Billabong’s ‘Design For Humanity’ Proves Hollywood Hipsters Have None

Thursday night, Billabong and Paramount Studios hosted the 4^th annual Design For Humanity event to raise money and awareness for Invisible Children, a non-profit that helps children and families affected by the war in Uganda.

Invisible Children exhibit

I’ve been a supporter of Invisible Children for sometime now, as when I helped begin The Voice Project, Invisible Children was a model for what we wanted to achieve. The atrocities going on there are unbelievable. Joseph Kony is currently terrorizing five countries and it’s the longest running conflict on the continent of Africa, yet no one seems to know about it.

I admit I was a bit dubious about a bikini fashion show and block party helping the cause, but with popular artists such as Fischerspooner and Kid Sister on the bill, I was hoping for a fervent crowd of people ready to pitch in and make a difference.

The New York Streets of Paramount were decked out with food trucks, step and pose red carpets, the Hit + Run t shirt silk screening stations, Carmichael art gallery auctions, live art stations and, of course a Lakers/Celtics screen so the Lakers fans could watch their team go down in flames.

Different sections had popular DJs like Classixx and Pase Rock spinning for the upwardly mobile hipster crowd who swilled drinks and noshed for the charity while they waited for the fashion show and upcoming musical performances.

live painting at Design For Humanity event

As we sat awaiting the beginning of the fashion show, a film reel began, showing the Invisible Children efforts in Uganda…only to be drowned out by a DJ playing ‘Bust A Move’ by Young MC. Now, I’m a fan of busting a move and early nineties novelty songs. Who isn’t? But shouldn’t there be an ounce of gravitas given the nature of the film being shown? No? OK, moving on.

As a whole, the event was mildly entertaining. Billabong designed for humanity, if humanity is going to start dressing like the jail bait waifs on the new 90210.

a design for humanity

Kid Sister was a little like watching your kid sister put on a show. Then, Casey Spooner led his Tharpy twitchy dancers in a revamped version of his show, Between Worlds, sans the musical albatross around his neck, “Emerge”.

Casey Spooner & Company

After, my friend and I headed to the Invisible Children exhibit set up in a store-front across from the Carmichael gallery. There patrons could see the film reel, unfettered by MCs, rappers or movers, busting. There were also photographs of the children forced to fight in the war all around the room as well as the weapons they were forced to use, on display.

children with guns

It was a sobering moment and one that makes you count your blessings.

Suddenly, out of the corner of my eye, I saw a gaggle of girls in skin tight party dresses holding the guns, gangsta style, taking sexy pictures with their Iphones. One after the other, they posed with these weapons between their legs, licking the guns, humping them. I was immediately nauseated.

Then a few other hipsters picked up the hand grenades in the exhibit and mimed lobbing them at each other in a photo op frenzy. This went on for over twenty minutes. Dozens and dozens of different disaffected creeps played paparazzi with the weapons with the giant pictures of child soldiers looming over their heads. After fighting the urge to vomit on their American Apparel onesies, I asked a few of them why they were taking these pictures.

“Well, like, everyone else was doing it, and we thought it was fun.” Said one girl who clearly knew her spirit animal was a soulless cockroach.

I understand the need to entertain people for the money they plunk down for a ticket to a charity event, for it to be ‘fun’…but feet away there is a movie showing a genocide. So maybe a PARTY isn’t the way to raise money and awareness anymore. Maybe bikinis, Young MC, and cosmo martinis isn’t the way to get the message across that shit is rough in other parts of the world. Hell, shit is rough RIGHT HERE.

The problem is, these people think nothing about plunking down $30-$150 bucks to hang out with Kid Sister on the Paramount lot and ogle girls in bikinis. They didn’t really have to do anything proactive. Hell, they can even buy the tickets from their freaking iphone. That is, if they’re not already on the guest list.

What they don’t have to do is change. Anything. Their behavior, the laws, American foreign policy, Uganda, war, or they way humans treat each other. Which was evident by the pushing at the line for the bar.

Kid Sister and hipsters

I’ve been to a lot of Hollywood charity events. I’ve even participated in some. Some raise good money and are helpful. But most of them are a bigger PR push for the DJs and club promoters/energy drink sponsors that throw them. I guarantee if you polled the guests leaving some of these events that less than half could tell you the cause they were drinking for.

