So, after much anticipation by the BK sports crowd, Jay-Z unveiled the new logo for the BK Nets. While it is not mind-blowing, it does seem to to be aimed at the hipster market. In fact, if you check out the logos on Hipster Branding tumblr page, it looks remarkably like it was based off of a few of the ironic ads on the site.
I'm sure with time people will get used to it in a "throwback" type of way, but it will undoubtedly be ridiculed for months, especially since Jay-Z "created" it and has now added Graphic Designer to his many interests.
Check the new logo out above, then check out Hipster Branding (samples below) and you tell me.
Me thinks me smell a hipster! Just sayin'.
HIPSTER BRANDING http://hipsterbranding.tumblr.com/
Apr 30, 2012
Graffiti: Fun or Dumb?
Came across this cornball video from the 70's addressing Graffiti. Check out this video to see how people judge writers and insist on the "ugly" paintings of inner cities. It is funny to see how far things have come from then to now in terms of style, but the uppity assessment of anything in a public setting is ugly and done by "uneducated" inner-city kids AKA minorities. Notice all of the vanilla faces in this report. Feel free to remix this and repost it in the "mod" style.
Grand Kombo - Spanish Rap
I wanted to take this post to shine some light on some friends of mine who have been crazy productive with music in the talented Midwest (Wisconsin). Grand Kombo is a spanish rap group comprised of Da Ricanstrukta and NV1 of Lucha Libre fame. This is a separate endeavor more focused on the Spanish element of hip-hop. This is a new video to support the upcoming EP and a good intro as to what type of vibe they are on. If you don't speak Spanish, you can still appreciate the quality sounds and scratch outro.
Check out more from Da Ricanstrukta on Bandcamp. http://ricanstrukta77.bandcamp.com/
Apr 28, 2012
Listen To My Demo
Though I am not usually in the habit of posting other peoples write-ups on THE DOUBLE TRUTH, I was glad to see the Village Voice do an article on the days of "demo tapes" by aspiring MC's from the Golden Era of Hip-Hop. Below is a link and article for the post. Interesting read about the level of skill that used to limit how many people could actually "get on" and be welcomed into the talented arena of rap.
LISTEN TO MY DEMO article
c/o Village Voice (NYC)
Apr 25, 2012
The Secret Meeting That Changed Rap Music And Destroyed A Generation…
Dear hip-hop world - Though I feel that this letter is lame in many ways, it does make for an interesting "soap opera" history of the rap industry. It feels completely manufactured and I find it mildly insulting that it equates all of rap music with the prison population in America. I also find it hard to believe that some "big wig" within the industry is scared to name names 20 years later. It feels like one of those "african prince" emails with a fancy story, but it might wake some folks up to the "business" side of music and the gate-keepers that exist in all entertainment branches, even in the most extreme ways.
The Secret Meeting That Changed Rap Music And Destroyed A Generation
Hello,
After more than 20 years, I’ve finally decided to tell the world what I witnessed in 1991, which I believe was one of the biggest turning point in popular music, and ultimately American society. I have struggled for a long time weighing the pros and cons of making this story public as I was reluctant to implicate the individuals who were present that day. So I’ve simply decided to leave out names and all the details that may risk my personal well being and that of those who were, like me, dragged into something they weren’t ready for. Between the late 80′s and early 90’s, I was what you may call a “decision maker” with one of the more established company in the music industry. I came from Europe in the early 80’s and quickly established myself in the business. The industry was different back then. Since technology and media weren’t accessible to people like they are today, the industry had more control over the public and had the means to influence them anyway it wanted. This may explain why in early 1991, I was invited to attend a closed door meeting with a small group of music business insiders to discuss rap music’s new direction. Little did I know that we would be asked to participate in one of the most unethical and destructive business practice I’ve ever seen. The meeting was held at a private residence on the outskirts of Los Angeles.
