“This album has a unique, mystical quality reminiscent of stuff like Sun Ra or late John Coltrane.”—
No, no it doesn’t. I haven’t heard it but I’m sure it doesn’t. Stop saying things like that, PITCHFORK. And that’s no knock to this Gonjasufi character whatsoever. But come on. Just because something has a mystical quality doesn’t mean its reminiscent of JOHN FUCKING COLTRANE. (via shwingalokate)
not to play captain-save-a, but i dont think comparing some vague spirituality implies that they think hes a comparable artist or something.
"Definition of Fuck Shit" is a great name for a rap mixtape & this one has fewer DJ Holiday drops than your typical tape. "Tall" w/ Young Dro is getting tons of attention but this is almost as good (a remix — Dro or Gucci or Gotti verse? might help it compete). Beat is all high drama. I dont really have a ‘position’ on Alley Boy yet — hes the next Atlanta dude to blow no doubt, but he’s obviously not a game-changer like Gucci. If anything he sounds like a synthesis of Dro & Gotti. Hook on this track just kills.
Stand by what I wrote about the guy a little over three years ago when Continuum came out (can barely even listen to Battle Studies, which makes me respect 808s & Heartbreak for at least not sounding banal).
John Mayer’s willingness to represent the glib white male is as frustrating as it is fascinating: He’s aware of his privilege but refuses to self-flagellate. Opening Continuum with a happy clap-along about the futility of protest and closing with a proud ex-girl-to-the-next-girl blues, he’s risking offense by expressing emotions most artists wouldn’t dare throw at their adoring fan base. What he doesn’t realize is that it’s easy to be “Waiting on the World to Change” when its problems don’t really affect you, and he knows “I’m Gonna Find Another You” because he sticks with girls like Jessica Simpson and Jennifer Love Hewitt. Unless he gets his heart crushed by some Ivy League actress he can’t pretend he’s smarter than, he’s never going to get the humbling slap that will make him the singer/songwriter his rapidly evolving music deserves.
Really hope this whole kerfluffle is that “humbling slap,” but like my fellow former mainstream heroes Good Charlotte, he may be too deep in The Biz to get his head above water again.
DRO! I’m very Paint job so berry Y’all n—s so scary I buy some different rims every week Trying to floss and your ass will get lost Just like Chris, your ass will get crossed Fuck with Alley Boy and your ass ain’t gonna walk Fuck with Young Dro and your ass ain’t gonna talk Big big rims that’s all that I bought Big big hoes that’s all that I caught I gotta ride these inches and talk in my talk Ride these inches and talk in my talk DRO!
In my mind the most brilliant feature of the site is the five dollar signup fee. Haughey explains the rationale:
It’s mostly just putting a huge hurdle in front of having to deal with new users. ‘Cause it’s such a pain. The last ten years have shown that any time there’s press, like the New York Times writes something about us, 300 people sign up and then wreak havoc for a while, and then go away. [Without barriers to entry] it would just be a nightmare.
On size, growth and just how much work it is to maintain:
It grew naturally over first few years. I never sort of advertised the site anywhere. It just sort of grows all the time. Just sort of randomly. I’m not doing anything to goose that or anything. Because [the site] doesn’t work if it’s big. Metafilter is actually run by me and two moderaters and a programmer. It’s really done by hand. We’re constantly emailing people, contacting people personally. It’s a ton of work and would never work if tens of thousands of more people joined. I’m not interested in it going to twitter proportions at all.
And finally, on just how un-sexy building a regular old profitable business can be:
A lot of people obsessed with venture capital see Metafilter as a lifestyle business, but in my mind, it’s a mature business. It works really well and yet nobody aspires to do something like this and I don’t know why. Nobody celebrates just simple businesses that work.
Seriously, I could pull about five more quotes, but just go read the whole thing.
We’re Famous - Aesop Rock featuring EL-P (Album: Bazooka Tooth)
So yesterday, while I was doing my crackfiend lean and impatiently waiting in line at McDonalds, I overheard some douchemeister connect the sorta-but-not-really-shutdown of Def Jux & the overall failure of “real” artists like Freddie Gibbs to the rise of Gucci Mane and his ilk. There was also a predictable “Boohoo new rap’s stupid, hip hop’s dead” bitchfest that followed. I didn’t get the chance to pay too much attention coz I was too busy making out with my Big Mac. SORRY Y’ALL, I’M A LOVER, NOT A FIGHTER!
