Archive for September, 2008

Graffiti – SEARCH & DESTROY: Rebel Youth Culture No. 10 1978

September 17th, 2008 Comments off

Alcuni consigli sulle tecniche e gli strumenti di Graffiti Writing, Stencil, Street Poster Art e Defacing Billboards dalla fanzine punk degli anni ’70 Search & DestroyRe/Search Pubblications

fonte: "SEARCH & DESTROY: Rebel Youth Culture No. 10 1978" edizioni Re/Search, San Francisco.

MAGIC MARKER: Heavy Industrial Type. Buses, restrooms, walls (interior & exterior). Good for everything. People seldom bother to paint out small areas defaced with marker, so it lasts a long time. Very safe.

SPRAY PAINT/STENCILS: spray paint/stencils made of thin-glossy cardboard. Sidewalks esp!, walls of buildings, traffic signs. Fast, Catchy – Lasts forever on sidewalks. Rarely removed Fairly safe, but a lot of equipment to handle.

SPRAY PAINT freehand: anywhere you can get away with it. Versatile – heavy adrenalin rush. Not much equipment, but time factor make it not safe.

POSTERS: poster, paint brush, wallpaper paste. Telephone & Light Poles especially. People like to peel this off. Make sure they are pasted down on edges. Night is best, to allow drying time before viewing. Relatively safe, cops don’t care unless you are obviously defacing property. Can be done in broad daylight.

DEFACING BILLBOARDS: paint-filled eggs (plastic bags don’t always burst). Any billboard you cannot reach by hand. Nice effect, long range for those hard-to-reach places. Does not really deface billboards unless you throw a lot. Fairly safe due to time factor.


1) 3:00 to 5:00 AM Sunday thru Thursday is best time, least amount of potential observers
2) Shake your spray paint WELL BEFORE leaving the house
3) Tile walls are especially good surfaces/hard to remove graffiti from
4) Some concrete is very porous & absorbs paint quickly without showing up well. Needs several coats, not always worth it. Painted concrete is less porous
5) Stencils stick togheter after being used once. Carry a newspaper & stick them between the pages
6) Need i say – "Dress inconspicuous". A good drag is hippie street person. Looks like you belong there!
7) Groups of two people is best: one to paint & one to look-out. 3 or more looks to much like a gang
8) It’s hard to see cop cars until is too late. A good rule is, if a car comes, stop and wait. walk away, or just stand there and be cool. Graffiti is not very visible at night, and probably no one wil notice
9) Some buildings are better exposure — pre-existing graffiti is a good sign that your message will still be there tomorrow. Some locations, particularly city property (streetcar waiting stations, blue BART stations, freeway underpasses) get painted every few months and are prime spots for longlasting messages. private homes are Not a good idea. Non-residential welltrafficked areas are best if you want it to last, although Bank of America & Fox Plaza etc. are short but sweet….

SECTIONS 594 & 594.5 Of The PENAL CODE relate to vandalism & defacing of private property with spray paint. Both carry a maximum penalty of $500 and/or 6 months i jail.
If you get caught defacing private property, it is often likely that the charges will be dropped if you agree to make Civil Restitution. This entails meeting with the owner(s) of aforementioned defaced building, and coming to some agreement about Restitution. This could be in the form of cash or painting the building yourself (most likely cash). When you appear again in court with a receipt for damages, case should be dismissed. You will have an arrest but not a conviction.

original article scan (hi res – click to enlarge):

Graffiti SEARCH and DESTROY Rebel Youth Culture No 10 1978.txt 

Categories: graffiti writing Tags: ,

THX funk soul mix sept 2008 mp3

September 15th, 2008 Comments off

dedicato a…

Isaac Hayes / Buddy Miles / James Brown / Wilson Pickett / Jimi Hendrix…

Rest In Peace (Riposa In Pace)

Questo mix è stato fatto con SOLI DISCHI FONOGRAFICI VINTAGE IN VINILE – NO MP3 / CD / etc… – da THX 1138 il 12 settembre 2008

clicca sul link qua sotto per scaricare il mix – click on the link to download the file

[SND] thx funk soul mix se..> 16-Sep-2008 07:12   40M
George Clinton and Parliament-Funkadelic performing at the Granada Theater in Dallas, Texas, May 4, 2006.

George Clinton and Parliament-Funkadelic performing at the Granada Theater in Dallas, Texas, May 4, 2006.


