Esperanza Spalding - Black Gold (OFFICIAL VIDEO)

Its been a while since Code Emphasis has posted, but we thought this new video from Esperanza Spalding taken from her latest album 'Radio'. Defiantly worth the post and good to see she didn't get soled down the river. ENJOY

has not taken Esperanza Spalding long to emerge as one of the brightest lights in the musical world. Listeners familiar with her stunning 2008 Heads Up International debut, Esperanza, and her best-selling 2010 release Chamber Music Society, were well aware that the young bassist, vocalist and composer from Portland, Oregon was the real deal, with a unique and style-spanning presence, deeply rooted in jazz yet destined to make her mark far beyond the jazz realm. That judgment was confirmed on February 13, 2011, when Spalding became the first jazz musician to receive the GRAMMY® Award for Best New Artist. On March 20th, 2012, Heads Up International, a division of Concord Music Group, gives us Spalding's latest release, Radio Music Society, her most diverse, ambitious and masterful recital yet. 11 songs are accompanied by conceptual short films, which further express Esperanza's inspiration and story behind each track. Shot in various locations including New York City; Barcelona, Spain; and Portland, Oregon; all videos will be available to purchasers of Radio Music Society as a digital download or a DVD on the deluxe version.                                                              

Radio Music Society is a companion, rather than a sequel, to Spalding's previous disc, which reached No. 1 on the Billboard Contemporary Jazz Chart. "Originally I thought it would be fun to release a double album," she explains, "One disc with an intimate, subtle exploration of chamber works and a second one in which jazz musicians explore song forms and melodies that are formatted more along the lines of what we would categorize as "pop songs." Those are the two things that really interest me, and it intrigues me to think about different presentation approaches while writing each kind of song. On the pop song side, I think about listeners who aren't into jazz, but I also think about the people within my musical community who can interpret each idea best."

(Text source, youtube)

The Roots - 'Undun' Review and Brand New Video

"Growing up with 80s/90s cartoons with narratives that weren't patronising, a fair amount of books (particularly novels) and later being an avid listener of Radio Plays, I've become a lover of stories and storytelling. So when I heard Hip-hop band 'The Roots' were making an album called 'Undun' (at first I thought it was a reference to unfinished business; it came out so quick after 'How I Got Over'), I was rather excited at the prospect of this record being a concept album telling the tale of fictional character Redford Stevens; A young man whose life is tragically cut short after falling into the wrong crowd...

...On first listen, I had quite a hard time catching the narrative of the record. Although I easily picked up some record favourites and the music is played fantastically well, 'Undun' generally has the same slow-paced gloomy element throughout. On the one hand, this makes the concept of 'Undun' a success. On the other hand, it can prove for quite a difficult listen unless in the right mood. After a few listens, I was able to enjoy the slow, sloppy crack of the snares, the dull thuds of piano chords, and the eerie echoes of moogs and guitars. I was also able to grasp an interpretation of the narrative; to me 'Undun' tells Redford's story in reverse:

Imagine the 'Redford Suite' is an overture, a short peering into the life of Redford Stevens. The peaceful and reflective Piano playing on Sufjan Stevens' 'Redford (For Yia-Yia and Pappou)' could reflect the peaceful element of Redford's life. 'Possibility' can be just that, the rise in Piano keys and the Viola being Redford saying "What if there's more?". 'Will to Power' conveys the choice that Redford has made, the keys going from peaceful to rocky and unpredictable, a flurry of kicks and snares rolling into the mix, just as unpredictable, making the listen unpleasant but justified. The strings and keys of 'Possibility' return in 'Finality' as a realisation; answers to lifes' questions as clear as day...only for Redford's life to be snatched away, a slam of piano keys signifying an abrupt end...

...'Tip the Scale' sets the scene of harsh life on the city streets for a poor black person through the slow pace of the drums and the gloomy chord progression although Dice Raw's vocals speak on striving to do something different, despite the results of others who've tried. 'I Remember' would be the home scene of this tale, a moment to get to know Redford's character as he recalls a simpler time. The keys have a sombre mood as Thought's gritty voice speaks on hopes lost to an uncaring system. 'Lighthouse' has a quirky bass riff to go with slightly faster drums and and keys in a higher pitch. The lyrics however reveal that the hopeful melody is actually a realisation that nobody's there to help you...

