DOCSLIB.ORG

TALIB KWELI Proving Labels Can’T Confine Or Define Him on His Latest Project Talib Kweli Has a Well-Earned Fiona, Seu Jorge and Abby Dobson

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
TALIB KWELI Proving Labels Can’T Confine Or Define Him on His Latest Project Talib Kweli Has a Well-Earned Fiona, Seu Jorge and Abby Dobson ISSUE #26 MMUSICMAG.COM ISSUE #26 MMUSICMAG.COM SPOTLIGHT Working with SoundExchange has made all the difference in the current economy. Art is taken for granted, and many companies profit from artists ian S nna without giving a second thought A to HOW THESE ARTISTS AND THEIR FAMILIES SURVIVE. TALIB KWELI Proving labels can’t confine or define him on his latest project TALIB KWELI HAS A WELL-EARNED Fiona, Seu Jorge and Abby Dobson. Kweli reputation for being a smart, socially and offered them a long leash. “I found tracks politically aware lyricist. But with Prisoner that went with them. I had the collaborators TALIB KWELI of Conscious, his fifth solo album, Kweli in mind, and I let people pick out tracks,” is hoping to show he’s in touch with his says Kweli. “Kendrick and Curren$y, they SoundExchange goes out of emotional side. “Just calling the album both chose ‘Push Thru.’ Seu Jorge and Prisoner of Conscious,” says the rapper. I sat in the studio for hours before he their way to MAKE SURE THE “I don’t see myself as a prisoner of chose ‘Favela Love.’” Issue #26 conscience, so I set out to make an album Prisoner of Conscious is Kweli’s M MUSIC & MUSICIANS ARTIST IS TAKEN CARE OF that proved that.” second album through his own label, Javotti, Prisoner of Conscious is replete with named for his grandmother. Calling the shots MAGAZINE and that business is handled insight fans have come to expect, but also on his own projects has altered how Kweli reflects an effort to tap more personal executes his albums. “I’m able to bring the all around. I AM HAPPY TO sentiments. “I made the album less political. record in under budget,” he says. “I’m able But some fans may not like to hear that,” he to be more in control of how it’s out there.” BE WORKING WITH THEM. says. “Hopefully that’ll change when they More than anything, Kweli sees his hear what I did.” More than just shifting the latest album as a chance to break free focus of his lyrics, Kweli also took a new of certain labels that have been used to approach to songwriting. “My focus has interpret his music. “I think despite my best always been the lyrics first. But this time efforts I have been pigeonholed,” he says. SoundExchange is working to support, protect I put the music first. I’ve worked with great “Most of the media outlets and industry types musicians—Kanye West, J Dilla, Madlib. But who really don’t know my albums just deal and propel the music industry forward. for this album, I stayed less in the confines with perception.” But he doesn’t feel the new of traditional hip-hop beats and picked tracks record is a radical departure from his earlier DOMESTIC AND FOREIGN ROYALTIES FOR DIGITAL RADIO PERFORMANCES that musically take it other places.” work. “I’m on my 15th album. If you put it Kweli, 37, went into the studio with a list all together and listen to all the songs, you of collaborators in mind, including hip-hop can’t just say I’m a conscious rapper who www.SoundExchange.com | 202-640-5858 | [email protected] artists Busta Rhymes, Kendrick Lamar and only is known for one thing. I’ve done it all.” Nelly, as well as singers including Melanie –Amanda Farah 20 No26_Ad_Placement-v2.indd 21 4/10/13 1:47 AM.
