#lewis redman | Explore Tumblr Posts and Blogs

caltropspress · 9 months

Text

FEEDBACK LOOP #12: AJ Suede's "Most Black Superheroes"

Hands of onyx—my magnetic field fuck up electronics, I’m shielded—they feel it fusing. Born from nothing, sudden futures.

—ELUCID, “Ghoulie” (2022)

Boogying to my Walkman with the S on my chest.

—Redman, “A Day of Sooperman Lover” (1992)

Charlie Parker was a great electrician who went around wiring people.

—Bob Kaufman, “Fragment” (1959)

Although electricity, like the air around us, seems very impalpable, appealing to so few of the senses, it is yet capable of being measured…

—Lewis Latimer, from Incandescent Electric Lighting: A Practical Description of the Edison System (1890)

Black superheroes harness power outside themselves—channeling it, conducting it—becoming maestros of electro-ultra-magnetics, masters of ceremony. Amiri Baraka assessed the drumming of Sonny Murray, speaking of “his body-ness, his physicality in the music,” concluding that Murray was “a conductor of energies.” AJ Suede has reinvented himself as one Ark Flashington, and he’s cold lampin’. On “South Bronx,” KRS-One describes how “power from a streetlight made the place dark.” A cold lamp is one drained of its energy—its electricity siphoned to illegal sources. Think of New York City going dark during the blackout of July 13, 1977. Think of how the subsequent looting led to audio equipment ending up in the hands of budding creators. Think of the scene in Stan Lathan’s Beat Street from 1984: how they run wires from the abandoned building in the Bronx to a lamppost. The building, burnt out five times by an arsonist landlord collecting on insurance money, is given new life. The electricity stolen from the lamppost powers Kenny’s turntables and gets the party jumping. Jeff Chang details how the Ghetto Brothers played on the block by “plugging their amps into the lampposts.” He quotes Kool Herc divulging how he did the same, sharing a hack he’d learned watching construction workers: “I had a big McIntosh amp…300 watts per channel. As the juice start coming, man, the lights start dimming.” Light and dark merge like the twisting of two frayed wires. Psycho Les promised to “pump more watts than any RadioShack” on the Beatnuts’ “World’s Famous,” and all these examples prove how potent tinkering can be: a life-giving force, a revived pulse.

The precedent for suggesting superheroic poetics in hip-hop is congenital. Captain Sky’s “Super Sporm” traveled through the vas deferens (vas def?—mos def!) in 1978, smooth operations and muscle contractions assured its arrival in Big Bank Hank’s “Rapper’s Delight” lyrics in 1980 (“I can bust you out with my super sperm…”), and Kurtis Blow accepted the secretions in 1985 (the same year he told us, coincidentally, AJ is cool—no question). Seminal indeed!

Redman’s “A Day of Sooperman Lover” (1992) is Blowfly-level spoofing—not so heroic or chivalric as the song turns from rescuing a kitty cat to a Crying Game situation where our caped crusader unexpectedly “felt the bozack” of his beloved. Worth noting that when Reggie “dipped into [his] Sooperlover suit” it was accompanied by a “quick flash.” The rendezvous might’ve been chaotic but it was no Black Steel in the Hour of Chaos. Suede needs that steel to be ultra-conductive—something like Tricky’s “Black Steel” rendition. Something similar to “The Adventures of Grandmaster Flash on the Wheels of Steel” (1981). Flash’s early opus of the scratch and prismatic turntablism relied on disassembly of The Official Adventures of Flash Gordon (1966) record as much as it did disco data and funk fodder. Look up in the sky—yeah, above the clouds like Gang Starr in ’98, with Preemo pulling from Superman: The Man from Krypton, a 1978 children’s record.

The fixation probably apexed with the Last Emperor’s “Secret Wars.” “What if I had the power to gather all of my favorite MCs,” he proposed, “with the illest comic book characters and they became archenemies?” The original writing and recording of “Secret Wars” dates back to 1995 and ’96. Last Emp told David Ma that MCs and superheroes both operate as “modern day mythology.” Hip-hop heads decolonized comic conventions like Fanon, placing Black Masks over White Skins: Jean Grae, Ironman, MF DOOM, et cetera, and it don’t stop, and it can’t stop.

