For much of this decade, UK grime and hip-hop MCs have been focusing on skills much more than swag, and have fostered a sound that evokes what many consider the “golden era” of hip-hop circa mid-‘80s-to-mid-‘90s. It’s a stripped-down, loquacious and attitudinal sound, short on gimmicks and high on the culture. And in some crucial ways, it’s putting the American hip-hop scene to shame.
The last truly great MC squad to come out of hip-hop was the Wu Tang Clan. But there’s little reason to doubt that the UK Female Allstars—a rhyme crew assembled by British producer Mikey J (best known for his work with East London superstar MC Kano)—could rise to, or possibly even surpass, the Wu’s legendary status. (I’ll prolly get shit for saying that, but what the hell…)
The UK Female All Stars are made up of Mz Bratt, Lady Leshurr, Lioness, RoxXxan, Baby Blue and A.Dot. If you love hip-hop, just check out this video for the Allstars’ debut single “Rock the Mic,” both of which dropped yesterday (they’re giving the tune away here. And try to tell me these women don’t have game.
“So what you’re doing is you’re smearing the entire movement with what some people — who oftentimes, in almost all these instances came into abuse the people that were in that movement — can I then paint with the same broad stroke that you are part of a group, Republicans and conservatives, who like to have gay sex in bathrooms and then gay sex with prostitutes and then smoke crack off their ass? And then I come up to you and your group of friends and started saying ‘Hey! Stop having gay sex in bathrooms! Stop having gay sex in bathrooms! Behave yourselves!’ Would that be fair?”
Brietbart claims his behavior was a “stunt” to get the mainstream media to report more accurately on the Occupy movement, but comes off more like a disheveled loser trying—unsuccessfully to say the least—to make the best of having to go on TV to discuss a viral video of himself looking like a flaming fucking asshole making the rounds. Looking worse than Balloon Boy’s father is a position most people with a shred of dignity would not put themselves in, but what do I know of Breitbart’s “stunts.” MAYBE HE’S GOT THE MAINSTREAM LIBERAL MEDIA RIGHT WHERE HE WANTS THEM!!!!!
Andrew Breitbart is clearly not a well man. You can see it in his crazy fucking rage-filled eyes. He looks like he’s barely holding it together these days. If it’s revealed that he’s taken to shitting in diapers, that wouldn’t surprise me one bit…
Still, I invite you to have a laugh at the expense of a man destined for an aneurysm or a rubber room as Uygur expertly lowers the boom on this foaming at the mouth nutcase:
Take a look at “Rombo,” the Rick Santorum campaign’s weak effort to counter the heavy, heavy deluge of negative advertising currently seen across the state of Michigan in anticipation of the GOP primaries there on the 28th.
UPDATE: Operation Hilarity At Daily Kos there’s an effort being organized to keep the Republican clown contest going as long as possible before Mitt Romney is decreed? crowned? this elections sacrificial lamb: If you live in the open primary and caucus states of Michigan, North Dakota, Vermont and Tennessee, all which have contests coming up in the next three weeks—then head out and cast a vote for Rick Santorum. So far the races have been tight, often with razor sharp margins. If Santorum gains “big mo” from wins in these states, it’ll be good for… “the country.” Yeah, that’s right, GOOD FOR AMERICA!
Sad to hear that Oscar-nominated singer/songwriter Dory Previn has died. I’ve actually been listening to her music in the car lately.
Previn’s lyrics brought a different, more wizened, mature sensibility to the confessional folk rock songwriting ethos of the 70s. Her concerns were those of a middle-aged woman who had seen it all. Previn braved a difficult abusive childhood, mental illness, divorce and betrayal in her life, and it was all grist for the mill of her uniquely feminine, yet soul-baring, muse.
