Del the Funky Homosapien & Tame

Total Page：16

File Type：pdf, Size：1020Kb

DEL THE FUNKY HOMOSAPIEN & TAME ONE Parallel Uni-Verses KEY SELLING POINTS • Ten year anniversary of the now classic cross country collaboration between Del The Funky Homosapien (Hieroglyphics founder and member of Deltron 3030) and Tame One of the Artifacts • First time ever available on vinyl • Remastered and pressed on special purple white smoke colored vinyl • Produced entirely by Parallel Thought • Watch video for “Flashback” shot in Fat Beats NY DESCRIPTION ARTIST: Del The Funky Homosapien & Tame One Remember the old-school Marvel Team-Up comic book which paired, TITLE: Parallel Uni-Verses say, Spider-Man with Thor, Wolverine with the Human Torch, or the Hulk CATALOG: L-PTLP22-069 and Daredevil? In the spirit of those classic collaborations, Gold Dust LABEL: Parallel Thought announces Parallel Uni-Verses, a joint effort between Hieroglyphics GENRE: Hip-Hop/Rap BARCODE: 659123097710 founder Del The Funky Homosapien and original Artifacts emcee Tame FORMAT: LP Purple/White Smoke Colored Vinyl One. Produced entirely by Parallel Thought, the album’s ten tracks return HOME MARKET: Oakland, California / Newark, New Jersey to a time when inventiveness, creativity, funky beats—and, above all, RELEASE: 2/2/2018 lyricism—ruled hip-hop. LIST PRICE: $21.98 / CX Oakland’s Del The Funky Homosapien is one of the creators of the TRACKLISTING alternative rap genre, a perennial fan favorite who, in addition to releasing four solo albums—including 1992’s seminal, gold-selling I Wish My 1. Intro (Magic) Brother George Was Here--and two group albums with Hieroglyphics, 2. Flashback was featured on the Gorillaz’ epononymous, platinum-selling debut and 3. The Franchise Dan the Automator’s sci-fi-themed concept album Deltron 3030. 4. Specifics 5. Teddy Newark’s Tame One is best known as one-half of the Artifacts, a graffiti- 6. Special writing hip-hop duo active in the mid- and late-90s, whose output includes 7. Before This the classic singles “Wrong Side of Da Tracks” and “The Ultimate.” In recent 8. We Taking Over years, Tame has been a member of two underground supergroups: the 9. Life Sucks Weatherman (with Cage, Camu Tao, and Aesop Rock); and the Leak Brothers (with Cage). Parallel Uni-Verses is that rare rap album which transcends tired clichés and maintains traditional hip-hop values without seeming retro or passé. “Man, I ain’t even gonna be egotistical like that and try to say that we are trying to usher in some new revival of whatever,” Del says. However, he adds, “I’m a say this: we ARE the element that is missing, not [just] because I said so. That’s what’s up; we didn’t sell out for all the luxury and monetary gains. The original ways, we kept at and built upon those.” PROUDLY DISTRIBUTED BY FAT BEATS DISTRIBUTION | 8920 ETON AVE. CANOGA PARK, CA 91304 | DISTRIBUTION.FATBEATS.COM.

Copy Link

Recommended publications

Is Hip Hop Dead?
IS HIP HOP DEAD? IS HIP HOP DEAD? THE PAST,PRESENT, AND FUTURE OF AMERICA’S MOST WANTED MUSIC Mickey Hess Library of Congress Cataloging-in-Publication Data Hess, Mickey, 1975- Is hip hop dead? : the past, present, and future of America’s most wanted music / Mickey Hess. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-275-99461-7 (alk. paper) 1. Rap (Music)—History and criticism. I. Title. ML3531H47 2007 782.421649—dc22 2007020658 British Library Cataloguing in Publication Data is available. Copyright C 2007 by Mickey Hess All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2007020658 ISBN-13: 978-0-275-99461-7 ISBN-10: 0-275-99461-9 First published in 2007 Praeger Publishers, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.praeger.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10987654321 CONTENTS ACKNOWLEDGMENTS vii INTRODUCTION 1 1THE RAP CAREER 13 2THE RAP LIFE 43 3THE RAP PERSONA 69 4SAMPLING AND STEALING 89 5WHITE RAPPERS 109 6HIP HOP,WHITENESS, AND PARODY 135 CONCLUSION 159 NOTES 167 BIBLIOGRAPHY 179 INDEX 187 ACKNOWLEDGMENTS The support of a Rider University Summer Fellowship helped me com- plete this book. I want to thank my colleagues in the Rider University English Department for their support of my work.
