Yesterday night, I headed over to the Cal Poly Pomona campus to check out Session A, which was headlined by Blu & Exile.
Good choice, Pomona.
In case any of you didn’t know, Blu & Exile is comprised of Blu, an MC from Los Angeles who is slowly, but surely gaining wider recognition, and DJ Exile, who you may recognize as one half of the L.A. based Hip-Hop duo, Emanon. Their last album, titled Below the Heavens has thus far been well-received, and highly acclaimed by Hip-Hop bloggers everywhere.
I am one of these bloggers. I would be lying if i didn't say that Below the Heavens wasn't one of my favorite Hip-Hop releases of the year. It is an album that many indie Hip-Hop fans believe deserves much more recognition. Exile laces the tracks with beautiful, dreamlike beats, which have caused many to parallel his work to the late J Dilla. His beats provide a perfect backdrop to the album. However, although Exile’s beats are a significant part of the album's success, it is the impressive lyrical prowess of Blu that really takes center stage. On Below the Heavens, Blu essentially presents to us a sort of condensed autobiography. The tracks deal with a wide variety of topics, which often touch on some personal issues, including stress, depression, and the difficulty of supporting a family.
Contrary to the overblown conceit of many rappers, Blu is modest about this talent of his. In this interview with URB magazine, he mentions that this newly discovered recognition is even a bit scary. Overwhelmed as he may be, there is no doubt that the man composes some clever, thought-provoking lines which have prompted many to compare him to Nas during Illmatic.
That being said, Blu & Exile did not disappoint at Session A. While Exile, the man behind the 1s and 2s, provided the crowd with soulful sound arrangements, Blu executed his innate lyrical skill with ease. “Soul Amazing” and the ethereal “Dancing in the Rain,” were both definite crowd movers. He even busted an impressive freestyle at the beginning of the show. I enjoyed it. And unfortunately, I took no pictures. But you can still pretend you were there.
If you would like anymore information on Blu & Exile, or want to listen to some tracks, check out Blu's myspace page. Also check out the video for “Soul Amazing,” which provides a scenic tour of Los Angeles.
Friday, November 30, 2007
Saturday, November 24, 2007
Analog and Digital: Why can't we all just get along?
Browsing through the pages of OC Weekly online, I found an article that touched on the much-disputed Analog vs. Digital music debate. As technology advances, the role of vinyl seems to be diminishing. Because of this, many DJs, as well as vinyl enthusiasts have tried to keep the record alive, and rightfully so. After all, it has had a major impact on the past, as well as the present state of music.
The record has played a major role in shaping the samply-heavy culture of Hip-Hop. For years, collecting everything from must-have classics to vaguely identifiable music on this analog medium has been a hobby (and obsession) of many (just look at the movie, High Fidelity). To a lot of people, it has even become an iconic image not only of Hip-Hop culture, but of music in general. However, with the development of more high-tech DJ tools such as the Serato Scratch Live, many people wonder what will become of vinyl in the digital age.
From a more technical viewpoint, many argue that sound quality is degraded on mp3 and other digital audio formats, and that music just sounds better on vinyl. The argument is highlighted in this Wikipedia article. However, as stated in the article, high quality sound is attainable in either medium. Sound quality aside, the Serato is convenient and accessible for many. No more lugging around records; your computer is your handy source for music. But there is also one major problem it poses; many people argue that it has caused DJs to be more dependent on their laptops, rather then the pursuit of choice vinyl.
For those of you who don’t know, the Serato is a software program created for DJs. It first became accessible in 2004, and has become even more popular in recent years. The Serato Scratch Live website describes the product as “the ultimate software and hardware solution for bridging the analog world of vinyl and the digital world of computer audio files.” The software works on both Windows and Mac, and with the Serato, a DJ can easily connect his or her computer to turntables. By doing this, they are able to employ the use of their own digital music libraries into live sets, and consequently, they are able to manipulate these digital music files using Scratch Live software.
Indeed, it's quite the convenient tool, but critics of the Serato claim that it is hurting the business of many record stores.