...'Stomp' starts of with lone electric guitar chords before breaking out into a steady march of drum kicks, percussion, guitar chords and a repetitive bounce of piano keys. This could signify the moment where Redford thinks the life of crime could be a way to go. ?uestlove's insanely precise drum timing is showcased at the start of 'The OtherSide' before the piano breaks in and Thought speaks on making a dent in life AND death despite the path Redford has chosen. Bilal's vocals are simple yet really well delivered and reminds me of something we may have heard in the 60s or 70s; this helps to set the scene of crossing over to the wrong crowd. A repeated music sample of a funky guitar riff, mixed with drums and bass brings in the high-lived 'Kool On', a posse cut oozing attitude and conveying that this path may have been a good choice despite the risks. The constant appearance of Greg Porn on the past three songs leads me to think that his character was the one that put Redford on the path of crime...

...It's the beginning of the end for Redford on the solemn yet hopeful 'One Time'. Phonte's verse seems to tell the story of driving up on someone who's stepped on one toe too many; possibly Redford's character as Thought and Dice Raw's vocals are quite fretful. Dice Raw's questons of what happens when you die makes me wonder if his character is Redfords' conscience. A wane of keys brings in 'Make My', a slow number in which a reflection of all that has happened is apparent in the melody. A beautiful musical movement is presented in the second half of this piece, possibly signifying Redford's "Departure from the world". 'Sleep' contains a metronome type ticking in the gloomy, down to earth melody. The lyrics speak on not being able to sleep, could this be an omen?...The album opens with 'Dun', an eerie track with very little music but for subdued keys and a flatline. Listening to this piece in reverse will literally create 'Undun', starting with a gunshot, hearing the last shards of life leave Redford's body, then the flatline is all...

...Musically, 'Undun' is a fantastic project that can be perceived in quite a few different ways. Due to the consistent downer of the mood I found this record takes a few listens to be truly appreciated. As usual for The Roots it's fantastic to know that with a constant high quality output of music comes progression and new avenues to explore."

-Alex King   

The History Of Sega Dreamcast Documentary Pt 1& 2

With gaming technology and consoles reaching new highs and creating games that look equally as good as their intro's and games that now seaming to last years instead of months Code Emphasis look back to the past at maybe one of the most under rated gaming consoles of its generation The Sega Dreamcast in all its 128-bit glory."But would it be good enough to hold back the Playstation 2 ? "


The Dreamcast (ドリームキャスト Dorīmukyasuto^?) is a 128-bit video game consolewhich was released by Sega in late 1998 in Japan and from September 1999 in other territories. It was the first entry in the sixth generation of video game consoles, preceding Sony's PlayStation 2, Microsoft's Xbox and the Nintendo GameCube.

'CLASSIC' The Album by M.E.D. -Reviewed by The Eminence Grise ( Out 1 Nov 2011 )

Stones Throw emcee Medaphoar, a.k.a. M.E.D., has finished his second official solo album, following 2005's "Push Come to Shove". The first Album spawned one of my favourite tunes of the last decade (Can’t hold On) so I was excited to hear what he had been working on for so long. The somewhat bold title, whether or not you think this joint lives up it is a pretty good album.

This new project clocks in at 41:47 total running time - not overly long, I mean it’s barely one side of a D-90. That time is spread out over 14 tracks, 10 of which are produced by his Stones Throw co-hort, Madlib who possibly understands M.E.D the best when it comes to beats.

Alchemist, Oh No, Kareem Riggins and Georgia-Anne Muldrow make up the other producers on this album whilst the guest features come from Label Mate Planet Asia, Kurupt and Talib Kweli.

There's plenty to appreciate about Classic, given that M.E.D. is far from a whack MC. I’ve often thought that he should have garnered more shine by now but listening to this project, he seems somewhat uninventive in terms of his lyricism, whether this is a result of the time frame involved in getting to this sophomore project I’m not sure.

Much like his first album, It’s the quality of production that really helps him out, especially given Madlib is the only man on the boards from track 6 until the finale. "Get that" has a pleasant Middle Eastern influence; "Blaxican" is something of filler as far as I’m concerned and has no real place on this album. "Outta Control" bangs on intentionally overproduced drums for a modern day boom bap sound, and "Flying High" lives up to its name by being a light and breezy affair.

You can't go wrong with most of these tracks, from the chunky West coast funk of "Where I'm from" featuring rapperturntsinga (damn you T-pain) Aloe Blacc. The silky smooth vibe of "1 Life 2 Live" is also one of my favourites.

