Mytwo cents: As a leitmotif Karen Yong partners Pearls Before Swine. Used thematically JVC Force is the doublet for Rep. Bobby Rush (D-Ill.), chairman of the House Subcommittee on Commerce, Trade and Consumer Protection addressing Hip-Hop lyrics
Long Island's JVC Force, a rap group whose name stands for "Justified by Virtue of Creativity for All Reasons Concerning Entertainment" (that would actually make them "J.V.C. Farce," but whatever) was a trio consisting of DJ Curt Cazal and MCs AJ Rok and MC B-Luv. Signed to B-Boy, the group broke out with an underground hit single in the form of "StrongIsland." The song would become the group's signature moment, and though a few successive tracks came close to rivaling the song's greatness, the group was never able to top it. The group left two albums in its wake, 1988's Doin' Damage and 1990's Force Field.
Stones Throw is teaming up with video game trendsetters 2K Sports to present the soundtrack for the latest in 2K’s series, NBA 2K8. Stones Throw president Peanut Butter Wolf has compiled B-Ball Zombie War, a 20-song companion piece to the video game. The album and the game will be released October 2nd.
B-Ball Zombie War features new collaborations by Talib Kweli, Q-Tip and MF Doom over beats by J Dilla, as well as new tracks by Madlib, Guilty Simpson, Aloe Blacc, Koushik, and MED among others. New names are introduced, including Karriem Riggins and Madlib’s group Supreme Team.
This will be the first Stones Throw collaboration with another brand since last year’s Chrome Children compilation with Cartoon Network’s Adult Swim. Stones Throw is best known for its work with Madlib, J Dilla and MF Doom.
Kanye accuses Jay-Z of biting off of him in the form of a “cold collabo” with Chris Martin of Coldplay. In the song called “Big Brother” he raps: “I told Jay I did a song with Coldplay, Next thing I know he did a song with Coldplay.” The banal precursor of September 11th finds Singer Kenny Chesney Challenging 50 & Kanye.
Today's M-W Word of the day is rankle • \RANK-ul\ which is defined as: to cause irritation or bitterness in which is relative the below excerpts. If you taste bile salts while reading you can find the recipe to Elvis's favorite grilled peanut butter and banana sandwich and let the sandwich 's apoptotic prowessdo to you what it in part did for him.
Elvis recorded 1,112 songs. Blelvis tells you this. He knows the words to them all. Pick a song, any song, the more obscure the better. Pick a song that starts with Q - there's only one - "Queenie Wahine's Papaya," recorded in 1965, released on "Paradise, Hawaiian Style." Please pick her papaya, put Queenie Wahine In perfect perpetual - Don't like that one? Pick another. Blelvis will sidewalk-serenade you with any Elvis song you can think of, and all the ones you can't. He says he knows the dialogue to every movie, too. Now. Let Blelvis, the Black Elvis, tell you what he is not doing. He is not begging, and he is not homeless. But Blelvis would never dream of denying you the opportunity to donate to his favorite charity, which, incidentally, is named Blelvis. So he'll just turn around, nice and discreet, while you see what you can spare. The best nation in the world is a do nation, and that's the truth. Ladies and gentlemen, thank you. Thanyavurramuch.
But the singer's move to Hollywood struck many as an abandonment of his musical roots. Credibility with struggling black musicians faded when Elvis jumped to the big screen. "When he first started out in his career, Presley blurred racial lines," Bertrand said. "But later on in his career he became, for lack of a better term, whiter. When he tried to become more middle class, he lost what people perceived were his black characteristics." After Elvis' death in August 1977, white America's continued idolization of the singer didn't ride well with many black people who, particularly during the 1980s, saw their contributions to pop music overlooked and underexposed. In 1990, anti-Elvis sentiment exploded from black artists. The group Living Colour lashed out against the music industry through their song Elvis Is Dead: "I've got a reason to believe / We all won't be received at Graceland." Raging against gang violence, poverty and inequality, rapper Chuck D of Public Enemy shouted what have become some of the group's most enduring lyrics. "Elvis was a hero to most / but he didn't mean (expletive) to me you see / Straight up racist, that sucker was simple and plain / Mother (expletive) him and John Wayne / Cause I'm black and I'm proud, I'm ready and hyped plus I'm amped / Most of my heroes don't appear on no stamps." Recently, Chuck D explained that his attack was against the Elvis whose roots were whitewashed by his legacy. "The Elvis that died wasn't the same Elvis that was coming up", Chuck D said. "They said he was king. Based on who and what? Based on the quality of the people judging or the quality of his music? What does 'King of Rock and Roll' mean growing up in a black household? My Chuck Berry records are still in my house. Little Richard is still in the house. Otis Redding and James Brown. The King of what?" As much as singer Mavis Staples loved Elvis and his music, his unbridled legacy bothered her. "What helped Elvis was that when he did interviews, he would tell that he got it from blacks," Staples said. "Now one thing that I could say for myself was that when I came back to MemphisMemphis should have remembered all of the music." If ever there were a modern parallel, white rapper Eminem is a shoo-in. Like Elvis, Eminem grew up poor and honed his gift by studying black music and culture. Like Elvis, he's popular with whites. Like Elvis, he's become one of the most successful in the business. And like Elvis, Eminem has caught the acting bug. Eminem doesn't hesitate to point out the irony on his latest album The Eminem Show, produced by rapper and mentor Dr. Dre. "I'm not the first king of controversy / I am the worst thing since Elvis Presley / To do black music so selfishly / And use it to get myself wealthy (Hey) / There's a concept that works." Chuck D, a founding father of hip-hop and pop musicologist, said that accepting Elvis, and by extension other white crossover artists, might be easier for black Americans now that black artists are getting more credit and exposure. Several years ago, the Fox TV network sent him to Graceland to do a black-perspective news story about Elvis. The assignment opened his eyes. "Elvis had to come through the streets of Memphis and turn out black crowds before he became famous," Chuck D said. "It wasn't like he cheated to get there. He was a bad-ass white boy. Just like Eminem is doing today. The thing about today is that Eminem has more respect for black artists and black people and culture today than a lot of black artists themselves. He has a better knowledge where it comes from. Elvis had a great respect for black folk at a time when black folks were considered ni&&ers, and who gave a damn about ni&&er music?"