For example, Cerritos and Ontario-based record store, Stacks Vinyl, a multi-branch record store launched by DJ Icy Ice of the Beat Junkies, closed its doors last August. Sure, they had a huge in-store sale when they closed, but you have to be just a little sad when a place named “LA Weekly’s Best Hip-Hop Record Store in 2004” is gone. Stacks is still alive on the web, but many of the store’s vinyl-collecting followers were quite disappointed that they no longer could visit the original storefront, where records and live performances were both in copious amounts.
While this new technology may have had adverse affects on some businesses, a lot of DJs undoubtedly benefit from the versatility of the Serato. By using Serato, DJs also don’t have to spend many, often frustrating, hours looking for their records of choice. However, for many other DJs, it is exactly the thrill of the hunt that draws them to the art. Whether buying records to add to your collection, or purely for nostalgic purposes, many DJs find indescribable solace in searching for, and acquiring that perfect 12."
And although there is much to be said about how the vinyl industry is no longer as robust as it formerly was, there is no doubt that many DJs have mediated the dispute by using both analog and digital mediums. Perhaps the Serato is even a way to bridge the gap between generations of DJs…You decide.
The record has played a major role in shaping the samply-heavy culture of Hip-Hop. For years, collecting everything from must-have classics to vaguely identifiable music on this analog medium has been a hobby (and obsession) of many (just look at the movie, High Fidelity). To a lot of people, it has even become an iconic image not only of Hip-Hop culture, but of music in general. However, with the development of more high-tech DJ tools such as the Serato Scratch Live, many people wonder what will become of vinyl in the digital age.
From a more technical viewpoint, many argue that sound quality is degraded on mp3 and other digital audio formats, and that music just sounds better on vinyl. The argument is highlighted in this Wikipedia article. However, as stated in the article, high quality sound is attainable in either medium. Sound quality aside, the Serato is convenient and accessible for many. No more lugging around records; your computer is your handy source for music. But there is also one major problem it poses; many people argue that it has caused DJs to be more dependent on their laptops, rather then the pursuit of choice vinyl.
For those of you who don’t know, the Serato is a software program created for DJs. It first became accessible in 2004, and has become even more popular in recent years. The Serato Scratch Live website describes the product as “the ultimate software and hardware solution for bridging the analog world of vinyl and the digital world of computer audio files.” The software works on both Windows and Mac, and with the Serato, a DJ can easily connect his or her computer to turntables. By doing this, they are able to employ the use of their own digital music libraries into live sets, and consequently, they are able to manipulate these digital music files using Scratch Live software.
Indeed, it's quite the convenient tool, but critics of the Serato claim that it is hurting the business of many record stores.
For example, Cerritos and Ontario-based record store, Stacks Vinyl, a multi-branch record store launched by DJ Icy Ice of the Beat Junkies, closed its doors last August. Sure, they had a huge in-store sale when they closed, but you have to be just a little sad when a place named “LA Weekly’s Best Hip-Hop Record Store in 2004” is gone. Stacks is still alive on the web, but many of the store’s vinyl-collecting followers were quite disappointed that they no longer could visit the original storefront, where records and live performances were both in copious amounts.While this new technology may have had adverse affects on some businesses, a lot of DJs undoubtedly benefit from the versatility of the Serato. By using Serato, DJs also don’t have to spend many, often frustrating, hours looking for their records of choice. However, for many other DJs, it is exactly the thrill of the hunt that draws them to the art. Whether buying records to add to your collection, or purely for nostalgic purposes, many DJs find indescribable solace in searching for, and acquiring that perfect 12."
And although there is much to be said about how the vinyl industry is no longer as robust as it formerly was, there is no doubt that many DJs have mediated the dispute by using both analog and digital mediums. Perhaps the Serato is even a way to bridge the gap between generations of DJs…You decide.
Wednesday, November 21, 2007
Blu & Exile at Session A
I was browsing the net today, and found out that Blu & Exile will be performing at Cal Poly Pomona's Thursday night Hip-Hop event, Session A. Like all Session A events, it's free (except for parking).
