no magic...

 the whole album is a delight, by the way...

walkin'

 

bandcamp

sad panther

great work. 

click, download, name your price.

i live in fear...

 

 tolle platte.

 tolles label.

hilft den musikerInnen von den zukünftigen hörerInnen finanziert zu werden und gibt die musik dann heraus. sehr gute auswahl. erstaunlich. jazz & people.

you ride me like a bike, mike...

strollin' through the depths of the bandcamp best-of-2016 list this morning.

with the sun saluting through the window.

with work to be done on my mind. here and there in bits and pieces, between layers and fabrics of music.

anyway, i found a nice one:

.

the home of tubman and douglas...

 

 mother and daughter. somewhere in qatar.

(via everyday middle east on fb. give it a try)

-

this one's substantial, too... 

.

i meant to make a metaphor for radicals...

...taking off my clothes at the lido

all i got is my decadent credo 

          --------- young fathers, get up (2013)

i guess, this is what it might sound like when a bucket full of reality from the outside world breaks up your biedermeyer party. the world's rebars running through your dance moves...

.

a rising tide lifts all boats... (re-post with a new spin)

re-post    _

great piece of politics by mr. ben paul balance-drew. or is it just music? it certainly is gonna mess with your head. if what's inside there is still alive.
remembering bitterly what happened in london this summer (the looting, the burning (2011, it's two yrs ago now)) the song talks about what is behind these events. a society that is consumerist and superficial on one hand, and classist and socially racist on the other. in the interview below the intelligent and politically conscious musician explains how these kids "made life ten times harder for themselves" because "they just played in the hands of what certain sectors were thinking about them", remembering that what in england is commonly acceptable to be stated about the underclass is not simply stereotypical but plainly racist, because it strips the poor of their individuality and their humanity while at the same time hiding what keeps these people where they are, i.e. at the bottom: a constant and momentous vilification by the majority of the society, an education that doesn't provide the means to grab the fewer opportunities in this social stratum and a socioeconomic system that always has lived with social inequality as it's byproduct and is increasingly doing so since the 80s. ever tried to compare this with how french society looks at the banlieus, what germans think about people who are on welfare and get the so called 'hartzIV' benefits or what austrians mean when they use the word 'prolo'? not too far from the british chav, drew's refering to at 0:19 in the music video (1:50 in the interview), i'd say. the difference lies exclusively in the level of inequality and antagonism, not in the dynamic or structure of social relations.
adressing the english middle class, drew says: "just because you were lucky enough to be born into a family that can afford to give you an education doesn't make you better, it just makes you lucky." on the other side (or the under side): "why were there so many of them who don't care about getting a criminal record? why is that?" it's because they think "i'll never change the way you think about me, so i'm actually gonna play up to it."
we're only animals in the end: "when we're backed in to a corner we lash out."

_     with a new spin:

a rising tide lifts all boats

(new and interesting account of what happened in 2011 seen in a historical perspective. published on endnotes, 2013. worth reading.)

"...these developments reinforce real long-term deprivation, the most salient dimension on which this exclusion occurs is a social logic of abjection experienced first and foremost in the encounter with the repressive arm of the state. Everything else follows: mediatised victimisation of residents, unending chain of aspirant cabinet members feigning deep concern, think-tank concept creation, crypto-racist scandals about a feckless, parasitic underclass."

"...the Right has turned instead to Islamic and European bogeymen to define its programmes. Nonetheless London’s poor black neighbourhoods have been at the leading edge of the logics of abjection through which a punitive state has come into being, and indeed their struggles within this logic are organically related to the transformations of “race” itself. If the black of the late 1970s and early 1980s was, to state it crudely, the prototype for today’s “feral underclass”, the major linking thread here is not “race” as any essential trait, nor even any stable, coherent sociological category, but a social logic of abjection by which specific figures, associated primarily with poor urban neighbourhoods, are posited as the limit concepts of affirmable social class"

"Thus it was that the Thatcher government campaigned for re-election, at the height of nationalist jingoism after the Falklands War, boasting of scrapping the sus law, and arguing that if “Labour say he’s black, Tories say he’s British”. Anti-racism of one type or another had become a matter of state policy, no matter how bigoted Thatcher and her ilk as individuals."

a lot of brain food, in any case...