Energy and good vibes are abound on this project and M.E.D. certainly has them on production – this helps elevate him and this album as a whole.  The title track is actually worthy of its moniker with veteran MC Talib Kweli on the assist they do a little reminiscing about the music we all know and love. Karriem Riggins keeps things relatively subdued on the production tip and this tune will stand the test of time and become worthy of it’s title one day.

It’s hard to tell, after just a couple listens, whether this good record is dope and has truly timeless appeal, but this I know for certain: this joint is worthy of your cash.

M.E.D- Classic is available on 1st November on Stones Throw at all good Audio retailers.

The Eminence Grise

THIS IS BLACK HISTORY (OFFICIAL MUSIC VIDEO)

http://thisisblackhistory.bandcamp.com/track/this-is-black-history

Produced by Last Resort Ft. Jody McIntyre, Logic, Big Ben, Jaja Soze, bigCAKES, Genesis Elijah, MC D, Cerose, Big Frizzle, Wordplay, Haze, USG, Rodney P, Akala.
Wall Art: Steaz an Coza

Big up Azita!
Overstand Music & Culture
Riddim Killa
Illastate Records
P.D.C.
U.S.G.
CodeRed
London Ent.

MEETING OF STYLES 2011 - Live Graffiti Event - London 8th October 2011 ( Highbury Studios,Hornsey St, Islington N7 )

Their are a few things in life I look forward to when it comes to annal events, Christmas (hang with the family and eat like Homer Simpson), Champions League Final, that event when women ride around on bicycles naked and Meeting Of Styles.

Meeting Of Styles is an annal event that takes place at the Highbury Studios, Hornsey St, Islington N7  where graffiti writers from around the world gather in one place and paint the living crap out of Highbury Studios. Its FREEE. plus there's drink, food, style, music, paint fumes and fun. So bring your camera and get flashing. Trust me brothers and sisters the standards will be high.

 

http://meetingofstyles.co.uk/category/blog/
http://www.flickr.com/groups/meetingofstyleslondon2011

Bunny Bread -The Artistic Assassinator.

"Once Upon a Time in New York (The Birth of Hip Hop, Disco and Punk)

"The Birth of Hip Hop, Disco and Punk" - How the squalid streets of '70s New York gave birth to music that would go on to conquer the world - punk, disco and hip hop.
In the 1970s the Big Apple was rotten to the core, yet out of the grime, grit and low rent space emerged new music unlike anything that had gone before.



Inspired by the Velvet Underground, a new wave of 'punk' rock emerged in lower Manhattan including The New York Dolls, The Ramones and the Patti Smith Group. Meanwhile, downtown loft parties held by gay New Yorkers heralded the birth of disco, which would eventually spawn the ultimate club for the privileged few: Studio 54. The swanky mid-town discos were out of bounds to black New York so in the Bronx DJs such as Kool Herc, Grandmaster Flash and Afrika Bambaataa created their own parties, heralding the birth of hip hop.

With David Johansen, Patti Smith, John Cale, Richard Hell, Grandmaster Flash, Afrika Bambaataa, Kool Herc, Nile Rodgers, Chuck D, Tommy Ramone, Chris Stein, Fab 5. Freddy, Lenny Kaye, Tina Weymouth, Chris Frantz, Syl Sylvain, Nicky Siano, David Mancuso, DJ AJ, David Depino, Jayne County, Leee Childers, Nelson George, Victor Bokris and Vince Aletti.



"Once Upon a Time in New York: The Birth of Hip Hop, Disco and Punk" -BBC 2004

Planet Rock The Story of Hip Hop and the Crack Generation part 1 & 2

Twenty-five years after crack cocaine ravaged American cities,this documentary explores how the drug also transformed popular culture, especially hip-hop. Narrated and executive produced by Ice-T, "Planet Rock: The Story of Hip Hop and the Crack Generation" is the first documentary to focus specifically on the connections between crack and hip-hop. Based primarily on the first-person accounts of four famous dealers-turned-rappers, the film also widens its lens at points to show how crack changed America culturally, socially and politically. Using rare footage, photos, and animation, all set to the beats and rhymes of the iconic hip hop tracks of the day, the documentary explores how media hysteria, racism and political reaction produced policies and laws that have left us with the largest -- and most disproportionately African-American -- prison population in the world. Crack first appeared in the early 1980s, but by 1986, it was raging through the inner cities of America like wildfire, leaving pain, grief, and death in its wake. With candid, never-before-seen interviews from survivors, including Snoop Dogg, Cypress Hill's B-Real, and the Wu-Tang Clan's RZA and Raekwon, "Planet Rock" examines the hardships young men encountered growing up in impoverished neighborhoods, which led many to deal crack cocaine as their only way out. This destructive drug not only provided an escape, but also paved the way for an entrance into hip-hop.