And if you haven't heard Blu & Exile's latest album, you should.
For more information, check out the flyer.
And if you haven't heard Blu & Exile's latest album, you should.
For more information, check out the flyer.
Monday, November 19, 2007
Stones Throw Holiday Album
Not that I don't blog about this label enough, but Peanut Butter Wolf and the fine folks at Stones Throw Records have been busy diggin' those crates once again. They're putting out a new album, just in time for the holidays. After releasing the sports-inspired B-Ball Zombie War, they have yet another compilation in store for you all, which contains a mix of old-school Hip-Hop, soul, techno, and more. The Peanut Butter Wolf Badd Santa CD is currently being sold exclusively at retail chain, Urban Outfitters.
The track listing includes the likes of Stones Throw artists such as Baron Zen and James Pants, as well as classic yet somewhat obscure Hip-Hop and soul artists. It even has a cut from the Charlie Brown Christmas soundtrack. Not to mention, if you get your hands on the CD, you can be entered in a contest to win an ipod of Stones Throw music and an Urban Outfitters giftcard. I would be totally on that, except for the fact that I already have an ipod of Stones Throw music, and I'm not really craving stuff from UO (bargains there are not exactly plentiful). But nonetheless, it's a cool stocking stuffer, no?
Wednesday, November 14, 2007
R.I.P Donda West
As you may have heard in the news, Kanye's West's mother, Donda West, passed away over the weekend at the age of 58. The cause of her death is not yet known, as it will take several weeks for an official report to be released. However, many people speculate that it was due to surgery complications. This is truly a sad turn of events, and I would like to give my condolences to Kanye West and his family. Kanye's fans already have shown an immense amount of support for him during this tragedy. If you check out Kanye's Blog, for example, many people have posted comments regarding the situation, and given their condolences to the West family. At times there seems to be a wall between celebrity and fan, but it's always touching to see this kind of emotional support from fans when incidents like this occur.
Listen to songs like "Hey Mama," and "Touch the Sky." There are references to Donda. She even his full-time manager and released a book about Kanye titled, Raising Kanye: Life Lessons From the Mother of a Hip Hop Star. Kanye was undoubtedly inspired by her. Although this sad event has occured, the mother-son relationship between Kanye and his mother reminds me of something positive and even touching: that family, and particularly the appreciation of mothers has very often been a recurrent theme in Hip-Hop music.
On Kanye's own "Hey Mama," he claims, "As we knelt on the kitchen floor/I said mommy imma love you till you don't hurt no more/And when I'm older you ain't gotta work no more/And imma get you that mansion that we couldn't afford." The sincerity of this is moving, in its own way. Other Hip-Hop songs have paid tribute to mothers. 2pac's 1995 single, "Dear Mama" has become a sort of anthem for showing gratitude towards mothers.
However, the intertwining of family into Hip-Hop is not also seen between mothers and MCs. Nas and his father, Olu Dara, for example, show a very strong relationship in their musical collaboration. His father, a jazz musician, sings and plays the trumpet on two tracks of his seventh studio album, Street's Disciple. He even appears in the music video for the song, "Bridging the Gap," in which Nas proudly claims, "Pops gave me the right tools to think with."The culture of Hip-Hop itself, being very community-driven, is impacted by what may be a smaller community: the family unit. Whether paying homage to mothers, or fathers, many MCs have definitely shown their respect for those that raised them right. So take an example from some of these people, and show some love/respect for the parental units. For most of us, they do a lot.
Tuesday, November 13, 2007
A Different Kind of Credibility
This may go without saying, but I love indie Hip-Hop, partly because of its departure from some of the most mediocre norms of mainstream rap. However, that doesn’t prevent me from being both fascinated and perplexed by its appeal. From repetitive beats, misogynistic lyrics, vulgar sexual references, and questionable dances, mainstream rap baffles me. I often question how it can retain such a wide audience. But in midst of all these common features of mainstream rap, there has been one constant trait that has considerably advanced its mass-market appeal: Street credibility.
