Friday, March 30, 2007
Snowbound In Laramie / Neocons Who (Think They) Like Hip-Hop
Spring in Laramie looks like winter in Alaska.
Thank you to Adrian Molina, Bethany, and the whole Laramie fam for taking care of their boy while we were all snowbound yesterday. The Shepherd Symposium was longish, I know, but great.
Unfortunately I won't be able to make it this afternoon to the Vassar event. Skies are clear here now in Wyo but there is no physical way to be there today. We'll resched the event as soon as we can.
See yall in Hartford at the Trinity International Hip-Hop Festival tomorrow.
Meanwhile it appears that the neocons have discovered hip-hop (or, uh, whatever that is), and they are still confused.
So I finally get out of town this morning to find that the neocons have discovered hip-hop (or, uh, whatever that is that they are trying to do). And that some of them have even begun trying to figure out how to create a neocon way of understanding hip-hop.
Signs of the end of the world or just that hip-hop really is dead? You decide.
Joseph Abrams begins by critiquing my new book Total Chaos, but he starts heading toward a way of defanging hip-hop by reducing it to just a pleasurable way of understanding "the black street world", his words, not mine. You may remember these are the same folks that last year tried to rewrite rock history recently as a proto-conservative movement.
Might have helped if folks actually read Can't Stop Won't Stop, or for that matter, the book being reviewed, rather than just say they did.
In any case, reducing hip-hop to a simple "identity movement" is one way to make hip-hop safe for the Karl Roves of the world. (And you see what the results are...) Now, although many academics have made the claim, I have never claimed hip-hop began as political movement. I've always repeated the lesson that Kool Herc schooled me in: it simply began as a way for Black youth--African American, Afro-Latino, Afro-Caribbean--in the Bronx to have fun. No more, no less.
So, identity, yes. And yes, hip-hop is a worldview by now. That's what Can't Stop Won't Stop was all about, for anyone paying attention. So the National Review is half right.
But here's where they're got it wrong. I have always said that it is impossible to separate aesthetics from the world it emerges in. If new-century neocons, or anyone else for that matter, would like to separate the rap and hip-hop arts that they think they like from the living, breathing context that it all issues from--the way they did with rock and roll--they will always have beef from me and the large large fam out here. Aesthetics is not a neutral truth that lives above the people.
People make art. Art represents actual lives. We can disagree about what it means, but no one should ever be able to erase those lives, just so that we can enjoy their labor conscience-free. Even if we buy the art, we don't purchase innocence along with it.
But anyway, no use wasting any more time on time wasters. Hit us back here or in person when you see us. It's all about extending the conversation.
Labels: aesthetics, hip-hop, karl rove, neoconservatives, total chaos
posted by Zentronix @ 8:54 AM
Monday, March 26, 2007
How I Spent My Weekend
I was here. (Here, too.) And, thanks to you all, I didn't look too bad.
Labels: colorlines, dressing Jeff, racewire
posted by Zentronix @ 5:59 PM
Wednesday, March 21, 2007
It's Officially Spring
95 mph of blazing fire...
Today is the first day of spring so I'd like to take this opportunity to remind all Yankees, Red Sox, Angels, and Giants fans that your team still sucks more than mine. Let the games begin!
posted by Zentronix @ 9:29 AM
Monday, March 19, 2007
Asian Americans Want Their MTV World Back
Nusrat Durrani, the embattled visionary behind MTV World
Quick on the news of MTV World's demise, a number of activists have begun circulating a petition to save it.
Last month, in a start-of-the-year downsizing, Viacom eliminated MTV World, the 18-month experiment headed by Nusrat Durrani in niche channels targeting Asian American audiences. In July 2005, it launched MTV Desi for South Asian American audiences, following with MTV Chi for Chinese American audiences, and finally MTV K for Korean American audiences last year. A fourth channel, possibly for Pilipino Americans, was rumored to be on the drawing board.
None of the channels gained traction, but it could be fairly argued that they were never given the chance. The channels were accessible mostly through obscure "international" premium packages from DirecTV, and a mix of smaller cable networks.