The fact that most Black superheroes use electricity speaks to a historical tendency for [particularly non-Black] comic writers and illustrators to codify stereotyped representations of identity. AJ Suede, though, celebrates the commonality of so many Black superheroes with an emphasis on their weaponizing of electricity. Purveyors of potent defenses (a double portion of protection, ELUCID would say) whose Main Source of power derives from an [ec]static breaking of atoms.

Suede deads the myth of superpredator and elevates a superhero mythopoeia super-suited to an Age of Incendiary Devices. He assembles a team (in hip-hop we might call it a crew) of comic book characters to demonstrate that most Black superheroes use electricity. Whether he presents this as a tired trope or point of pride is left ambiguous, but I prefer to think of it as a salute to the commonality.

AJ Suede holds a “couple of lanterns, lighting the path,” and the desire path leads us to Edison’s Lab in Menlo Park, New Jeruzalem. It was there that Lewis Latimer took eight steps to perfecting the carbon filament after Edison caught the L. Latimer literally wrote the book on electric light: Incandescent Electric Lighting: A Practical Description of the Edison System. History, as it goes, has made Latimer the lesser-known, but we can measure his impact in such luminaries as Bigg Jus. “I blow mics like filaments,” Jus rapped on CoFlow’s “Silence.” “I’m tungsten light within that causes something.” Something. What it causes must be too ineffable. Suede describes his “armor like tungsten, wolfram, / Wonder who indestructible.” Last Emp teased, Inconceivable? Unbelievable? On “Electric Relaxation,” Q-Tip claimed to be “stronger than Teflon.” We can thank Lewis Latimer for the threaded socket as well. See it on the cover of the Project Blowed compilation from 1995: a bare bulb hanging down, suspended in a white void, hinting at the empty-headed ingenuity of the most virtuosic freestyles to emerge from the MCs serving the Good Life. “There’s something special inside of my mental cargo vessel,” Aceyalone raps on “I Think,” “and it runs on lethal, ethyl methane, profane, / Kinda like a flux capacitor.” He thinks—bright bulb idea sharer. 88 MPH stream-of-consciousness thoughts. 1.21 gigawatts powered by either plutonium or hooked pole + lightning bolt.

Granville T. Woods got labeled “Black Edison,” but—actual fact—Thomas Alva should’ve been dubbed “White Woods.” Edison tried to jack Woods’ steez, claiming ownership (as oppressors are wont to do) to his patents, but Woods was having none of that litigious noise and won in court. Edison wanted credit for a creation that wasn’t his, but Woods was like, “That goddamn credit? Dead it, / You think a white inventor paying you back?—shit, forget it!” With his Synchronous Multiplex Railway Telegraph, Woods equipped trains with magnetic forces for the purpose of communication long before DONDI and FUTURA were bombing ’em.

And what was Edison up to in the meantime? He produced an 1896 film, The Watermelon Eating Contest, which featured “two of the colored gentry eating melon on a wager.” In 1905, he promulgated a worser racial cinematic vision with the Edwin S. Porter-directed The Watermelon Patch, which depicts a melon heist by “darkies” and a pursuit of the thieves by scarecrows-turned-skeletons. Subsequently, we see bloodhounds and cakewalking. On “Most Black Superheroes,” AJ Suede circumvents the mob. He moves “left with the science, but right with the math.” Red-right, white-left, Buck 65 rapped in 1999, memorizing his RCA cables. The wrath of Suede’s math is on par with Jeru’s—he knows how and when to plug in, to plug tune, when to summon storms from the grass surrounding the watermelon patch.

That AJ Suede is singing about Black superheroes distracts from his own heroics. Behind his “Ark Flashington” alter ego, Suede gathers the “harvest abundant [for] feeding the village.” The pun on “arc” weds his electrifying powers to “ark” in a Noachian sense. “Ark,” from the Latin arca, meaning “chest,” alludes to a coffer for storing secrets (abilities, identities) or a chest in an anatomical or figurative sense: the seat of emotional strength and fortitude. The “ark” in Ark Flashington, there-to-the-fore, is the chest from which AJ Suede’s arcane language springs. As purple lightning flashed and purple haze lifted, Cam’ron rapped on 2004’s “More Gangsta Music” about “walk[ing] around like [he’s] got an S on [his] chest.” He had the “Tec on [his] left,” but it’s not a TEC-9 in Suede’s case; it’s a high-voltage technology.