At some point in your life, you may have thrown that term around. “Street Cred.” But really, what is it? One person on Urban Dictionary describes street cred as your "coolness" factor.” Another definition on the website deems it as “respect from urban communities” The American Heritage Dictionary via Dictionary.com defines it as “Acceptability or popularity, especially among young people in urban areas.” Within the Wikipedia page for “Credibility," street cred is defined in more academic terms as “a contemporary neologism referring to credibility or acceptability among young or fashionable inner-city residents, particularly those who support the hip-hop industry." Each of these definitions have one thing in common: the idea of acceptability and respect in urban communities. Unfortunately, this respect is often (but not always) achieved by means of crime, and other acts deemed subversive to society. At times, street cred seems to be one of the central tenets of Hip-Hop culture (moreso in the mainstream sphere of things). But should it be? Should we continue glorifying acts of crime and debauchery?
The simple answer to this question is “No.” Well, at least in my opinion it is. You’re probably thinking I’m a hypocrite, being the DJ of a Hip-Hop oriented show, but the music I like does not usually describe gratuitous scenes of violence or debauchery. An artist can maintain his or her street cred without taking that route. However, some choose to take this route anyhow.
In the 2004 hit, “Soldier,” R&B power group Destiny’s Child claims, “If that status ain’t hood/I ain’t checkin’ for him/Better be street if he lookin’ at me.” Not that I’m dissin’ the song; at one point during my earlier teenage years, I myself had a slight aversion to suburban guys. But whether these lyrics are to be taken seriously or not, they inadvertently reflect the notion of street cred as a key attribute of Hip-Hop culture.
Sure, there are some incredible “rags-to-riches” stories of MCs who rightfully paved their own road to fame by means of hard work, perseverance, and pure talent. I respect these artists and am amazed and inspired by their abilities to combat life’s struggles. It is the kind of credibility that results from successfully overcoming life’s obstacles, and ultimately, achieving one’s dreams. In this respect, street cred is not something to be ignored, but rather, something to be esteemed. In this sense, it is true credibility, and more importantly, something that cannot be pre-packaged and sold.
But there are also those who tend to commodify the idea of street cred, twisting it into a generic attribute common in mainstream music and culture. Many forms of media contribute to this: music, TV, you name it. The concept of street cred has even been translated into fashion by many designers.
However, there is also that bundle of artists who grew up in more auspicious environments, who are equally as talented, and are just as worthy of recognition. Take the whole Kanye West/50 Cent record selling rivalry, for example. Are we supposed to like one record more than the other based on the street cred they’ve gained, and the reputations they’ve earned in inner cities? Should the preppier artist deserve less merit than the artist growing up in tough urban environments? Most likely, not. The numbers say so too. An article on Mtv.com states, “Nationally, the city slicker 50 Cent even had to take a bow to the preppy West in the 'hoods.” In addition to this, it goes on to describe that, “[…]in the 'burbs, West took care of business as a whopping 578,000 fans scooped copies of his album. Fif, a favorite among the suburbanites, was the recipient of a strong presence there, but his 471,000 units in the land of soccer moms didn't quite match up with West's numbers.” As stated in the article, Kanye, the Louis Vuitton don himself, was able to sway both the suburbs and the hood with his preppy swagger.
So if your “status ain’t hood,” don’t fret; you’re not alone in this world. In music, ultimately, it all comes down to talent...or at least I hope it does.
At some point in your life, you may have thrown that term around. “Street Cred.” But really, what is it? One person on Urban Dictionary describes street cred as your "coolness" factor.” Another definition on the website deems it as “respect from urban communities” The American Heritage Dictionary via Dictionary.com defines it as “Acceptability or popularity, especially among young people in urban areas.” Within the Wikipedia page for “Credibility," street cred is defined in more academic terms as “a contemporary neologism referring to credibility or acceptability among young or fashionable inner-city residents, particularly those who support the hip-hop industry." Each of these definitions have one thing in common: the idea of acceptability and respect in urban communities. Unfortunately, this respect is often (but not always) achieved by means of crime, and other acts deemed subversive to society. At times, street cred seems to be one of the central tenets of Hip-Hop culture (moreso in the mainstream sphere of things). But should it be? Should we continue glorifying acts of crime and debauchery?