Anyways, on a totally unrelated note, here are excerpts from EL-P’s verse on “We’re Famous”
“That’s why I always get respect from true soldiers That laugh at the critics claiming every year: “Hip hop’s over.” FUCK YOU, hip hop just started It’s funny how the most nostalgic cats are the ones who were never part of it But true veterans’ll give dap to those who started it Then humbly move the fuck on and come with that new retarded shit”
“They’ve been failing for years and call themselves Vets, that’s bold Motherfucker, you’re not a Vet you’re just old I’ll slap the shit out you to continue my nerd rap Making this money fist over fist, fuck what you heard Rookie cats talk about boom bap and golden ages Pat themselves on the back for making that new outdated shit But I’ve been putting out vinyl since ‘93 and never looked back once At y’all trying to chase me You don’t innovate because you can’t innovate It’s not a choice despite what you might tell your boys Keep your identity crisis under the table I always knew who I was and I’ll always be more famous”
“The potential for unintended humor in ‘compressed’ English isn’t restricted to headline writing; it goes back to the days of the telegraph. One clever (though possibly apocryphal) example once appeared in the pages of Time magazine: Cary Grant received a telegram from an editor inquiring, ‘HOW OLD CARY GRANT?’ — to which he responded: ‘OLD CARY GRANT FINE. HOW YOU?’”—Laughed out loud several times reading this NYT Magazine On Language column on “crash blossoms.” (via slutsky)
It’s a pleasure and honor to start off volume 2 of the 7 and 7 series with an elder in the game like DâM-FunK. The dude is L.A. county’s Funk Mayor right now (but he’s been on that funk the whole time) and he’s only bringing his sound from the truest of places, which is his heart. Hailing from Pasadena and living in Leimert Park, he has been turning heads with his new release on Stone’s Throw Records, his club on the westside named Funkmosphere, his slew of remixes and co-labs, (working on everything from Animal Collective to Hudson Mohawke) the player is international at this point! I really lucked out with this interview because it’s one of his last, due to him putting the press ban in effect. Judging by the questions that he gets asked on a regular basis, I can see why……
1. you are a very vocal proponent against illegal downloads, subpar venues and other things that would ultimately be problematic to a performing artist doing their particular skill in an optimum environment. while you are now associated with what is undoubtedly the most popular indie label on the west coast and they are known for their high level of professionalism in the industry, what are some of the problems that you encounter on the regular now that you are a recording artist with a new record out?
D-F: I actually don’t really trip off of the downloading. I think people deserve a little sample taste of some of the material that’s out there. This is because it’s so much ‘just okay’ stuff (to some) out here that one nowadays has to be ‘sure’ before buying (investing) in that artist these days. Didn’t use to be like this but, it’s a fact today. As for problems I’ve encountered with the new climate in the industry? Not many…at this point (fortunately). Back to downloading, I do see that it can cut into a few sales, but not enough to cry about. Everything ‘so far’ has been working itself, out in my case.
2. while your previous experience is now coming to surface, how is what you deal with now different than when you were around a lot of the hit-making west coast artists of the 90’s, with the exception of “smoking blunts in the studio” and other distractions?
D-F: I’m more in control now as opposed to solely doing ‘session work’. That’s the difference. Also, not so many people hanging out at the studio. Kinda refreshing. Yet, I was cool with everything back then. No sweat.
3. you live in Leimert Park, does the artistic community there have any influence on your work? were you ever involved with Kaos Network/Project Blowed?
D-F: Yes, I live in Leimert Park. Yet, Pasadena, Ca is the city that’s still deep inside my heart. Pasadena is the sound you hear coming from me…not Leimert Park. But, Leimert Park is a lovely place & I enjoy living in & being a part of this special community within the city of Los Angeles.
4. please explain to the people EXACTLY what ‘Boogie Funk’ is and most importantly, what it ISN’T. are there any places online where people can do more research?
D-F: I define Boogie-Funk as ‘post disco music’ that is 1 part Boogie & 1 part Funk. See, the 1st era of Boogie came in the mid 80’s championed by UK DJ’s such as Norman Jay, Dez Parkes + more fantastic selectors & collectors mainly in Europe yet, in the U.S. and other countries too. Boogie-Funk is the next phase, if you will: harder & more funkier. At Funkmosphere (my weekly Monday nite) we play rare labels like Chocolate Cholly’s and alongside P-Funk + Prince related joints. See this is the difference. We mix the Paradise Garage sound with the harder Funk of the 80’s & beyond. As far as sites there are many. 1 I like is Danceclassics. Google that one. It’s well done with clips, interviews & record scans.
5. it seems like the funk macro-genre and all of it’s sub-genres are making an insidious comeback, are there any groups/artists that you would go so far as to provide a “co-sign” for that are doing this style justice in the present day?
D-F: Not many as of yet, but I’m looking forward to hearing some good things. Wizardz out of Orange County are doing some serious stuff. Wait until you here the new Steve Arrington (formerly of SLAVE) project though. It’s like, the real deal. Stay tuned. He still has it & even more now! It’s coming out on Stones Throw later this year (2010).
6. stone’s throw is a label that has a very diverse roster of artists, to the point of looking like a microcosm or library. do you work with any of the artists with the exception of remixes?
D-F: I’ve worked or DJ’d alongside many of them. Great bunch of cats to know & be involved with creatively. I’ve worded with James Pants recording/song wise and me & Madlib have discussed working on some things, but nothing has materialized yet, due to everyones schedule, which is totally understandable. In due time. We’ll just have to see. Meanwhile, I’ll be continuing 2 Funk.
7. what do you see happening within the entertainment industry in the next year, in regards to the whole free download subject, new technology and what seems to be a dwindling market with an overabundance of people looking for exposure? will it even be something to look at as a means of support if it isn’t already your means of support?
D-F: I see a bright future with the entertainment industry. 1 just has to know how 2 work it or work within the new model of today. This is the key. Work it to your advantage, with the ultimate goal being to give ‘the people’ the best music you can create, that comes straight from the heart. Always…like that! Everything else will work itself out. Trust me.
(get the new TOEACHIZOWN record on Stone’s Throw Records and go to his weekly event Funkmosphere in West Los Angeles.)