I remember about 25 to 30 people being there, most of them familiar faces. Speaking to those I knew, we joked about the theme of the meeting as many of us did not care for rap music and failed to see the purpose of being invited to a private gathering to discuss its future. Among the attendees was a small group of unfamiliar faces who stayed to themselves and made no attempt to socialize beyond their circle. Based on their behavior and formal appearances, they didn’t seem to be in our industry. Our casual chatter was interrupted when we were asked to sign a confidentiality agreement preventing us from publicly discussing the information presented during the meeting. Needless to say, this intrigued and in some cases disturbed many of us. The agreement was only a page long but very clear on the matter and consequences which stated that violating the terms would result in job termination. We asked several people what this meeting was about and the reason for such secrecy but couldn’t find anyone who had answers for us. A few people refused to sign and walked out. No one stopped them. I was tempted to follow but curiosity got the best of me. A man who was part of the “unfamiliar” group collected the agreements from us. Quickly after the meeting began, one of my industry colleagues (who shall remain nameless like everyone else) thanked us for attending. He then gave the floor to a man who only introduced himself by first name and gave no further details about his personal background. I think he was the owner of the residence but it was never confirmed. He briefly praised all of us for the success we had achieved in our industry and congratulated us for being selected as part of this small group of “decision makers”. At this point I begin to feel slightly uncomfortable at the strangeness of this gathering. The subject quickly changed as the speaker went on to tell us that the respective companies we represented had invested in a very profitable industry which could become even more rewarding with our active involvement.
He explained that the companies we work for had invested millions into the building of privately owned prisons and that our positions of influence in the music industry would actually impact the profitability of these investments. I remember many of us in the group immediately looking at each other in confusion. At the time, I didn’t know what a private prison was but I wasn’t the only one. Sure enough, someone asked what these prisons were and what any of this had to do with us. We were told that these prisons were built by privately owned companies who received funding from the government based on the number of inmates. The more inmates, the more money the government would pay these prisons. It was also made clear to us that since these prisons are privately owned, as they become publicly traded, we’d be able to buy shares. Most of us were taken back by this. Again, a couple of people asked what this had to do with us. At this point, my industry colleague who had first opened the meeting took the floor again and answered our questions. He told us that since our employers had become silent investors in this prison business, it was now in their interest to make sure that these prisons remained filled. Our job would be to help make this happen by marketing music which promotes criminal behavior, rap being the music of choice.
He assured us that this would be a great situation for us because rap music was becoming an increasingly profitable market for our companies, and as employee, we’d also be able to buy personal stocks in these prisons. Immediately, silence came over the room. You could have heard a pin drop. I remember looking around to make sure I wasn’t dreaming and saw half of the people with dropped jaws. My daze was interrupted when someone shouted, “Is this a f****** joke?” At this point things became chaotic. Two of the men who were part of the “unfamiliar” group grabbed the man who shouted out and attempted to remove him from the house. A few of us, myself included, tried to intervene. One of them pulled out a gun and we all backed off. They separated us from the crowd and all four of us were escorted outside. My industry colleague who had opened the meeting earlier hurried out to meet us and reminded us that we had signed agreement and would suffer the consequences of speaking about this publicly or even with those who attended the meeting. I asked him why he was involved with something this corrupt and he replied that it was bigger than the music business and nothing we’d want to challenge without risking consequences. We all protested and as he walked back into the house I remember word for word the last thing he said, “It’s out of my hands now. Remember you signed an agreement.” He then closed the door behind him.
The men rushed us to our cars and actually watched until we drove off. A million things were going through my mind as I drove away and I eventually decided to pull over and park on a side street in order to collect my thoughts. I replayed everything in my mind repeatedly and it all seemed very surreal to me. I was angry with myself for not having taken a more active role in questioning what had been presented to us. I’d like to believe the shock of it all is what suspended my better nature. After what seemed like an eternity, I was able to calm myself enough to make it home. I didn’t talk or call anyone that night. The next day back at the office, I was visibly out of it but blamed it on being under the weather. No one else in my department had been invited to the meeting and I felt a sense of guilt for not being able to share what I had witnessed. I thought about contacting the 3 others who wear kicked out of the house but I didn’t remember their names and thought that tracking them down would probably bring unwanted attention. I considered speaking out publicly at the risk of losing my job but I realized I’d probably be jeopardizing more than my job and I wasn’t willing to risk anything happening to my family. I thought about those men with guns and wondered who they were?