So maybe instead of throwing events for charity, how about we take the money and give it DIRECTLY to the charity. Or INVEST it in helping the people who need it.

I hope this event raised a lot of money. It seemingly failed, to raise ANY awareness or consciousness. In fact, I think that it proved the average Hollywood hipster’s devolution and frankly I’m disgusted.

If you would like to learn more about, donate to or get involved with Invisible Children, please visit INVISIBLE CHILDREN

Murs and Ali 2: Electric Boogaloo!

We caught up with Murs at the Rock The Bells Press Conference at the Key Club last week, to talk about the label relationship he continues to have- at arms length- as well as well, a bunch of bullshit, frankly. Such as why complaining about the government is no different from complaining about bad service at Taco Bell, and which Summer blockbuster the comic book nerd is most looking forward to (Star Trek!). We may have started a new hip hop beef while we were at it. Well see if Joaquin Phoenix responds.

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Timeless Concert Series – full orchestra collborations with the top composers and turntablists

It has been said that Los Angeles is a cultural wasteland. True the denizens here make trash like Rock Of Love Tour Bus and other crap, but I prefer to focus on the gems that pop up on my radar every once in a while…including the event series TIMELESS. If you like hip hop, Brazilian music, folk, jazz…hell if you like MUSIC, you should go. I’ve left you lucky devils some details below…

TIMELESS
Timeless,” a four-part concert series honoring the arrangers/composers that have influenced hip-hop since the 1970s. Beginning Sunday, Feb. 1, with a performance by Ethiopian Composer Mulatu Astatke and culminating on Sunday, April 5 with a performance by legendary composer David Axelrod, each Timeless concert features full orchestra collaborations honoring a featured arranger/composer framed with sets by turntablists from around the globe.

The “Timeless” concert series, which will be held at the Harriet and Charles Luckman Fine Arts Complex in Los Angeles, is a unique homage to arrangers and composers as the antecedents of today’s beat makers. The series features a tribute to revered hip-hop artist J Dilla by chamber musicians Carlos Nino and Migel Ferguson on Feb. 22; Brazilian folk-jazz artist Arthur Verocai with sets by Madlib and DJ Nuts on March 15; and Axelrod, whose heavily-sampled solo albums have never before been performed live, on Apr. 5. Each international artist will do their all-time hits, plus an exclusive new piece. The DJ/producer opening each concert will build their set around the legacy and era of the highlighted composer.

Known as the “father of Ethio-jazz,” Astatke, who also provided the music to indie film hit Broken Flowers, will be joined by openers Cut Chemist, Quantic and Egon in the kick-off concert. In addition to being a recognized solo DJ, Cut Chemist is a member of Jurassic 5 and Ozomatli. Tracks by Quantic, the English musician who now lives Cali, Columbia, have been regularly featured in songs by other eclectic DJs such as Richard Dorfmeister and Gilles Peterson. Egon is the general manager of Stones Throw Records.

Timeless is curated by production company Mochilla, which has previously developed campaigns for other tastemaker brands like Adidas, Dickies and Vans.

“Today’s hip-hop music revolves around beat-makers and producers, who often take their cues and samples from compositions of different generations and countries,” said Brian Cross (aka B+) of Mochilla. “Timeless brings these worlds together in Los Angeles – home to the world’s greatest musicians and session artists. Only here can we bring together such a diversity of music in this grand scale.”

Timeless Concert Series Dates and Ticket Information

The schedule for Timeless concerts at The Harriet and Charles Luckman Fine Arts Complex at the California State University, Los Angeles campus, is as follows:

Sunday, February 1st, 2009 – Mulatu Astatke with a 15-piece orchestra. Opening DJ sets by Cut Chemist, Quantic and Egon.
Sunday, February 22nd, 2009 – Miguel Atwood-Ferguson with a 39-piece orchestra with Special SURPRISE Guests. Opening DJ sets by House Shoes.
Sunday, March 15th, 2009 – Arthur Verocai with a 30 piece orchestra. Opening DJ sets by MADLIB and DJ Nuts (Brasil).
Sunday, April 5, 2009 – David Axelrod with a 26-piece orchestra. Dj set by J.Rocc. Special Guests TBA.

Tickets are available through Ticketmaster and the Luckman Box Office with general admission starting at $22.50. Performances are open to all ages.