Offering the channels through such "international" packages was a strategy that made the least sense. Such packages are usually purchased by older, wealthier immigrants who want to stay in touch with news and pop culture from "back home". But the entire MTV World experiment was predicated on the idea that the children of these immigrants--and their curious friends--would demand a completely different, much more eclectic, polycultural aesthetic. Yet very few options were available to allow this next generation to get their MTV World.
Expansion efforts were afoot when the axe came down. MTV World was about to offer a more robust set of websites, including some recognized bloggers (I was asked to be one, though I couldn't), and rumors circulated were that MTV World was about to offer cell-phone content. But there were no, say, ala carte options, which would have allowed young viewers to perhaps add MTV World into a mix of stations they might have wanted, like say, ESPN or MTVu.
To be sure, things change slowly in the cable world, and while there have been debates in Congress on the issue ala carte, no big change has yet been forthcoming. When I interviewed Durrani in late 2005, he was assembling a whipsmart staff, who would go on to do some very creative and relevant programming on a shoestring. Durrani was certain that MTV's leadership was well behind the project and that they understood it would not produce immediate returns, but take hold slowly.
Durrani is a visionary, and at the time, his thinking seemed to make a lot of sense. If MTV was to wedge itself into the Asian American market early, it could be in a great position to develop it and reap the whirlwind when it took off. This was the same thinking that had guided the creation of AZN-TV, a Comcast vehicle that now functions almost mechanically, and Imaginasian, the lovable independent NYC-based bootstrapping upstart.
But there were warning signs: AZN imploded almost as soon as it began, laying off almost all of its talented staff in one fell swoop early last year. Imaginasian--with a much different model than MTV World--has been growing organically and intelligently, but not at a rate that impresses Wall Street types.
In the end, MTV World heard from the mothership. Viacom's recent moves--especially its $1b lawsuit against Google/YouTube--seem to demonstrate that the company is reorienting itself to what it considers to be immediate threats in the internet space. (The fairly quiet relaunching of MTV and VH1's websites last year were the first part of this reorientation.) It's hard to get anyone to hear about the importance of a long-term investment--however small in the grand scheme--in as-yet unproven niche markets when Viacom's leaders are running around scared over Google/YouTube.
And so Asian American activists are taking a page from the multicultural wars of the 80s and 90s, and trying to demonstrate grassroots support for MTV World to the folks who run Viacom.
I think it's important to show support for any kind of community-oriented programming in these days of media consolidation and stock-market oriented decision-making. I just want to add that we need to champion our visionaries as well. There aren't too many like Nusrat Durrani out there anymore. Let's recognize what we've got.
Labels: asian american, cable, mtv, nusrat durrani, tv, viacom
posted by Zentronix @ 5:33 PM
What Not To Wear Or, More Proof That 30 Is Not The New 20
I need a fashion intervention!
"I'm From Rolling Stone" winner Krishtine De Leon and her fam at SF State, along with my man Jazzbo, have been offering me unsolicited but very necessary fashion advice.
Now when I was at SoleSides, I dressed pretty good because those guys were relentless with it. (Lyrics Born to Jeff: "What is that, dude, a cowboy shirt?" It was.) And when I worked at 360hiphop, I had to look good because Halle Berry might walk in the door at any moment. (Kris Ex to Jeff: "So are you tryna bring New Balance back?" I was.) But for the past 2 years or so, I have heard no sartorial complaints at all.
This worries me. I wonder if people are like, "I can't tell Jeff that guys aren't supposed to wear capri pants, even in the summer, because he's a faaaamous author." It's like I haven't looked decent since "Fresh Prince of Bel-Air" was on, and yall won't tell me.
Here is what I am asking: if you have advice as to what I should (or should not) be wearing, holla. Now. Please. Especially if you've seen me talk in the past 2 years and thought, hmmm, not a good look. I can't afford a stylist--I write books and articles!--and I am about to go on tour again.
We're going for fresh and clean. Easy assignment.
Thank you, fly people.
Labels: dressing Jeff, fashion faux pas, rap eye for the old school guy
posted by Zentronix @ 3:45 PM
Sean Bell Case Heats Up: Detectives Indicted, Protestors Arrested
Just off the wire: Two of the detectives--who accounted for 42 of the 50 shots--have been indicted on first- and second-degree manslaughter charges. One more detective is being indicted on a reckless endangerment charge.