The simple answer to this question is “No.” Well, at least in my opinion it is. You’re probably thinking I’m a hypocrite, being the DJ of a Hip-Hop oriented show, but the music I like does not usually describe gratuitous scenes of violence or debauchery. An artist can maintain his or her street cred without taking that route. However, some choose to take this route anyhow.
In the 2004 hit, “Soldier,” R&B power group Destiny’s Child claims, “If that status ain’t hood/I ain’t checkin’ for him/Better be street if he lookin’ at me.” Not that I’m dissin’ the song; at one point during my earlier teenage years, I myself had a slight aversion to suburban guys. But whether these lyrics are to be taken seriously or not, they inadvertently reflect the notion of street cred as a key attribute of Hip-Hop culture.
Sure, there are some incredible “rags-to-riches” stories of MCs who rightfully paved their own road to fame by means of hard work, perseverance, and pure talent. I respect these artists and am amazed and inspired by their abilities to combat life’s struggles. It is the kind of credibility that results from successfully overcoming life’s obstacles, and ultimately, achieving one’s dreams. In this respect, street cred is not something to be ignored, but rather, something to be esteemed. In this sense, it is true credibility, and more importantly, something that cannot be pre-packaged and sold.
But there are also those who tend to commodify the idea of street cred, twisting it into a generic attribute common in mainstream music and culture. Many forms of media contribute to this: music, TV, you name it. The concept of street cred has even been translated into fashion by many designers.
However, there is also that bundle of artists who grew up in more auspicious environments, who are equally as talented, and are just as worthy of recognition. Take the whole Kanye West/50 Cent record selling rivalry, for example. Are we supposed to like one record more than the other based on the street cred they’ve gained, and the reputations they’ve earned in inner cities? Should the preppier artist deserve less merit than the artist growing up in tough urban environments? Most likely, not. The numbers say so too. An article on Mtv.com states, “Nationally, the city slicker 50 Cent even had to take a bow to the preppy West in the 'hoods.” In addition to this, it goes on to describe that, “[…]in the 'burbs, West took care of business as a whopping 578,000 fans scooped copies of his album. Fif, a favorite among the suburbanites, was the recipient of a strong presence there, but his 471,000 units in the land of soccer moms didn't quite match up with West's numbers.” As stated in the article, Kanye, the Louis Vuitton don himself, was able to sway both the suburbs and the hood with his preppy swagger.
So if your “status ain’t hood,” don’t fret; you’re not alone in this world. In music, ultimately, it all comes down to talent...or at least I hope it does.
Friday, November 9, 2007
Blue Scholars Make More Noise from the Northwest
We all know Hip-Hop is prevalent on the East and West Coasts, and we often argue whose sound reigns supreme. The Midwest is even known for its budding musical talent in the form of Fifth Element, and many Rhymesayers artists. However, these days, the spotlight seems to be on the Pacific Northwest, due, in part, to certain prominent Massline Media artists.
Following the classic two-man MC+DJ formula, Seattle Hip-Hop duo, Blue Scholars are making alot of noise. Their latest full length release, Bayani, has been widely acclaimed by critics. The scholars themselves have received a lot of support from various communities nation-wide for their fresh sound, and revival of a conscious state of Hip-Hop. As sons of working-class immigrants, the duo sheds light on struggles of the working-class, and stresses empowerment, the grassroots community, as well as the questioning of authority. They are also co-founders of their own label, Massline Media.
Like many acclaimed Hip-Hop duos (e.g. Pete Rock & CL Smooth, Guru & DJ Premiere, etc) they also have a definite chemistry; Sabzi's polished, laid-back beats somehow mesh perfectly with the political vigor of Geologic's lyrics; these lyrics are always on point, and always delivered with a certain profound, yet passive-aggressive placidity.