Feed Your Soul – Noise In The Basement Music Festival

Hey Baltimore: Feeling the sorrow of another year the O’s wont bring home the pennant? Ease your soul with the Noise in the Basement festival, featuringsome of the best in soul and hip hop, including Janelle Monae, Nappy Roots and One Block Radius, featuring my old frined MDA from my Music Plus TV hosting days. MDA, youse is blowin up my friend!

 

The festival takes place September 17th-20th…more information below.

 

MUSIC MONITOR NETWORK BRINGS YOU NOISE IN THE BASEMENT – A FOUR DAY CELEBRATION OF MUSIC, FILMS AND GAMES FEATURING SOUL, R&B AND HIP-HOP ARTISTS SEPTEMBER 17-20 IN BALTIMORE 

Los Angeles, CA- Baltimore is bringing you a four day festival filled with rock, soul, R&B and HIP-HOP music. 

Noise In the Basement is a massive gathering of indie-record stores, representing over 700 stores from the 

US and Canada, in Baltimore, MD. 

Soul and R&B acts on the bill for September 17th are K’NAAN, One Block Radius, and Nappy Roots 

amongst a host of astonishing artists. 

My Crew Be Unruly presents a Tribute to K-Swift on Friday, September 19th at Fletcher’sBar. DJ K- Swift 

was best known as the Queen of Baltimore Club Edgerton’s radio show Off the Hook Radio which aired on 

92.3 WERQ-FM. K-swift masterly orchestrated the rise of Baltimore’s club music onto the airwaves. She was 

also the founder of Club Queen Entertainment, a group focused on creating signature graphics, production 

and management within the music industry. 

The festivities will wind down lavishly at the Sonar Lounge at 407 East Saratoga Street in Baltimore 

featuring Kindred Family Soul, Eric Robeson, Janelle Monae, Noot d’ Noot, and Ndelible, along with 

local celebrity DJ’s and special music industry guests. The event will commence at 8PM, Saturday, 

September 20th. 

Ticket and updated artist info for all events is available at http://www.cdjoint.com/nitb 

Music Monitor Network convenes twice a year, once at the annual NARM meeting and again at a 

separate Music Monitor Network Convention and Creative Conference, called Noise in the Basement, which 

is held in Baltimore, MD in September. 

Music Monitor Network was formed in June of 1997 to benefit both mid-sized independently owned music 

retailers and record labels/distributors. As retailers with 2 to 30 stores, Network account chains are large 

enough to deal direct with the major labels and are considered to be very important accounts in terms of 

breaking artists. By combining the marketing efforts of mid-sized chains across the country, the Music 

Monitor Network allows labels to save time and money by enjoying economies of scale in the execution of 

innovative promotional/advertising campaigns.

MILLION DJ MARCH DROPPING IT HOTSAUCE STYLE ON D.C.

Bringing DJ culture back to it’s roots and shining a spotlight on Dj culture, turntablism, community and activism, this festival will be a mixture of music and speakers, including KRS ONE.

And it’s taking pace in Dubya’s back yard. Torch it for me, guys.

–Ali On The Air

The Million DJ March

DJ’s have been regarded as “underground” since their beginning in the early 1970′s with founders such as Kool Herc and Grand Master Flowers. They were the “Band” to acts until tracks were just played in the background with little to no live presence. DJ’s then went on to “spinning” these records bringing extra life to parties after and during performances adding to fads and trends in music. Using the turntable as an instrument, DJ’s found new ways to utilize their talent by blending, scratching and sampling, giving longevity to the music we hear today. DJ’s are able to give variety to an otherwise 2 or 3 act performance, hyping up the crowd and making night life quite the experience. Influencing what individuals listened to in Clubs and parties effected what individuals wanted to hear personally. Since the beginnings of DJ, technology has advanced, morphing the standard turntable in to a modern engine full of possibility. DJ’s are a community that promote for many forms of corporation, the music industry being just one of them. What DJs say and do can be compared to the effects of a modern day commercial, as we notice on radio broadcasts and their choices in the music they play.Due to the advancement and sudden metamorphosis of their influence in music, there are very few laws protecting this art form as a craft and career. Self sufficient machines threaten this career choice, as so many fear to lose their jobs to in this advancing society. Depending on the audience, a DJ can custom blend the airwaves, to censor otherwise, “restricted” music and control what the masses hear. It is the responsibility of the DJ to make sound decisions based on the age and the want of the audience. The Million DJ March supports all forms of live music and will donate all proceeds from the march to keep music alive in Public Schools. Keeping Children learning.