Categories: thx on the mix Tags:

nEXt Emerson (FI) B/W photos

September 15th, 2008 Comments off

foto di un graffito di Hysta (coadiuvato da THX 1138) al CSA nEXt Emerson, via di Bellagio – Castello (Firenze) – dipinto in occasione del concerto del Colle der Fomento tenutosi il 20 aprile 2007 al nEXt Emerson. 

Dedicato a WJM e Space 


altre foto di graffiti all’Emerson

tutte le foto: THX 1138 (4 settembre 2008) 

Categories: graffiti writing Tags:

hip hop @

September 11th, 2008 Comments off


(idea) by ZamZ (2.5 wk) (print)       (I like it!) 2 C!s Thu Aug 10 2000 at 13:46:5

How to define what I’ve tried to live for the past 15 years?

It starts with this, Your own words in your own voice.

Hip Hop is your story, it is your participation.

Never mind HIS story
Tell a little about your story
The Real Story

Everything that is important to Hip Hop is about your creativity, it’s about expressing who you are and what you are, in your own words, and in this way making a contribution to what Hip Hop is.

Hip Hop is a form of positive creation

Hip Hop started with DJ‘s and turntables making new music from old to please crowds at parties in the Bronx. MC‘s were added to the mix to give a vocal aspect. Graf existed on its own well before Hip Hop got started, but its spirit of creativity on your own terms mixed well with Hip Hop and the two grew together for a while. Break Dancing
broke more than just bones, it redefined what modern dance could be and
did so from a street level, outside of the art houses that dance had
become. Again, your art, your expression.

Hip Hop started from the street
It’s not soft it’s a gristled beat
Old, that’s a no no
Hip Hop must be fresh and original

Whatever Hip Hop truly is it is more than a specific sound or look, more than what defined it yesterday or defines it today. A sub-culture? In a way, but Hip Hop made a new movement for its time. It took the roots of what Andy Warhol
did of sampling modern culture and turned it to music, mixing it with
electronica and poetry, taking along with it the anger and ferocious
belief in itself of Punk. In doing so it released a flood of sampling in music and art that has overtaken almost everything in modern media. From the modern forms of dance music to the latest in video installation displays in art galleries, Hip Hop was an enabling force in the way it freed people from the constrictions of the culture that went before it.

If you want understand what Hip Hop is then you must create. To observe is to miss the point. And in your creation remember always that the focus is yours, the message and the medium
what you choose it to be. The only real restriction is that it must be
about you, not the imaginary you that you wish to present (the mistake
of Gangsta Rap) but the you that is real.

Don’t depart
From the heart

Express your wants and desires, political opinions. Talk of your race (White or Black or Whatever) and your place in society. Do it musically, do it in verse, in story, in photographs and in painting.
Do not restrict yourself to the current isms and boundaries that define
what culture IS, redefine culture as you create it. Break rules and do
so with a pride in who you are and what your creation stands for.

Remember in your expression that you are unique and have a unique
perspective. No-one can truly understand your angle. But remember also
that you are not alone, whatever your position in this world you share
common values and experiences with many others. If you express the
truth of who you are you will find common ground and true communication
with those others.

I said before pride in who you are.
This is important. If you are to express what and who you are you must
ready yourself for others to judge and be critical of both you and your
form of expression. Have pride
and ignore it. If someone wants to help by suggesting how you might
improve then fine. Merely to critisize is nothing. Critics are easily
made. Expressing yourself with real truth is one of the hardest, if
most rewarding, things you can do. Remember also in this not to be
quick to judge others expression. Have respect. Expect respect.

And if they look at you like you’re insane
And they start calling you scarecrow
and say you ain’t got no brain
Tellin’ folks that you suddenly gone lame
That white folks have finally co-opted your game
Or worse yet implying that you don’t really know
That’s the same thing they said about us
A long time ago.

A word about what people perceive as Hip Hop today. It isn’t what you
see on MTV. With their vehement self-expression and radical new sound The Clash are more B Boy than Snoop Doggy Dog will ever be. With its diversity of culture and use of technology to create a new medium Everything2 comes closer to the true spirit of Hip Hop than anything Eminem could dream of creating.

And Hip Hop as a musical form
in its own genre still exists today. It is pumped out by small German
crews with cheap videos. It’s made in London by angry young guys with
an extreme passion for noise. It exists wherever someone gets up and
mixes, strings words together on a mic and does so for the passion of
doing it and the want to tell their story.