Coverage is here:
-New York Times
However, many believe that there was enough evidence for the Queens DA to bring stronger murder charges.
As a result a new wave of protests has begun, already resulting in 4 arrests at the Queens' DA's office. Famed community activist and former Young Lord Panama Alba is among those arrested. Hundreds also gathered at Union Square this afternoon and marched down Broadway to City Hall, blocking traffic.
Here's the press release:
Activists Block Entrance to Queens Courthouse to
Protest DA’s Failure to Indict All Cops in Bell Shooting
A group of activists today blocked the entrance to the Queens Courthouse at 125-01 Queens Boulevard, Kew Gardens, to protest the Queen’s DA’s failure to indict all the police officers involved in the murder of Sean Bell and the attempted murder of his two friends, Trent Benefield and Joseph Guzman.
“If the District Attorney is closing the doors of justice to the victims of these shootings, then we feel obligated to physically close the doors of justice to demonstrate our outrage with this criminal, criminal justice system,” said one activist.
Members of the group also expressed concern that the trial would be moved out of New York City and will result in the acquittal of the indicted police officers as was the case with the police officers who killed Amadou Diallo. Additionally, they called for the immediate removal of Police Commissioner Kelly and NYPD Chief Anthony Izzo and an independent prosecutor for all cases involving police brutality/misconduct.
Activists are calling for a 5pm rally tomorrow evening at Union Square.
Labels: hip-hop activism, Sean Bell
posted by Zentronix @ 9:53 AM
Friday, March 16, 2007
Catching up on blogging is always tough when you've got one foot here and another out the door. So here's a couple of weeks of stuff.
• Flash is still cool. Congrats on him and the Five making it into the R+R Hall of Fame. Next up: Public Enemy?
• Davey D features "Confessions of a BET Producer", in four parts.
• Jonathan Lim on Arcade Fire.
• Dave Zirin on Bowie Kuhn and the unsung Black hero of free agency, Curt Flood.
• The Good The Bad and The Queen live.
• Bye Coach K!
posted by Zentronix @ 12:03 PM
Monday, March 05, 2007
Rap's Holy Grail? :: Live Convention '77-79
That's right, 1977.
Old school afficianados know all about the Disc-O-Wax Live Convention 81 and 82 platters that captured the Fantastic Romantic, Flash, Mel, the Cold Crush and others off of street tapes that were circulating at the time. The records have become highly collectible and have been oft-bootlegged. For folks like me, who first heard these records all out of context during the mid-to-late 80s, they were proof early on that hip-hop had rich roots we had no idea about. The tapes were technically recorded after the record industry was into the rap thing a couple years, but the vibe--and the thrill of hearing live tapes--brought to our minds the energy of "Wild Style". Folks have since sampled the records over and over--including Blackalicious on "Swan Lake".
Now the Golden Reaal folks have brought to light what may be an even deeper story: that the first real Live Convention tapes weren't ever committed to wax! The story begins with a Bronx edit-master and engineer from the Soundview projects named Kenny Wilson.
Kenny loved hip-hop's beats and mixing, but, being a sound guy, was frustrated by the quality of his younger brother's live tapes. So he decided to recut the music straight to reel to reel tape, imitating the turntable trickery of folks like Grand Wizzard Theodore and DJ Kool Herc. Then he added the rap routines back over these clean remixed versions. The result is pure old school rap heaven, back when hip-hop wasn't something you could have a remote control relationship with. It's urgent, in-your-face, just lots of fun.
Unlikely stars--including folks who never made it to wax--emerge like Kool Kyle the Starchild and a young girl named MC Smiley of the Herculords. Kenny also cut sound bites from movies like "80 Blocks From Tiffany's" and anti-drug films over the music. If the story he tells is true, this could be one of the first proper mixtapes. (I'm sure there must have been home-recorded show demo tapes around, tho I've never heard stories of any.)
Here's his story:
Q: How did the Live Convention 77-79 mix happen?