More than any other art form, hip-hop reflected and documented the crack epidemic. The chaos and madness of the crack phenomenon was fused with the sound and style of hip-hop during its formative years. From the gold dookie chain to Gucci, many hip-hop artists were influenced by the look and fashion of infamous dealers like Azie Faison in Harlem, who is prominently featured in the documentary, along with Freeway Ricky Ross, the Godfather of Crack in LA. As hip-hop became increasingly popular, the fascination with crime and gangster culture, specifically the violence inherent in crack culture, became ingrained in the music. And soon the very kids dealing crack were turning their street tales into hit records. After serving hard time in jail, Snoop Dogg became the biggest rapper of his day; after a bullet in the back nearly killed him, B Real went legit with Cypress Hill; and after crafting their business model on the crack hustle, RZA and Raekwon turned the Wu Tang Clan into a hip hop empire. As journalist Cheo Choker reflects, "it's fascinating to think that Jay Z, a global icon who had better seats at President Obama's inauguration than Jesse Jackson, was once a New York City crack dealer."

Shout Out to Eddie Murphy for this one.

A review of 'Kaidi's 5ive' by Kaidi Tatham / Jazz refreshed

"Lately and with great relief, I've been able to counter the onslaught of "Music's in bad shape" arguments because it seems that genuine independent artists have been forced to up their game with the quality in their music. Not to lie, some of it wasn't as mind blowing as first hoped, but on the whole the quality has been excellent. During the wave of 2000Black projects, J*Davey EP's, Sa-Ra one-offs and +FE treats (to name only a few) I couldn't help but wonder: "When is Kaidi Tatham gonna drop another solo project?!!!" ...

...The answer came with the Jazz Re:Freshed 5ive series; a series of short albums/extended plays from artists we should hear more of. 'Kaidi's 5ive' was anticipated as the first only to be eclipsed by the awesome 'Spaven's 5ive' album. Well...better late than never. The second chapter in the 5ive series give us a short voyage through Broken Beat/80's vibes to Nu Jazz experimentation. We start of with a blast of synth bass that is joined shortly by a layer of snares and another of melodic keys introducing 'Don't Hide Your Love'. From the hyped up dance vibe and slightly unpredictable loops that start us off, I wonder if the "Love" is for another person, or for music. Following quite a pop structure for this piece, the real joy is the time change around 3 and a half minutes in, looping a joyful blast of keys, drums, bass and flute that makes you just want to vibe out, all to Kaidi's vamp of "Good things/Will come to you". 'To my Surprise' remains in the same dance vibe with a strong 80s feel, adding more synths and vocals not heard so clearly since 'If you got 3 wishes'. A fairly nice piece but a bit minimal in my opinion...

...The influence changes from Broken/80s to Hip-hop/Jazz with the short but powerful 'Dyno'. This piece has a more fixed time structure while still striking emotions within the listener. The short time changes almost serves as a short example yet again, of how seamlessly Jazz and Hip-hop intertwine. 'For All Love in Time' bridges the gap between Jazz and Broken Beat by beginning with an articulate playing of keys and bass over strings, sampling a piece of George Duke's 'Feel' (or maybe 'Statement') and later adding those swift kicks and early snares. About 2 minutes in the piece changes from a spacious landscape passing by to a pleasant wave of synths as if to say "Okay, you get the point". We end the EP with 'Organic Juggernaut', a piece that begins with a grand piano (not unlike 'He Laughs, She Cries') playing over a building Latin groove and flute solo which breaks out into a broken affair followed by an emotional blast of keys, strings, and vocals, fading out as if to say "This is a taster of things to come."...

...'Kaidi's 5ive' is an awesome record for music lovers to play over and over if only to pick up the layers upon layers of different sounds going on in each piece. As usual I was itching for a bonus track, but from the sounds of this project and word of others in the pipeline, we can only keep our ears open..."