I had been told that this was bigger than the music business and all I could do was let my imagination run free. There were no answers and no one to talk to. I tried to do a little bit of research on private prisons but didn’t uncover anything about the music business’ involvement. However, the information I did find confirmed how dangerous this prison business really was. Days turned into weeks and weeks into months. Eventually, it was as if the meeting had never taken place. It all seemed surreal. I became more reclusive and stopped going to any industry events unless professionally obligated to do so. On two occasions, I found myself attending the same function as my former colleague. Both times, our eyes met but nothing more was exchanged. As the months passed, rap music had definitely changed direction. I was never a fan of it but even I could tell the difference.
Rap acts that talked about politics or harmless fun were quickly fading away as gangster rap started dominating the airwaves. Only a few months had passed since the meeting but I suspect that the ideas presented that day had been successfully implemented. It was as if the order has been given to all major label executives. The music was climbing the charts and most companies when more than happy to capitalize on it. Each one was churning out their very own gangster rap acts on an assembly line. Everyone bought into it, consumers included. Violence and drug use became a central theme in most rap music. I spoke to a few of my peers in the industry to get their opinions on the new trend but was told repeatedly that it was all about supply and demand. Sadly many of them even expressed that the music reinforced their prejudice of minorities. I officially quit the music business in 1993 but my heart had already left months before. I broke ties with the majority of my peers and removed myself from this thing I had once loved. I took some time off, returned to Europe for a few years, settled out of state, and lived a “quiet” life away from the world of entertainment.
As the years passed, I managed to keep my secret, fearful of sharing it with the wrong person but also a little ashamed of not having had the balls to blow the whistle. But as rap got worse, my guilt grew. Fortunately, in the late 90’s, having the internet as a resource which wasn’t at my disposal in the early days made it easier for me to investigate what is now labeled the prison industrial complex. Now that I have a greater understanding of how private prisons operate, things make much more sense than they ever have. I see how the criminalization of rap music played a big part in promoting racial stereotypes and misguided so many impressionable young minds into adopting these glorified criminal behaviors which often lead to incarceration. Twenty years of guilt is a heavy load to carry but the least I can do now is to share my story, hoping that fans of rap music realize how they’ve been used for the past 2 decades. Although I plan on remaining anonymous for obvious reasons, my goal now is to get this information out to as many people as possible. Please help me spread the word. Hopefully, others who attended the meeting back in 1991 will be inspired by this and tell their own stories. Most importantly, if only one life has been touched by my story, I pray it makes the weight of my guilt a little more tolerable.
Thank you.
Apr 23, 2012
Album Review: I Self Devine - The Shining Path
Though this is not a new album, it is new-ish. I finally got a chance to digest the entire project and though this is the fourth project of the "Culture Series", I feel it is one of the strongest entries for an album (mixtape, non-album) that I have heard in a long time.
This album download will do your earholes well. Much of the production is new with a few instrumentals borrowed from other underground MC's. As a whole, this is not just a "record a bunch of popular songs and have a DJ scream over it" mixtape. This is a concept album from start to finish and keeps a mellow, grown-man sound throughout. With a few guest appearances from Rhymesayers camp, I Self Devine presents a solid installment to keep fans waiting for the May release of his upcoming official album.
If you like more positive story-telling MC's with some street grit and sensible rhymes, then do yourself a favor and check this and the back discography. If you like other Rhymesayers work, then this fits nice into the collection, and if you are unfamiliar with RSE or its stable of artists, check the link above.