As AJ Suede welds words together, there’s the constant risk of an arc flash—something, as his loyal listeners, we’d masochistically welcome. The way he tangles spools of l’s (“billionaire”; “still feel”) and coils conductive short-u’s (“deductibles”; “government”; “clusterfuckable”; “but”; “wonderful”) leaves us feeling vaporized. (We caught the toxic fume vapors!)

As such, we should come correct in PPE. Contact artist Lonnie Holley to commission a replica of his “African Mask” (2004)—a welder’s mask, actually, wreathed by a radial tire. Ribbons of rubber and sockets hanging like talismans and outlet boxes. This assemblage of scraps links [literally] the millennia-old metallurgy in Nigeria with the 20th century segregated workforce at Sloss Furnaces in Birmingham. Rockin’ the protective Holley headpiece will have you “feel[ing] wonderful,” as Suede says. You’ll be ready to drop a gem on ’em or, conversely, run the joules. You’ll look like the masked figure on the cover of Ark Flashington—all psychedelic oversaturation and electromagnetic energy exuding outward. Replace the S on your chest with the same inflammable material emblem from Massive Attack’s debut—embrace a “Safe from Harm” simmering beneath the surface of your epidermis.

“Alternating current in the blood gets channeled,” AJ Suede raps as he morphs verb into noun. You’re sitting on your sofa alongside Canibus tuning into Channel Zero, but the cathode-ray tube is on the fritz. Screen all fulla snow. Suede juxtaposes the light and dark of alternating current electricity in our TV sets and—like David Lynch—reveals the light and dark media representations of humanity.

The current carries “through the fingertips and eyes, / Talking to the skies” like Lynch settles his camera on #6 utility poles. Over the course of his career, the Twin Peaks director has been partial to electricity. “I don’t know why all people aren’t fascinated with it,” he said in 2006. “It makes beautiful sounds, and it makes a lot of times some incredible light. It runs many things in our world, and it’s beautiful. It’s sometimes dangerous, but it’s magical. It’s such a power….” He speaks to the ethos of Ark Flashington, and Suede’s “Most Black Superheroes” delves headlong into the racial components. Sure, Lynch has the soot-blackened faces of the Woodsmen (“Gotta light?” one infamously asks). He hideously birthed the “jumping man” (leaping tall buildings in a single bound…) above the convenience store in Fire Walk With Me (1992). The “jumping man” is acted by Carlton Lee Russell, a Black man, though he wears a mask of white plaster. A second Black man, credited fittingly as “the electrician,” is also present in that surreal scene. But these racial undertones are just that—rarely discussed contexts secondary to Lynch’s infatuation with the direction of electron flow and the nature of good and evil. No more than minstrelsy of the manic and unhinged, if that. AJ Suede sacrifices everything on the gallows-like altar of a transmission tower in order to get us closer to overstanding.

Remember how they treated Black soldiers after Nam? By simply raising the question, AJ Suede raises hell and reminds us. “Never give help,” he says, subverting the saves-the-day super duty tough work of your typical superheroes, “’cause they don’t give a damn.” History is a weapon which can be used to recognize the difference between a worthy rescue and an informed recusal.

In Seize the Time (1970), Bobby Seale’s account of his days developing the Black Panther Party, a current navigates through his narrative—“current” in both senses: contemporaneous to his volatile times and the flow of charged particles. Writing at the height of the Black Power movement [calculate Black power in wattage], he notes that our “modern, highly technological society” includes pervasive “electronic surveillance,” in addition to and aiding the efforts of “cops armed and equipped for overkill.” Electricity found its path into his earlier employment struggles, too. “I worked at Kaiser Aerospace Electronics near Oakland,” he writes. “It involve[d] testing for microscopic cracks in metals by a complicated chemical and magnetic process.” Despite mastering the trade and finding the knowledge rewarding, he quit a little over a year later because he conscientiously objected to where the company was moving: “[T]he war was going on and I felt I was aiding the government’s operation.” Government clusterfuckable, in Suede’s words. Later, as Seale was transported by US Marshals across state lines, he spent a layover in a Salt Lake City lockup, what he refers to as “a completely electronic jail.” The future shock of his detainment, with its “doors [that] opened and closed electronically”—absent the necessity of any human touch—reminded him of a “streamlined concentration camp.” “I was on a political charge,” he writes [my emphasis]—quarks, protons, and electrons notwithstanding—and ultimately this seeming scientifikal fact limits his options. “If I escaped,” he reasoned, “everybody would believe I was guilty of all that jive, those trumped-up charges. At the same time I knew darn well the power structure is going to move and do everything they can to try to convict me and railroad me into prison and the electric chair.” And there’s no glory in damning yourself to the living/dying embodiment of Eric Haze’s iconic Death Row Records logo, is there?