THE MILLION DJ MARCH ITINERARY (08.29.08 & 08.30.08)

08.29.08 & 08.30.08

• Million DJ March Mix Master Weekend on XM Satellite Radio Station Raw 66 via Sirius XM Radio (August 29th, 2008 & August 30th, 2008 from 12:00PM – 12:00AM)

08.29.08

• 4:00PM – DJ Leggs: Panel Discussion (TBA)
• 6:00PM – DJ Roz: Insurance Dinner
• 7:00PM – Celebrity Basketball Game at The Boys & Girls Club (2500 14th Street NW Washington, DC 20019)
• 10:00PM – Nightclub Festivities (TBA)

08.30.08

• 11:00AM – 8:00PM – The Million DJ March {THE MAIN EVENT} on The National Mall (Washington, DC)
LIVE PERFORMANCES: Bang Bang Boogie, Chuck T, Cory Gunz, DJ Aaries, DJ Geometrix, DJ Nabs, DJ Self, Gillie Da Kid, Jazzy Jay, Joell Ortiz, KRS-One, Kia Shine, Lord Tariq & Peter Gunz, Saigon, The Dey, The Untouchable DJ Drastic, and many more.
• 10:00PM – Nightclub Festivities (TBA)

Sponsored By

Rane
Vitamin Water
Numark
Rock & Soul
Foundation Magazine
ThatsHipHop.com
Adonai
Mixcast TV
XM Radio (Sirius XM)
Thank you for your overwhelming support. See you at the march.

Sincerely,
A. Shaw
COORDINATORS (THE MILLION DJ MARCH)

Please e-mail the correct coordinator(s) regarding your inquiries:

• Sponsorship Coordinator: Gary@TheMillionDJMarch.com
• Sponsorship Coordinator: Marcie@TheMillionDJMarch.com
• Sponsorship Coordinator: Antoinette.Lawson@TheMillionDJMarch.com
• Sponsorship Coordinator: Overok@TheMillionDJMarch.com
• Sponsorship / Major Artist Coordinator: SVisible@TheMillionDJMarch.com
• Major Artist Coordinator: Sommer@TheMillionDJMarch.com
• A. Shaw’s Management (Massive): Wilkins.Chester@gmail.com
• CEO (A. Shaw)
DJ LEGGS: THE MILLION DJ MARCH PANELS

Providence, Rhode Island’s DJ Leggs will coordinate The Million DJ March Panel discussion board during the preceedings of the main event. Many Prominent DJ and artistic personalities will confront subject matters concerning DJ Technology, The Legacy of The Mix Tape, DJ Politics, and The History and Importance of The DJ In Hip Hop. The panels will be short seminars on August 29th, 2008 and August 30th, 2008 with plenty of press coverage and interaction from the crowd. If you are interested in contributing to the panel please contact DJ Leggs via e-mail at DJLeggs@themilliondjmarch.com. We will address a wide array of criteria concerning elements in hip hop culture mainly covering the DJ aspect but not limited to the cultural surroundings of the urban art forms that have transcended within the past 40+ years.
HOTEL BOOKINGS (THE MILLION DJ MARCH)

ATTN: DJs

Book your hotel room now! We have discounted rooms for you.

The Million DJ March will occur on August 30th rain or shine at 11:00AM sharp on The National Mall. Please make posters and/or picket signs as you would any march. Tent space is available for companies wishing to hand out or promote product to the crowd.

Call (202) 266-9000 to book your rooms. Limited rooms are remaining!
INDEPENDENT ARTIST PERFORMANCES (THE MILLION DJ MARCH)

All independent artists looking to perform are advised to contact TheMillionDJMarch@gmail.com immediately.

If you are interested in volunteering please e-mail Promo@TheMillionDJMarch.com

The Walkmen and Me, or How ‘You And Me’ turns me into an emo scribe

I suppose I should preface all of this by admitting – I am emo for The Walkmen. By now, I’ve seen them play in every possible scenario: Large Los Angeles concert hall, cramped Austin 6th street bar, alongside the Queen Mary at the All Tomorrows Parties festival, at an all night warehouse rave somewhere in the plains of Texas, various festivals and smoky clubs. I’ve seen them more times than I’ve seen my beloved Radiohead. Hell, I’ve even paid to see them. I have them on I tunes. I have them on CD. I have them on vinyl. I don’t pay for music unless I really, really love them. I love the Walkmen so much I’d marry them (my dowry offer to Ham is ready for review).