.

the clenched fists of my ego...

saul.

saul williams - talk to strangers (2004) saul williams - niggy tardust (2007) saul williams - telegram (2004)

now i wasn’t raised at gunpoint and i’ve read too many books to distract me from the mirror when unhappy with my looks ... though i grew up in the ghetto and my niggers all sold drugs, and though that may validate me for a spot on mtv and give me all the airplay that my bank account would need, i was hoping to invest in a lesson that i learned ... but that open-ness exposed me to a truth i couldn’t find in the clenched fists of my ego or the confines of my mind or the hip-ness of my swagger, or the swagger of my step, the scowl of my grimace, or the mean-ness of my rap .... as angels in disguise love can come in many forms, the hallways of your projects or the fat girl in your dorm ... and come this time around you choose to walk a different path, you’ll embrace what you turned away and cry at what you laughed, because that’s the only way we’re going to make it through this storm, where ignorance is common sense and senseless is the norm ... stolen goods are overpriced and freedom costs too much ... the world is not a flat screen i ain’t trying to fit in but this ain’t for the underground this here is for the sun a seed a stranger gave to me and planted on my tongue ... as a great man once said, there’s nothing more powerful than...

.

mmmhm, lakritze...

ja, sie haben ja durchaus recht. ziehen sie ruhig die augenbraue ihrer wahl richtung haaransatz. (vorausgesetzt, sie sind dessen mächtig, natürlich.) ich aber sage ihnen, sie werden gleich schmunzeln.

und vor allem: wann hat man unserer generation jemals so liebevoll gesagt, wie zahnlos wir sind, wie sehr uns der biss fehlt?

via 'der digitale flaneur'. fachkraft für deutschen hip hop mit gehalt (und vieles andere).

the tragedy of king richard the third...

 

lege gerade das dünne, gelbe büchlein nieder, das zerknittert und verbogen die letzten wochen im staub meiner jackentasche verbracht hat. hebe den kopf aus dem gemetzel und dem wahnsinn von shakespeares 'richard III'. immer noch dabei, den schlachtenstaub aus meinen jeans zu klopfen...



4. akt, 4. szene - die königswitwe margareta über den neuen könig, richard III., der - für den thron - margaretas sippe nahezu zur gänze ausgerottet hat.

richard nur lebt, der hölle schwarzer spürer,
als mäkler aufbewahrt, der seelen kauft
und hin sie sendet: aber bald, ja bald
erfolgt sein kläglich, unbeklagtes ende.
die erde gähnt, die hölle brennt,
die teufel brüllen, heil'ge beten,
auf daß er schleunig werde weggerafft.
vernichte, lieber gott, ich fleh' dich an,
den pfandschein seines lebens, daß ich noch
dies wort erleben mag: der hund ist tot!

alea (feat. neffa) - ghetto (rmx, 2006)



5. akt, 3. szene - heinrich, herzog von richmond, gegner könig richards III und bei shakespeare rechtmäßiger erbe des thrones, allein im feldherrenzelt vor der entscheidungsschlacht bei bosworth in anrufung (seines) gottes:

o du, für dessen feldherrn ich mich achte,
sieh deine scharen an mit gnäd'gem blick!
reich' ihrer hand des grimms zermalmend eisen,
daß sie mit schwerern falle niederschmettern
die trotz'gen helme unsrer widersacher!
mach' uns zu dienern deiner züchtigung,
auf daß wir preisen dich in deinem sieg!
dir anbefehl' ich meine wache seele,
eh' ich der augen fenster schließe zu.
schlafend und wachend, schirme du mich stets!

jethro tull - hymn 43 (1971)



5. akt, 3. szene - richard ruft seine verbündeten zur schlacht. seltsam: shakespeare spricht richard III. die legitimität ab und doch ist es der infame richard, dem er die stärksten worte in den mund legt, und nicht etwa dem edlen heinrich von richmond. so ähnlich vielleicht wie dante jahrhunderte vor ihm, der auf seiner reise durchs jenseits den schlund der hölle in unendlich prächtigeren farben malt als die orte des heils und der erlösung - fegefeuer und paradies.

nun geht, ihr herrn, auf seinen posten jeder.
laßt plauderhafte träum' uns nicht erschrecken;
gewissen ist ein wort für feige nur,
zum einhalt für den starken erst erdacht:
uns ist die wehr gewissen, schwert gesetz.
rückt vor! dringt ein! recht in des wirrwarrs völle!
wo nicht zum himmel, hand in hand zur hölle!

[...]

horcht! ich höre ihre trommeln.
kämpft, englands edle! kämpft, beherzte sassen!
zieht, schützen, zieht die pfeile bis zum kopf!
spornt eure stolzen ross', und reit't im blut!
erschreckt das firmament mit lanzensplittern!

them crooked vultures - reptiles (2009)


...and ain't that nice! nicht dass der weg durch herrn shakespeares genealogisches gestrüpp auch nur um ein glühwürmchen lichter würde, aber schauen solche schaubilder mit ihrem versprechen von ordnung und einsicht nicht einfach toll aus?

when we're backed in to a corner...