Let me just say, I am definitely a fan of these guys. I loved their self-titled album, which came out a couple of years ago. Not to mention a certain quote from the song "No Rest for the Weary" always seems to remain with me: "Check the worth ethic and the name/The lessons might change, but the essence of the message is the same." The lyrics and production on their albums are both very good. The newer album, Bayani is also on heavy rotation on my own show. It seems like these two are definitely contributing to a revival of conscious Hip-Hop, which is refreshing, in a lot of ways. And if you're like me, and can't get enough of the Blue Scholars, you're in luck. They currently have a new EP out. The Joe Metro EP is available only as a digital-only download, which I suggest you check out.
The Blue Scholars are also embarking on nation-wide tour, and will be coming to Los Angeles sometime in December. I missed them the last time they were in Southern California (twice last year), so hopefully I can catch them this time around.
Until then, enjoy the new EP, and this new exclusive track, courtesy of SOHH.
Also, for a remix of the Bayani track, "North by Northwest," visit the Rawkus Records website.
*Picture taken from Myspace.com/bluescholars
Following the classic two-man MC+DJ formula, Seattle Hip-Hop duo, Blue Scholars are making alot of noise. Their latest full length release, Bayani, has been widely acclaimed by critics. The scholars themselves have received a lot of support from various communities nation-wide for their fresh sound, and revival of a conscious state of Hip-Hop. As sons of working-class immigrants, the duo sheds light on struggles of the working-class, and stresses empowerment, the grassroots community, as well as the questioning of authority. They are also co-founders of their own label, Massline Media.
Like many acclaimed Hip-Hop duos (e.g. Pete Rock & CL Smooth, Guru & DJ Premiere, etc) they also have a definite chemistry; Sabzi's polished, laid-back beats somehow mesh perfectly with the political vigor of Geologic's lyrics; these lyrics are always on point, and always delivered with a certain profound, yet passive-aggressive placidity.
Let me just say, I am definitely a fan of these guys. I loved their self-titled album, which came out a couple of years ago. Not to mention a certain quote from the song "No Rest for the Weary" always seems to remain with me: "Check the worth ethic and the name/The lessons might change, but the essence of the message is the same." The lyrics and production on their albums are both very good. The newer album, Bayani is also on heavy rotation on my own show. It seems like these two are definitely contributing to a revival of conscious Hip-Hop, which is refreshing, in a lot of ways. And if you're like me, and can't get enough of the Blue Scholars, you're in luck. They currently have a new EP out. The Joe Metro EP is available only as a digital-only download, which I suggest you check out. The Blue Scholars are also embarking on nation-wide tour, and will be coming to Los Angeles sometime in December. I missed them the last time they were in Southern California (twice last year), so hopefully I can catch them this time around.
Until then, enjoy the new EP, and this new exclusive track, courtesy of SOHH.
Also, for a remix of the Bayani track, "North by Northwest," visit the Rawkus Records website.
*Picture taken from Myspace.com/bluescholars
Monday, November 5, 2007
"So....do you scratch?"
As a college radio DJ, I have often wanted to venture into new musical territories. Playing music is one thing, but creating new music is a realm of its own. When I was a kid, I dabbled in electronic keyboards, fascinated by their ability to generate synthesized noise. But that was a very, very long time ago. These days, with modern technology making music more and more experimental, there have been many times that I have considered making an entry into the music-making world by means of an even more innovative, exciting, and challenging musical artform: turntablism.
On Wikipedia, Turntablism is defined as "the art of manipulating sounds and creating music using phonograph tables and a DJ mixer.” The turntablist uses the turntable as an instrument to manipulate different records. This manipulation of music, paired with a good mixer, causes entirely new sounds, and in some cases, new songs, to be produced.
Turntablism itself has a rich history; it has been around for decades (though of course, not being known as "turntablism" back in the day). The origin of the term itself is debatable. Though, regardless of the origins of its name, I find turntablism to be one of the most intriguing forms of music out there.