Hamilton at All Tomorrow

Coming from a rock chick such as myself, this might surprise you. If you looked at the boys, you wouldn’t even suspect that they can play in a band. No, with their unassuming and sweet looks, you’d think that they work in your office, down the hall in the graphics department; Button down shirts, neatly tucked into jeans and chinos, with a belt of course. Nothing flashier than a simple wedding band or old class ring as bling. No bravado or swagger. But don’t let their prep school appearance fool you. You will be transformed.

Hamilton Leithauser

Long before Vampire weekend or Chester French made preppy chic again, The Walkmen rose from the ashes of two great bands. Hamilton Leithauser, who could be perfectly cast as a‘soc’ in the Outsiders though he has the angst of a greaser, had formed the Recoys in Boston and then joined up with former classmates from the defunct Jonathan Fire Eater. The band members remain close, churning out more than an album’s worth in any recording process, and still finding time for side projects such as recording a cover of Harry Nilsson’s Pussycats, recording a staged reading of Sex And The City (seriously), and co-writing the Great American Novel. Apparently the novel seems to be taking a lot more time than they thought to finish – tell me about it, boys. Tell me about it.

With BOWS AND ARROWS, they had a break out hit with ‘The Rat’, a blistering account of a soul broken by a split. I’ve even heard that it was written about a mutual friend in the Brooklyn indie rock circle, but I decline to name him. Perhaps you can figure it out when you read my forthcoming book (shameless plug).

YOU AND ME, the latest album, unofficially dropped in July in a unique way. With their creative contemporaries such as Radiohead and Trent Reznor offering the music online as a pay what you can scenario, The Walkmen teamed up with Amie Street and offered a download for a $5 donation to Memorial Sloan Kettering Cancer Center. So now, if you were going to even think about downloading it illegally, bear in mind that the boys are donating the proceeds to a cancer charity. Even I, who gets her music for free, clicked on paypal for this. An advance of one of the greatest albums of the year – AND I get to help fight cancer? Winner, winner, chicken dinner.

But what exactly is it about The Walkmen that captures my fancy? It’s hard to put a finger on it. Once when posed with the task of describing the sound of The Walkmen, a friend said it sounded like drunken fairy saloon music. I think that is far too passive and sweet a description. It’s more like elfin mad scientists drunk on absinthe turning wooden knobs at a Narnian console.

Their dirge-ish songs alternate in flavor. Sometimes big band, sometimes calypso or country, you are listening to the soundtrack to a weekend in an Irish pub or a stormy Caribbean vacation. Or perhaps this is the music of the underworld that Orfeo’s true love heard when she was stuck on the other side. Lest the sounds get too sweet, the lyrics can be like a thousand little cynical papercuts. “What’s in it for me….I heard you the first time.”, “You’ve got a nerve to be asking a favor…we’ve been through this before.” “I don’t get some people, but I don’t really try.”, and titles like “Revenge wears no wristwatch”, “This job is killing me”, “Everyone who pretended to like me is gone” These reveal a certain callous and unsympathetic look at what once was happy times. I suppose it’s the duality which resonates with me. The inner idealist wrestling with the voice who has seen disappointment – a ‘fuck you’ to over-sentimentality, which by nature is somewhat sentimental.

Ham at SxSW

The show at the Troubadour was all of this and more. The guys, armed with a horn section, took the stage in an un-assuming, modest way, but hit the crowd confidently with a beautiful, ethereal, punk wall of sound. The performance was so startling and arresting, and then lulling and then engaging.

Paul Maroon of The Walkmen

Ham’s voice, an odd yelping cry which wavers between a Bob Dylan call to arms and a raspy Rod Stewart growl is an unique layer a top the swirling Wurlitzer and big band orchestrals. His fist over the mic like an MC, with the cord wrapped tightly around his arm, pulling on it, tourniquet style, he howled and yelped in epileptic fits, accessing and channeling some type of Brando rage.

Hamilton as Brando

There’s a sense of hearkening back when you’re listening in on them. Maybe it’s the vintage gear, or their somewhat formal and almost polite appearance. But one does feel like Hamilton is yearning for a time when people respected each other and did the right thing.