great piece of politics by mr. ben paul balance-drew. or is it just music? it certainly is gonna mess with your head. if what's inside there is still alive.
remembering bitterly what happened in london this summer (the looting, the burning) the song talks about what is behind these events. a society that is consumerist and superficial on one hand, and classist and socially racist on the other. in the interview below the intelligent and politically conscious musician explains how these kids "made life ten times harder for themselves" because "they just played in the hands of what certain sectors were thinking about them", remembering that what in england is commonly acceptable to be stated about the underclass is not simply stereotypical but plainly racist, because it strips the poor of their individuality and their humanity while at the same time hiding what keeps these people where they are, i.e. at the bottom: a constant and momentous vilification by the majority of the society, an education that doesn't provide the means to grab the fewer opportunities in this social stratum and a socioeconomic system that always has lived with social inequality as it's byproduct and is increasingly doing so since the 80s. ever tried to compare this with how french society looks at the banlieus, what germans think about people who are on welfare and get the so called 'hartzIV' benefits or what austrians mean when they use the word 'prolo'? not too far from the british chav, drew's refering to at 0:19 in the music video (1:50 in the interview), i'd say. the difference lies only in the level of inequality and antagonism, not in the dynamic or structure of social relations.
adressing the english middle class drew says: "just because you were lucky enough to be born into a family that can afford to give you an education doesn't make you better, it just makes you lucky." on the other side (or the under side): "why were there so many of them who don't care about getting a criminal record? why is that?" it's because they think "i'll never change the way you think about me, so i'm actually gonna play up to it."
we're only animals in the end: "when we're backed in to a corner we lash out."

i'm from the city that never sleeps...

...so you know i stay up.

kantige reime und ein bezauberndes lächeln verpackt in himmelblauer strickware. eine tricoteuse tänzelt über die göttliche bassline und bepflastert die straßen von tampa, florida, stolz mit unwiderstehlichen beats. meter für meter.
and you never see me bow or bend / shining ever since the day i found the pen. yeah...

mehr de la creme bei frl. dynasty und dj premier.

rime fiere e un sorriso incantevole impacchettati in lana azzurra. una tricoteuse balla sopra questa bassline divina e lastrica le strade di tampa, florida con dei beat irresistibili.

and you never see me bow or bend / shining ever since the day i found the pen. yeah...

when the beat dropped...

akua naru. taucht ihr entwaffnendes lächeln in kriminell lässige grooves und rührt ihren klaren intellekt in das hafenwasser von new haven, um ihn souverän von ihren fingern tropfen zu lassen.
die hand ausstrecken, zurücklehnen, genießen.

ancora hip hop. affinché il suo predecessore qua nel mio salotto non si senta troppo fuori luogo.

titolo: the backflip. ancora fresco e impregnato da un forte profumo di tradizione ed intelletto. un groove d'autore ed uno stile impeccabile.

che il hip hop abbia lasciato il ghetto e spesso si riscopra borghese non é certo una novitá. una svolta questa molto piú accettabile peró se intrapresa coscientemente e sinceramente come qui. senza dimenticare le radici peró, garanti del suo potenziale politico. un'ereditá che akua naru maneggia con cura.

wer mehr davon will: bandcamp. vernünftiges vermarktungs- und vertriebsmodell, bei dem musiker auch tatsächlich was für ihre arbeit bekommen (im ggs. zu amazondownloads etwa).

per chi volesse sentire qualcosa di piú c'é bandcamp. superiore a siti come amazon (mp3), dove i musicisti difficilmente guadagnano qualcosa.

dawg, i'm bitter...

un pezzo che respira forte. che si muove con convinzione e eleganza. e un sorriso sulle labbra...
cosa si vede? london, una cittá nel canada. cittá di immigrati e servizi, arte e militare. mi piaciono le immagini. come sono arrangiate. ogni volta che lo vedo mi fanno piú impressione. la batteria che le muove. la linea del basso che ti entra mentre segui quello che vedi e quello che lui rima.
shad. da ricordare.


wird nicht oft vorkommen, dass ich hier hip hop poste. aber das hier ist einfach sympathisch, nicht?
...weiß schon: 'der mit den goldketten nicht, der mit der strickjacke schon.' klingt nach alternativ-bourgeoiser selbstbeweihräucherung. ist es auch. aber ich kann mir nicht helfen.
im grunde ist musik oft einfach näher an unserer person, unserem stil. unseren attitüden? nicht musikalisch besser, nicht schöner. wir reden immer auch über uns selbst, wenn wir über musik reden. verhandeln unsere person, unseren status.

shad. kanadier. oder kenyaner. ansichtssache. oder auch nicht. im grunde hat nur einer das recht, das zu entscheiden.
das teil stampft jedenfalls. wenn die musik aus ist, braucht es eine weile, bis der rauch verzieht.
eigentlich spricht der mann für sich selbst:

you get it?

wen's interessiert, was musikalisch sonst noch alles in dem migrationsoffensten land der welt passiert: the torontoist oder radio3: per chi volesse vedere cos'altro succede nell'ambito della musica in uno dei paesi piú multiculturali del mondo.