-Alex King 

KAIDI 5IVES AVAILABLE AT     

http://jazzrefreshed.bandcamp.com/album/kaidis-5ive

jazzrefreshed.com

The Weird World of Blowfly (Documentary)

The Weird World of Blowfly tells the story of Miami musician Clarence Reid and his alter ego Blowfly, the original dirty rapper. At 69 years-old, with a gold-spangled superhero costume and a catalog of the world's raunchiest tunes, Blowfly continues to record new material and tour the world, struggling for success and recognition.

Before his X-rated career began, Clarence was instrumental in the Florida soul scene of the 1960s and 70s; he wrote Top-10 songs for Miamiís greatest R&B acts, including Betty Wright, Gwen McCrae and KC and the Sunshine Band, and recorded what might be the worldís first rap song in 1965. But for over 40 years Clarence has shocked and grooved audiences with Blowflyís hilarious and provocative hard-core songs.

Shot over the course of two years, the film follows Clarence today and we see his life, career and philosophy unfold. A revealing portrait of an unheralded man, The Weird World of Blowfly examines Clarence's personal and professional contradictions, explores his legacy and celebrates his musical and cultural significance as a rapper and soul music legend.

"The Weird World of Blowfly" - Official Trailer (Uncensored) from
  specialtheoryfilms on Vimeo.

THE BLACK POWER MIXTAPE 1967-1975 Opens In Late September

The Black Power Mixtape is an award winning compilation feature documentary that displays the story of the African-American community 1967-1975, the people, the society and the style that fueled a change. Told with sparkling, beautiful and deep footage, lost in the archives in Sweden for 30 years. 

At the end of the 1960s, numerous Swedish journalists came to the US, drawn by stories of urban unrest and revolution. Filming for close to a decade, they gained the trust of many of the leaders of the black power movement Stokely Carmichael, Bobby Seale, Angela Davis and Eldridge Cleaver among them capturing them in intimate moments and remarkably unguarded interviews. Thirty years later, this lush collection of 16mm film, peppered with footage of Black Panther activities and B-roll images of black America, was found languishing in the basement of Swedish Television. Director Olsson brings this mesmerizing footage to light and, integrating audio interviews with prominent African-American artists and activists who were influenced by the struggle from Erykah Badu to Harry Belafonte crafts a dynamic chronicle of the birth and life of a movement.

Written and Directed by: Göran Hugo Olsson
Produced by: Annika Rogell, Story AB
Co-Produced by: Joslyn Barnes & Danny Glover, Louverture Films
Art Director: Stefania Malmsten
Edited by: Göran Hugo Olsson & Hanna Lejonqvist
Including appearances by:
Angela Davis, Stokely Carmichae, Dr. Martin Luther King

Colonel Red 'Keep Walkin' Album Promo ( Sept 2011 )

Colonel Red's new album 'Keep Walkin' resonates with the rich influences and experiences of his heritage, yet still speaks with honest humility of familiar themes of faith, hope and love, that captures the essence of the contradictions and challenges that come our way, making the most of our lives, living our dreams and finding love in a society under pressure.

After numerous coops with funk and soul legends such as Earth Wind & Fire, Teddy Pendergrass, Anita Baker, Lenny White, Tony Allen and The Last Poets, Colonel Red decided to make a departure from the electronic studio sounds of his earlier productions and turn back to his musical roots. The deeply rhythmical hooks of 'Keep Walkin' take you on a soulsongal adventure through jazz, soul, funk and fusion.

The rich tapestry of themes embrace self empowerment in the voodoesque soul of 'Rain of Fall' with its ghostly piano. Other tracks like 'I Will Be There' take a sweet mournful road through the land of relationships. The backing music is organic with horn lines working subtle trade offs against guitar and keyboard melodies that provide an intimate atmosphere for the whole album. Colonel Red's voice carries the songs the way an eagle twists in the sky, at times whispering, floating and at other moments soaring high viewing the landscape below. Spoken word artist Ursula Rucker is the special guest on this album, shooting straight from the heart as familiar to listeners of The Roots and 4Hero. Altogether the compositional vision, sound and science of 'Keep Walkin' defines the past, present, and future of Colonel Red. A strong album that cannot be missing in any decent soul collection!


REVIEWS

An album that truly fits in a long tradition of soul albums from Marvin to D'Angelo that tells it like it is. Warrior music for the mind, body and soul for the trials and tribulations of these modern times.

Paul Martin (Music Consultant)


Wicked!
Gilles Peterson (BBC)

Seriously Good Vibes. With all the crap that's out there, and the destruction thats taking place this album is so needed.

