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great post by kevin linking lil wayne to coltrane, miles, george duke and other techno-musical visionaries :: including the great question, "Is not Auto-Tune the wah pedal of today’s Black pop?" :: and, to boot, he inserts his video-supported commentary into recent discussions @ duttyartz re: language and voice and identitititity
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guillaume/khiasma responds to recent nu-whirled conversations in a most eloquent manner: w/ a blazing, polyglot dance mix !
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interactive site on latin american music, w/ video interviews/demos w/ musicians from across the continent discussing rhythm, harmony, community, y otras temas :: bomba, plena, cumbia, son huasteco, vallenato, y mas!
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brynmore's lil doc on the best (last?) record store in harvard square, and the future of vinyl retail
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new doc on souped-up bicycles as mobile soundsystems in queens :: T&T youth represent !
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jeeeeeeeeeeee-zus! (gimme more!!) :: lee perry has a new song & video, and, boy, it's something
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raquel rivera reviews a new documentary on reggaeton, as well as its sensationalist promotion on MUN2
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ned sublette on bo diddley — the man, the music, the legacy :: a pull quote, among many: "It was positively modernist: a song called 'Bo Diddley' about the exploits of a character named Bo Diddley, by an artist named Bo Diddley, who played the Bo Diddley beat. No other first-generation rock 'n' roller started out by taking on a mystical persona and then singing about his adventures in the third person. By name-checking himself throughout the lyrics of his debut record, Bo Diddley established what we would now call his brand. Today this approach to marketing is routine for rappers, but Bo Diddley was there 30 years before. He was practically rapping anyway, with stream-of-consciousness rhyming over a rhythm loop."
videyoga ::