10.

Black people must ultimately come to realize that such coalitions, such alliances have not been in their interest…[I]n fact, the whites enter the alliance in many cases precisely to impede that progress.

—Kwame Ture and Charles V. Hamilton, Black Power: The Politics of Liberation in America (1967)

Ture and Hamilton point to labor unions to emphasize “the treacherous nature of coalitions.” As unions achieved collective bargaining rights nationwide, Black workers experienced “deterioration.” In the 1940s, the International Brotherhood of Electrical Workers (Suede’s new crew name, if I had my way) got their victory, but Black laborers were contracted out of the union. Ture and Hamilton quote Myrna Bain: “The excuse was advanced that, since their union contract specified ‘whites only,’ they could not and would not change this to provide continued employment for the Negroes who were at the plant before the union was recognized.”

“Fuck what you got,” AJ Suede raps, liberals, well-wishers, and allies “can’t change spots.” In fact, it’s not a matter of “can’t”—they won’t change spots. The only math they know is a zero-sum game. “After handshakes people still change plans,” so like Public Enemy said, you can’t truss it.

11.

What recourse does AJ Suede have? He signals the skies and gathers the [Black] powers available to him. He recruits Dwayne McDuffie and Robert L. Washington III’s Static, giving props to Virgil Hawkins’ namesake static bolts that sizzle and criss-cross into a Malik El-Shabazz “X” on the front panel of his cap. He hangs a banner from the 1994 inaugural issue: YOU DON’T START NONE THERE WON’T BE NONE. Time is illmatic, of course, and Nas tells us he “keep[s] static like wool fabric”—linking electricity, beef, and even “the kinkiness of Black people’s hair.”

Suede calls upon Black Lightning, tapping his ability to ionize illbient beats and throw up a force field before fists. He brings in Black Vulcan from the Super Friends in case they need to spot-weld the Fugees' "Ready or Not" submarine (on loan). He looks to da baddest bitch—no, not Trina (though she fellates at a pace “like lightning”)—but to Storm, relying on her to psionically and atmokinetically keep the peace. Hardware heads over with metal alloys looted from Alva Industries. In the same way Milestone Comics diverged from the prevailing archetypes and tokenism of Black superheroes, AJ Suede builds a posse that can apply pressure through a low-pass filter or phaser.

“Most Black Superheroes” survives on the subtle cracking and clicking of the Geiger counter in a tick-tock Doomsday clock loop rendered rhythmic: a molecular metronome. Drums tapped out on a cellar circuit breaker rather than an SP-404. Yes, most Black superheroes use electricity, and AJ Suede turns his sine waves square through a fuzz pedal. He abuses the tube amp until he achieves Electro Harmonix. He regulates the barometric pressure between Seattle and Bristol, rhyming at a rainy-day downtempo BPM, tautens the tripwire, and sends the circuit breaker tripping. His woofers thud the trunk of the jeep with melanated melankolic bass tones. “Most Black Superheroes” is an electric boogaloo of AJ Suede’s own mad scientist invention—a hip-hop park jam of resistance and Vedic possibilities where ohm meets om.