One of the best soul albums of 2011 !

Bunny Bread (Code Emphasis / Jazz re:freshed )

Robots of Brixton (Animation)

Brixton has degenerated into a disregarded area inhabited by London's new robot workforce - robots built and designed to carry out all of the tasks which humans are no longer inclined to do. The mechanical population of Brixton has rocketed, resulting in unplanned, cheap and quick additions to the skyline.

The film follows the trials and tribulations of young robots surviving at the sharp end of inner city life, living the predictable existence of a populous hemmed in by poverty, disillusionment and mass unemployment. When the Police invade the one space which the robots can call their own, the fierce and strained relationship between the two sides explodes into an outbreak of violence echoing that of 1981.

Kibwe Tavares - Direction, animation, modeling, lighting, texturingetc...
David Hoffman - Photographer Brixton riots archive.hoffmanphotos.com/​
Mourad Bennacer - Sound Designer designsonore.tumblr.com/​
DJ Hiatus "The Great Insurrection" hiatusmusic.net

MisterE's of The Mind...: Memories Don't Leave Like People Do...

MisterE's of The Mind...: Memories Don't Leave Like People Do...: "Click for accompanying music for this blog. So this was not meant to be my next blog post, but this is as good an avenue as any to share so..."

This was such a beautiful blog... I had to share it!!!

xxxx

I didn't drop this bomb...but I still be dropping them!!

Ama - Your very own etc. etc.

OUTSIDE IN – The History of Art In The Streets (Movie Trailer)

OUTSIDE IN is a celebratory and historical look at street art through the lens of the Museum of Contemporary Art’s groundbreaking exhibition Art in the Streets. The film features renowned artists Shepard Fairey, Lee Quiñones, Swoon, Futura, Mister Cartoon, Revok, Martha Cooper, Invader to name a few. Director Alex Stapleton (Corman’s World: Exploits of a Hollywood Rebel) documents the artist’s creative process, their pitfalls with the law, the poetic impermanence of their craft and the artists’ evolution from the back seat of a cop car to the walls of a well-respected institution.

LEVI’S® PRESENTS IN ASSOCIATION WITH DOOMSDAY ENTERTAINMENT 
OUTSIDE IN: The Story of Art in the Streets
A Film by Alex Stapleton - Trailer by Trailer Park

AMNESTY INTERNATIONAL - 50 years (Animation)

This powerful piece was created for the 50th anniversary of Amnesty International a international coalition of freedom fighters who demand justice to those who’s human rights have been violated. Directed by Carlos Lascano. Music by Academy Award Winner Hans Zimmer and Lorne Balfe.

Spot for the 50th anniversary of Amnesty International, produced by Eallin Motion Art and Dreamlife Studio, with Music by Academy Award Winner Hans Zimmer and Nominee Lorne Balfe.

---------

Director: Carlos Lascano

Music: Hans Zimmer, Lorne Balfe

Producers: Lukáš Skalník, Martin Hovorka, Paula Lema, Carlos Lascano

Production Managers: Ivanna Kozak, Pavla Martinovská, Martin Štefan / Script: Carlos Lascano, Paula Lema

------

2D, 3D Team: Jiří Forejt, Martin Hanschild, Josef Kasal, Pavel Kout, Martin Ličko, Dmitry Medinsky, Ondřej Přidal, Renata Stránská / Matte Painter: Leo Verrier / Puppet Animation: David Sukup / Scale models: Pavel Kout, Jiří Mlčák, Marek Skalník / Cast: Monika Řezníčková / Technical support: Jan Řada, Jakub Gobel / Sound Postproduction: Basefloor – Michal Dvořák / Sound Designer: Michal Dvořák / Final Color Grading: Jan Černý

'Iz The Wiz' Tribute Weekend - 17th June 2011

The 1st Annual

Iz The Wiz Tribute Weekend.
(In remembrance of a graffiti legend)

The weekend of the 17th June every year.

The Iz The Wiz tribute weekend is our time each year to come together as one global community to express ourselves within the art of writing... This is a worldwide event where writers and artists can come together at their local "Hall of Fame" or spot to enjoy the love of graffiti writing and creating art with their name.  Either a "Single hit/Tag" on the street, to "Wholecars" and wall productions. Each individual has their own unique way of expressing themselves. "Watch the closing doors". A train leaving for Far Rockaway...