Let the folk running the club know that you want the OG. Don't let ‘em give you no ratsoup-eatin', sucker-punk-bullschitt. If you crave satisfaction, this is the place to find that action. -Dolemite!
From left: John Handy, Pony Poindexter, John Coltrane and Frank Fisher jamming at Jimbo's Bop City, circa 1950; Johnny Mathis performs at Bop City in the 1950s & Dexter Gordon performs at Bop City in the 1950s. Photos by Steve Jackson, Jr.
From the intestines of NPR comes the below book review:
The Fillmore is the legendary concert venue that put its namesake, the Fillmore District in San Francisco, on the rock 'n' roll map. The club's walls are lined with vintage concert posters and photos taken during performances by 1960s icons such as the Allman Brothers, Janis Joplin and Jefferson Airplane. But before that era, the Fillmore was known as the "Harlem of the West" - a mostly black neighborhood, known for its jazz clubs. Harlem of the West: The San Francisco Fillmore Jazz Era, a new book by documentary filmmaker Elizabeth Pepin and photographer Lewis Watts, charts the emergence of the neighborhood's jazz scene and its demise during the "urban renewal" wave of the 1960s. For the Fillmore, the "renewal" meant bulldozers and wrecking balls. Lots were leveled to make way for high-rise apartment buildings. Businesses and venues such as Jimbo's BopCity -- a legendary jazz club where Ella Fitzgerald, John Coltrane, Lionel Hampton and Dexter Gordon once played - disappeared almost overnight. Lewis Watts compares the Fillmore at its cultural height in the days after World War II to the Harlem Renaissance in Manhattan. The photographic record of those moments was almost lost, preserved by a lone barber in the neighborhood. "In his back room were ... framed photographs, some of them just in supermarket bags - amazing photographs, some of them torn, some of them water-stained, but just amazing photographs," he says.
“Charts: 1987”, pg. 321: Latee’s This Cut Got Flavor on the other hand, brings the party to a gradual boil thanks to producer DJ Mark the 45 King’s typically tight dissection of Fatback Band guitar scratches, horn stabs and vocal moans. In fact, so flavorful was the cut, that it was later adopted by Mark and Latee’s talented New Jersey-based Flavor Unit clique (rounded out by QueenLatifah, Latee’s brother Apache, Chill Rob G, LakimShabazz, Lord Alibaski and Double J), as its official anthem. But the song might have languished forever as a raw demo recorded in disco producer Vaughn “Bounce, Rock, Skate, Roll” Mason’s East Orange, NJ studio basement had Mark (who was a tenant in Mason’s building at the time) listened to Apache’s “it needs something else” -critique of the song. Undaunted, 45 King brought it to the attention of airwave mixmaster Kool DJ Red Alert. Red immediately took to the tune and “This Cut’s Got Flavor became a popular exclusive on his KISS FM weekend show for close to a year before eventually being picked up by struggling indie Wild Pitch Records. The song then garnered a second life when it broke on mix shows nationally, thus putting the Flavor Unit and Wild Pitch on the map.
My yester-year remembrance is vivid. Most of my memories are palpable, serving real-time on-call. I still have my ’80 KISS FM Kool DJ Red Alert cassettes in a Nike shoe box awaiting their digitized maturation. Latee’s TCGF was and still is one of favorite Hip-Hop embodiments of Occam’s Razor whereby: entities should not be multiplied beyond necessity. The 45 King truncations and sequencing exposition unsophisticationquintessence; furthermore, my production style for Sunny Day in Harlem was leadenly influenced by 45 King.