Through this artform, fresh, new, and strikingly different compositions are produced from pre-existing recordings. However, turntablism has yet another special function; it enables an artist to engage in contemporary forms of non-verbal discourse. Sometimes it even seems that the turntable possesses a language of its own--one that presents itself by means of scratching, mixing, and beat juggling.
The discourse of turntablism is expressed through many forms. We see this it in battles, as well as joint sessions amongst DJs. Take this Skratchcon 2000 performance by DJ Qbert and DJ D-Styles for example:
As you can see in the video, Qbert describes this as a way of having some sort of a "Question and Answer" session. But this isn’t your standard Q & A; the turntables do all the talking. Qbert and D-Styles engage in a unique form of dialogue, communicating with each other by means of their distinct styles of scratching. The way I look at it, it's an interesting way to approach a conversation between two people.
The whole college radio thing has definitely whetted my appetite for turntable experimentation. I've always wanted to get into something like this, especially after watching and meeting some amazing DJs. It would be cool to take a class at the (pricey) Scratch DJ Academy . Oh, if only there were enough hours in the day.
On a completely unrelated note, be sure to tune in to Fresh Cuts Radio tonight, if you're bored, or an insomniac, or all of the above.
On Wikipedia, Turntablism is defined as "the art of manipulating sounds and creating music using phonograph tables and a DJ mixer.” The turntablist uses the turntable as an instrument to manipulate different records. This manipulation of music, paired with a good mixer, causes entirely new sounds, and in some cases, new songs, to be produced.
Turntablism itself has a rich history; it has been around for decades (though of course, not being known as "turntablism" back in the day). The origin of the term itself is debatable. Though, regardless of the origins of its name, I find turntablism to be one of the most intriguing forms of music out there.
Through this artform, fresh, new, and strikingly different compositions are produced from pre-existing recordings. However, turntablism has yet another special function; it enables an artist to engage in contemporary forms of non-verbal discourse. Sometimes it even seems that the turntable possesses a language of its own--one that presents itself by means of scratching, mixing, and beat juggling.
The discourse of turntablism is expressed through many forms. We see this it in battles, as well as joint sessions amongst DJs. Take this Skratchcon 2000 performance by DJ Qbert and DJ D-Styles for example:
As you can see in the video, Qbert describes this as a way of having some sort of a "Question and Answer" session. But this isn’t your standard Q & A; the turntables do all the talking. Qbert and D-Styles engage in a unique form of dialogue, communicating with each other by means of their distinct styles of scratching. The way I look at it, it's an interesting way to approach a conversation between two people.
The whole college radio thing has definitely whetted my appetite for turntable experimentation. I've always wanted to get into something like this, especially after watching and meeting some amazing DJs. It would be cool to take a class at the (pricey) Scratch DJ Academy . Oh, if only there were enough hours in the day.
On a completely unrelated note, be sure to tune in to Fresh Cuts Radio tonight, if you're bored, or an insomniac, or all of the above.
Thursday, November 1, 2007
Show Etiquette, Anyone?
It's easy to enjoy yourself. Often too much. Upon attending UCI's annual Halloween event, Shocktoberfest, i felt the adverse effects of this.
As mentioned in my previous post, this year's Shocktoberfest featured the likes of Lupe Fiasco, and the always amusing, Pigeon John. Although this event proved to have an extremely successful turnout, there were a lot of frustrating, (and often painful) drawbacks.
I would like to start off by saying, most of the time I hate standing in the back when watching a show. However, in this case, I wished I was anywhere but in front.
It's not that this wasn't a good show, but oftentimes i wonder, are people aware of their lack of concert etiquette?
It's generally not very polite to recklessly throw elbows in a tightly compressed mass of people (if I has started this blog earlier, i would surely tell you all about the elbows I experienced while standing behind some hyphy-dancing dude at a Zion I & the Grouch show). I also find it a little rude when girls have their boyfriends prop them up on their shoulders. This initially made me think, "How cute," until I realized quickly how low the stage was, how level the ground was, and how short I was. But aside from the obvious tension, and inevitable fights that this lack of show etiquette created, I enjoyed the performances (or, at least, what I could hear of it). Believe me, I would elaborate if I could.
