comments off

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 

Categories: deejaying, emceeing, hip hop kulture Tags:

MF Doom videos

February 11th, 2008 Comments off

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

Daniel Dumile

From Wikipedia, the free encyclopedia

  (Redirected from Mf doom)
Jump to: navigation, search
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.

 

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[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

Did it on the sly
Before he’s gone bye bye spit it on the fly
Brush your teeth, rinse and gargle
A true nerd who messed with new words since Boggle
And used slang in Scrabble
Rhymed with a Northern drawl, twang and babble
Flossy pen jargon to break the world record
Do a Faustian bargain and tape the girl nekkid
"Mince Meat", from The Mouse and the Mask

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:

To me, from a musical
aspect, hip hop is going into the direction where its almost damn near
100% on everything besides the music, what you look like, the sound of
your name, to what you’re wearing, the brand of clothing, whatever
intoxicants you choose to put in your body, everything except what the
music sounds like. So the mask is really a testament to yo, it’s not
about none of that, its straight about the wreck. You could be any
color or whatever you know what I’m saying? The mask represents
everybody to say that yo, nothing matters, the brand of clothing, none
of that matters, it’s about how you spit and how the beats is raw,
thats what its about.

MF DOOM, MuchMusic

 

[edit] Discography

[edit] References

[edit] External links

Wikiquote has a collection of quotations related to:

Persondata
NAME Daniel Dumile
ALTERNATIVE NAMES MF DOOM, Viktor Vaughn, Zev Love X
SHORT DESCRIPTION Rapper, producer
DATE OF BIRTH January 9, 1971
PLACE OF BIRTH London, England
DATE OF DEATH  
PLACE OF DEATH  

MF Doom – Accordion


 

Categories: beat making, emceeing, hip hop kulture Tags:

The Hip Hop Anniversary Tour: 6 marzo 2008 @ FBI Quartusant’Elena (CA)

February 8th, 2008 Comments off

***ERRATA CORRIGE***

 

THE HIP-HOP ANNIVERSARY TOUR e’ spostato il 6 marzo 2008 all’FBI di Quartosant’Elena (Cagliari)…. sorry…
per il resto rimane uguale:

Direttamente da NYC
HIP-HOP ANNIVERSARY TOUR

featuring: 

THE ORIGINAL SUGARHILL GANG


GRANDMASTER MELLE MEL
(from Grandmaster Flash and the Furious Five)

KURTIS BLOW

GRAND WIZARD THEODORE (inventor fo the scratch / Wild Style)
BREAKING CREW

local opening:

MENHIR


BALENTIA


SA RAZZA

djs on stage:
MIMMO A
NICO T
CHICCA

ingresso: 15 euro

Un ringraziamento speciale a Wave per le preziosissime informazioni!!! (^o^)/

Your friendly neighborhood…

THX 1138 

Categories: deejaying, emceeing, hip hop kulture Tags:

WC video v.2.0

February 7th, 2008 4 comments

^ monoscopio (test) dell' Atari 2600 Video Computer System
[DIR] dj craim iwlf 2007/     07-Feb-2008 10:01    -   
[DIR] dj uzi e+/              07-Feb-2008 10:07    -   
[DIR] dome la muerte & the..> 18-Jan-2008 22:44    -   
[DIR] fractal music/          07-Feb-2008 09:51    -   
[DIR] jimi tenor & kabu ka..> 07-Feb-2008 10:04    -   
[DIR] kaosone live sesto f/   07-Feb-2008 10:10    -   
[DIR] mad professor live e+/  07-Feb-2008 09:49    -   
[DIR] method man live bolo..> 07-Feb-2008 09:31    -   
[DIR] pan sonic live/         07-Feb-2008 09:30    -   
[DIR] skiantos live s casc..> 07-Feb-2008 10:15    -   
[DIR] stones throw party p..> 07-Feb-2008 11:15    -   
[DIR] throbbing gristle li..> 07-Feb-2008 09:30    -   
[DIR] thx dj sets/            07-Feb-2008 10:18    -   
[DIR] wc videos/              07-Feb-2008 09:53    -   
All videos by Kate
more philes @ http://www.autistici.org/2000-maniax/ 
Your friendly neighborhood...
THX 1138