Images:

David Lynch, The Factory Photographs, 2014 (detail) | Captain Sky, The Adventures of Captain Sky, album cover (1978) | Superman: The Man From Krypton, Peter Pan Records (1978) | Lewis Latimer, “Electric lamp” (with Nichols, Joseph V.), patent (1881) | Project Blowed compilation, album cover (1995) | The Watermelon Patch, screenshot, Edison Films (1905) | Lonnie Holley, African Mask (2004) | David Lynch, “Electricity in Hand and Home” | Hardware, appearing in Milestone Comics (issue unknown) | Black Lightning in Justice League of America #174, (Jan. 1980) | Static, Issue 1, Dwayne McDuffie and Robert L. Washington III, DC Comics (May 4, 1993) | Storm, appearing in Marvel Comics (issue unknown) | David Lynch, The Factory Photographs, 2014 (detail)

#AJ Suede #underground hip hop #comics #black power #ark flashington #most black superheroes

8 notes · View notes

tanumuino · 9 months

Video

vimeo

Harry Styles - Daylight from tanumuino on Vimeo.

Director: @tanumuino Creative Director: @mollyjane_x DOP: @nikitakkkuz Label: @columbiarecords Commissioner: @bryanyounce Production Company: @underwondercontent Producer: @mauriziovontrapp Exec Prod: @frankborin @ivannaborin Matthew Fone Service Co: @riffrafffilms Production Designer: @nightwindow Choreographer: @hollytblakey Artist Stylist: @harry_lambert Editor: @carlosfontclos VFX: @tiltvfx @romafx Colorist: @josephbicknell @company_ 1st AC: @samrawlings110 2nd AC: Ben Casciello-Rogers 2nd AC: @williamcrafts Camera Trainee: Grace Pogonoski Ronin Technician: Joe Redman DIT: @davisdaviskristin 1st AD: @jailusser 2nd AD: @niomiemmacollins 3rd AD: @conorj_oyce Runner: Liam Offord Runner: Milo Manolson Runner: @__maddysmith Runner: @sophiakawyani Location Manager: @mrwaterhouse Location Assistant: Andrew Conteh  Location Assistant: Lewis Chandler Key Grip: @tomjrnorth Crane Grip: Billy Smith Crane Grip: Aaron McDonaugh Head Crane Tech: Tim Dean Crane Tech: Daniel Huddy Gaffer: @elliot_be Electrician: Paul Rowe Electrician: Paul Hill Electrician: Max Halstead Electrician: Sedge Wick Electrician: Sam Alberg Electrician: Matt Markham Lighting Rigger: Joe O’Brian Lighting Rigger: Danny Grove Art Director: @jamesmid Prop Assistant: @gracesnellock Art Assistant: @addles Art Assistant: @phoebe__ Art Assistant: Jack Evill Art Assistant: @karen.hettey Art Assistant: Melis Oyzoyn Scenic Artist: @melissawickhampaints Costume Designer: @spencerhorne1 Assistant Wardrobe: @callump91 Assistant Wardrobe: @CEeej Assistant Wardrobe: Louise Byford Assistant Wardrobe: Sabrina Picci Sound Op: @simon_haggis_sound Sound Assistant: Declan Chew Makeup Artist: @georgiahopemakeup Makeup Assistant: @martinaderosa_mua Makeup Assistant: @shanimushington Makeup Assistant: @coco.hirani Hair Stylist: @oskarperahair

4 notes · View notes

garudabluffs · 1 year

Video

youtube

Maiden Voyage (Live At The Cliché' Lounge, Newark, NJ/1970) · Grant Green

Guitar: Grant Green

Tenor Saxophone: Claude Bartee

Vibraphone: William Bivens

Organ: Ronnie Foster

Drums: Idris Muhammad

Conga: Joseph Armstrong

youtube

Herbie Hancock, Ravi Coltrane, Zakir Hussain: "Maiden Voyage" | International Jazz Day 2022

UNESCO Goodwill Ambassador Herbie Hancock Performs his iconic composition "Maiden Voyage" with Brian Blade (drums), Randy Brecker (trumpet), Ravi Coltrane (tenor saxophone), James Genus (bass) and Zakir Hussain (tabla) as part of the International Jazz Day 2022 All-Star Global Concert on April 30, 2022.