Be true to yourself. Create. Oh, and Enjoy yourself. This is utmost in importance.

Note, I know the quotes in bold are not exact. But, hey, they had a remix! 

(thing) by Obso1337 (3.5 y) (print)       (I like it!)   Thu Oct 30 2003 at 22:18:56

Hip Hop is a culture. It’s a style. It’s how you talk, it’s how you dress, and it’s how you live daily.

Let’s not forget the elements though. Hip Hop consists of four distinct elements/pillars:

1. The DJ. Recongized as the backbone of hip hop, the DJ or turntablist provides the music and therefore controls the mood
of his audience. A good DJ should be able to get a feel for his
listeners and provide what they want to hear. If they want to dance, he needs to play dance-able music. If they want to chill, he should play something more mellow. As has been said, Kool DJ Herc was the first to extend the break
of the record by playing two of the same record and switching back and
forth between them. The DJ is the main ingredient of hip hop, and
everyone else is his arms and legs.

2. The MC or emcee. Short for Master of Ceremonies, the MC calls the crowd and gets them pumped. He might spit a rhyme or two, but originally MC-ing wasn’t about rapping. Rap came later and almost killed hip hop. The MC is really about speaking verbally for the DJ, or making announcements.

3. The B-Boy. A b-boy is a breakdancer.
In fact the term "b-boy" is short for "break-boy." But here, "break"
didn’t come from breaks on the record, but rather street terminology.
If you were "breaking" at a party, you were causing trouble or acting
crazy. It also referred to the status of the people living in the Bronx. You could say, "He broke. He went through a breaking point." So the exaggeration was applied to the dance at the time.

4. Graffiti. Graffiti is wild style art. It usually takes the form of spraypaint on the sides of buildings or boxcars, which is illegal. But graff is still art, which sparks many debates between pro-graff and anti-graff groups. Some don’t consider graffiti an element of hip hop, and this holds true with low quality tags, but in general it fits with hip hop very well.

Hop lives and breathes. It is a way of life and a state of mind. The
beauty of Hip Hop is that it is a positve reaction from people living
in a negative environment (the ghettos/projects). How can that not be respected, if not embraced by society?

  outline by THX 1138 (2006) 


Categories: hip hop kulture Tags:

Wild Jackalope Mix

September 11th, 2008 Comments off

Wild Jackalope Mix
Ded 2 WJ Meatball (THANX for the music!)

01. Wilson Pickett – Funky Way
02. Ohio Players – Streaking Cheek To Cheek
03. Eric Burdon & War – Magic Mountain
04. Buddy Miles – Nichols Canyon Fuunk
05. Iceberg Slim – Mama Debt
06. Goblin – Death Dies
07. James Brown – The Twist
08. The Bar-Kays – Son Of Shaft
09. James Brown – Lowdown Popcorn
10. Isaac Hayes – Cafe Regio’s

Total time: 41′ 02″

scarica – download

This mix was made with ONLY vintage vinyls by THX 1138 with NO scratching

22.14 10/09/2008

WJ Meatball alla batteria durante le session di “Colonial Recordings” al vecchio CPA FI-Sud (viale Giannotti 79 – Firenze)

Categories: thx on the mix Tags:

Scratchy Seal is very angry…

September 9th, 2008 Comments off

Very angry cat, and other angry animals, Mad Seal

Categories: varie Tags:

Large Hadron Rap

September 8th, 2008 Comments off

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 


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) 

qui sotto c’e’ il testo di un articolo paranoico


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)

segue un articolo di risposta a tali paranoie



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.

The Method Of Science The Aim Of Religion  

Il vostro amichevole vicino THX 1138 

Categories: beat making, emceeing, varie Tags:

Wave Twisters visual brain cartridge

September 6th, 2008 Comments off

Il primo film di animazione Hip Hop!!! Consigliata la visione a tutti i DJs, MCs, B-Boys e Graffiti Writers. Le animazioni sono superbe e la trama del film è degna della migliore Science Fiction, ma con un tocco comico-demenziale tipico della casa di produzione Thud Rumble. Inizialmente uscito come album nel 1998 il progetto è stato ampliato in questo stupendo film. Il film mostra anche personaggi reali, ovvero DJ Qbert, DJ Flare, D-Styles e Yogafrog, impegnati nelle loro scratch routines. Le scene del film sono sincronizzate perfettamente con la musica. La trama e la colonna sonora sono nate da un’idea di DJ Qbert. 