The Walkmen at the Troubadour

Of course nostalgia can be dangerous – looking at the past for those golden moments, and glorifying a time which was most likely the same mix of heaven and hell, is not an enlightened place to start from. But it is the stuff that bar dirges are made of. And old Hollywood movies. And sweeping novels. It is this magical lightning in a bottle, that the Walkmen capture for me. A bit of gilded memory with the somewhat sour taste of the present.

In fact, while listening to their set, this is what the music made me imagine:

The smell of library books. An empty field at twilight. A pork pie hat with a madras plaid band. Mass held at an all boys Catholic boarding school. A black and white Robert Doisneau photograph. The first time reading JD Salinger or Mark Twain. An old Frenchman covering Bob Dylan. A 400 year old pub on the cliffs of Dover. The ignited sugar cube dropped into a glass of illegal absinthe. Dickie Greenleaf in a late night jazz club. A flamenco dance on a honeymoon.

I can only blame The Walkmen and their gorgeous music for making me emoscribe like this. I want to go for a walk in a rainstorm. I want to smoke cloves while watching the sun set. I want to go plant a freaking tree. See? YOU AND ME has turned me into a mushy mess of flowery prose. Who knows? If I keep listening, perhaps I may just finish my Great American Novel.

The Walkmen perform at the Troubadour Friday, August, 22, 2008. Their latest album, You And Me was released on August 19th.

Mr Lif embeds himself in the campaign/election trail

8 years of W. An insane look at what happens when a complacent, paranoid and indifferent country gets caught sleeping.

Sounds like a horror book by Orwell, does it not?

Now hip hop artist Mr Lif will write the epilogue – and hopefully the first chapter in a new story. Hopefully a story about a country’s redemption. Hopefully. Sweet Jesus, it better be…

MR LIF UNVEILS PLANS TO RELEASE NEW MUSIC IN AN UNPRECEDENTED FORMAT!

1-2 NEW TRACKS CREATED, RECORDED AND DIGITALLY AVAILABLE EVERY THREE WEEKS

FIRST SINGLE, ‘I HEARD IT TODAY’, COMING 9/9! FOLLOWING SINGLES RELEASED ON 9/23, 10/14, 11/4 (ELECTION DAY). FULL ALBUM AVAILABLE 1/20/2009 (INAUGURATION DAY)

The voice of the people is back!!! Mr. Lif returns with more cutting edge political commentary in his new series titled I Heard It Today. Presented in a completely unprecedented manner, Mr. Lif will write and release 1-2 songs every three weeks until Election Day (November 4), following which Mr. Lif will release one more single based on his post electoral thoughts. This single will preface the release of the I Heard It Today (Bloodbot Tactical Enterprises) full length on Inauguration Day (January 20, 2009). The album will feature additional unreleased tracks and corresponding artwork.

Mr. Lif has his hands on the pulse of American society as he rhymes uncompromisingly about important issues that currently affect us. We are looking toward perhaps the most anticipated administration change in American history, and I Heard It Today boldly holds a mirror to the face of the society we have created and perpetuated. As one of the most versatile voices in the game, Mr Lif has enlisted some of hip-hops most talented producers (J Zone, Edan, and Illmind, among others) to create awareness on current political issues and agendas for Americans and the global community.

Mr. Lif adds, “With a new administration on the horizon, many of us are hoping things will change for the better. We are all hoping our voices will be heard and our concerns met with solutions. This project allows me to voice and magnify the all too often ignored opinions of the American people. My research has led me to speak with so many citizens nation wide, and the stories of your struggles combined with the knowledge of my own struggles have given birth to the project now known as I Heard It Today. “

In addition, Mr. Lif will be issuing regular “Presidential Reports” commenting on recent events in national and world politics. “The Presidential Report, Vol. 1″ tackles tension between Obama and McCain and the recently erupted conflict between Russia and Georgia, and can currently be heard on Mr. Lif’s MySpace page (www.myspace.com/mrlif). Stay tuned as more “Presidential Reports” are sure to follow, connecting the dots between each new installment of I Heard it Today.

AllHipHop.com will host exclusive streams of the tracks one day prior to release. They will then become available to fans worldwide, via The Orchard, through hundreds of digital music store and wireless carriers, including iTunes, eMusic, Amazon, Rhapsody, Napster, Verizon Wireless, AT&T, Sprint and more.