Other Versions, short list

Diane Reeves (vocal) Geri Allen - Shades of Blue album (lyrics by Herbie's sister jean)

Herbie Hancock V.S.O.P Live (with Freddie Hubbard, Wayne Shorter, Tony Williams, Ron Carter)

San Francisco Jazz Collective Poland 2006 (Josh Redman, Bobby Hutcherson (solo) , Nicholas Payton)

Joey Alexander with Chris Potter on soprano sax (live video on youtube)

Herbie Hancock Mt. Fuji jazz fest - August, 1986 with Freddie Hubbard & Joe Henderson

Herbie Hancock Live @ BET on Jazz, 2001 (23 minutes with great Eddie Henderson flugelhorn solo)

Robert Glasper, 2004 album Mood. Again on his 2007 album In My Element, as a medley with Radiohead's "Everything in Its Right Place".

Blood, Sweat, and Tears, on their 1972 album New Blood (Benson-like guitar solo with scat singing)

Bobby Hutcherson, on his album Happenings (quartet with Herbie Hancock) Herbie Hancock/Chick Corea duet Ramsey Lewis, on his album Maiden Voyage

Grant Green, on the album Alive!

Doc Severinsen facets (funk verison with Ernie Watts and Lee Ritenour,) 1988 Brian Auger 1970 album Befour (organ solo)

Toto, on their 2002 album Through the Looking Glass. This recording included elements of Hancock's 1974 song "Butterfly".

#music video Maiden Voyage Herbie Hancock #cover by Grant Green

3 notes · View notes

fmsplrs · 2 years

Text

Run Adam Run

So Adam wanted me to condense his running playlist to a tight 2 hours and he got this instead. Sorry!

Cypress Hill - (Rock) Superstar

Vanessa Carlton - A Thousand Miles

Monster Magnet - Space Lord

Phil Collins - In The Air Tonight

The White Stripes - Fell In Love With A Girl

LCD Soundsystem - Movement

Melissa Etheridge - Come To My Window

Rage Against The Machine - No Shelter

Cake - The Distance

Drake - Energy

Deftones - Back To School (Mini Maggit)

Jadakiss - We Gonna Make It

Transplants - Diamonds And Guns

A-Ha - Take On Me

Bone Crusher - Never Scared

Roni Size - Brown Paper Bag

The Capitols - Cool Jerk

Fine Young Cannibals - Good Thing

Plastic Bertrand - Ca Plane Pour Moi

DJ Zinc - Super Sharp Shooter

Ratatat - Seventeen Years

Slim Thug - I Ain't Heard Of That

Spank Rock - Backyard Betty

Clipse - Wamp Wamp

Kanye West - On Sight

Jai Paul - Crush

Teedra Moses - Be Your Girl (Kaytranada Remix)

John Parr - St. Elmo's Fire (Man In Motion)

Jane Child - Don't Wanna Fall In Love

NWA - 100 Miles And Running

The Tubes - She's A Beauty

Blink 182 - Dammit

Robert Palmer - Simply Irresistable

Underworld - Push Upstairs

Big Boi - Kryptonite

The Go Team - Junior Kickstart

Journey - Any Way You Want It

Frankie Valli & The Four Seasons - Who Loves You

Tommy Tutone - 867-5309 (Jenny)

DJ Sega - Bodies

Bad Boy Chiller Crew - Guns Up

Young Thug - Stoner

Mike & The Mechanics - All I Need Is A Miracle

Apache Indian - Boom Shack-A-Lak

DJ Sega - Dig

Three 6 Mafia - Stay Fly

Wiley - Wearin My Rolex

Redman - Timeforsumaksion

EMF - Unbelievable

Blessid Union Of Souls - Hey Leonardo (She Likes Me For Me)

Amazulu - Montego Bay

Paul Simon - Me & Julio Down By The Schoolyard

The Pointer Sisters - Neutron Dance

Neutral Milk Hotel - Holland, 1945

Ministry - Jesus Built My Hotrod

Bun B - Get Throwed

Calvin Harris & Ellie Goulding - I Need Your Love

The Egyptian Lover - Egypt Egypt

Kurupt.fm & Craig David - Summertime

Men Without Hats - The Safety Dance (Capnharry Remix)

Big Boi - Ghettomusick

DJ Class - I'm The Shit

Mr. Oizo - Flat Beat

Dungeon Family - Trans DF Express

Waka Flocka Flame - O Let's Do It (Remix)