Iz The Wiz was probably the most prolific graffiti/writer the New York City graffiti scene has seen to date.

He was "All City" king for a 10 year period. To Iz this was 1 "Piece/Throwup" on ever train car, both sides... Insides and out.This amount of painting had one objective in mind, not just to become king of the line, but to become king of the city. If you looked in the dictionary under "Graffiti Bomber/Writer" there would be a photo of Iz The Wiz setting a example to us all of how getting up with your name should be done.

To quote another prolific "Writer/Bomber" who knew how to get up. "The element is more"... Something Iz lived his life by. Iz's love for writing his name made him a major influence worldwide to millions of writers, artists and like minded individuals. For this reason we celebrate the art of writing with the "Iz The Wiz 

Tribute Weekend"

Michael "Iz The Wiz" Martin

The Master of Reality.

1958 – 2009

Contact: tmblasters@gmail.com

BlackStar, De La Soul and Rakim at HMV Hammersmith May/10/2011 - THE REVIEW

Black Star Review:

Well, I don’t know if you can call this a review. I guess it’s my overview and general ramblings of what I can remember about this “momentus” occasion. Here goes…

This was one of the most anticipated Hip Hop concerts that I can remember in very a long time. It was one of those occasions in which you’d want to say, “I was there”…before the event transpired that is. Actually, that is a little unfair to be honest, this was for me, a great Hip Hop occasion, if not a night without major flaws.

Act I:

Rakim kicked off proceedings to an increasingly full HMV Apollo. His laid back style gathered momentum throughout his relatively short set, with his more than able DJ acting as hype man. It was enough to satisfy his fans (myself included), although it did feel more like an advert or taster for his upcoming solo London show. 

Act II:

After a short transition in which DJ’s Pogo and Business entertained the now totally full Apollo (with solid Hip Hop of an appropriate quality I hasten to add), De La Soul took to the stage. I won’t dwell on the details of this performance as it can be described in very few words… THEY ABSOLUTELY TORE THE ROOF OFF!!! Their charisma, skill, experience and general freshness were all fully on show. Enough said.

Act III:

The main event was now upon us and Black Star’s Mos Def & Talib Kweli, had a real task on their hands to satisfy a crowd that was bursting with anticipation after being cranked up to full by the superlative De La Soul.. What was to follow was a disjointed and severely misjudged performance from the Black Star maestros. The decreasing energy level of the audience was palpable, as was the lack of on stage chemistry between Mos and Talib, although the major misjudgement appeared to be in their selection of songs to perform – let’s be honest, the crowd were there primarily to hear the Black Star Album performed live, not a selection of their individual tracks and three, yes only three tracks from the seminal LP. Again I am not going to go into great detail about the performance (I’ll be here all day), however I must mention my bafflement at the need for and subsequent non-use of two DJ’s on the stage. I can only guess that there were some technical difficulties with the decks (I hope).

Conclusion:

First off, I want to say that I really enjoyed this occasion. It was great to be around a positive Hip Hop event with such energy, support and anticipation, even if expectations were not quite met. The problem, as I see it, is that Black Star were never going to outperform the twenty two year seasoned veterans De La Soul and as headliners they needed to hit the ground running and set themselves apart. I really believe that Black Star should have performed with a live band, for a number of reasons. Firstly, the Black Star Album is perfectly suited and tailor made for a live set up, that’s reason enough. In addition, a live set up would have set them apart from the other performers and would have taken some of the performance pressure off Mos Def and Talib Kweli, with the band sharing visual and sonic responsibility. Anyhow, I could go on, but I won’t, suffice to say there were many disappointed and dissenting voices being raised on the steps outside the venue. The hope is that some of those strong opinions filter back to the artists and this can only make for better future performances... surely?

Reviewed by Mr Two Fingers.

'Flip The Script' by Kingsley Davis, Book Launch & Exhibition - May 18th 2011

The Book Launch & Exhibition : Flip the Script  A Photographers Music Diary, by Kingsley Davis & preface by Norman Jay MBE

With a Special performance by Jonzi D - Choreographer, MC, Poet & Curator of Breakin Convention + Flip the Script video premiere..

Wednesday May 18 2011     7-9pm

Exhibition open from May 9 - May 28 2011

Address: 

Westminster Reference Library, 1st Floor, 35 St Martins Street, London WC2H 7HP

http://www.flipthescriptbook.com

 info@flipthescriptbook.com

Bunny Bread - Creative Assassin