Qui sotto trovate i link da dove scaricare le parti del film (ad alta qualità) oppure potete vedere il film nella finestra youtube integrata in questo post. Attenzione! Per decomprimere i file avi devi avere precedentemente scaricato tutti e 4 gli archivi.

Buona visione e buon divertimento!

Il vostro amichevole vicino THX 1138 

DJ Qbert’s Wave Twisters – (durata: 45 minuti circa)


Wave Twisters (2001) is a completely animated film, also known as the first turntablism-based musical. It is based on DJ Q-Bert‘s album of the same name.

A crew of heroes is determined to save the lost arts of Hip Hop. Break Dancing, Graffiti,
MCing, and DJing from total extinction. The lost arts are being
oppressed throughout inner-space by lord Ook and his evil minions the Chinheads. The dental commander Dr. Julio Azul DDS, assumed to be secretary Honey Drips, Dental Hygenist/Robot
Rubbish, and Grandpa have a series of adventures, synch’d to the music.
Armed with the ancient relic known as the Wave Twister (a small
turntable/wristwatch, the only weapon powerful enough to defeat the
enemies), they travel to the far ends of inner-space for a final
confrontation with the sinister army of oppressors. The film ends with
the team teaching the liberated the lost fundamentals of hip hop.

The film is entirely scripted to match the DJ Q-Bert recording. As such, it can seem a little disjointed at times. It was produced digitally using Adobe After Effects and a relatively small team of animators.


highly original, incredibly inventive film presents its story entirely
through the use of scratch music–laying out the plot through drums,
vocals, melodies and sound effects. WAVE TWISTERS follows the Dental
Commander and his loyal team. After figuring out that an ancient weapon
called the Wave Twister is the only one powerful enough to defeat their
enemy, Ook, the Commander and co. travel across innerspace for an
intense final battle.

DJ Qbert – Wave Twisters DVD Part 1

DJ Qbert – Wave Twisters DVD Part 2
DJ Qbert – Wave Twisters DVD Part 3
DJ Qbert – Wave Twisters DVD Part 4


Wave Twisters

(thing) by Dialogue (6.6 y) (print)       (I like it!) 1 C! Thu Mar 01 2001 at 16:26:48
Wave Twisters is the name of the full length album released in November 1998 by the excellent mixer, DJ Qbert. It showcases the skill and talent of this artist in an astounding 45 minutes of beauty. The album purports itself to be a soundtrack for the fictional TV show, Wave Twisters. Many of the tracks can be imagined to be themed for a TV show.

Track List- 

  1. Turntable TV
    Intro to the album. A harsh intro to the type of style Qbert will be using throughout. Mostly the words "Turntable TV" warped and twisted for a minute and a half, with a few samples thrown in. 
  2. A Word from Fresh Breath Mouthwash
    A very cute little "commercial" spot for the show. A very lightly mixed spot of a young woman singing a theme song for a mouthwash. Very cute.
    "Now here’s something to think about, something very important about your health. Brush your teeth, please do it, brush them night and day, the very best care will keep them there and they’ll never, ever move away." 
  3. Enter the Wave Twisters
    "And now, Fresh Breath Mouthwash Presents, Wave Twisters!" 
  4. Inner Space Dental Commander
    If you like linear lyrics, the rest of this album is not for you. Now Qbert gets right down into the mixing and sampling. This "theme song" for Wave Twisters is a dental themed, three minute mix fest with some horns, and about three samples. 
  5. Redworm
    Now we’re into the show itself. Outer space antics sampled from terrible 50’s sci-fi, with turntable goodness all around. 
  6. Cosmic Assassins
    Star Wars, Star Trek, Blaxploitation samples, with jazzy interludes. Beauty. 
  7. Destination – Quasar
    This is my favorite track on this album. This was the track off of this album that I heard in a small grocery store, which prompted me to pick up the album. Samples from many, many sources, with an electronicy background. Includes samples from MechWarrior 2 and StarCraft. Aww yeah….. 
  8. Paranoia
    Another excellent hard core sampling track. Almost an extension of Destination – Quasar. 
  9. Invasion of the Octopus People
    The attack of an alien race on the Tv show. Rapid sampling done at low volumes. This track is mostly a showcase for the skratching itself. Excellently done. 
  10. Electric Eye Beam Abduction
    Creepy track. The Aliens have obviously taken over. Features several different warpings of Star Wars samples. 
  11. Razorblade Alcohol Slide
    Deeply bass-ful Thumping and Skratching. More Samples
  12. Sneak Attack
    The humans mount a counter attack against the aliens. Hard skratching and samples. 
  13. Movement 1 – Quadraphonic Element Download
    These three movements all finish up the "TV show" part of the album. These three tracks show off all of QBerts skills, from mixing and sampling to hard core skratching.
  14. Movement 2 – 6 Fingered Fury
  15. Movement 3 – Inside Out Body Warp 
  16. Turntable TV (Blueprint)
    Remix of the above Turntable TV track. 
  17. Aphrodisiskratch
    Only available on some imports, this amusing track samples a 50’s short about nocturnal emissions. Much moaning and ooh’ing.