[Show full text]
Leon Bridges Black Moth Super Rainbow Melvins
POST MALONE ELEANOR FRIEDBERGER LORD HURON MELVINS LEON BRIDGES BEERBONGS & BENTLEYS REBOUND VIDE NOIR PINKUS ABORTION TECHNICIAN GOOD THING REPUBLIC FRENCHKISS RECORDS REPUBLIC IPECAC RECORDINGS COLUMBIA The world changes so fast that I can barely remember In contrast to her lauded 2016 album New View, Vide Noir was written and recorded over a two Featuring both ongoing Melvins’ bass player Steven Good Thing is the highly-anticipated (to put it lightly) life pre-Malone… But here we are – in the Future!!! – and which she arranged and recorded with her touring years span at Lord Huron’s Los Angeles studio and McDonald (Redd Kross, OFF!) and Butthole Surfers’, follow-up to Grammy nominated R&B singer/composer Post Malone is one of world’s unlikeliest hit-makers. band, Rebound was recorded mostly by Friedberger informal clubhouse, Whispering Pines, and was and occasional Melvins’, bottom ender Jeff Pinkus on Leon Bridges’ breakout 2015 debut Coming Home. Beerbongs & Bentleys is not only the raggedy-ass with assistance from producer Clemens Knieper. The mixed by Dave Fridmann (The Flaming Lips/MGMT). bass, Pinkus Abortion Technician is another notable Good Thing Leon’s takes music in a more modern Texas rapper’s newest album, but “a whole project… resulting collection is an entirely new sound for Eleanor, Singer, songwriter and producer Ben Schneider found tweak in the prolific band’s incredible discography. direction while retaining his renowned style. “I loved also a lifestyle” which, according to a recent Rolling exchanging live instrumentation for programmed drums, inspiration wandering restlessly through his adopted “We’ve never had two bass players,” says guitarist / my experience with Coming Home,” says Bridges.
[Show full text]
Souls of Mischief: ’93 Still Infinity Tour Hits Pawtucket
Souls of Mischief: ’93 Still Infinity Tour Hits Pawtucket The Met played host to the Souls of Mischief during their 20-year anniversary tour of their legendary debut album, “’93 til Infinity”. This Oakland-based hip- hop group, comprised of four life-long friends, A-Plus, Tajai, Opio and Phesto, together has created one of the most influential anthems of the ‘90’s hip-hop movement: the title track of the album, ’93 ‘til Infinity. This song is a timeless classic. It has a simple, but beautifully melodic beat that works seamlessly with the song’s message of promoting peace, friendship and of course, chillin’. A perfect message to kick off a summer of music with. The crowd early on in the night was pretty thin and the supporting acts did their best to amp up the audience for the Souls of Mischief. When they took the stage at midnight, the shift in energy was astounding. They walked out on stage and the waning crowd filled the room in seconds. The group was completely unfazed by the relatively small showing and instead, connected with the crowd and how excited they were to be in Pawtucket, RI of all places. Tajai, specifically, reminisced about his youth and his precious G.I. Joes (made by Hasbro) coming from someplace called Pawtucket and how “souped” he was to finally come through. The show was a blissful ride through the group’s history, mixing classic tracks like “Cab Fare” with more recent releases, like “Tour Stories”. The four emcees seamlessly passed around the mic and to the crowd’s enjoyment, dropped a song from their well-known hip-hop super-group, Hieroglyphics, which includes the likes of Casual, Del Tha Funkee Homosapien and more.
[Show full text]
The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap
Open Cultural Studies 2018; 2: 122–135 Research Article Adam de Paor-Evans* The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap https://doi.org/10.1515/culture-2018-0012 Received January 27, 2018; accepted June 2, 2018 Abstract: In the early 1980s, an important facet of hip hop culture developed a style of music known as electro-rap, much of which carries narratives linked to science fiction, fantasy and references to arcade games and comic books. The aim of this article is to build a critical inquiry into the cultural and socio- political presence of these ideas as drivers for the productions of electro-rap, and subsequently through artists from Newcleus to Strange U seeks to interrogate the value of science fiction from the 1980s to the 2000s, evaluating the validity of science fiction’s place in the future of hip hop. Theoretically underpinned by the emerging theories associated with Afrofuturism and Paul Virilio’s dromosphere and picnolepsy concepts, the article reconsiders time and spatial context as a palimpsest whereby the saturation of digitalisation becomes both accelerator and obstacle and proposes a thirdspace-dromology. In conclusion, the article repositions contemporary hip hop and unearths the realities of science fiction and closes by offering specific directions for both the future within and the future of hip hop culture and its potential impact on future society. Keywords: dromosphere, dromology, Afrofuturism, electro-rap, thirdspace, fantasy, Newcleus, Strange U Introduction During the mid-1970s, the language of New York City’s pioneering hip hop practitioners brought them fame amongst their peers, yet the methods of its musical production brought heavy criticism from established musicians.