Load more

Recommended publications
  • Apollo Theater Announces Details of 2017 Winter/Spring Programs
    APOLLO THEATER ANNOUNCES DETAILS OF 2017 WINTER/SPRING PROGRAMS The Apollo Theater Presents AFROPUNK Unapologetically Black: The African American Songbook Remixed A Celebration of Black Protest Music Creative and Musical Direction by Robert Glasper Featuring special guests Jill Scott, Bilal, Toshi Reagon and Staceyann Chin Saturday, February 25th, -7:30 p.m. Africa Now! Presented in Partnership with the World Music Institute Highlighting the Best of the African Music Scene Featuring Musical Force Mbongwana Star, desert punk / blues band, Songhoy Blues, Vocal Powerhouse Lura & House/Afropunk Sensation DJ Nenim Saturday, March 11th, - 8:00 p.m. The Return of WOW – The Apollo Theater presents Southbank Centre London’s WOW - Women of the World Festival A John F. Kennedy Center for the Performing Arts Production with Special Guests Esperanza Spalding and Dee Dee Bridgewater Under the musical direction of Terri Lyne Carrington Bringing Together Women Artists, Activists, and Leaders from Around the Globe Featuring an Evening with The Moth and a Tribute to Legendary Songstress Abbey Lincoln Thursday May 4th - Sunday May 7th The Return of the Theater’s Signature Programs Apollo Music Café, Apollo Comedy Club, Amateur Night at the Apollo, and Apollo Uptown Hall As well as ongoing Education and Community Outreach Programs (Harlem, NY – January 18, 2017) – The Apollo Theater today announced additional details for the Winter/Spring programs as part of its 2017 season. The new schedule includes a slate of dynamic programming encompassing festivals, and collaborations with artists and world class arts organizations as well as a wide array of thought-provoking and socially engaging community forums and a host a of education programs for students, young professionals and families.
    [Show full text]
  • New Album from Rap MC Talib Kweli 11-22
    New Album from Rap MC Talib Kweli 11-22 Written by Robert ID2069 Wednesday, 02 November 2005 08:22 - One of hip-hop’s highly charged and talented rap MC’s Talib Kweli will release his new CD "Right About Now...," thru KOCH Records and Blacksmith Music on November 22nd. The album features fellow hip-hop and rap artists Jean Grae, Mos Def, Papoose and others also features 12 all new tracks. The first singles "Who Got It," produced by Kareem Riggs, and "Fly That Knot" are reacting simultaneously at urban radio right now. Kweli states, "''Right About Now'' sums up this project. Usually when my music comes out, the people hear where I was a year ago. This project represents where I am right now." Rap artist Talib Kweli is currently co-headlining The Breed Love Odyssey Tour (sponsored by PlayStation and House of Blues) with Mos Def. The national tour continues through the end of the year and also features Jean Grae, Pharoahe Monch and Medina Green. Kweli is a member of legendary groups Black Star (with Mos Def) and Reflection Eternal (with super producer Hi-Tek), as well as a successful solo artist, and has established himself as one of the most skilled artists in hip-hop today. Kweli ranks among the most respected MCs in the game -- even garnering reverence from multi-platinum artist Jay-Z in his song "Moment of Clarity" on the platinum release "The Black Album." With lyrics that range from the classic battle rap to emotionally charged, socially conscious commentary, Kweli is an intelligent wordsmith who has the knack for bridging the gaps between hip-hop fans of all types.
    [Show full text]
  • A New Generation of Jazz from Japan Featuring Takuya Kuroda and Ensemble
    Asia Society and The Japan Foundation Present A New Generation of Jazz From Japan Featuring Takuya Kuroda and Ensemble Takuya Kuroda (Hiroyuki Seo) Saturday, March 8, 8:00 P.M. Asia Society 725 Park Avenue at 70th Street New York City The performance will last approximately 75 minutes, with no intermission. Asia Society and The Japan Foundation Present A New Generation of Jazz From Japan Featuring Takuya Kuroda and Ensemble THE ENSEMBLE: Takuya Kuroda, trumpet Rashaan Carter, bass Adam Jackson, drums Corey King, trombone Keita Ogawa, percussion Takeshi Ohbayashi, piano/keyboards ABOUT THE ARTISTS TAKUYA KURODA (TRUMPET) Japanese trumpeter Takuya Kuroda is a veteran and mainstay of the New York Jazz scene. A 2006 graduate of The New School’s Jazz and Contemporary Music Program, Takuya has performed alongside some of the best musicians (Junior Mance, Jose James, Greg Tardy, Andy Ezrin, Jiro Yoshida, Akoya Afrobeat, Valery Ponomarev Big Band) at some of the city’s most renowned live music venues including Radio City Music Hall, The Blue Note, The Village Underground, Sweet Rhythm, 55 Bar, and SOBs. RASHAAN CARTER (BASS) Rashaan Carter is entrenched in the New York jazz scene and has worked with Benny Golson, Curtis Fuller and Louis Hayes, Wallace Roney, Marc Cary, Cindy Blackman, Doug and Jean Carn, Antoine Roney, Sonny Simmons, and many more. ADAM JACKSON (DRUMS) Adam Jackson has had the pleasure of working with platinum recording group Destiny’s Child, Ciara, Grammy-nominated Emily King, Frank McComb and on the Tony Award winning musical Memphis. COREY KING (TROMBONE) Since his arrival in New York, Corey King has performed and/or recorded with notable artists such as Dave Binney, Dr.