Bachman Turner Overdrive - Takin Care Of Business

The Knife - Pass This On

Eddie Money - Two Tickets To Paradise

Sean Paul - Temperature

Kavinsky - Testarossa Autodrive

DJ Technics - Mr. Postman

Bad Boy Chiller Crew - 450

Kurupt.fm - Dreaming

The Cranberries - Dreams

Guided By Voices - Teenage FBI

MOP - Ante Up

Plastic Little - Get Close

Elvis Costello - Mystery Dance

A New Found Glory - My Friends Over You

Cutty Ranks - Limb By Limb (DJ SS Remix)

Seals & Crofts - Summer Breeze

The Chats - Smoko

DJ Fresh - Gold Dust (Shy FX Remix)

Weezer - Getchoo

Mark Ronson & Ghostface - Ooh Wee

Refused - New Noise

Future - Shit

Snap - The Power

Kanye West - Fade

George Clinton - Atomic Dog

The Chemical Brothers - Block Rockin Beats

JT Money - Who Dat

Beastie Boys - Time For Livin

Trick Daddy - I Pop

Kanye West - Jail

Pet Shop Boys - Opportunities (Let's Make Lots Of Money)

Elastica - Connection

The Weeknd - Take My Breath

Filter & The Crystal Method - (Can't You) Trip Like I Do

Soulfly - Bleed

Expose - Point Of No Return

Huey Lewis & The News - The Power Of Love

SR-71 - Right Now

Sepultura - Roots Bloody Roots

Tom Petty - Don't Do Me Like That

Derek & The Dominos - Layla

Ice Cube & DMX - We Be Clubbin

Mr. Oizo - Cut Dick

The Diplomats - I Really Mean It

Busta Rhymes - Break Ya Neck

UK Apache & Shy FX - Original Nuttah

Lil Yachty - Flex Up

Cam'ron - Wet Wipes

Piebald - Just A Simple Plan

Busdriver - Imaginary Places

Outkast - BOB (Bombs Over Baghdad)

Kenny Loggins - Danger Zone

Fatboy Slim - The Rockafeller Skank

The Postal Service - We Will Become Silhouettes

Slipknot - Spit It Out

Soul Glo - Gold Chain Punk

Dave - Thiago Silva

Chief Keef - Faneto

Steely Dan - Dirty Work

La Roux - In For The Kill (Skream Remix)

George Harrison - Got My Mind Set On You

Playboi Carti - New Tank

Beach House - Space Song

Three 6 Mafia - I Got

2 notes · View notes

priokskfm · 6 months

Text

#MixOfDay #Podacast #Radioshow #LiveDjset Bombyce October 2023 Hip Hop Mix Hey, new selection. Enjoy guys! 01 - Eddie Harris - It's All Right Now (DJP Edit) 02 - Double A x Black Moon - Gotcha Open Rework (Aca Out) 03 - Ultimate Force - I'm Not Playing (DJP Edit) 04 - Nicole Bus - You (Jim Sharp Edit) 05 - Joe Williams, The Thad Jones & Mel Lewis Orchestra - Get Out Of My Life Woman (DJP Ill Street Edit) 06- The Good People - 23 Followers 07 - Fullblastradio - Biggie's Shine (Isley Brothers & Biggie Smalls) 08 - Choice Cuts Vol 01 - Can You Feel It 09 - Goodge - Follow The Groove 10 - DJ Goce - Gorillas Breeze 11 - Maker - I Weigh With Kilos 12 - Shaheed & DJ Supreme feat. Lauren Strain - Brainstorming 13 - Dragon Fli Empire - Looking for Tomorrow 14 - Juca Chaves - Take Me Back To Piaui (DJP Edit) 15 - The Main Ingredient - Summer Breeze (Jim Sharp Mix) 16 - Redman - Pick It Up (Remix) (DJP Edit) 17 - SuckaSide - Fed Up With Clint Eastwood 18 - DalPlatinum - Snoopy's Thang 19 - Choice Cuts Vol 07 - Better Half Funk, Bombyce, "Hip Hop" https://ift.tt/la0JE1o