[Show full text]
Hip-Hop's Diversity and Misperceptions
The University of Maine DigitalCommons@UMaine Honors College Summer 8-2020 Hip-Hop's Diversity and Misperceptions Andrew Cashman Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the Music Commons, and the Social and Cultural Anthropology Commons This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. HIP-HOP’S DIVERSITY AND MISPERCEPTIONS by Andrew Cashman A Thesis Submitted in Partial Fulfillment of the Requirements for a Degree with Honors (Anthropology) The Honors College University of Maine August 2020 Advisory Committee: Joline Blais, Associate Professor of New Media, Advisor Kreg Ettenger, Associate Professor of Anthropology Christine Beitl, Associate Professor of Anthropology Sharon Tisher, Lecturer, School of Economics and Honors Stuart Marrs, Professor of Music 2020 Andrew Cashman All Rights Reserved ABSTRACT The misperception that hip-hop is a single entity that glorifies wealth and the selling of drugs, and promotes misogynistic attitudes towards women, as well as advocating gang violence is one that supports a mainstream perspective towards the marginalized.1 The prevalence of drug dealing and drug use is not a picture of inherent actions of members in the hip-hop community, but a reflection of economic opportunities that those in poverty see as a means towards living well. Some artists may glorify that, but other artists either decry it or offer it as a tragic reality. In hip-hop trends build off of music and music builds off of trends in a cyclical manner.
[Show full text]
Literatura Y Otras Artes: Hip Hop, Eminem and His Multiple Identities »
TRABAJO DE FIN DE GRADO « Literatura y otras artes: Hip Hop, Eminem and his multiple identities » Autor: Juan Muñoz De Palacio Tutor: Rafael Vélez Núñez GRADO EN ESTUDIOS INGLESES Curso Académico 2014-2015 Fecha de presentación 9/09/2015 FACULTAD DE FILOSOFÍA Y LETRAS UNIVERSIDAD DE CÁDIZ INDEX INDEX ................................................................................................................................ 3 SUMMARIES AND KEY WORDS ........................................................................................... 4 INTRODUCTION ................................................................................................................. 5 1. HIP HOP ................................................................................................................... 8 1.1. THE 4 ELEMENTS ................................................................................................................ 8 1.2. HISTORICAL BACKGROUND ................................................................................................. 10 1.3. WORLDWIDE RAP ............................................................................................................. 21 2. EMINEM ................................................................................................................. 25 2.1. BIOGRAPHICAL KEY FEATURES ............................................................................................. 25 2.2 RACE AND GENDER CONFLICTS ...........................................................................................
[Show full text]
Eminem 1 Eminem
Eminem 1 Eminem Eminem Eminem performing live at the DJ Hero Party in Los Angeles, June 1, 2009 Background information Birth name Marshall Bruce Mathers III Born October 17, 1972 Saint Joseph, Missouri, U.S. Origin Warren, Michigan, U.S. Genres Hip hop Occupations Rapper Record producer Actor Songwriter Years active 1995–present Labels Interscope, Aftermath Associated acts Dr. Dre, D12, Royce da 5'9", 50 Cent, Obie Trice Website [www.eminem.com www.eminem.com] Marshall Bruce Mathers III (born October 17, 1972),[1] better known by his stage name Eminem, is an American rapper, record producer, and actor. Eminem quickly gained popularity in 1999 with his major-label debut album, The Slim Shady LP, which won a Grammy Award for Best Rap Album. The following album, The Marshall Mathers LP, became the fastest-selling solo album in United States history.[2] It brought Eminem increased popularity, including his own record label, Shady Records, and brought his group project, D12, to mainstream recognition. The Marshall Mathers LP and his third album, The Eminem Show, also won Grammy Awards, making Eminem the first artist to win Best Rap Album for three consecutive LPs. He then won the award again in 2010 for his album Relapse and in 2011 for his album Recovery, giving him a total of 13 Grammys in his career. In 2003, he won the Academy Award for Best Original Song for "Lose Yourself" from the film, 8 Mile, in which he also played the lead. "Lose Yourself" would go on to become the longest running No. 1 hip hop single.[3] Eminem then went on hiatus after touring in 2005.
