GET 58009 RAMMELZEE VS K-ROB Beat Bop 12

Total Page：16

File Type：pdf, Size：1020Kb

GET 58009 RAMMELZEE VS K-ROB Beat Bop 12

RAMMELLZEE VS K-ROB - “BEAT BOP” SIDE A - BEAT BOP • SIDE B - BEAT BOP INSTRUMENTAL 12” ON SPLIT BLACK & WHITE VINYL • LIMITED TO 1983 COPIES REISSUE OF ULTRA-RARE 1983 HIP-HOP MASTERPIECE CO-PRODUCED & WITH ARTWORK BY THE LATE JEAN-MICHEL BASQUIAT The original issue of the 1983 song “Beat Bop” by lyricists Rammellzee and K-Rob has been heard by many, but held by few. Only a reputed 500 of the song’s initial run, on Jean-Michel Basquiat’s one-off Tartown Records label, were made with jacket cover art by the infinitely influential graphic artist (and moonlighting musician and producer). They remain one of hip-hop’s “Holy Grail” items, selling north of $1,500 if you can even find one. The audio, which clocked in at over 10 minutes, was issued – with no picture sleeve – on Profile Records soon after the Tartown pressings, and went on to influence countless MCs, with its minimal, languishing funk beat (produced by Basquiat) and Rammellzee’s and K-Rob’s next-level lyricism. The picture sleeve version of the release has never been officially re-issued, and this edition, curated by hip-hop historian Noah Uman, goes the extra mile. It features officially-licensed original artwork from the Basquiat estate and a four-panel folded insert with deep background on the original single’s creation, compiled by Andrew “Noz” Nosnitsky – including interviews with many of the artists involved with its production: Rammellzee, K-Rob, Glenn O’Brien, percussionist Al Diaz, Profile’s Cory Robbins and more. Rammellzee left this Earth in 2010 and Basquiat passed away in 1988 – with this deluxe reissue, their important contributions to the formative years of hip-hop on wax are remembered and celebrated. A must-own for any hip-hop purist. LABEL: Get On Down CATALOG: GET58009-12 UPC: 6 64425 80091 3 STREET DATE 11/28/14 - BLACK FRIDAY.

Copy Link

Recommended publications

Schirn Presse Basquiat Boom for Real En
BOOM FOR REAL: THE SCHIRN KUNSTHALLE FRANKFURT PRESENTS THE ART OF JEAN-MICHEL BASQUIAT IN GERMANY BASQUIAT BOOM FOR REAL FEBRUARY 16 – MAY 27, 2018 Jean-Michel Basquiat (1960–1988) is acknowledged today as one of the most significant artists of the 20th century. More than 30 years after his last solo exhibition in a public collection in Germany, the Schirn Kunsthalle Frankfurt is presenting a major survey devoted to this American artist. Featuring more than 100 works, the exhibition is the first to focus on Basquiat’s relationship to music, text, film and television, placing his work within a broader cultural context. In the 1970s and 1980s, Basquiat teamed up with Al Diaz in New York to write graffiti statements across the city under the pseudonym SAMO©. Soon he was collaging baseball cards and postcards and painting on clothing, doors, furniture and on improvised canvases. Basquiat collaborated with many artists of his time, most famously Andy Warhol and Keith Haring. He starred in the film New York Beat with Blondie’s singer Debbie Harry and performed with his experimental band Gray. Basquiat created murals and installations for New York nightclubs like Area and Palladium and in 1983 he produced the hip-hop record Beat Bop with K-Rob and Rammellzee. Having come of age in the Post-Punk underground scene in Lower Manhattan, Basquiat conquered the art world and gained widespread international recognition, becoming the youngest participant in the history of the documenta in 1982. His paintings were hung beside works by Joseph Beuys, Anselm Kiefer, Gerhard Richter and Cy Twombly.