Apr 21, 2012
BAM Shuffle Culture - Show Review
So after attending the BAM "Shuffle Culture" night hosted by Questlove last night in Brooklyn, I was exposed to some new groups that I had never checked out before. Willis Earl Beal and Jeremy Ellis were the 2 standouts to me. Beal does a sort of Ben Harper delta blues sound and Ellis does a lot of chopped jazz samples with a bit of boom-bap drums.
Overall, I enjoyed the show. I was hoping for more over-lapping of sounds and more of a "mix" but to assemble 5+ musical acts on one stage and make any sense of the mini-palooza that is is, is a success in itself I guess. The end of the show was Kenny Mohammed and Rahzel battling with Questlove on beats, but that part of the show seemed "muddy" at times with 3 people vying for audio "space".
It was cool to sit in a concert hall and hear any semblance of "hip-hop" and in the end we all heard snippets of groups we may want to check out more of. Hopefully, this will serve as a regular event for lesser known groups and audio-physical mash-ups of genres that may be the future of how we ALL hear music.
Below are some clips of Jeremy Ellis and Willis Earl Beal if you are interested.
JEREMY ELLIS - DILLA CHOPS
WILLIS EARL BEAL
Overall, I enjoyed the show. I was hoping for more over-lapping of sounds and more of a "mix" but to assemble 5+ musical acts on one stage and make any sense of the mini-palooza that is is, is a success in itself I guess. The end of the show was Kenny Mohammed and Rahzel battling with Questlove on beats, but that part of the show seemed "muddy" at times with 3 people vying for audio "space".
It was cool to sit in a concert hall and hear any semblance of "hip-hop" and in the end we all heard snippets of groups we may want to check out more of. Hopefully, this will serve as a regular event for lesser known groups and audio-physical mash-ups of genres that may be the future of how we ALL hear music.
Below are some clips of Jeremy Ellis and Willis Earl Beal if you are interested.
JEREMY ELLIS - DILLA CHOPS
WILLIS EARL BEAL
Apr 20, 2012
Age 35 in Hip-Hop Years
I am glad to say that I grew up in Hip-Hops "Golden Era". Though I grew up in Kentucky, where the only rap we knew of was whatever was on TV, the range of stuff I saw introduced me to music that I have never stopped listening to. I was in high school from 1991-95 and I didn't realize at the time, but I was witnessing the evolution of hip-hop in it's most acclaimed hour.
Most of my afternoons were spent watching Rap City on BET, recording it on VHS so I could remember artists like EC Illa, OC, Nas, Bush Babees next time I went to the CD store. I was always a fan of Rap City because it was on in early afternoons (right after school for me) and seemed to play any video by any artist that rapped.
A few videos stick out to me as transformative for me. OC "Times Up", Smif n Wessun "Let's git it on", Outkast "Git up, Git out", Ec Illa "On Ill", NWA "Always into Somethin", and Nas "Ain't Hard to Tell" were all videos that stuff out to me as interesting, among others. I was so into the sounds coming out at the time, that I flooded my CD collection with every cassingle and remix of everything that I could get in my small town.
These videos, CDs, cassettes and some vinyl carried me into my college years from the Rawkus era to the Bling era and the eventually to an era where all of the things I liked were suddenly underground. Master P, Cash Money and Suave House were gaining popularity at this time and seemed to have dominated every set of speakers on the street. I can't say that some of these songs weren't catchy, but I still wanted to hear the range of music I used to see on Rap City and heard from friends.
Flash forward 10 years later and things are not really evolving into anything I am interested in, in terms of mainstream music. Luckily, the internet has allowed me access to songs that I can decide if I like (most of the times I don't) by checking it out on Youtube or a million other sites. I find it hard to believe that folks like lil' Wayne (who I thought was cheese-mo as a kid) is considered one of "the greats". It seems like if it is not a Cash Money artist on the radio, then there is at least one of them as a guest feature.