#Hip Hop #Priokskfm #mixofaday #Funk #Bombyce #SoundCloud

1 note · View note

lakannada · 1 year

Text

Hollywood, Streaming Giants Scramble for Movie Rights to FTX ... - Bitcoin News

Hollywood, Streaming Giants Scramble for Movie Rights to FTX … – Bitcoin News

by Jamie Redman After the FTX collapse, the story seems as though it came from a financial thriller based on fiction and made-up characters. However, the story and the people behind it are very real and today’s streaming giants like Amazon, Apple, and Netflix are vying to get the rights to tell the FTX tale.Numerous reports have shown that the novelist and financial journalist, Michael Lewis, is…

View On WordPress

0 notes

beystation2 · 1 year

Text

The Growth of Jazz Music

In the turn from the century about 1920, numerous artists made their mark by playing in the discreet underground nightclubs called "Speakeasies" which are high class, "Blind pig" lower class or "Smokeasy" for tobacco users. The United States once prohibited the sale of alcoholic drinks and smoking tobacco in clubs as a constitutional amendment. One could typically find an underground nightclub by the thresholds without an indication to indicate that there was such as establishment inside. Those dives also had a secret doorway that lead out to a passageway or alley just in case the police came to investigate. The police had the power to arrest everybody in the position attributable to the fact that they were broke the law by being there.

Although, thing were beginning to seek out for Jazz Music once the creation of the record player or phonograph was designed to play jazz albums. In addition, radio stations helped promote Jazz music, and made it favorite among the populace. Jazz Music became a music of class that earned the era a nick name called the "Jazz age". The band leaders who became famous as Jazz musicians were Paul Whiteman, Ted Lewis, Harry

Reser, Leo Reisman, Abe Lyman, Nat Shilkret, Earl Burnett, Ben Bernie, George Olson, Bob Haring, Vincent Lopez, Ben Salvin and a good many more. Paul Whiteman stated to be the king of Jazz music as a result of his popularity. He earned the title when he hired some white Jazz musicians with Bix Beiderbecke included to combine jazz with larger orchestrations.

In point of fact George Gershwin's "Rhapsody In Blue' was commissioned by Whiteman as his debut for the orchestra.

Ten years after Jazz music became popular it was reinvented into a style that might be suitable for radio and dancing. This style was known as "Swing" which allowed musicians to improvise their own individual interpretation of the melody or style that was sometimes tough to do. In the Swing era Jazz bands grew into a more substantial size which was often noted as "Big Band" music that would always feature a soloist.

The band leaders and music arrangers for Jazz music who became famous for this style of music was Cab Calloway, Duke Ellington, Earl Hines, Fletcher Henderson, Walter Page, Benny Goodman, Don Redman, Chick Webb, Jimmie Lunceford, and Jay McShann. During this period there were racial issues of segregation between charcoal and white people, but it slowly died down sufficient for the white band leaders to find black musicians to perform with them. In the center of the 1930's Benny Goodman invited Teddy Wilson (pianist), Lionel Hampton (vibraphonist), and Charlie Christian (guitarist) to be a component of a group.

Each musician learned from the style of other musicians as a way to form their own. To Illustrate, Taxi Calloway, Dizzy Gillespie(trumpeter), Bing Crosby (vocalist) were influenced by the improvising of Louis Armstrong. Later, the vocalists Ella Fitzgerald, Billie Holiday, Frank Sinatra, and Sarah Vaughn joined the scene with Jazz Improvisation known as the scat. To Scat is to vocally imitate instruments using such non verbal language as doot 'n doo bee yah bah loo bey doo ee ya boy lay bah doo doot 'n doo yah doo doy.

Before now of the 1940's Jazz music evolved yet again into a new style called "Jump Music" which was upbeat music using blues chords carried out by small music groups. These small music groups are the forms many bands make currently. Later, another style of Jazz music came using the music of the 1930's as an inspiration called "Boogie-Woogie" where the typical 4 beat bar section expanded into an eight beat bar section in the rhythm which Big Joe Turner took the lead in the 1940's.

In the 1950's, music reinvented again when turner turned to "Rock and Roll music". As for the Swing era music it was reborn in the employment of the modern dance trends. Kansas City made memorial for Charlie Parker in their American Jazz Museum that displays the history of the music and the individuals who made Jazz music what it is now.

0 notes