[Show full text]
Hip Hop Music to Enhance Critical Discussions
HipHip Hop Hop Using Hip Hop Music to Enhance Critical Discussions JEFFREY L. BROOME MCs kick rhymes to beats, or a cappella Graf artists tagging year round through all weather Our culture’s evolving, what next will it bring Hip-hop is one of my favorite things DJs, b-boys, and b-girls are so clever They called it a fad, but we’re hip-hop forever We love our culture, to it we shall cling Hip-hop is one of my favorite things (Substantial, 2008, track 7) As an adolescent during the late 1980s and early 1990s, a favorite secondary art students could identify these links too. The purpose of activity among my peers was to listen to hip-hop music. We were this article is to detail my resulting instructional experiences using fascinated by this fairly new addition to popular culture (partially hip-hop music as a tool for enhancing critical discussions on post- because older generations told us it wasn’t “real music”), enjoyed modern art. I begin with a literature review on postmodernism and most of it, but never discussed it critically. All of that changed for on sampling in hip-hop music, before detailing my efforts in incor- me when friends played the song “The Magic Number” (Huston, porating hip-hop into my own collegiate instruction. A concluding Mercer, Jolicoeur, Mason, & Dorough, 1990) by De La Soul. I imme- section discusses the applicability of such methods at the secondary diately recognized parts of the tune and adapted lyrics from a short level and other implications for art education.
[Show full text]
Basquiat Boom for Real February 16 – May 27 2018
FILMING AND PHOTOGRAPHY – IMPORTANT GUIDELINES BASQUIAT BOOM FOR REAL FEBRUARY 16 – MAY 27 2018 Please ensure that you read and adhere to the following conditions: PHOTOGRAPHY IN THE EXHIBITION: IMPORTANT: Photography is not permitted in: o Sections “The Scene“, “Warhol“ and “Beat Bop“: no photography of any objects OR photography on loan from The Andy Warhol Foundation (see attached list) o Section “The Screen“: no photography of excerpt on TV „State of the Art“ o Section “Downtown 81“: Film “Downtown 81“ may only appear in background shots All images may only be used for current coverage of the exhibition. Their use for commercial purposes and the disclosure to third parties without further permission is prohibited. All works must be photographed in the context of the exhibition. No close up shots of individual works allowed. The images may not be changed in any significant way. All caption information must appear whenever an image is reproduced: Basquiat. Boom for Real Schirn Kunsthalle Frankfurt February 16 – May 27, 2018 Artworks: © VG Bild-Kunst Bonn, 2018 & The Estate of Jean-Michel Basquiat, Licensed by Artestar, New York. Press installation images are available from the Newsroom: http://www.schirn.de/en/m/press/newsroom/basquiat_boom_for_real/#images FILMING IN THE EXHIBITION IMPORTANT: Filming is not permitted in: o Sections “The Scene“, “Warhol“ and “Beat Bop“: no filming of any objects OR photography on loan from The Andy Warhol Foundation (see attached list) o Section “The Screen“: no filming of excerpt on TV „State of the Art“ o Section “Downtown 81“: Film “Downtown 81“ may only appear in background shots All recordings may only be used for current coverage of the exhibition.