(thing) by dokool (8.9 mon) (print)       (I like it!) 1 C! Sun Nov 17 2002 at 3:08:24

Guess what? The TV Show that this album could have been a soundtrack for isn’t fictional anymore.

In 2001, Wave Twisters: The Movie took the world by storm. Led by illustrator Doug Cunningham (a/k/a Dug1, a legendary San Francisco graffiti artist) and directed by Syd Garon (who did music videos for Marilyn Manson) and Eric Henry,
Wave Twisters is the perfect compliment to one of the most interesting
concept albums to come to pass. The animation clicks seamlessly with
the soundtrack, which is exclusively comprised of DJ Qbert’s Wave Twisters LP in its’ original form. Action is synced to each scratch, each sample, and each beat in a impressive display of CGI, cel-based animation, photo collage, and live action.

As is described on the back of the DVD, the plot is a sci-fi kung fu epic. Our hero is the Inner Space Dental Commander, who goes throughout space and fixes the grills of many different species. One day, as his ship falls under attack by the Red Worm, our hero discovers a turntablewatch inside the mouth of one of his clients after getting high on nitrous oxide and hallucinating an appearance of the ever-famous Buckethead. He and his partners, Rubbish the medical robot and the lovely Honey Drips find out that this watch is actually the Wave Twister, the only weapon with enough power to destroy Lord Ook and free the residents of Arrow Town, thus restoring the Lost Arts (MCing, Break Dancing, Graffiti, and DJing. They’re told this by B-Boy Grandpa, whose missing hand actually contained the Wave Twister when it was discovered by the Innerspace Dental Commander.

When they arrive on the planet, they find that the residents of Arrow Town are under seige by the Octobots, who are piloted by members of the Invisible Skratch Piklz (including DJ Qbert himself) as well as DJ Flare. We learn that Lord Ook’s henchmen actually use the forbidden Lost Arts in order to enslave the population, who look surprisingly similar to Playmobil people.

As was mentioned before, the Wave Twisters LP is the exclusive soundtrack to the movie, with no other audio added. Every scratch and every sample gets put to good use, and the chapter titles mirror the track titles mentioned in the writeup above mine, even including the Turntable TV tracks, but not the Aphrodisiskratch import track.

Wave Twisters was tied for first in the South by Southwest Film Festival in 2001, along with Super Troopers and Ladyporn, and is a permanent part of the San Francisco Modern Art Museum‘s digital archive.

The DVD contains tons of extras, including commentary, film to animatic comparisons, a 5-angle clip of the DJs in action (taken from when they were filmed for the movie), the ever-important deleted scenes, and subtitles in plenty of languages. It’s region free as well, so you can enjoy Wave Twisters anywhere. Running time is roughly 46 minutes.


DJ Spooky @ COX 18 (MI) – 11 settembre 2008

September 4th, 2008 Comments off


Giovedì 11 Settembre 2008, DJ SPOOKY sarà ospite dei Centri Sociali milanesi Cantiere e COX18.

Dalle 18.30 DJ Spooky, il “dj filosofo”, presenterà il suo Sound
Unbound, Sampling Digital Music & Culture, libro con cd, presso il
centro sociale Cantiere di Milano. "Intellettuale postmoderno”, in
grado di riflettere alla perfezione lo spirito dei tempi e di indicare
nuove vie, applicando le proprie teorizzazioni in vari campi, Spooky
opera con estremo eclettismo dalla scrittura all’architettura, dalla
musica all’arte visiva. PRESENTAZIONE LIBRO + Q&A con l’autore.