Putting show etiquette (or lack thereof) aside, this past Halloween week and weekend has been filled with a variety of cheap, and even free events for all of us to relish in, and sadly, I missed most of them. For example: Yesterday night, I was tempted to head out to L.A. to check out Daedelus, Themselves (Dose One and Jel), and of course, the amazing DJ D-Styles at the Airliner's weekly Wednesday night event, Low End Theory. Midterms get in the way of everything.
I won't expand any further on the fun I missed, but in order to be informative, and remind myself to plan further ahead for fun outings in the future, I figure I should list some of November's upcoming events. Prepare to find yourself at the El Rey alot:
Indie Hip-Hop favorite, Stones Throw Records will be kicking off their 2K Sports Bounce Tour on November 8 at the El Rey Theatre in Los Angeles. The show will have performances by Stones Throw artists such as Madlib, Karriem Riggins, Peanut Butter Wolf, J.Rocc, and Percee P. The tour will promote the latest Stones Throw compilation, B-Ball Zombie War. My only advice? Be excited.
A friend of mine brought to my attention that North Carolina Hip-Hop group, Little Brother will also be coming to the El Rey on November 12. Also performing with Little Brother will be Evidence of Dilated Peoples.
But it doesn't stop there. The El Rey will also be having Quannum Projects artist, Lyrics Born on the 16th.
There are a lot more events to be excited about, but that should be just enough to empty your wallet for the month of November. I expect you all to be on your best behavior.
As mentioned in my previous post, this year's Shocktoberfest featured the likes of Lupe Fiasco, and the always amusing, Pigeon John. Although this event proved to have an extremely successful turnout, there were a lot of frustrating, (and often painful) drawbacks.
I would like to start off by saying, most of the time I hate standing in the back when watching a show. However, in this case, I wished I was anywhere but in front.
It's not that this wasn't a good show, but oftentimes i wonder, are people aware of their lack of concert etiquette?
It's generally not very polite to recklessly throw elbows in a tightly compressed mass of people (if I has started this blog earlier, i would surely tell you all about the elbows I experienced while standing behind some hyphy-dancing dude at a Zion I & the Grouch show). I also find it a little rude when girls have their boyfriends prop them up on their shoulders. This initially made me think, "How cute," until I realized quickly how low the stage was, how level the ground was, and how short I was. But aside from the obvious tension, and inevitable fights that this lack of show etiquette created, I enjoyed the performances (or, at least, what I could hear of it). Believe me, I would elaborate if I could.
Putting show etiquette (or lack thereof) aside, this past Halloween week and weekend has been filled with a variety of cheap, and even free events for all of us to relish in, and sadly, I missed most of them. For example: Yesterday night, I was tempted to head out to L.A. to check out Daedelus, Themselves (Dose One and Jel), and of course, the amazing DJ D-Styles at the Airliner's weekly Wednesday night event, Low End Theory. Midterms get in the way of everything.
I won't expand any further on the fun I missed, but in order to be informative, and remind myself to plan further ahead for fun outings in the future, I figure I should list some of November's upcoming events. Prepare to find yourself at the El Rey alot:
Indie Hip-Hop favorite, Stones Throw Records will be kicking off their 2K Sports Bounce Tour on November 8 at the El Rey Theatre in Los Angeles. The show will have performances by Stones Throw artists such as Madlib, Karriem Riggins, Peanut Butter Wolf, J.Rocc, and Percee P. The tour will promote the latest Stones Throw compilation, B-Ball Zombie War. My only advice? Be excited.
A friend of mine brought to my attention that North Carolina Hip-Hop group, Little Brother will also be coming to the El Rey on November 12. Also performing with Little Brother will be Evidence of Dilated Peoples.
But it doesn't stop there. The El Rey will also be having Quannum Projects artist, Lyrics Born on the 16th.
There are a lot more events to be excited about, but that should be just enough to empty your wallet for the month of November. I expect you all to be on your best behavior.
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