In one of the more famous episodes from her life, after a spell of hospitalization for psychological difficulties, Dory’s husband, composer and orchestra conductor Andre Previn, left her for 24-year-old actress Mia Farrow, who the singer considered a close friend. She wrote about the situation on her 1970 album On My Way to Where which was described by one critic as “Freud with music.” From The Guardian:
In its most famous track, “Beware of Young Girls,” which Farrow at first thought tasteless but later appreciated, Dory wrote of a visitor who came bearing daisies: “She was my friend/ I thought her motives were sincere… / Ah but this lass / It came to pass / Had / A dark and different plan / She admired / My own sweet man.” She noted that this visitor “admired my unmade bed”, and even predicted that, having made off with the sweet man, “she will leave him one thoughtless day”. The album’s let-it-all-hang-out, confessional quality is encapsulated in Twenty-Mile Zone, about being detained by a policeman who accused her of “doing it alone / You were doing it alone / You were screaming in your car / In a twenty-mile zone”.
More LPs swiftly followed: Mythical Kings and Iguanas, Reflections in a Mud Puddle (both 1971) and Mary C Brown and the Hollywood Sign (1972), originally an unproduced stage-show. There were also shy stage appearances – she knew that her talent lay more in the words than the music – one of which was captured as Live at Carnegie Hall (1973). A new label brought Dory Previn (1974) and We’re Children of Coincidence and Harpo Marx (1976).
Before her solo career, Previn co-wrote the Oscar-nominated score for the film Valley of the Dolls with then husband Andre. Dory Previn penned two autobiographies, Midnight Baby, 1976 and Bog-trotter: An Autobiography with Lyrics in 1980. She has been cited as an influence by Pulp frontman Jarvis Cocker and he has long been a champion of her work. Dory Previn was 86
“Beware of Young Girls”:
Below, Dory Previn appears on the Old Grey Whistle Test in 1974:
Richard Metzger shared The Nomi Song with DM readers back in 2010 but the original source for the video is gone. Here’s a new link to the film.
Andrew Horn’s excellent 2004 documentary about New Wave opera diva from outer-space, Klaus Nomi, follows the rise of Nomi’s unlikely career until his death in 1983 from AIDS complications. With Kristian Hoffman, Kenny Scharf, Ann Magnuson, Tony Frere, Page Wood, David McDermott and in a great performance clip, David Bowie and Joey Arias.
Apparently so. The born again Christian heavy metal guitarist and vocalist who was kicked out of Metallica in 1983 for being too wasted all of the time gave Music Radar his informed burnt out rockstar guy assessment of the Republican Presidential field:
“I’m just hoping that whatever is in the White House next year is a Republican. I can’t bear to watch what’s happened to our great country. Everybody’s got their head in the sand. Everybody in the industry is like, ‘Oh, Obama’s doing such a great job…’ I don’t think so. Not from what I see.
“Looking at the Republican candidates, I’ve got to tell you, I was floored the other day to see that Mitt Romney’s five boys have a $100 million trust fund. Where does a guy make that much money? So there’s some questions there. And watching Newt Gingrich, I was pretty excited for a while, but now he’s just gone back to being that person that everybody said he was – that angry little man. I still like him, but I don’t think I’d vote for him.
“Ron Paul… you know, I heard somebody say he was like insecticide – 98 percent of it’s inert gases, but it’s the two percent that’s left that will kill you. What that means is that he’ll make total sense for a while, and then he’ll say something so way out that it negates everything else. I like the guy because he knows how to excite the youth of America and fill them in on some things. But when he says that we’re like the Taliban… I’m sorry, Congressman Paul, but I’m nothing like the Taliban.
“Earlier in the election, I was completely oblivious as to who Rick Santorum was, but when the dude went home to be with his daughter when she was sick, that was very commendable. Also, just watching how he hasn’t gotten into doing these horrible, horrible attack ads like Mitt Romney’s done against Newt Gingrich, and then the volume at which Newt has gone back at Romney… You know, I think Santorum has some presidential qualities, and I’m hoping that if it does come down to it, we’ll see a Republican in the White House… and that it’s Rick Santorum.”