[Show full text]
A Stylistic Analysis of 2Pac Shakur's Rap Lyrics: in the Perpspective of Paul Grice's Theory of Implicature
California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2002 A stylistic analysis of 2pac Shakur's rap lyrics: In the perpspective of Paul Grice's theory of implicature Christopher Darnell Campbell Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Rhetoric Commons Recommended Citation Campbell, Christopher Darnell, "A stylistic analysis of 2pac Shakur's rap lyrics: In the perpspective of Paul Grice's theory of implicature" (2002). Theses Digitization Project. 2130. https://scholarworks.lib.csusb.edu/etd-project/2130 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. A STYLISTIC ANALYSIS OF 2PAC SHAKUR'S RAP LYRICS: IN THE PERSPECTIVE OF PAUL GRICE'S THEORY OF IMPLICATURE A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in English: English Composition by Christopher Darnell Campbell September 2002 A STYLISTIC ANALYSIS OF 2PAC SHAKUR'S RAP LYRICS: IN THE PERSPECTIVE OF PAUL GRICE'S THEORY OF IMPLICATURE A Thesis Presented to the Faculty of California State University, San Bernardino by Christopher Darnell Campbell September 2002 Approved.by: 7=12 Date Bruce Golden, English ABSTRACT 2pac Shakur (a.k.a Makaveli) was a prolific rapper, poet, revolutionary, and thug. His lyrics were bold, unconventional, truthful, controversial, metaphorical and vulgar.
[Show full text]
Del the Funkee Homosapien Album Download Del the Funkee Homosapien Album Download
del the funkee homosapien album download Del the funkee homosapien album download. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Cloudflare Ray ID: 67e1a438af0e1685 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Del the funkee homosapien album download. From from the Legendary Oakland Crew, The Hieroglyphics. One of the most renowned West Coast MC's, Del makes his long awaited return to Victoria. Cousin of renowned West Coast Pioneering Rapper Ice Cube, Del tha Funky Homosapien was born in Oakland, CA. and got his start writing songs for Ice Cube’s group, Da Lench Mob. But Del's rap isn't as grim or violent as Ice Cube's is, in fact, he's been known to include something in his music that's far too uncommon in most rap: humor!! Signed to Elektra/Asylum, Del's debut release, 'I Wish My Brother George Was Here', was issued in 1991 and produced by Cube and like most rap at the time, featured numerous samples of Parliament Funkadelic classics from the '70s. Del's follow-up, 1994's 'No Need for Alarm', was a departure musically, as Ice Cube was no longer in the production seat and the P-Funk sounds were dropped in favor of a more sophisticated, almost jazzy sound.
[Show full text]
Gender, Ethnicity, and Identity in Virtual
Virtual Pop: Gender, Ethnicity, and Identity in Virtual Bands and Vocaloid Alicia Stark Cardiff University School of Music 2018 Presented in partial fulfilment of the requirements for the degree Doctor of Philosophy in Musicology TABLE OF CONTENTS ABSTRACT i DEDICATION iii ACKNOWLEDGEMENTS iv INTRODUCTION 7 EXISTING STUDIES OF VIRTUAL BANDS 9 RESEARCH QUESTIONS 13 METHODOLOGY 19 THESIS STRUCTURE 30 CHAPTER 1: ‘YOU’VE COME A LONG WAY, BABY:’ THE HISTORY AND TECHNOLOGIES OF VIRTUAL BANDS 36 CATEGORIES OF VIRTUAL BANDS 37 AN ANIMATED ANTHOLOGY – THE RISE IN POPULARITY OF ANIMATION 42 ALVIN AND THE CHIPMUNKS… 44 …AND THEIR SUCCESSORS 49 VIRTUAL BANDS FOR ALL AGES, AVAILABLE ON YOUR TV 54 VIRTUAL BANDS IN OTHER TYPES OF MEDIA 61 CREATING THE VOICE 69 REPRODUCING THE BODY 79 CONCLUSION 86 CHAPTER 2: ‘ALMOST UNREAL:’ TOWARDS A THEORETICAL FRAMEWORK FOR VIRTUAL BANDS 88 DEFINING REALITY AND VIRTUAL REALITY 89 APPLYING THEORIES OF ‘REALNESS’ TO VIRTUAL BANDS 98 UNDERSTANDING MULTIMEDIA 102 APPLYING THEORIES OF MULTIMEDIA TO VIRTUAL BANDS 110 THE VOICE IN VIRTUAL BANDS 114 AGENCY: TRANSFORMATION THROUGH TECHNOLOGY 120 CONCLUSION 133 CHAPTER 3: ‘INSIDE, OUTSIDE, UPSIDE DOWN:’ GENDER AND ETHNICITY IN VIRTUAL BANDS 135 GENDER 136 ETHNICITY 152 CASE STUDIES: DETHKLOK, JOSIE AND THE PUSSYCATS, STUDIO KILLERS 159 CONCLUSION 179 CHAPTER 4: ‘SPITTING OUT THE DEMONS:’ GORILLAZ’ CREATION STORY AND THE CONSTRUCTION OF AUTHENTICITY 181 ACADEMIC DISCOURSE ON GORILLAZ 187 MASCULINITY IN GORILLAZ 191 ETHNICITY IN GORILLAZ 200 GORILLAZ FANDOM 215 CONCLUSION 225
