Filmed and Directed by Pritt Kalsi. Here is the full film KOTB NYC 2010 featuring Casanova Rud, Minnesota Money Boss, Psycho Les (the Beatnuts) and TR Love from the Ultramagnetic M.C’s.
This is a film about cultural preservation. Digging Culture, Vinyl culture, Hip Hop culture. In this film some of Hip Hop greatest producers take on the challenge of digging in the crates with a budget of only $40 to find drums and grooves to sample to produce a beat.
This film gives you an insight in to the minds of how a hip hop producer works. what sounds inspire them. Buying records is a habit this is their passion.
As a film maker Pritt makes no money from his films. He is unsponsored and unfunded. All he asks is that support his work by visiting the site and purchasing a record or t-shirt. this is so that Pritt can continue to make these films.
The first single from this film is by Beatnuts Producer Psycho Les, only 300 pressed. support good hip hop. support a culture and movement. thankyou and enjoy.
Black Sabbath Paranoid, Black Sabbath Master Of Reality, George Clinton R&B Skeletons In The Closet, King Curtis Live At Fillmore West, Bad Brains Quickness, Bambaataa 1990-2000 The Decade Of Darkness, Manu Dibango Electric Africa
“I Love my Deck” numero zero
Expo di vecchie tavole da skateboard dipinte dalle sapienti mani di 5 writers/illustratori/designers della solatìa Romagna.
Un’imperdibile e unico evento che incontra stili e concetti diversi, fra pittura e scultura, su un supporto fra i più amati dagli artisti contemporanei;
un’esclusiva esposizione organizzata sfruttando connessioni fra artisti, puntanto però alla qualità delle opere, e soprattutto a livello locale;
tavole rotte, usate, dimenticate, trovate, abbandonate, riportate ad un atipico splendore; ’cause we love our deck!
artisti partecipanti: Arko, LegoBasik, Enko4, FilippoMozone, Tomoz.
da mercoledì 23 febbraio a domenica 13 marzo 2011.
vernissage domenica 27 febbraio con dj set di FunkRimini crew (funk, hiphop & oldies)
Via Bertola, 52_Rimini centro storico (a pochi passi dall’Arco d’Augusto)
a cura di FilippoMozone in collaborazione col Circolo Culturale Wadada.
thanx to TripShop_Rimini
While James Brown’s pioneering music continues to attract great critical acclaim, it is not widely acknowledged that his own musicians were less than effusive about his famed compositions. Brown’s musically ‘educated’ band members have often expressed the view that his prototype funk compositions were simplistic and unsophisticated and therefore not to be taken very seriously. This view is strikingly borne out in Fred Wesley’s recent book, Hit Me Fred: Confessions of a Sideman (2003), in which Brown’s former bandleader provides the most comprehensive insight to date into the trials and tribulations of working with the ‘Godfather of Soul’. Wesley was among the core of abundantly talented former jazz players – Alfred ‘Pee Wee’ Ellis, Maceo Parker, Waymond Reed were others – of Brown’s premiere late 1960s -early 1970s troupes. Prior to their recruitment into Brown’s band, these musicians were aspirant be-boppers. As ex-James Brown bandleader, ‘Pee Wee’ Ellis would later say, ‘he was some other stuff for me; I’d been studying Sonny Rollins’.
This ‘other stuff’ to which Ellis refers was ‘funk’, but it might also be a euphemism for Brown’s notoriously ‘idiosyncratic’ approach to composition in general – one that Wesley would subsequently lament:
Mr Brown would sometimes come to the gig early and have what we call a jam’, where we would have to join in with his fooling around on the organ. This was painful for anyone who had ever thought of playing jazz. James Brown’s organ playing was just good enough to fool the untrained ear, and so bad that it made real musicians sick on the stomach.