Peanut Butter Wolf’s 888 kicks it at Root Down

It’s not like Peanut Butter Wolf has a lot of time on his hands. The man runs Stones Throw records, in addition to recording, producing, and spinning all over the world. So for Wolf to follow up last year’s 7 days of Heaven with 888: 8 days of music videos at 8 clubs in 8 styles – and no repeats nonetheless – well, god bless him. He’s the Little Prince of scratches.

Thursday night’s set at Root Down at Little Temple Bar in Los Angeles, was to be an hour of hip hop videos. I’ve been Wolf’s little blond shadow this week, following him from club to club. So, I was curious to see what he would break out to wow this crowd of uber hip hop fans. I feared it would be a bit like throwing Wolf to the lions.

With a fervent line snaking around Virgil Avenue, the mood was palpable. These lions wanted beats and wanted them bad. A capacity crowd, which included veteran and legend 9th Wonder, crammed themselves into the tiny room to see what Peanut Butter brought.

As PB stepped up to the mic, the crowd surged forward.

“So far, seven days and I’m here, rocking the same white tee shirt and the same Dodger hat…and I didn’t even know that we got Manny.” A few cheers were heard from fresh Manny Ramirez fans, but the rest of the crowd wanted music.

With a shout out to Dilla to kick things off, Wolf masterfully blended videos new and old, mixing flicks by Snoop Dogg, Wu Tang, and Method Man, with oldies by KRS One and De La Soul. Lest there be neophytes in the audience, he dropped hits by House of Pain, Onyx, and the Beastie Boys, but also broke out MOP, Leaders of the New School, and for the lovers of a high fade, Whistle’s ‘Just Buggin’.

The crowd was brimming with the kind of excitement only seen in kids on Christmas morning…that or the dudes in line at Best Buy the night before the premiere of the new Halo. However, the greatest testament to Wolf’s set was the complete joy on the faces of his peers. 9th Wonder, Jedi and Rhettmatic cheered him on, rapped along and peppered his scratches with shout outs.

Wolf finaled his hour long set with a video by Breakestra, featuring Root Down promoter, and Breakestra founder Music Man Miles. He stopped to mention that though he promised to play all hip hop, Breakestra and DJ Dusk were masterful enough to blend funk, soul, latin and jazz and expand the ears of hip hop fans everywhere. So with that testament and a shout out to Dusk, Dilla and Charizma, Wolf ended with some Ruben Blades.

“Damn, it’s hot in here.” PBW exclaimed as he left the stage. “I think I lost five pounds.” Likewise, the capacity crowd who stayed and sweated to the end, probably lost a combined ton in water weight. But that was just an added bonus to a night of electric sweat on the decks.

Oh and a side note – Wolf wasn’t wearing the actual same white t-shirt for the past 7 days. Just like his week of 888 spinning, Peanut Butter Wolf smells like roses.
Peanut Butter Wolf performs his final night of 888 on Friday. For more details, visit stonesthrow.com

Murs & Me: A Hip Hop Delight

Please enjoy the comedy stylings of Murs & MacLean…note: in solidarity of the writers strike, this interview was not scripted. If anyone wants to buy the rights to this slam dunk of a TV show, inquire within…

MURS & ALI MACLEAN, PART ONE

more about “Murs & Me: A Hip Hop Delight“, posted with vodpod

MURS & ALI MACLEAN, PART TWO

more about “Murs”, posted with vodpod

DJs and Turntablism – are hipsters and laptops killing the art form?

Hey Mr. DJ, put a record on…no really. I mean a fucking record. you know, those vinyl thingies that old timey people used to play?

While having dinner with Ian last night, the topic of dj culture came up. The electro, hose, nu-rave scene has burst like a serato pinata here in LA, and in NYC as well. Now, I’m always a champion for new music and creative outlets…but it seems to me there is a glut in the market. It’s like that Jack Black joke in the Tenacious D pilot, about aspiring musicians… (paraphrasing) “if you suck, and we ask you to stop, you must stop!” Lately I can’t walk into a bar without screaming FOR THE LOVE OF KRISHNA, PUT THE I POD DOWN!