[Show full text]
Satellite Credits
Kid Koala RIC SAN (or DJ Kid Koala as he is known) is a master of pushing the SATELLITE boundaries of turntable artistry to THURSDAY, MAY 2, 7:30 PM E incredible effect. In his first visit to Carolina FRIDAY, MAY 3, 8 PM Performing Arts, he puts the imaginative style for SATURDAY, MAY 4, 8 PM which he is renowned on display with two unique CURRENT ARTSPACE + STUDIO experiences. During Satellite, audience members are seated at ROBOT DANCE PARTY stations equipped with a turntable, effects box, SATURDAY, MAY 4, 10 AM & 2 PM and a small crate of color-coded vinyl records. SUNDAY, MAY 5, 2 PM Through subtle lighting changes in the room, the CURRENT ARTSPACE + STUDIO audience is cued to play along with DJ Kid Koala, who leads them from his DJ booth. The idea for Satellite emerged from Kid Koala’s Music To Draw To series, where he would spin SATELLITE CREDITS calming music for people to draw or write Eric San, Musician / Composer to, creating a powerful creative energy in the Felix Boisvert, Musician / Turn Table room. He wanted to create an experience that Conductor was “deliberately slow, meditative, emergent, Karina Bleau, Chemical Puppeteer and creative, where everyone in the room Brian Neuman, Production / Tour Manager contributed in a small way to create the music.” carolinaperformingarts.org 55 The audience is an integral part of the show, Kid Koala is a world-renowned scratch DJ, accompanying Kid Koala to create an “ambient vinyl music producer, and an award-winning graphic novelist. orchestra,” melding their individual strains into a He has released four solo albums on Ninja Tune, including fluid body of sound.
[Show full text]
System of a Down Molds Metal Like Silly Putty, Bending and Shaping Its Parame- 12 Slayer's First Amendment Ters to Fit the Band's Twisted Vision
NEW: LOUD ROCK CRUCIAL SPINS CHART LOW TORTOISE 1111 NEW MUSIC REPORT Uà NORTEC JACK COSTANZO February 12, 20011 www.cmj.com COLLECTIVE The Twisted Art-Metal Of SYSTEM OF ADOWN 444****************444WALL FOR ADC 90138 24438 2/28/388 KUOR - REDLAHDS FREDERICK SUER S2V3HOD AUE unr G ATASCADER0 CA 88422-3428 IIii II i ti iii it iii titi, III IlitlIlli lilt ti It III ti ER THEIR SELF TITLED DEBUT AT RADIO NOW • FOR COLLEGE CONTACT PHIL KASO: [email protected] 212-274-7544 FOR METAL CONTACT JEN MEULA: [email protected] 212-274-7545 Management: Bryan Coleman for Union Entertainment Produced & Mixed by Bob Marlette Production & Engineering of bass and drum tracks by Bill Kennedy a OADRUNNEll ACME MCCOWN« ROADRUNNER www.downermusic.com www.roadrunnerrecords.com 0 2001 Roadrunner Records. Inc. " " " • Issue 701 • Vol 66 • No 7 FEATURES 8 Bucking The System member, the band is out to prove it still has Citing Jane's Addiction as a primary influ- the juice with its new release, Nation. ence, System Of A Down molds metal like Silly Putty, bending and shaping its parame- 12 Slayer's First Amendment ters to fit the band's twisted vision. Loud Follies Rock Editor Amy Sciarretto taps SOAD for Free speech is fodder for the courts once the scoop on its upcoming summer release. again. This time the principals involved are a headbanger institution and the parents of 10 It Takes A Nation daughter who was brutally murdered by three Some question whether Sepultura will ever of its supposed fans. be same without larger-than-life frontman 15 CM/A: Staincl Max Cavalera.
[Show full text]