Dalle 22.30, DJ Spooky sarà ai piatti in COX18. Dal punto di vista
musicale, Spooky elabora un appassionante mix di acrobazie soniche che
nascono dalla manipolazione virtuosistica dei vinili e dall’attento
ascolto delle vibrazioni che provengono dalla "strada". A tutto questo
Spooky aggiunge una cultura sterminata, che gli permette di permeare i
suoi dischi e i suoi dj set di riferimenti colti e sorprendenti.

Aprono e chiudono la serata DJ PAndaJ e Painé

BIOGRAFIA: Il nome fa riferimento ad un personaggio di William S.
Burroughs. DJ Spooky è lo pseudonimo di Paul D. Miller, uno dei
musicisti elettronici più eclettici, colti e preparati. Devoto a John
Cage, Sun Ra e Grandmaster Flash, è un artista concettuale, scrittore e
musicista che lavora a New York. Ha registrato un’enorme quantità di
musica e ha collaborato con una grande varietà di musicisti e
compositori, tra gli altri: Arto Lindasy, Iannis Xenakis, Ryuichi
Sakamoto, Butch Morris, Kool Keith aka Doctor Octagon, Pierre Boulez,
Philip Glass, Steve Reich, Yoko Ono, Thurston Moore dei Sonic Youth. La
sua versatilità artistica lo porta a creare un allestimento
audiovisuale per il Whitney Museum e lavora in altri contesti come la
Biennale di Venezia/Architettura, il Luwig Museum a Cologna, The Andy
Warhol Museum a Pittsburgh; come scrittore appare in The Village Voice,
Artforum, The Source, Paper Magazine ecc. La sua prima raccolta di
saggi, Rhythm Science, è stata pubblicata nel 2004 da M IT Press. E’,
dopo Richard Pinhas, il musicista il cui lavoro è maggiormente
integrato dalla filosofia di Deleuze e Guattari che hanno teorizzato
l’incontro con la musica elettronica sperimentale. Per Dj Spooky la
musica è soprattutto creare strumenti per pensare, per dare alla gente
sistemi, per organizzare l’informazione al di fuori delle categorie
europee di razionalità. Il suo "remix" è un sistema operativo dove la
ripetizione è una sorta di omaggio al futuro nel rispetto del passato.

COX 18 – Via Conchetta 18 – Milano

02 58105688 / 02 89415976


Categories: beat making, deejaying Tags:

Isaac Hayes (R.I.P.) – Hyperbolicsyllabicsesquedalymistic

September 2nd, 2008 Comments off


"Hyperbolicsyllabicsesquedalymistic"; from the album Hot Buttered Soul

Released at the tail end of the ’60s, Hot Buttered Soul set the
precedent for how soul would evolve in the early ’70s, simultaneously
establishing Isaac Hayes and the Bar-Kays as major forces within black
music. Though not quite as definitive as Black Moses or as well-known
as Shaft, Hot Buttered Soul remains an undeniably seminal record; it
stretched its songs far beyond the traditional three-to-four-minute
industry norm, featured long instrumental stretches where the Bar-Kays
stole the spotlight, and it introduced a new, iconic persona for soul
with Hayes’ tough yet sensual image. With the release of this album,
Motown suddenly seemed manufactured and James Brown a bit too
theatrical. Surprising many, the album features only four songs. The
first, "Walk on By," is an epic 12-minute moment of true perfection,
its trademark string-laden intro just dripping with syrupy sentiment,
and the thumping mid-tempo drum beat and accompanying bassline
instilling a complementary sense of nasty funk to the song; if that
isn’t enough to make it an amazing song, Hayes’ almost painful
performance brings yet more feeling to the song, with the guitar’s
heavy vibrato and the female background singers taking the song to even
further heights. The following three songs aren’t quite as stunning but
are still no doubt impressive: "Hyperbolicsyllabicsequedalymistic"
trades in sappy sentiment for straight-ahead funk, highlighted by a
stomping piano halfway through the song; "One Woman" is the least epic
moment, clocking in at only five minutes, but stands as a
straightforward, well-executed love ballad; and finally, there’s the
infamous 18-minute "By the Time I Get to Phoenix" and its lengthy
monologue which slowly eases you toward the climactic,
almost-orchestral finale, a beautiful way to end one of soul’s
timeless, landmark albums, the album that transformed Hayes into a
lifelong icon.

Your friendly neighborhood THX 1138


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