[Show full text]
Reading Sample
BASQUIAT BOOM FOR REAL 191115_Basquiat_Book_Spreads.indd 1 20.11.19 14:31 EDITED BY DIETER BUCHHART AND ELEANOR NAIRNE WITH LOTTE JOHNSON 191115_Basquiat_Book_Spreads.indd 2 20.11.19 14:31 BASQUIAT BOOM FOR REAL PRESTEL MUNICH · LONDON · NEW YORK 191115_Basquiat_Book_Spreads.indd 3 20.11.19 14:31 191115_Basquiat_Book_Spreads.indd 4 20.11.19 14:31 191115_Basquiat_Book_Spreads.indd 5 20.11.19 14:31 191115_Basquiat_Book_Spreads.indd 6 20.11.19 14:31 8 FOREWORD JANE ALISON 4. JAZZ 12 BOOM, BOOM, BOOM FOR REAL 156 INTRODUCTION DIETER BUCHHART 158 BASQUIAT, BIRD, BEAT AND BOP 20 THE PERFORMANCE OF FRANCESCO MARTINELLI JEAN-MICHEL BASQUIAT ELEANOR NAIRNE 162 WORKS 178 ARCHIVE 1. SAMO© 5. ENCYCLOPAEDIA 28 INTRODUCTION 188 INTRODUCTION 30 THE SHADOWS 190 BASQUIAT’S BOOKS CHRISTIAN CAMPBELL ELEANOR NAIRNE 33 WORKS 194 WORKS 58 ARCHIVE 224 ARCHIVE 2. NEW YORK/ 6. THE SCREEN NEW WAVE 232 INTRODUCTION 66 INTRODUCTION 234 SCREENS, STEREOTYPES, SUBJECTS JORDANA MOORE SAGGESE 68 EXHIBITIONISM CARLO MCCORMICK 242 WORKS 72 WORKS 252 ARCHIVE 90 ARCHIVE 262 INTERVIEW BETWEEN 3. THE SCENE JEAN-MICHEL BASQUIAT, GEOFF DUNLOP AND SANDY NAIRNE 98 INTRODUCTION 268 CHRONOLOGY 100 SAMO©’S NEW YORK LOTTE JOHNSON GLENN O’BRIEN 280 ENDNOTES 104 WORKS 288 INDEX 146 ARCHIVE 294 AUTHOR BIOGRAPHIES 295 IMAGE CREDITS 191115_Basquiat_Book_Spreads.indd 7 20.11.19 14:31 Edo Bertoglio. Jean-Michel Basquiat wearing an American football helmet, 1981. 8 191115_Basquiat_Book_Spreads.indd 8 20.11.19 14:31 FOREWORD JANE ALISON Jean-Michel Basquiat is one of the most significant painters This is therefore a timely presentation of a formidable talent of the 20th century; his name has become synonymous with and builds on an important history of Basquiat exhibitions notions of cool.
[Show full text]
Saving Basquiat: Seeing the Art Through the Myth-Making at
Saving Basquiat: Seeing the Art Through the Myth-Making at ... http://www.blouinartinfo.com/news/story/886916/saving-basqui... Search All, Venues, Artists Submit Saving Basquiat: Seeing the Art Through the Myth-Making at Gagosian by Ben Davis Published: April 5, 2013 With over 50 Jean-Michel Basquiat / Courtesy of ITVS / Lee Jaffe paintings, “museum-quality” is probably the © The Estate of Jean-Michel Basquiat/ADAGP, Paris, ARS, New York 2013. Courtesy Gagosian Gallery. Photography by Robert term you'd use to describe Gagosian’s Jean-Michel McKeever Basquiat show, which has been drawing rock-star Installation view of the Jean-Michel Basquiat exhibition at Gagasion, West 24th Street, New York crowds to West 24th street since it opened. But really, it might be better to call it “warehouse-quality.” The show is overwhelming and difficult to write about, partly because there doesn’t seem to be any idea behind it at all; the works are hung neither by chronology nor by theme. They are merely a spectacularly impressive collection of largish Basquiats from a number of private collections. In this way, the show replicates the tragedy of this artist’s short and chaotic life, where the feverish buzz of celebrity came to overpower any assessment of the works as individual objects. Basquiat’s art is brimming with life — he worked fast, and painted everywhere, on everything around him — and it owes much of his continued cachet to the enduring legend of its unfiltered immediacy. But if you look closely, what you will see is that they are records, almost every one, of an almost crippling self-consciousness.
