Saturday, June 27…mark thine calendars.
This will be a split event…Sole Food NYC, LLC. (www.solefoodnyc.com) is inviting sneakerheads and regular people alike (there’s a difference) to come out and throw at least one pair of kicks toward the sneaker drive (to be donated to children in Africa). They are looking to reach their quota of 1,000 pairs.
While this is going on, legendary NYC Graff unit, TATS Cru, will be having an after party of sorts, in conjunction with the Graffiti Hall (Wall) of Fame.
There will live art exhibitions and maybe even a surprise performance or two from some NYC Hip Hop pioneers…
I will be providing the GOOD MUSIC all night long. Expect to hear an array of classics piled high. I will bake you a “classics layer cake”.
There’s a cash bar, but for $30 you can turn it into an OPEN BAR all night.
21+. No dress code.
The cover is $15 at the door…$10 w/ a sneaker donation…since this is an actual event (or two) and for a good cause…you shouldn’t think too hard on the cover since it will definitely be a stupendous time. Plus you always have the Open Bar option.
I still may bring Mike Tyson. TBA.
As far as the cult classic circuit goes…I’ll take this over Scarface, tenfold. In addition to that, I’d also elect King of New York as the victor in a match against the aforementioned Tony Montana coke crime spectacle…maybe I’m just biased since both of my picks are set in New York City (but to me, Walken vs. Pacino? I’m going with the “master of the villainous monologue”).
(p.s. for P.C. purposes: excuse the racial slurs and reinforced Italian stereotypes in the Walken link…great scene nonetheless)
To mark NYC’s recent decision to get its Seattle on.
Perhaps NOT the best way to get into a band of this style, but I just thought this was a ridiculously good live recording/performance. Shouts to KillThatCat for the insanely ill footy.
I got into Hardcore around 17-18, a bit late in comparison to my friends or most general cases…I wasn’t one of those 15-year olds who ran away from his home in the suburbs to become Lower East Side squat fodder, nor was I the 11-year old sneaking out of my room in my (parent’s) apartment to hit up CB’s or ABC matinees. I was always deep into Hip Hop (since 1st Grade, thanks to Video Music Box and a select few radio shows on the FM dial at the time)…but had friends who were just as deeply entrenched in Hardcore, as well as other types of band-driven, “extreme music”. Some had older siblings who were active participants in the New York scene, some were in bands, whatever. I always loved heavy, aggressive stuff…a salient example: Public Enemy was my favorite group until Wu Tang came out (not that they eclipsed the mighty PE, it was just that the torch was ready to be passed by that time, IMO)…both are perfect models for the type of uncompromising aural assault that perked my ears. Aside from amazing lyricism of these respective groups, PE had their bumrush of attitude translated into the music and stage and wall-of-sound sonic downpour provided by the Bomb Squad…while Wu was a powerhouse rendition of the “Hip Hop crew”…harboring a nasty grit so thick in the noise and language, you felt as if it was scraped off of the bottom of the bucket by the rusty edge of a boxcutter…half thanks to Rza’s collection of drugged-up, pissed off whilst sick with dementia sample collages half-pasted over crusty drum loops and other analog dressings.
Anyways…thanks to my pops who listened to plenty of Zeppelin and Deep Purple (if not Floyd), of whom the slower, consequently heavier, stuff always caught my attention…I went and seeked out the gods of what would become “sludge”, Black Sabbath, and reminded pops of their Earth rattling existence. I was then into noisy stuff that ranged from post-punk/post-hardcore (see: Steve Albini bands 1-3 and Drive Like Jehu) to sludge-math-post-rock-whatever (see: bands mostly on Skingraft Records…and Neurosis). I guess I was thirsty for some diversity in tempo (plus I really enjoyed the faster parts in DLJ songs). So it began.
Bad Brains, Black Flag, Leeway…then SPAZZ (I think Burn was in there as well). That’s how it went, I don’t know how or why, really…I think one night I was talking my boy Ty about fastest bands and he had mentioned Spazz. Spazz before D.R.I., Spazz before L’Arm, Spazz before Siege, Spazz before Infest, Spazz before No Comment, Spazz even before Neanderthal or Crossed Out. They were my intro to that degree of speed and brutality (other than what, Slayer?).
There you have it. I, again, don’t know why I just explained my life story on here…I guess that’s the ugly truth behind starting and maintaining a blog. Regardless, Spazz were a trio out of Cali who were active from I think 1992 up until around 2000. They played a crushingly frantic-as-fuck style known as “Power Violence” (or “Powerviolence”)…and were known for their Wu Tang’esque love of Hip Hop and Kung Fu flicks (well, that was the prototype for every 90’s Hip Hop kid). They released a ton of music in that time and managed to put a smile on many a face, perhaps it was also due to the fact that they managed to do splits with a long, VARIED list of bands (i.e. from powerviolence buddies such as Lack of Interest and Charles Bronson…to Albany grinders Monster-X…to thrash metal masters Hirax…to New York City’s thug mosher unit, 25 Ta Life).
Anyways…I love this stuff. They seemed to have kept it 100% and strayed beyond the conventional lines of hardcore or “being punk” by not taking themselves so seriously (from the song titles/lyrics to general attitude)…and blurring the lines of tradition through the implementation of seemingly random instruments (harmonica and ukulele, anyone?) and snippets of Hip Hop movies and song/slang references in their music. They even had Kool Keith do a drop on their La Revancha LP. The best part is, their love for the two subcultures, Hardcore and Hip Hop, is represented in a genuinely flavorful blend that doesn’t then fade into a tasteless, face-screwing “rap core”, “thug core”, “yo-yo-yo-check-this-shit-out kids in athletic jerseys hard posturing over neanderthallic breakdowns” schema.
They kinda reminded us of…us. We were kids who didn’t feel the pathetic need to subscribe solely to one circle of people in order to achieve something ineffectually vain like a renewed sense of subcultural validity. That type of insecurity was not permitted in our cipher. There was no frontin’ in our formula.
Word to Dan Boleri’s “Wu Tang Forever” shirt.
One of the illest clips I’ve found on Youtube. Definitely THE illest in the “minute long” category. Another MC who’s been a favorite of mine since forever, and still maintains a level of nice’ness to remain relevant after about 18 years on record.
If someone has this mix of “Rated-R” on vinyl or mp3 or CD or whatever…please let me know of your address and when you will be out of the house.
Certified 80’s classic meets a 90’s Loud Records collab.
Fine, 11 years…honestly, I could go on a “20 Years Nice” post in regard to G Rap. Coincidentally, the 2000 video is a collab with an ex-Loud Records artist.
Add on. An(other) incredible song from 2000 (that I JUST discovered, video-wise), produced by the next best man to Rza.
Needless to say, we were thoroughly entertained by this old issue of Smack DVD. The aforementioned random looking girl of “whiter” persuasion came packaged with a pretty ridiculous name and apparently was an aspiring rapper at the time (who isn’t?). See the “Comments” of the posted clip for more laughs and the unveiling of her name (as I refuse to bring such a level of absurdity to this holy ground).
…but again, this has got to be one of the hardest joints Saigon has ever put out. Die hard fans will probably be mad at me for saying that, since people gravitate towards the more conscious/lyrical stuff he’s done (some of which I can get into as well)…but this joint simply bumps tough and carries an off-the-charts, hanging-and-swinging-from-the-pipes-in-the-basement energy reminiscent of a Boom Bap-era KRS-1.
Plus that dusty, hypnotic, evil Spaghetti Western piano beat is a product of track vet, EZ Elpee. Saaaaaaynnnnnn?!???!?!?!!
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