A: ...After they started releasing rap records by the end of '79, my brother and I figured we might be able to make some money by selling our mix. Reggie had already quit selling tapes as he was too busy with other hustles, but hearing rap on the radio got him back into it. He was seeing a girl who worked for a record store opposite the Celebrity Club at 125th street which was owned by Johnny Soul - may his soul rest in peace. Tanya told me Johnny wanted to talk to us after he heard what we were doing with the edits and all. So one day in the summer of 1980 she took us out there to see him. We brought him a cassette containing the best edits that I had done, and he was like hell yeah, I'll put this out, because he was also trying to get into the business of releasing rap records. He was cool with a lot of artists (such as Fantastic Five, ed.). He told us we would release a 'part 1' and 'part 2'. He made me go back to the drawing board to prepare the mix for release. It took me another six months before I could hand over the masters around January '81, over 3 years after I began editing. Remember all of this was done outside my regular day job at the studio.
Q: What was Johnny's part in the process?
A: Well, we basically left the business side up to him, which would include talking to the emcees [featured on the tapes], and obviously he would pay for the pressing, do the marketing and all. He also came up with the name Live Convention 1977 1979 and had someone do the cover art, which didn't really represent the amount of work we had put into the mix! It was a sketchy drawing of a deejay standing behind one turntable, not even two. Still, we was proud, even though we weren't even mentioned on the sleeve at all and we didn't know how much money was in it for us.
Q: So why were the records never released?
A: Two things happened: myself I had been looking to get away from NY. I had a girl who wanted to get married, thinking of having a baby and we didn't want to stay around the Bronx any longer. So when I got the chance to take a share in my uncle's electronics store in Richmond, VA, I accepted. The other thing was Johnny's store got robbed at gunpoint and together with some jewellery, they took two boxes with the master reels and the art work for our records!
Q: Why would anybody want to steal that stuff? Did you buy that story?
A: You know, it wouldn't have made a lot of sense for him to make that up. There were other reel-to-reels with rap recordings inside those boxes, but they were heavy, so the robbers must have known that they weren't taking any lunch money, haha. Reggie and I were pissed off but we couldn't do nothing about it. The story out in the streets was that it had to do with an unpaid debt. But we never saw those tapes back.
Q: And that was the end of it?
A: I had to concentrate on starting a new life away from NYC, so I couldn't go back to the studio to compile a new mix from the reels that we'd kept at the studio. Some of them had been recycled anyway. So I just left it. Reggie lost hope that our record would ever come out. After I moved to Virginia, two records came out by the same name we had picked: Live Convention 81 and 82, on Soul Wax / Disc-o-wax, which was Johnny's label. But the concept was totally different, he only used live cassette recordings and more recent stuff. No edits like I had done, so the sound wasn't that good at all!
(excerpt from the site and liner notes) Fast forward to 2004. At a liquidation auction in Newark (NJ), Jay of Golden Reaal buys the entire inventory of a former record store with the purpose of reselling the most wanted soul & funk items in the UK. Part of the lot is a number of boxes with dusty reel-to-reels which look as if they have sat there since the 80's. One box comes with artwork for an apparently unreleased album and a hand-written producer royalty contract. Jay also discovers five test pressings which are labelled 'Live Convention 77-79 volume A'. Aware that he may have discovered one of hip hop's holy grails, a predecessor of the legendary Live Convention albums, he calls up his partner who proceeds to inspect the reels and finds out that this is the real deal!
A search starts. Local phone directories and yellow pages to butchers, grocery stores and relatives finally lead to the man behind this production, who is living a quiet life with his family a few hundred miles from New York. A phone call puts Jay in touch with Kenny, who is surprised that anyone shows interest in his work, and even more so to find out that the lost tapes have resurfaced. When they meet in person, they agree the importance of this set makes it worth a re-release on the newly established label Golden Reaal records.
I honestly don't know how much of this can be verified, and I honestly don't have any reason to doubt its veracity. To me, the point is simple: the CD sounds fantastic. It's a must-hear.
If you have never heard some of these original live tapes, it's a mind-blowing experience. Even if you collect them, you will still be awed by how Kenny captures the feel of those tapes: the raw energy, the human mistakes, the crazy echo-chamber effects, all of that. It's just jaw-droppingly great.
You can listen to snippets of this incredible document and purchase the CD here.
posted by Zentronix @ 5:28 PM
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