[Show full text]
Kid Creole and the Coconuts + Arto Lindsay 10.20Pm Justin Strauss – Clubstage + Justin Strauss
Sat 7 Oct, 2017 7. 3 0 p m Kid Creole Arto Lindsay 8.45pm and the Coconuts Justin Strauss – clubstage 9.05pm Kid Creole and the Coconuts + Arto Lindsay 10.20pm Justin Strauss – clubstage + Justin Strauss Arto Lindsay guitar, vocals Jane Cornwell takes us on a trip back to They’re here tonight. In the flesh: Lindsay, Marivaldo Paim percussion Downtown NYC in the 1970s and ‘80s as she Strauss and the Kid. The rest are here in spirit, Cinque Kemp drums speaks to three musicians at the apex of a but particularly Basquiat – a preternaturally Paul Wilson keys cultural scene that gave birth to some of the talented renegade who threw his net wide, Melvin Gibbs bass 20th century’s most lauded creative minds. drawing inspiration from Bebop and Hip Hop, architecture and performance, screen Kid Creole and the Coconuts New York City. The late ‘70s, early ‘80s. Graffiti and street, and whose work is currently being and glitter; safety pins and shoulder pads; torn celebrated in the Barbican Art Gallery. August Darnell – The Kid jeans, Lycra, big bouffy hair. Musical genres band leader swirling and fizzing: Punk and Jazz, New Wave ‘Jean-Michel was a loyal friend, sure of himself Roos Van Rossum coconut and No Wave, Pop, Electronica and a myriad from the beginning, rightfully aggrieved, always Sarah Mcgrath coconut sounds from elsewhere. At the city’s dirty generous,’ says Lindsay, himself a man of many Charlotte De Graaf coconut Downtown heart beat clubs like the Mudd, the things. Singer, songwriter, composer. Producer, Toby Goodman drums Ritz and Area, which along with Midtown’s showy curator, artist.
[Show full text]
The Intertextuality and Translations of Fine Art and Class in Hip-Hop Culture
arts Article The Intertextuality and Translations of Fine Art and Class in Hip-Hop Culture Adam de Paor-Evans Faculty of Culture and the Creative Industries, University of Central Lancashire, Lancashire PR1 2HE, UK; [email protected] Received: 24 October 2018; Accepted: 12 November 2018; Published: 16 November 2018 Abstract: Hip-hop culture is structured around key representational elements, each of which is underpinned by the holistic element of knowledge. Hip-hop emerged as a cultural counter position to the socio-politics of the urban condition in 1970s New York City, fuelled by destitution, contextual displacement, and the cultural values of non-white diaspora. Graffiti—as the primary form of hip-hop expression—began as a political act before morphing into an artform which visually supported the music and dance elements of hip-hop. The emerging synergies graffiti shared with the practices of DJing, rap, and B-boying (breakdancing) forged a new form of art which challenged the cultural capital of music and visual and sonic arts. This article explores moments of intertextuality between visual and sonic metaphors in hip-hop culture and the canon of fine art. The tropes of Michelangelo, Warhol, Monet, and O’Keefe are interrogated through the lyrics of Melle Mel, LL Cool J, Rakim, Felt, Action Bronson, Homeboy Sandman and Aesop Rock to reveal hip-hop’s multifarious intertextuality. In conclusion, the article contests the fallacy of hip-hop as mainstream and lowbrow culture and affirms that the use of fine art tropes in hip-hop narratives builds a critical relationship between the previously disparate cultural values of hip-hop and fine art, and challenges conventions of the class system.
[Show full text]
Basquiat: Boom for Real
For immediate release: 12 June 2017 Basquiat at the Barbican Basquiat: Boom for Real Barbican Art Gallery, London, UK 21 September 2017 — 28 January 2018 Media View: Wednesday 20 September, 10am – 1pm #BoomForReal @barbicancentre The exhibition is sponsored by NET-A-PORTER, tp bennett and PHILLIPS Basquiat: Boom for Real is the first large-scale exhibition in the UK of the work of American artist Jean-Michel Basquiat (1960-1988). One of the most significant painters of the 20th century, Basquiat came of age in the late 1970s in the post-punk underground art scene in downtown New York. By 1982, he had gained international recognition and was the youngest ever artist to participate in Documenta 7 in Kassel. His vibrant, raw imagery, abounding with fragments of bold capitalised text, offers insights into both his encyclopaedic interests and his experience as a young black artist with no formal training. Since his tragic death in 1988, Basquiat has had remarkably little exposure in the UK; not a single work of his is held in a public collection. Drawing from international museums and private collections, Basquiat: Boom for Real brings together an outstanding selection of more than 100 works, many never seen before in the UK, and opens at Barbican Art Gallery on 21 September 2017. More than any other exhibition to date, Basquiat: Boom for Real focuses on the artist’s relationship to music, writing, performance, film and television, placing him within the wider cultural context of the time. Paintings, drawings, notebooks and objects are presented alongside rare film, photography, music and archival material, capturing the range and dynamism of Basquiat’s practice over the years.