    [Show full text]
  • Live Hard...Party Harder
    ISSUE #12 OUR SPECIAL ONE YEAR ANNIVERSARY ISSUE. HAPPY BIRTHDAY US! LIVE HARD.... ....PARTY HARDER WARNING Before playing this game, read the Xbox 360® console, Xbox 360 Kinect® Sensor, and accessory manuals for important safety and health information. www.xbox.com/support. Important Health Warning: Photosensitive Seizures A very small percentage of people may experience a seizure when exposed to certain visual images, including flashing lights or patterns that may appear in video games. Even people with no history of seizures or epilepsy may have an undiagnosed condition that can cause “photosensitive epileptic seizures” while watching video games. Symptoms can include light-headedness, altered vision, eye or face twitching, jerking or shaking of arms or legs, disorientation, confusion, momentary loss of awareness, and loss of consciousness or convulsions that can lead to injury from falling down or striking nearby objects. Immediately stop playing and consult a doctor if you experience any of these symptoms. Parents, watch for or ask children about these symptoms—children and teenagers are more likely to experience these seizures. The risk may be reduced by being farther from the screen; using a smaller screen; playing in a well-lit room, and not playing when drowsy or fatigued. If you or any relatives have a history of seizures or epilepsy, consult a doctor before playing. Table of Contents 02 Getting Started 04 The Lost and Damned 06 The Ballad of Gay Tony 08 Credits 16 Warranty/Technical Support 1 Getting Started Game Controls Xbox LIVE Xbox 360 Controller Play anyone and everyone, anytime, anywhere on Xbox LIVE®.
    [Show full text]
  • There's No Shortcut to Longevity: a Study of the Different Levels of Hip
    Running head: There’s No Shortcut to Longevity 1 This thesis has been approved by The Honors Tutorial College and the College of Business at Ohio University __________________________ Dr. Akil Houston Associate Professor, African American Studies Thesis Adviser ___________________________ Dr. Raymond Frost Director of Studies, Business Administration ___________________________ Cary Roberts Frith Interim Dean, Honors Tutorial College There’s No Shortcut to Longevity 2 THERE’S NO SHORTCUT TO LONGEVITY: A STUDY OF THE DIFFERENT LEVELS OF HIP-HOP SUCCESS AND THE MARKETING DECISIONS BEHIND THEM ____________________________________ A Thesis Presented to The Honors Tutorial College Ohio University _______________________________________ In Partial Fulfillment of the Requirements for Graduation from the Honors Tutorial College with the degree of Bachelor of Business Administration ______________________________________ by Jacob Wernick April 2019 There’s No Shortcut to Longevity 3 Table of Contents List of Tables and Figures……………………………………………………………………….4 Abstract…………………………………………………………………………………………...5 Introduction…………………………………………………………………………………..6-11 Parameters of Study……………………………………………………………..6 Limitations of Study…………………………………………………………...6-7 Preface…………………………………………………………………………7-11 Literary Review……………………………………………………………………………..12-32 Methodology………………………………………………………………………………....33-55 Jay-Z Case Study……………………………………………………………..34-41 Kendrick Lamar Case Study………………………………………………...41-44 Soulja Boy Case Study………………………………………………………..45-47 Rapsody Case Study………………………………………………………….47-48
    [Show full text]
  • Program Notes