Needless to say, I haven't listened to the radio in almost 15 years. I don't sit down and make it a point to write down an artist or listen to anything that isn't commercial free or catering to a 10 year old. It is sad that I have to scour the internet for "grown man" hip hop AKA non-money related or psuedo house music. I am still an avid fan of the "Golden Era" mentality and mindstate, but it is more difficult to find quality tunes in any public forum.
I realize that I sound like an old man and at 35, I know people think I AM an old man, but I find it hard to believe that people like Eminem, Kanye West, Busta Rhymes or any of these groups (who are also 35 or older) can want to make music that sounds like Casio synthy, tinkerbell songs when they grew up on the same thing I did. I wish that there was a television channel (not that I have a TV) for artists like 9th Wonder, Murs, Del and Hieroglyphics, Ruste Juxx, DJ Premier, Apollo Brown, Oddisee, I Self Devine or any number of artists who make a broader range of content in their music then what you will hear on the radio.
I know those days are gone, but it seems odd that groups like U2, Rolling Stones and Paul McCartney can keep making tunes and getting press, but if a hip-hopper older than 21 tries to make an album, nobody wants to hear it anymore. I do and probably will till I die. If I am the only one in a nursing home listening to "Sound Bwoy Buriel" then so be it. It makes me happy.
Apr 18, 2012
Shuffle Culture - The No Attention Span Generation: Hosted by Questlove
I recently read an article in the Village Voice about Questlove (of The Roots) and his hosting of a live performance of "Shuffle Culture". He is hosting a show hear in Brooklyn (BAM) on April 20 which features acts like Jeremy Ellis, Sasha Grey, D.D. Jackson, Rahzel, Kenny Muhammad, and Deerhoof. The line-up alone shows the various tastes that will be in the building and may open peoples minds to other forms of music and entertainment they may not otherwise know about.
Though Questlove is not the first one to notice the trend of "carrying around an entire record collection of all genres in your ipod", he is one of the most famous faces to speak about it, so it works. Exposing folks to music they have never heard or never took the time to listen to should make for an interesting experience. Despite the fact that anyone can Wikipedia research everything, then act like an expert, makes it hard to tell who really enjoys anything anymore or who just wants to appear to enjoy everything for "cool" points.
I am going to the show out of curiosity and I will report back what it is like to live inside of a rockstars ipod.
Apr 17, 2012
Nas - Behind The Music
There is something about the BEHIND THE MUSIC series that always makes me watch the full story of an artist that I already knew and somehow makes it interesting AGAIN. It is nice to see the BTM series do some features on the stories on legendary hip hop artists. Looking forward to seeing the full post at some point.
Get More: Behind The Music
How Do U want It? - Tupac Hologram Madness
I have to admit that I didn't think I would ever be discussing a new Tupac performance in 2012, but the recent hologram performance at Coachella was amazing for many reasons. Reason one, it somehow makes the more standard rap show (where guest star verses are either edited out or cut the whole song short) more interesting to hear in its entirety. Reason two, cause it is mofo'n crazy what holograms can do these days. Technology had Tupac yelling to the crowd, doing his typical, shirtless on-stage moves and interacting with Snoop Dogg. How this can be accomplished in front of audiences and be captured on video without looking to unreal (at a distance) is pretty phenomenal.
Maybe, one day all of the greats can send an avatar to your hometown to perform while they lay on the beach somewhere or in their grave.
Question. Would you pay for or even want to see an all-hologram show if it featured Big L, Big Pun, Biggie Smalls, Jam Master Jay, Tupac, and other greats?
CHECK THE VIDEO BELOW:
Maybe, one day all of the greats can send an avatar to your hometown to perform while they lay on the beach somewhere or in their grave.
Question. Would you pay for or even want to see an all-hologram show if it featured Big L, Big Pun, Biggie Smalls, Jam Master Jay, Tupac, and other greats?
CHECK THE VIDEO BELOW:
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