[Show full text]
Basquiat: Boom for Real Retail Range Announced Including Fashion Items, Accessories and Art Skateboards by the Skateroom Shop.Barbican.Org.Uk #Boomforreal
PRESS RELEASE: Barbican Shop - Basquiat: Boom for Real retail range announced including fashion items, accessories and art skateboards by The Skateroom shop.barbican.org.uk #BoomForReal A collection of fashion items and accessories incorporating Jean-Michel Basquiat’s work have been created especially for the Barbican to accompany Basquiat: Boom for Real - the first large-scale exhibition in the UK of the pioneering American artist. The retail range, available through the Barbican Shop, also includes the exhibition catalogue and Basquiat art skateboards from The Skateroom. Basquiat: Boom for Real (Barbican Art Gallery, 21 September 2017 — 28 January 2018) is a major exhibition of work by Jean-Michel Basquiat (1960-1988). One of the most significant painters of the 20th century, Basquiat came of age in the late 1970s in the post-punk underground art scene in downtown New York. His vibrant, raw imagery, abounding with fragments of bold capitalised text, offers insights into both his encyclopaedic interests and his experience as a young black artist with no formal training. Since his death in 1988, Basquiat has had remarkably little exposure in the UK; not a single work of his is held in a public collection. Drawing from international museums and private collections, Basquiat: Boom for Real brings together an outstanding selection of more than 100 works, many never seen before in the UK. The range has been developed in collaboration with Artestar, a global brand licensing and creative consultancy representing elite art, fashion and design brands. The collection is also available to purchase online: shop.barbican.org.uk CREATED ESPECIALLY FOR THE BARBICAN - FASHION ITEMS A collection incorporating Jean-Michel Basquiat’s artwork that has been created especially for the Barbican, including a crepe de chine scarf, a screen printed umbrella, and a selection of T-shirts.
[Show full text]
Basquiat Boom for Real February 16 – May 27, 2018
BASQUIAT BOOM FOR REAL FEBRUARY 16 – MAY 27, 2018 WALL PANELS OF THE EXHIBITION INTRODUCTION Jean-Michel Basquiat was one of the most significant artists of the 20th century. Born in Brooklyn in 1960, to a Haitian father and a Puerto Rican mother, he grew up amid the post-punk scene in lower Manhattan. After leaving school at seventeen, he invented the character “SAMO©”, writing poetic graffiti that captured the attention of the city. He exhibited his first body of work in the influential group exhibition New York/New Wave at P.S.1, Institute for Art and Urban Resources, Inc., in 1981. When starting out, Basquiat worked collaboratively and fluidly across media, making poetry, performance, music and Xerox art as well as paintings, drawings and objects. Boom for Real celebrates this diversity, tracing his meteoric rise, from the postcard he plucked up the courage to sell to his hero Andy Warhol in SoHo in 1979 to one of the first collaborative paintings that they made together in 1984. By then, he was internationally acclaimed – an extraordinary feat for a young artist with no formal training, working against the racial prejudice of the time. In the studio, Basquiat surrounded himself with source material. He would sample from books spread open on the floor and the sounds of the television or boom box – anything worthy of his trademark catchphrase “boom for real”. The exhibition unpicks this encyclopaedia of references – from early cinema to black cultural history to jazz. As the writer Glenn O’Brien wrote following Basquiat’s death in 1988: “He ate up every image, every word, every bit of data that appeared in front of him and he processed it all into a bebop cubist pop art cartoon gospel that synthesized the whole overload we lived under into something that made an astonishing new sense." SAMO© Basquiat had left home in June 1978.