    Home delivery plus 2021 SeRIeS ZAKIR HUSSAIN AND MASTERS OF PERCUSSION PREMIERING FRI, APR 30, 8pm (ET) STREAMING ON DEMAND THROUGH THU, MAY 6, 11:59pm (ET) zakir hussain and masters of percussion Every other year since 1996, Zakir Hussain has Zakir Hussain, Tabla served as curator, conductor, and producer, bringing the very cream of Indian music to tour Pezhham Akhavass, Tombak and Daf America and Europe with his series, Zakir Hussain Marcus Gilmore, Drum Set and Masters of Percussion. Growing out of his Anantha Krishnan, Mridangam renowned international tabla duet tours with his father, the legendary Ustad Allarakha, Masters of with Percussion began as a platform for both popular Sabir Khan, Sarangi and rarely heard rhythm traditions from India. While performing and collaborating in India for a few months every year, Zakir has sought and and spontaneous combinations of percussive and unearthed lesser-known folk and classical tradi- melodic performances. tions which feed into the greater stream of Indian Maestro Hussain comments, “Masters of music, playing an educational role in affording Percussion 2021 features master drummers them greater visibility, as well as introducing them from Iran, India, and the U.S. Anantha Krishnan to audiences in the West. Over time, the constantly is a master of the two-headed south Indian cylin- changing ensemble has expanded to include great drical drum known as the mridangam. Pezhham drummers and percussionists from many world Akhavass is an acclaimed exponent of the tombek traditions, including jazz. and the Iranian frame drum, daf. I represent the All of it creates a truly beautiful field from which traditional rhythm repertoire of north India on he can bring Masters of Percussion to the West.
    [Show full text]
  • Talib Kweli Quality Mp3, Flac, Wma
    Talib Kweli Quality mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Quality Country: US Released: 2002 Style: Conscious MP3 version RAR size: 1944 mb FLAC version RAR size: 1994 mb WMA version RAR size: 1152 mb Rating: 4.9 Votes: 869 Other Formats: MP1 AAC RA MP3 TTA DXD AHX Tracklist Hide Credits Keynote Speaker 1 Bass – Eric "BLB" Coomes*Performer – Dave ChappelleProducer – Eric Krasno Rush 2 Bass – Doug WimbishGuitar – Morgan Michael CraftProducer – Megahertz Vocals [Vocal Drop] – Xzibit Get By 3 Backing Vocals – Abby Dobson , Chinua Hawk, Kendra Ross, Vernetta Bobien, William TaylorProducer – Kanye WestTrumpet – Duane Eubanks Shock Body 4 Producer – DJ ScratchVocals – McKay*, Tiffany Phinazee Gun Music 5 Bass – Doug WimbishFeaturing – Cocoa BrovazProducer – Megahertz Vocals [Additional] – Junior Cat Waitin' For The DJ 6 Featuring – BilalProducer – Dahoud Darien Joy 7 Featuring – Mos DefProducer – Ayatollah Talk To You (Lil' Darlin') Bass – Pino PalladinoCo-producer – Talib KweliDrums – Ahmir '?uestlove' ThompsonFeaturing – 8 BilalGuitar – Randy Bowlan*Keyboards – James PoyserProducer – The SoulquariansTrumpet – Duane EubanksViolin – Emmanuel PrattVocals [Additional] – Aisha Mike Guerrilla Monsoon Rap 9 Featuring – Black Thought, Pharoahe MonchProducer – Kanye WestVocals [Additional] – Kanye West Put It In The Air 10 Bass – Eric "BLB" Coomes*Featuring – DJ QuikProducer – DJ Quik The Proud 11 Backing Vocals – Jeymes SamuelProducer – Ayatollah Where Do We Go (Dedicated To Weldon Irvine) 12 Featuring – ResKeyboards – James
    [Show full text]
  • Dossier Pédagogique Service Educatif De L’Archipel
    ANNEXE PEDAGOGIQUE A PARTIR DE LA FORMATION SUR LE HIP HOP Dossier Pédagogique Service Educatif de l’Archipel Naissance du Hip-Hop Le Hip-Hop ce n’est pas un genre, mais presque cinq ! Le Rap, le DJ’ing, le Breakdance, le Graffiti et Le beatbox qui est parfois ajouté comme cinquième élément. C’est néanmoins pour le Rap que le Hip-Hop est le plus connu. Ce genre musical est l’héritier de toute l’histoire musicale Américaine depuis la fin du XIX -ème siècle (le blues, le Gospel, la Soul, le Disco, le Jazz, La funk…). La culture Hip-Hop dans son ensemble est une culture à part entière qui a su créer ses codes, ses esthétiques, son mode de fonctionnement. Aujourd’hui le Hip-Hop est partout dans notre quotidien, dans la mode vestimentaire, les publicités, dans tous les médias. Si l’on devait résumer cette culture par une phrase, ce serait les sentiments partagés par la communauté : » Peace, Love, Unity and Having Fun » ! (Paix, amour, cohésion et plaisir). La Musique, est la forme la plus répandue du Hip-Hop. Le Rap s’inspire directement du Blues de par son essence. Il raconte la dure réalité des rappeurs et de ceux qu’ils côtoient, avec l’espoir de s’en sortir, de réussir, d’être libre. Le Rap s’inspire directement du Jazz, de par son rythme, avec les rimes notamment et l’improvisation que l’on peut retrouver lors de freestyle. Le Rap s’inspire directement du Rhythm and Blues de par sa popularité. De plus, d’abord pratiqué par des noirs, de nombreux blancs se sont mis à rapper, faisant tomber les barrières raciales.
    [Show full text]
  • The Power of the Hip-Hop Narrative in Mainstream Rap Morgan Klatskin Brigham Young University, Provo, [email protected]
    Criterion: A Journal of Literary Criticism Volume 11 Article 7 Issue 1 Volume 11, Issue 1 (Winter 2018) 4-2018 Reclaiming the Black Personhood: the Power of the Hip-Hop Narrative in Mainstream Rap Morgan Klatskin Brigham Young University, Provo, [email protected] Follow this and additional works at: https://scholarsarchive.byu.edu/criterion Part of the African American Studies Commons, American Popular Culture Commons, Civil Rights and Discrimination Commons, English Language and Literature Commons, Law and Race Commons, Other Music Commons, Other Rhetoric and Composition Commons, Race and Ethnicity Commons, and the Social Influence and Political Communication Commons BYU ScholarsArchive Citation Klatskin, Morgan (2018) "Reclaiming the Black Personhood: the Power of the Hip-Hop Narrative in Mainstream Rap," Criterion: A Journal of Literary Criticism: Vol. 11 : Iss. 1 , Article 7. Available at: https://scholarsarchive.byu.edu/criterion/vol11/iss1/7 This Article is brought to you for free and open access by the All Journals at BYU ScholarsArchive. It has been accepted for inclusion in Criterion: A Journal of Literary Criticism by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Reclaiming the Black Personhood: the Power of the Hip-Hop Narrative in Mainstream Rap Cover Page Footnote Thank you to my husband, who helped me through the countless late nights at the library. Thank you to Professor Peter Leman, who encouraged me to follow my passion and be adventurous and unconventional in my research. This article is available in Criterion: A Journal of Literary Criticism: https://scholarsarchive.byu.edu/criterion/vol11/iss1/7 Reclaiming the Black Personhood The Power of the Hip-Hop Narrative in Mainstream Rap Music Morgan Klatskin In response to acutely visible injustice, music has long served as a method of resistance for the Black community.
    [Show full text]
  • The Revive Big Band Resource Guide
    THE REVIVE BIG BAND RESOURCE GUIDE ABOUT REVIVE MUSIC GROUP Revive Music launched in 2006 as a boutique live music agency that specializes in producing genre-bending, creative-concept live music shows that tour worldwide with the purpose of educating and inspiring audiences about artistic and authentic forms of music. In effort further provide an advocacy platform for musicians, Revive launched the leading online journal, www.revive-music.com, for the burgeoning jazz community dedicated to their musicianship, artistry and creative expression as a part of www.okayplayer.com and a label imprint with the legendary Blue Note Records. ABOUT THE REVIVE BIG BAND “We’re carrying on within the tradition of big bands, what would be relevant today – modifying the message and making it translatable and accessible to the people, so that they have something to connect to. We represent that bridge” -Igmar Thomas Heralded by the Village Voice for having New York City’s “most electrifying young lions in jazz, Revive Big Band has a finger on the pulse of today’s emerging progressive sound while pointing to things yet to come for a new era of music. Formed in 2010 by trumpeter, composer and arranger Igmar Thomas, this multi-generational ensemble knows no limits while seeking to advance, celebrate and re-imagine sonic freedom in big band form. The Revive Big Band’s well-honed musical sensibilities powerfully synthesize the art of the beat, treatment of melody, reverence of the standard, and nuances of time. Expanding the contemporary canon of composition as it dwells at the intersection of jazz, hip hop, soul and beyond, the band's repertoire features original compositions and inventive orchestrations of jazz standards and contemporary classics by artists ranging from Oliver Nelson, Wayne Shorter and Freddie Hubbard to A Tribe Called Quest, J Dilla, Gangstarr, Bilal and more, in rare live performances.
    [Show full text]
  • Regeneration [Transcript]
    1 #ReGENERATION The Politics of Apathy and Activism [Transcript] TITLE SCREEN: “We will have to repent in this generation not merely for the vitriolic words and actions of the bad people, but for the appalling silence of the good people."-Dr. Martin Luther King Jr. NARRATOR: The vast and complicated issues facing today's generation can leave many with the uncertainty and fear that nothing can be done. Yet by exploring how the influence of our media, education and parenting have shaped us, we can begin to understand what we must change – Both as a generation and as a culture. JOHN BELLAMY FOSTER: There's a lot of talk about the “great generation” of the World War II Generation, and all generations that came after are supposed to be in some way lesser than that. They do not have the world historic role that the great generation had. Then there's the sixties generation, which in some way had had a purpose, had a world historical role of a kind. And then Generation X and Generation Y and so on are seen mainly in marketing terms: as generations with no purpose, no world or historical role. [MEDIA – NEWS CLIP]: We interrupt our regularly scheduled program to bring you the following special report. / [Jimmy Carter] Good evening. I accepted... ANDREW BACEVICH: There was a moment in the 1970s when a not very successful president, nonetheless, tried very hard to say, "Hold up. We may be heading down the wrong path." [MEDIA – JIMMY CARTER]: In a nation that was proud of hard work, strong families, close- knit communities and our faith in God, too many of us now tend to worship self-indulgence and consumption.
    [Show full text]
  • The Authenticity of a Rapper: the Lyrical Divide Between Personas
    The Authenticity of a Rapper: The Lyrical Divide Between Personas and Persons by Hannah Weiner A thesis presented for the B.A. degree with Honors in The Department of English University of Michigan Winter 2014 © March 25, 2014 Hannah Weiner Acknowledgements The past year has been dedicated to listening to countless hours of rap music, researching hip hop blogs, talking to everyone who will listen about exciting ideas about Kanye West, and, naturally, writing. Many individuals have provided assistance that helped an incredible amount during the process of writing and researching for this thesis. Firstly, I am truly indebted to my advisor, Macklin Smith. This thesis would not be nearly as thorough in rap’s historical background or in hip hop poetics without his intelligent ideas. His helpfulness with drafts, inclusion of his own work in e-mails, and willingness to meet over coffee not only deepened my understanding of my own topic, but also made me excited to write and research hip hop poetics. I cannot express how much I appreciated his feedback and flexibility in working with me. I am also grateful for Gillian White’s helpfulness throughout the writing process, as well. After several office hours and meetings outside of class, she has offered invaluable insight into theories on sincerity and the “personal,” and provided me with numerous resources that helped form many of the ideas expressed in my argument. I thank my family for supporting me and offering me hospitality when the stresses of thesis writing overwhelmed me on campus. They have been supportive and a source of love and compassion throughout this process and the past 21 years, as well.
    [Show full text]