Penultimate Warrior

  • a little local DJ history (and a mix!) c/o the Soul Clap dudes & Eddie Neal :: pull quote — 'Back then [late 70s / early 80s] the Boston club scene was not as open as it is now. Club managers and owners were very closed minded regarding patronage. There was a lot of prejudgements made about people around race and ethnicity. To put it bluntly; most club managers and owners liked to control what jocks played to keep the dance floor as “undiverse” as possible. This served as a deterrent for minority patronage and allowed very few opportunities for jocks of color like myself. I taught myself how to become multi-dimensional when it came to rockin a dance floor. This meant I could be successful regardless of the format. I spun dance rock, progressive rock, top 40, disco, funk, hi-energy, reggae and merengue.'
  • more kuduro c/o soundgoods, including a link to 4 kuduro podcasts?! who said this music was flavor-of-last-month anyway?
  • very cool project documenting / visualizing local histories of graffiti, buffing, more graffiti — urban palimpsests, digitally archived :: (via culturge)
  • 'A recent study, however, suggests that despite this cornucopia, the boom in online research may actually have a "narrowing" effect on scholarship. James Evans, a sociologist at the University of Chicago, analyzed a database of 34 million articles in the sciences, social sciences, and humanities, and determined that as more journal issues came online, new papers referenced a relatively smaller pool of articles, which tended to be more recent, at the expense of older and more obscure work. Overall, Evans says, published research has expanded, due to a proliferation of journals, authors, and conferences. But the paper, which appeared in July in the journal Science, concludes that the Internet's influence is to tighten consensus, posing the risk that good ideas may be ignored and lost – the opposite of the Internet's promise.'
  • via SFJ, kper offers up a mix of that glitchy, wonky, bassy global goodness :: 'The mix showcases a lot of the guys I’m speaking about in the features I’m writing – starting with Jay Dee, who’s been an undeniable influence on a lot of these guys, and then moving on to the new generation of producers with L.A beat heads like Flying Lotus, Ras G, Samiyam and Take, the Lucky Me collective up in Scotland with Rustie, Hud Mo and Mike Slott, the always shifting Hyperdub label in London, 2tall also in London, Dabrye and Waajeed in Detroit, Megasoid and Ghislain Poirier in Montreal, edIT and the Glitch Mob in L.A, Mark Pritchard aka Harmonic 313 in Australia, Danny Breaks in the UK and more. The variety of the producers and their location is another important element in this whole new era of boom bap and wonk.'
  • SFJ on recent developments in beatsmithery, a la Flying Lotus and his instrumentalist ilk :: 'Ellison and his contemporaries have come up with a fusion of the extreme detail allowed by software programming (fractal spidering of sounds, a backdrop of crackles, and prickling, feverish rhythms no human hands could play) and the bedrock thump of hip-hop, the grounding beat that has bled into almost all pop music in the world. Ellison’s Flying Lotus releases this year—an album titled “Los Angeles” and a series of EPs—are a good index of how one branch of hip-hop is going to move into the next decade, detaching itself from traditional hip-hop rhyming and forming new splinter genres.'

videyoga ::