No word yet on how the Santorum campaign has reacted to Mustaine’s endorsement…
Kraftwerk fans in the New York area have much to be happy about with the announcement about MOMA’s lavish celebration of the band’s unique art form. They also might want to jump on these tickets the minute they go on sale next Wednesday!
New York, NY, February 15, 2012—The Museum of Modern Art presents its first time-based artist retrospective with Kraftwerk–Retrospective 1 2 3 4 5 6 7 8, performed live on eight consecutive evenings from April 10 through 17, by Kraftwerk, the avant-garde electronic music pioneers. Each evening will consist of a live performance, in the Museum’s Donald B. and Catherine C. Marron Atrium, of works from one of the group’s eight albums, created over four decades, followed by a selection of original compositions from their catalogue adapted specifically for this exhibition’s format, to showcase both Kraftwerk’s historical contributions and contemporary influences on sound and image culture. Kraftwerk–Retrospective 1 2 3 4 5 6 7 8 is organized by Klaus Biesenbach, Chief Curator at Large at MoMA and Director of MoMA PS1, with the assistance of Eliza Ryan, Curatorial Assistant, MoMA PS1.
The elaborate staging of the performances will combine sound and 3D images to present more than 40 years of musical and technological innovation, with new improvisations and 3D projections. The albums will be performed in chronological order: Autobahn (1974), Radio-Activity (1975), Trans Europe Express (1977), The Man-Machine (1978), Computer World (1981), Techno Pop (1986), The Mix (1991), and Tour de France (2003).
Tickets are $25.00 and will go on sale to the public on Wednesday, February 22, at 12:00 p.m., only at MoMAKraftwerkTickets.showclix.com. Space is limited. There is a two-ticket limit per person for the series, with each individual order limited to one transaction. Tickets will be distributed exclusively via will call, with photo ID required.
“Kraftwerk is an influential force not only in music, but also in visual culture,” says Mr. Biesenbach. “Through their experimentation with how images and sound are shaped by the latest recording and visualization tools, they have continuously anticipated the impact of technology on everyday life, and have captured the human condition in an era of rapidly changing mobility and telecommunication. Today, they remain vital to contemporary practice through their intersection of popular culture, mass media, and artistic production. In Kraftwerk’s practice, all of the components—melodic music and ambient sound, elaborate stage sets, live performance and performance by robots, their trademark videos and logo-like still imagery, all conceived and realized by the artists themselves—coalesce as one work of art.”
Performance Schedule as follows:
Tuesday, April 10, 8:30 p.m. Autobahn (1974)
Wednesday, April 11, 8:30 p.m. Radio-Activity (1975)
Thursday, April 12, 8:30 p.m. Trans Europe Express (1977)
Friday, April 13, 10:00 p.m. The Man-Machine (1978)
Saturday April 14, 8:30 p.m. Computer World (1981)
Sunday, April 15, 8:30 p.m. Techno Pop (1986)
Monday, April 16, 8:30 p.m. The Mix (1991)
Tuesday, April 17, 10:00 p.m. Tour de France (2003)
As part of Kraftwerk–Retrospective 1 2 3 4 5 6 7 8, a presentation of Kraftwerk’s historical audio and visual material will be on view in the new MoMA PS1 Performance Dome at MoMA PS1, from April 10-May 14, 2012.
Below, a performance of “Autobahn” on German television in 1974. Note that they were using Mini-moogs and drum pads then, not the “remixing” with laptops bullshit they do now…
“Jane Farrell stole 2 boots and was sentenced to do 10 hard days labour.”
Tyne & Wear Archives & Museums historic Flickr sets are amazing, eye-opening and some times a little heartbreaking. I chose to feature female prisoners from the Newcastle City Gaol and House of Correction dated 1871-1873.
I’ll be honest, some of these women I wouldn’t want to tango with in a dark alley, but most of these faces look so sad and utterly defeated by life. Their faces are aged prematurely by poverty, sickness and simply put, being dealt a shitty hand on the day they were born.
Agnes Stewart: 28-years-old
“Agnes Stewart was a married lady from Edinburgh and was convicted of the crime - theft of money.”