It seems that with the nightly dance parties in heavy supply, anyone, and I do mean anyone, with a laptop and i tunes is now a DJ. So where does that leave the DJs who have been doing it for years? What does it mean to be a DJ? Is it style? Are you a DJ if you can scratch? Is it substance? Does being a DJ constitute having a good selection and crate digging your heart out? Or can you get by if you get the crowd to dance by playing Thriller and Justice off your Nano? And is it any great feat to get a bunch of kids cracked out on Sparks to sway and slam to a beat? Ugh.

Does a good music producer make for the best DJ? Or is it shiny stickers spelling out your name on the back of your laptop? I’m an on air radio DJ and I spin at some of the local clubs, in between bands. I spin mostly rock and punk, so I don’t get asked to be on the hipster club bills. Does this make me less of a DJ? OK, don’t answer that last question.

Ian mentioned that some of these club promoters/indie label owners/hipsters in American Apparel DJs, have their own booking agent. And big time bookers too. What makes someone pay thousands of dollars to have a specific DJ flown in for a party? Is it name recognition? Does a lot of website party photo ops constitute recognition? Or do you need to be seen walking the red carpet with the Good Charlotte boys? And why do some of these hipster dj duos think that they’re famous?

One unnamed duo, who have recently gotten a bit of local hype, claim that their fame is wearing on them. Heavy is the head that wears the black leather fedora. Woe is the electro boy in a Members Only jacket. Too much fame! How do they get up everyday and lace their free Puma kicks? Now I’m sure you couldn’t pick them out of a line up. Nor are they gracing the covers of any magazines. In fact, if you took them out of the insular LA/NYC scene, no one would know who they are. But they behave that their lazy re-mixes are an art form so great that they should be given the VIP treatment wherever they go. I smile as I wonder how long these ‘famous’ guys would last in a spin off versus someone like Pete Rock.

Which begs the question: Is DJing an art form? What does it take to make something art? By playing someone else’s music, are you then too a musician? How much do you have to change a piece of music to make it your own? How many seconds of a sample can you use in order to patchwork together a song? Is cutting together a track of samples any less artful than editing sound of instruments being played in a studio?

In my moonlighting as a clothing designer for Rock-N-Role, I take vintage cast offs, de-construct them and make them into something new. I consider that designing, but I’m sure the people at Parsons would consider it cheating or whatnot. One of my favorite artists, Banksy, often takes pre-existing works and adds his own cheeky flair. Is that not real art?

If you’re a DJ with your own album out, ala Junkie XL, or Cut Chemist, does that set you apart from the popular kids who speed up a Justice track and call it a new mix? Where does the line get drawn? I believe that the great Steinski is an artist the way he blends together bits and pieces of old movie quotes, Zapruder film audio and beats…but he can’t legally sell The Lessons. So sales and charting can’t be the only measure of a man (or woman).

Someone like Shadow, who can keep a crowd going and has a flair for ‘spinning plates’, certainly earns the respect and worship of many…but is his art form cheapened by an up and comer serato spinner in a hyphy crunk hoodie and neon wayfarers? Or is there room for both?

A lot of the old school dj/turntablists that I’ve interviewed are very careful not to slam serato. “It means I don’t have to carry 80 pounds worth of records on the airplane with me.” said one. But they do say that you can’t polish a turd; meaning if you kill on the decks with 45s, then you’ll be great with serato. If you don’t know what you’re doing, you will still suck. Technology can sink or swim you.

I personally give more respect to the record collectors, or ‘vinyl trekkies’ as Kid Koala calls them. Spending hours and hours at odd hours, digging through dusty crates connotes a certain commitment to the craft, as well as an obvious love for music and sense of musical history. But is any of that important when faced with 200 electro/emo hispters who ‘just wanna dance’? What do you play to those kids…what you like or what they want to hear? And whatever happened to street cred?

I’m just playing hipster’s advocate here, trying to get a discussion going…

…but it seems to me that a lot of these new DJs are in it for fashion…or perhaps because it pays better than working at Urban Outfitters and the hours and drugs are the perks they’re looking for. How many of the new DJS consider what they’re doing an actual craft or career, and how many are just in it to be pimped by Scion or Nylon. If we could send a camera crew to each of their homes, would we find them listening to music in their off hours? I mean really listening to music. Pushing their boundaries and searching for the next sample that will blow our minds.

Speaking of blowing minds, I couldn’t discuss the tables without including this from Kid Koala…he plays a record like it were a violin. And he spins without headphones! If this is an art form, Koala is masterful: