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The Dub Issue 15 August2017
AIRWAVES DUB GREEN FUTURES FESTIVAL RADIO + TuneIn Radio Thurs - 9-late - Cornerstone feat.Baps www.greenfuturesfestivals.org.uk/www.kingstongreenradi o.org.uk DESTINY RADIO 105.1FM www.destinyradio.uk FIRST WEDNESDAY of each month – 8-10pm – RIDDIM SHOW feat. Leo B. Strictly roots. Sat – 10-1am – Cornerstone feat.Baps Sun – 4-6pm – Sir Sambo Sound feat. King Lloyd, DJ Elvis and Jeni Dami Sun – 10-1am – DestaNation feat. Ras Hugo and Jah Sticks. Strictly roots. Wed – 10-midnight – Sir Sambo Sound NATURAL VIBEZ RADIO.COM Daddy Mark sessions Mon – 10-midnight Sun – 9-midday. Strictly roots. LOVERS ROCK RADIO.COM Mon - 10-midnight – Angela Grant aka Empress Vibez. Roots Reggae as well as lo Editorial Dub Dear Reader First comments, especially of gratitude, must go to Danny B of Soundworks and Nick Lokko of DAT Sound. First salute must go to them. When you read inside, you'll see why. May their days overflow with blessings. This will be the first issue available only online. But for those that want hard copies, contact Parchment Printers: £1 a copy! We've done well to have issued fourteen in hard copy, when you think that Fire! (of the Harlem Renaissance), Legitime Defense and Pan African were one issue publications - and Revue du Monde Noir was issued six times. We're lucky to have what they didn't have – the online link. So I salute again the support we have from Sista Mariana at Rastaites and Marco Fregnan of Reggaediscography. Another salute also to Ali Zion, for taking The Dub to Aylesbury (five venues) - and here, there and everywhere she goes. -
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. -
Nightlife, Djing, and the Rise of Digital DJ Technologies a Dissertatio
UNIVERSITY OF CALIFORNIA, SAN DIEGO Turning the Tables: Nightlife, DJing, and the Rise of Digital DJ Technologies A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Communication by Kate R. Levitt Committee in Charge: Professor Chandra Mukerji, Chair Professor Fernando Dominguez Rubio Professor Kelly Gates Professor Christo Sims Professor Timothy D. Taylor Professor K. Wayne Yang 2016 Copyright Kate R. Levitt, 2016 All rights reserved The Dissertation of Kate R. Levitt is approved, and it is acceptable in quality and form for publication on microfilm and electronically: _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ _____________________________________________ Chair University of California, San Diego 2016 iii DEDICATION For my family iv TABLE OF CONTENTS SIGNATURE PAGE……………………………………………………………….........iii DEDICATION……………………………………………………………………….......iv TABLE OF CONTENTS………………………………………………………………...v LIST OF IMAGES………………………………………………………………….......vii ACKNOWLEDGEMENTS…………………………………………………………….viii VITA……………………………………………………………………………………...xii ABSTRACT OF THE DISSERTATION……………………………………………...xiii Introduction……………………………………………………………………………..1 Methodologies………………………………………………………………….11 On Music, Technology, Culture………………………………………….......17 Overview of Dissertation………………………………………………….......24 Chapter One: The Freaks -
Leroy Sibbles Love Won't Come Easy / Keep on Knocking Mp3, Flac, Wma
Leroy Sibbles Love Won't Come Easy / Keep On Knocking mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Reggae Album: Love Won't Come Easy / Keep On Knocking Country: UK Released: 1987 Style: Roots Reggae MP3 version RAR size: 1204 mb FLAC version RAR size: 1395 mb WMA version RAR size: 1529 mb Rating: 4.3 Votes: 540 Other Formats: MP3 DTS AC3 ASF AA VOX WAV Tracklist A –Leroy Sibbles Love Won't Come Easy B –Jacob Miller Keep On Knocking Notes Comes in a Greensleeves Disco sleeve Other versions Category Artist Title (Format) Label Category Country Year Leroy Heptones* / Leroy Jachob Miller* - Love Rockers none Heptones* / none Jamaica 1979 Won't Come Easy / Keep International Jachob Miller* On Knocking (12") The Heptones / Pablo All The Heptones / Stars / Jacob Miller / Pablo All Stars / Rockers All Stars - Love Greensleeves GRED 22 Jacob Miller / Won't Come Easy / GRED 22 UK 1979 Records Rockers All Rockers Dub / Keep On Stars Knocking / Original Rockers (12") Leroy Heptones* / Leroy Jachob Miller* - Love dsr8223 Heptones* / Message dsr8223 Jamaica 1988 Won't Come Easy / Keep Jachob Miller* On Knocking (12") Love Won't Come Easy / Rockers none Jacob Miller none Jamaica Unknown Keep On Knocking (12") International Related Music albums to Love Won't Come Easy / Keep On Knocking by Leroy Sibbles 1. Augustus Pablo - Rockers International 2. Jacob Miller, Joe Gibbs & The Professionals - Back Yard Movement 3. Jacob Miller - Tenement Yard 4. The Heptones - Sweet Talking / Sweet Dubbing 5. Stranger Cole / Leroy Sibbles / Bullwackies All Stars - The Time is Now / Revolution / Take Time 6. Jacob Miller / The Heptones - Tenement Yard / Book Of Rules 7. -
Kid Koala Featuring Emilíana Torrini Music to Draw To: Satellite Album Biography
Kid Koala featuring Emilíana Torrini Music To Draw To: Satellite Album Biography Kid Koala’s Music To Draw To: Satellite is an uncharted musical journey for the legendary scratch DJ, producer, and composer. Eric San ’s fifth studio album is an expansive work of ambient electronic soundscapes and chilling dream-pop ballads sung by Icelandic artist Emilíana Torrini. Satellite is the renowned audio-collagist’s first non-sample-based record, with Kid Koala composing, performing, and producing with an array of synthesizers, keys, guitars, strings, turntables, noisemakers, and inventive recording techniques. This inaugural volume in the Music To Draw To collaboration series also finds Kid Koala contributing poetic lyrics to five of Emilíana Torrini’s seven vocal contributions. Created during the gelid Montreal winter, the eighteen movements of Music To Draw To: Satellite tell a tale of discovery and loss through the lens of lovers separated by an early Mars mission. Album opener “The Observable Universe” swells in a cycle of orchestral electronic ambience, a glacial and patient overture to Satellite’s 72-minute sonic expedition. On “Collapser,” San’s heartrending poetry is sung in Torrini’s spectral, icy style, repeating the song’s sombre mantra over a pulsating sequence of keyboards, analog synthesizers, samplers, and controllers: No plan, no map, at this rate, we’ll all collapse. About working with the vocalist, San says: “Emilíana is one of my favourite singers in the world. I’ve been following her work since her first album. She’s just got one of those singular voices that captivated me years ago. Even when she is singing at whisper quiet levels, it’s enough to crack your heart open.“ Following their meeting at one of Emilíana’s shows at Joe’s Pub in New York, the pair bonded over a mutual appreciation of one another’s work. -
Digitale Disconnectie Voor De La Soul
juridisch Digitale disconnectie dreigt voor hiphopgroep De La Soul Stakes Is High Bjorn Schipper Met de lancering op Netflix van de nieuwe hitserie The Get Down staat de opkomst van hiphop weer volop in de belangstelling. Tegen de achtergrond van de New Yorkse wijk The Bronx in de jaren ’70 krijgt de kijker een beeld van hoe discomuziek langzaam plaatsmaakte voor hiphop en hoe breakdancen en deejayen in zwang raakten. Een hiphopgroep die later furore maakte is De La Soul. In een tijd waarin digitale exploitatie volwassen is geworden en de online-mogelijkhe- den haast eindeloos zijn, werd onlangs bekend dat voor De La Soul juist digitale disconnectie dreigt met een nieuwe generatie (potentiële) fans1. In deze bijdrage ga ik in op de bizarre digi- tale problemen van De La Soul en laat ik zien dat ook andere artiesten hiermee geconfronteerd kunnen worden. De La Soul: ‘Stakes Is High’ Net als andere hiphopalbums2 bevatten de albums van De New Yorkse hiphopgroep De La Soul bestaat De La Soul vele samples. Dat bleef juridisch niet zon- uit Kelvin Mercer, David Jude Jolicoeur en Vincent der gevolgen en zorgde voor kopzorgen in verband met Mason. De La Soul brak in 1989 direct door met het het clearen van de gebruikte samples. Niet zo vreemd album 3 Feet High and Rising en kreeg vooral door ook als we bedenken dat in die tijd weinig jurispruden- de tekstuele inhoud en het gekleurde hoesontwerp al tie bestond over (sound)sampling. Zo kreeg De La Soul snel een hippie-achtig imago aangemeten. Met hun het na de release in 1989 van 3 Feet High and Rising vaste producer Prince Paul bewees De La Soul dat er aan de stok met de band The Turtles. -
MED Classic Mp3, Flac
M.E.D. Classic mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Hip hop Album: Classic Country: US Released: 2011 MP3 version RAR size: 1363 mb FLAC version RAR size: 1107 mb WMA version RAR size: 1666 mb Rating: 4.2 Votes: 644 Other Formats: ASF MOD MP4 MPC DTS ADX AC3 Tracklist Hide Credits A1 Int'l 3:11 Where I'm From A2 3:58 Featuring – Aloe Blacc A3 Too Late 2:22 War & Love B1 3:09 Featuring – Oh No Classic B2 2:52 Featuring – Talib Kweli Get That B3 3:40 Featuring – Pok* C1 JWF 3:02 Roll Out C2 4:21 Featuring – Kurupt, Planet Asia C3 Blaxican 2:05 Outta Control C4 3:19 Featuring – Hodgy Beats D1 Flying High 2:15 D2 Medical Card 2:40 D3 1 Life 2 Live 2:54 D4 Mystical Magic 2:26 Companies, etc. Manufactured By – Fat Beats Distribution Credits Artwork [Sleeve] – Jeff Jank Executive-Producer – Peanut Butter Wolf Mixed By, Mastered By – DJ Romes Photography By [Cover] – Eric Coleman Producer – The Alchemist* (tracks: B1), Georgia Anne Muldrow (tracks: A1), Karriem Riggins (tracks: B2), Madlib (tracks: A3, B3 to D4), Oh No (tracks: A2) Barcode and Other Identifiers Barcode: 6 59457 22751 7 Other versions Category Artist Title (Format) Label Category Country Year STH2275 MED* Classic (CD, Album) Stones Throw Records STH2275 US 2011 Classic (2xLP, Album + LP, STH2275 M.E.D.* Stones Throw Records STH2275 US 2011 Ltd, Ins) Related Music albums to Classic by M.E.D. 1. Aloe Blacc & Rhettmatic - Circa 2004: Blaccmatic 2. Aloe Blacc - Good Things 3. -
Black Youth in Urban America Marcyliena Morgan Harvard
“Assert Myself To Eliminate The Hurt”: Black Youth In Urban America Marcyliena Morgan Harvard University (Draft – Please Do Not Quote) Marcyliena Morgan [email protected] Graduate School of Education Human Development & Psychology 404 Larsen Hall 14 Appian Way Cambridge, Massachusetts 02138 Office:617-496-1809 (617)-264-9307 (FAX) 1 Marcyliena Morgan Harvard University “Assert Myself To Eliminate The Hurt”: Black Youth In Urban America Insert the power cord so my energy will work Pure energy spurts, sporadic, automatic mathematic, melodramatic -- acrobatic Diplomatic, charismatic Even my static, Asiatic Microphone fanatic 'Alone Blown in, in the whirlwind Eye of the storm, make the energy transform and convert, introvert turn extrovert Assert myself to eliminate the hurt If one takes more than a cursory glance at rap music, it is clear that the lyrics from some of hip hop’s most talented writers and performers are much more than the visceral cries of betrayed and discarded youth. The words and rhymes of hip hop identify what has arguably become the one cultural institution that urban youth rely on for honesty (keeping it real) and leadership. In 1996, there were 19 million young people aged 10-14 years old and 18.4 million aged 15-19 years old living in the US (1996 U.S. Census Bureau). According to a national Gallup poll of adolescents aged 13-17 (Bezilla 1993) since 1992, rap music has become the preferred music of youth (26%), followed closely by rock (25%). Though hip hop artists often rap about the range of adolescent confusion, desire and angst, at hip hop’s core is the commitment and vision of youth who are agitated, motivated and willing to confront complex and powerful institutions and practices to improve their 2 world. -
3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (Guest Post)*
“3 Feet High and Rising”--De La Soul (1989) Added to the National Registry: 2010 Essay by Vikki Tobak (guest post)* De La Soul For hip-hop, the late 1980’s was a tinderbox of possibility. The music had already raised its voice over tensions stemming from the “crack epidemic,” from Reagan-era politics, and an inner city community hit hard by failing policies of policing and an underfunded education system--a general energy rife with tension and desperation. From coast to coast, groundbreaking albums from Public Enemy’s “It Takes a Nation of Millions to Hold Us Back” to N.W.A.’s “Straight Outta Compton” were expressing an unprecedented line of fire into American musical and political norms. The line was drawn and now the stage was set for an unparalleled time of creativity, righteousness and possibility in hip-hop. Enter De La Soul. De La Soul didn’t just open the door to the possibility of being different. They kicked it in. If the preceding generation took hip-hop from the park jams and revolutionary commentary to lay the foundation of a burgeoning hip-hop music industry, De La Soul was going to take that foundation and flip it. The kids on the outside who were a little different, dressed different and had a sense of humor and experimentation for days. In 1987, a trio from Long Island, NY--Kelvin “Posdnous” Mercer, Dave “Trugoy the Dove” Jolicoeur, and Vincent “Maseo, P.A. Pasemaster Mase and Plug Three” Mason—were classmates at Amityville Memorial High in the “black belt” enclave of Long Island were dusting off their parents’ record collections and digging into the possibilities of rhyming over breaks like the Honey Drippers’ “Impeach the President” all the while immersing themselves in the imperfections and dust-laden loops and interludes of early funk and soul albums. -
Sly & Robbie – Primary Wave Music
SLY & ROBBIE facebook.com/slyandrobbieofficial Imageyoutube.com/channel/UC81I2_8IDUqgCfvizIVLsUA not found or type unknown en.wikipedia.org/wiki/Sly_and_Robbie open.spotify.com/artist/6jJG408jz8VayohX86nuTt Sly Dunbar (Lowell Charles Dunbar, 10 May 1952, Kingston, Jamaica, West Indies; drums) and Robbie Shakespeare (b. 27 September 1953, Kingston, Jamaica, West Indies; bass) have probably played on more reggae records than the rest of Jamaica’s many session musicians put together. The pair began working together as a team in 1975 and they quickly became Jamaica’s leading, and most distinctive, rhythm section. They have played on numerous releases, including recordings by U- Roy, Peter Tosh, Bunny Wailer, Culture and Black Uhuru, while Dunbar also made several solo albums, all of which featured Shakespeare. They have constantly sought to push back the boundaries surrounding the music with their consistently inventive work. Dunbar, nicknamed ‘Sly’ in honour of his fondness for Sly And The Family Stone, was an established figure in Skin Flesh And Bones when he met Shakespeare. Dunbar drummed his first session for Lee Perry as one of the Upsetters; the resulting ‘Night Doctor’ was a big hit both in Jamaica and the UK. He next moved to Skin Flesh And Bones, whose variations on the reggae-meets-disco/soul sound brought them a great deal of session work and a residency at Kingston’s Tit For Tat club. Sly was still searching for more, however, and he moved on to another session group in the mid-70s, the Revolutionaries. This move changed the course of reggae music through the group’s work at Joseph ‘Joe Joe’ Hookim’s Channel One Studio and their pioneering rockers sound. -
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. -
046-49 Stonesthrow.Qxd
046 49 StonesThrow.qxd 10/30/06 7:00 AM Page 64 STONES THROW TURNS 10 BY CHRIS MARTINS — PHOTOS BY B+ “I’VE GOT A WHOLE FRIDGE FULL OF WINE,” better known as Egon: general manager, vintage director Jeff Jank, an erstwhile graffiti artist and illus- says Eothen Alapatt with the air of a veteran busi- regional funk archivist, DJ and all-around hustler trator from Oakland who made the move south with nessman. “Going up to places like Lompoc and (though it must be mentioned that he’s much more Wolf. Photographer B+, an Irish transplant whose Buellton right outside Santa Barbara, to these wineries endearing than he is business) for Stones Throw credits include album covers for N.W.A., the Watts that are site specific…it’s just like the music I like.” Records. Of course, this isn’t to say that the label’s Prophets, DJ Shadow, and the majority of the Stones He is, after all, an accomplished record label manager. basic function isn’t happening (that previously men- Throw catalog. Rapper Medaphoar, who grew up with “I feel the same way traveling to Omaha to track a funk tioned “supposed to” about reinventing hip-hop), the label’s flagship artist Madlib in Oxnard, California, band as when I’m going to a winery seeing where they because it most certainly is. But times have changed. 60 miles northwest of L.A. Producer J-Rocc, founding grow the grapes, tasting the wine and meeting the Ten years is a lot of time for an independent hip-hop member of the seminal West Coast turntablist crew people that do it.” But Eothen isn’t an industry old- (etc.) imprint that never had dreams of pressing its the World Famous Beat Junkies (who’ve worked with, timer.