Apropos of noticing, this marks the 700th post since I moved this blog to my own server, way back in October 2006 — almost exactly 4 years ago, and well before Google/Blogspot starting alienating users en-masse. That’s a lotta posts, and I want to thank all of you who read here on occasion for the support, criticism, love, and feedback in general. (Speaking of, I also recently passed the 4000 comment mark — spam free! — which is maybe even more impressive than 700 posts.) As loyal readers know, I wax and wane like the name, and I’m grateful to those who can deal with the ebb and flow. Recently, it’s been more ebb than flow, but as you know, I’ve got my reasons. (Two of them, mainly.)
So, I thought I’d celebrate, and wax a little, with classic bit of “linkthink” for ya, mostly w&w + extended fam related —
- First, I want to point you all to the latest helping of bass baditude c/o of my pardner in Beat Research, DJ Flack. Last month Flack boiled down a really tasty mix, full of weighted bangers, including a number of his own, for Mad EP‘s radio show. It’s a great distillation of the sort of set he’s been rocking on Mondays at the Enormous Room, so if you like what you hear, come catch him live. I love how the mix brings Flack’s own bouncy, tuneful productions into conversation with the music that inspires him (from dub to garage, & lots in between). You can see the tracklist and grab the mix here, or head over to Soundcloud if you prefer that —
StepDropAndRoll by dj_flack
- Speaking of my man MadEP/MattyP, I was just enjoying one of his own latest productions last week, thanks to !Kaboogie records, which is releasing an EP on Sept 20 including heat from MadEP, Ed Devane, the Banker, and Sarsparilla. As I listened to MadEP’s track, which features at least 3 or 4 distinct species of bass, through headphones last week, I was struck by how the lows were resonating not only my eardrums but my cranium, face, and down into my neck. As I noted on Google Buzz (yeah, I still use that), “i thought my brain was gonna leak out my nose for a minute.” Which Matty took as a high compliment, which it was. Another charming part of the track is that it includes some vocal cameos from one of Matty’s dear kids, who, I’m told by proud pops, also helped design the bass-patch on the track! Now that’s proper parenting. (And if you want a true testament to his superdaddiness, read this tweet from last night!)
- I’d also like to point people to the episode of WNYC’s Soundcheck that I appeared on a couple weeks ago. Our “world music 2.0″ convo will have familiar contours for many longtime readers, but I thought it was a nice summation of some of the major differences between what formerly (and still) gets marketed as “world music” and what a lot of us have been hearing as the music of a new “world,” a world of increasingly interconnected technologies and societies and marked by shared urban signifiers, random walks on YouTube, and banging club beats. I didn’t get to say everything I would have liked to, nor did I say everything the way that I would given a second chance, but that’s live radio for ya! (In particular, though, I want to note that I misspoke when I said that DJ Tito was sampling a reggaeton vocalist — actually it was mambo/merengue — and when I placed kuduro in “Brazil” rather than Angola/Luanda — total brain failures on those two.) You can access it here, or just stream it below. And don’t miss host John Schaefer’s sympathetic take on laptopping teens of the whirled vs. “rich producers manufacturing world music supergroups.”
- In other news, I gotta thank Christina Xu once again for spotting yet the latest allusion to the good ole “zunguzung meme.” If you haven’t heard it yet, Vybz Kartelâ€™s new track, â€śWhine (Wine),â€ť produced by Max Glazer of Federation Sound, employs our familiar zig-zagging friend as a recurring, structural element (rather than a one-off reference)!
- And I want to send a shout to Dan Hancox, who published an interesting, apparently provocative piece in the Guardian on “treble culture,” aka, “sodcasting” in London. It reads largely as a defense and celebration of the practice, and as such it invited a fairly strong bit of opposition in the comments. Since I’m still polishing up my own essay on the phenomenon, I’m grateful for the plenty more grist for the mill this provides. Also, to Dan for quoting me in the piece! e.g., —
On London buses, I’ve seen middle-aged gay couples playing South American pop on a wet Saturday afternoon, moody raver mums sodcasting acid house from their glory years; it’s not just the preserve of teenagers with attitude problems.
Nor, contrary to popular belief, is it an especially recent phenomenon, says the American anthropologist and musicologist Wayne Marshall, who is currently researching what he calls “treble culture”. “Sodcasting could fit into a time-honoured tradition of playing music in public as surely as reggae sound systems or the drums of Congo Square, never mind their antecedents,” he says. “Transistor radios and ghetto blasters are both good examples of a longstanding history of people making music mobile. The case of the transistor radio shows that people have long been willing to sacrifice fidelity to portability; while the ghetto blaster reminds us that defiantly and ostentatiously broadcasting one’s music in public is part of a history of sonically contesting spaces and drawing the lines of community, especially through what gets coded as ‘noise’.”
- Finally, I want to point people to the Library of Vinyl blog, where Pacey Foster shares exciting news about becoming the trusted keeper of a trove of early Boston hip-hop demo tapes, as well as to b-ball blog supreme Freedarko, where I’ve got a guest post discussing this incredible cassette:
FD’s Bethlehem Shoals asked me if I might write up an “imaginary archaeology” of the thing, and since I can’t actually find anything on the interwebs about either the mysterious TROLL ASSOCIATES or the beat-boxing, tape-head-rocking Double D Crew, who have forcibly occupied the cassette since the mid-80s, that’s about the best I’ll be able to do at any rate. So here goes an attempt to channel my inner Dave Tompkins—
On one very merry late 70s Christmas morning, a young Markie D, yet to rise to local stardom as one of Boston’s several answers to Doug E. Fresh, found in his stocking a cassette boasting amazing contents: basketball “SUPER THINK” according to Julius Erving. Released by the suspicious but nonetheless seemingly credible TROLL ASSOCIATES, Dr. J’s informational and inspirational spoken-word performance had a reportedly noticeable effect on Markie’s ability to penetrate the perimeter. But when those dividends dried up around the same time hip-hop came to town, the tape was — somewhat ceremoniously — taped over, scotch guarding the knocked-out knockout tabs that tell cassette-players to keep their heads to themselves. (As noted clearly on the cassette, duplication was prohibited, but the word was mum on overdubbing.) For several years the tape played host to the latest greatest raps one could catch on the airwaves, or copy via visiting cousins from New York.
Eventually, it served as the eye-popping receptacle of 9 minutes of beatbox fury, bragadocious cautionary tales, and reverb freakouts, carefully packed and mailed to DJ Magnus, whose “Lecco’s Lemmas” radio show on WMBR (and later WZBC) was fast becoming the primary platform for the Bean’s aspiring rap talents, including a young, recently-relocated-to-Brooklyn M.C. Keithy E (aka, the late, great Guru of Gang Starr). The broadcast of these 9 minutes may have warped more minds than the TROLL ASSOCIATES’ original and perhaps even taught more listeners the proper method for driving the lane despite that the wisdom of Dr. J had by this point been encrypted into a series of throat clicks, pursed-lip bass bombs, and allusions to famous German automatons counting in Spanish.
Recently rediscovered by vinyl librarian Pacey Foster, Boston’s premiere hip-hop historian and assistant professor of management, now you too can learn how to dunk like Dr. J, or at least maybe rock the bells like Markie D. Here’s how:
That is all, for now. Thanks again for stopping by! Here’s to 700 more…