Third solo album “The Real Thing” due out Sep. 25th
Big screen debut in Tyler Perry’s “Why Did I Get Married?” Oct. 12th
First Single "Hate On Me" Impacts Radio July 9th
(June 25, 2007 – New York, NY) Grammy-winning soulstress Jill Scott gears up for a busy fall, which will see the release of her third solo album The Real Thing (Hidden Beach/Universal Records) on September 25, 2007, and her big screen debut a month later with the release of Tyler Perry’s “Why Did I Get Married?”(Lionsgate) releasing October 12th. Jill will also be busy this summer, as she’s tearing the stage down everywhere, from the stage at the Jazz Festivalin Hampton, VA June 23rd to New York City’s world famous Radio City Music Hallon June 13th and 14th, giving fans a taste of The Real Thing.
The Real Thing is marked by the same inspired creative energy that made Jill Scott’s first album Who Is Jill Scott? an enormous breakthrough hit, but where in the past Jill Scott has been a romantic, she is now a realist, here to tell it like it is. That realness informs first single “Hate On Me,” a powerful self-affirmation in the face of doubters, showcasing Jill’s raw emotion and energy. The single will hit airwaves July 9th, and the acclaimed Nzingha Stewart video will hit TV formats that week also.
While her music is all Jill, Jill Scott’s been trying on some new clothes. Just a month after releasing her third solo album, Jill Scott will make her big screen debut with a starring role in Tyler Perry’s ensemble drama “Why Did I Get Married?” outOctober 12th. The movie centers around a group of couples who happily vacation together every year until a flirtatious single woman is thrown into their midst and wreaks havoc. Jill plays Sheila, a heavily overweight woman (Jill dons a prosthetic suit for the character) in an already unhappy marriage who is pushed to the limit by the arrival of the sexy single. Tyler on Jill commented "like she's born to do this. Her acting is so natural, I was shocked. When this woman smiles, she lights up a room."
Acting has become a new joy for Jill, who made the scene at Sundance earlier in the year in support of her role in the Dakota Fanning movie “Hounddog,” in which she plays Big Momma Thornton, the artist who originally sang the Elvis Presley hit. Jill is also currently in talks to star in several upcoming films.
Music continues to be Jill’s passion with the release of The Real Thing, the follow up to 2004’s Beautifully Human: Words & Sounds, Vol. 2, which was nominated for a Grammy for Best R&B Album and won the Best Urban/Alternative Performance Grammy for the single “Cross My Mind.” Jill Scott made a huge splash in the music industry when she release the critically acclaimed Who Is Jill Scott? Words & Sounds, Vol. 1, which earned Jill four Grammy nominations, including a Best New Artist nomination. Earlier this year, Jill Scott release the effortlessly cool genre-hopping Collaborations, a compilation of all Jill’s best collaborations, including the Grammy-winning “God Bless The Child” with George Benson and Al Jarreau.
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The group name Alphabet Soup is explained as follows:
The communicative rudiments of language starts with the alphabet. The alphabet is a set of letters and/or other characters written or otherwise (oral-tradition, etc.) arranged in a customary order to convey knowledge or inform. The "Soup" was our music. Together the compliment of both words (alphabet) and music rendered the EP: Sunny Day In Harlem.
Holden Caulfield is a fictional character created by J. D. Salinger. Holden is the teenage protagonist of Salinger's 1951 novel The Catcher in the Rye ; Holden also appears in some of Salinger's other literary works.
Physically, Holden is gangly and tall. He is also described as having several gray hairs on the right side of his head. These two qualities contribute to Caulfield's appearing to be older than his age, yet his mannerisms and behavior contradict that impression. One of Caulfield's most striking and quintessential qualities is his powerful revulsion for "phony" human qualities. Qualities such as narcissism, hypocrisy, and superficiality embody Holden's concept of phoniness; and, unfortunately, Holden is adept at realizing these qualities in other people. This serves to bolster Holden's cynicism and consequently contributes to his mistrust of other people. Interestingly, despite Holden's strong disdain for phony qualities, he exhibits some of the qualities that he abhors, thereby making him a somewhat tragic character.
Caulfield is the second of four children, with two brothers, D.B. and Allie, and one sister, Phoebe. (There is also a second sister, Viola, who is briefly mentioned in the short story "I'm Crazy," but is never referred to again.) Allie is deceased at the time of The Catcher in the Rye. Their parents are left unnamed in Salinger's works.
Born into a life of wealth and privilege, Caulfield looks down upon the elite world he occupies. He questions the values of his class and society and sometimes appears to oppose conventions merely for the sake of opposition. He is widely considered to be the template for the "angry young man" archetype.
Accordingly, my man "2-Liter" considers my acerbic critiques a "hate" of everything and my "can't fuck with me B!!!" dancing rants didn't/ don't exactly raise the bar thusly "2-Liter" has thereupon labeled me the consummate Holden Caulfield of the east-coast.
GED
To MC/Emcee is to move the crowd through master of ceremony microphone control.
GED is a MC/Emcee. GED is an abbreviation for Gorilla Ed. GED has previously performed under following names: "Nubian", “Low Key”, “Ed Lowe”, “Lowe” and currently Gorilla Ed/GED
GED is, most recently, featured on the first two mixtapes of the Shine Mixtape/ XM 66 Raw series: Volume 1, hosted by Jim Jones and Nore and Volume 2, hosted by Nas and Swizz Beats.