[Show full text]
Hip-Hop Futurism: Remixing Afrofuturism and the Hermeneutics of Identity Chuck Galli Rhode Island College, [email protected]
Rhode Island College Digital Commons @ RIC Honors Projects Overview Honors Projects 4-2009 Hip-Hop Futurism: Remixing Afrofuturism and the Hermeneutics of Identity Chuck Galli Rhode Island College, [email protected] Follow this and additional works at: https://digitalcommons.ric.edu/honors_projects Part of the African American Studies Commons, Other Music Commons, and the Personality and Social Contexts Commons Recommended Citation Galli, Chuck, "Hip-Hop Futurism: Remixing Afrofuturism and the Hermeneutics of Identity" (2009). Honors Projects Overview. 18. https://digitalcommons.ric.edu/honors_projects/18 This Honors is brought to you for free and open access by the Honors Projects at Digital Commons @ RIC. It has been accepted for inclusion in Honors Projects Overview by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. HIP-HOP FUTURISM: REMIXING AFROFUTURISM AND THE HERMENEUTICS OF IDENTITY By Chuck Galli An Honors Project Submitted in Partial Fulfillment of the Requirements for Honors in The Program in African and African-American Studies Faculty of Arts and Sciences Rhode Island College 2009 Table of Contents Preface 1 Introduction 6 Chapter 1 – Hip-Hop: The Beginning 11 Chapter 2 – Afrofuturism 26 Chapter 3 – Hip-Hop’s Modes of Production as Futuristic 37 Chapter 4 – Hip-Hop Futurism 71 Chapter 5 – Hip-Hop Futurism’s Implications for Life on Earth 108 Appendices 115 Bibliography 128 Acknowledgements 131 1 Preface Before I introduce this thesis, there are a number of concepts which need to be defined and stylistic points which need to be explained. I feel it is better to address them right from the beginning than try to suavely weave them into the main body of the paper.
[Show full text]
Announcement
Announcement 30 articles, 2016-06-23 12:02 1 Modigliani Leads Christie's Tough $37 Million Impressionist and Modern Sale Colin Gleadell analyzes Christie's disappointing annual Impressionist and Modern sale in London, and sees which works managed to take (1.02/2) the spotlight. 2016-06-22 21:25 5KB news.artnet.com 2 The International Center of Photography Opens a New Space in New York The home for photography moves to the Bowery with a new show, (1.02/2) "Public, Private, Secret" 2016-06-22 17:10 4KB www.blouinartinfo.com 3 OPT designs synthetic publics city hall in tekirdag the center promotes citizen participation and turkish political transparency through increased connectivity between civilian and governmental bodies. 2016-06-23 06:15 1KB www.designboom.com 4 waarmakers R16 shipping package light waarmakers R16 shipping package light is a cardboard LED tube light fixture which serves as both packaging and a light at the same time. 2016-06-23 04:05 2KB www.designboom.com 5 KALO present flat pack multi-tier shelf at design days dubai 2016 the 'multi-tier shelf' system designed by KALO, contains three maple shelves which rest on vertical slanting legs without the use of hardware connections. 2016-06-23 02:15 1KB www.designboom.com 6 joep van lieshout envisions 'slavecity' a rational, yet highly unethical dystopian society museum de pont presents joep van lieshout's 'slavecity', comprising a series of models, objects, and works on paper that form a sinister utopian vision. 2016-06-23 00:15 2KB www.designboom.com 7 ‘De Gaulle in Trianon’ Celebrates Historic Renovation of Versailles A new exhibition explores the transformation of Versailles' Grand Trianon into a presidential palace in 1966.
[Show full text]