If you couldn't make it to our last FLATOUT party in January, here's a recap video shot by our people from Time Spent. Special thanks to Asaad, Abdu Ali and Faded Mob for being great interviewees after their sets and for giving a crazy show. Also, shout out to Exaktly and Neuport for spinning that night as well.
FLATOUT's next date is March 28th in Baltimore at The Windup Space and features sets by Ratking's Sporting Life, DJ Angel Baby, Lor Chris, Dola and DJ Genie.
Photo: Diamond Dixon
02.11.15
*OPENING THOUGHTS*
IT’S HARD TO FIND A GOOD PEN. THE SMOOTHER THE INK FLOW, THE MORE FLUENT MY IDEAS.
“THE CITY LIGHTS FORCED THE STARS INTO HIDING”
*INTRODUCTION*
I’LL TRY DO THIS WITHOUT GETTING ALL IYANLA VANZANT (IF THATS HOW YOU SPELL IT) ABOUT SHIT
*PAUSE*
I WANT ALL THE READERS TO LOG ONTO YOUTUBE AND TYPE IN “WAKE UP BITCH, YO BABY DADDY AIN’T SHIT”
*CONTINUE*
SO I DON’T WANT TO CALL THIS A DIARY BECAUSE I FEEL LIKE I CAN THINK OF SOMETHING MORE DRAMATIC.
“THE CHRONICLES OF A SPACE CADET”
HOPEFULLY THIS RECORDING OF MY DAILY ACCOUNTS CAN LEAD TO SOME SELF IMPROVEMENT..
I FELT LIKE THAT WAS GOOD LEEWAY FOR MY NEXT IDEA.
I FIGURED I SHOULD COMPOSE A LIST OF THINGS THAT I SHOULD KEEP IN MIND IN EVERYDAY LIFE AND FOR THE FUTURE:
*SIDENOTE*
I FIND I CAN'T WRITE AS FAST AS I TYPE
*BACK TO THE LIST THO*
-KEEP ALL PHOTOS UNTOUCHED. OUR IMPERFECTIONS ARE WHAT SEPARATE US AS INDIVIDUALS
-CLEAN YOUR LAUNDRY WEEKLY. FLYING FREEBIRD IN A -10 CHILL IS NO BUENO.
-REMEMBER THE NAMES OF PEOPLE YOU MEET/NETWORK WITH
*SIDE NOTE*
THIS MAY REQUIRE A DECREASE IN WEED/ALCOHOL INTAKE
-DRINK MORE WATER. THIS WILL KILL YOUR FEARS OF SUDDEN DEATH AND CRYSTALIZE YOUR URINE.
-BRUSH YOUR TEETH. GINGIVITIS FUCKS UP YOUR GUM TO TOOTH RATIO.
-SAVE UP FOR A CLOSET FULL OF SAMOS JUMPSUITS
-LEARN MORE BRITISH SLANG
-STAY HUMBLE
*REMINDER*
THERE IS NO SUCH THING AS “MAKING IT”. YOU SHOULD NEVER REACH A PRIME. YOU CAN ALWAYS GROW AND LEARN NEW SHIT. ART ESPECIALLY HAS NO LIMITS!
I SHOULD PROBABLY REFLECT ON MY DAY AND ITS HIGHLIGHT MOMENTS. I ATE THIS DANK ASS PEANUT BUTTER AND BANANAS SANDWICH.
IS IT SAD THAT I CAN’T SPELL THE WORD BANANAS WITH SAYING IT IN "HOLLERBACK GIRL" VOICE?
ANYWAYS, I ALSO PURCHASED THESE SLEEK ASS SHADES FROM SOME BEAUTY SUPPLY STORE. I’VE BEEN GETTING LAURENCE FISBOURNE COMPARISONS ALL DAY.
TWO IS ALL I CAN MUSTER UP WHILE OUT OF ORBIT …”AND THATS FOR THAT NOW” *BLU CANTRELL VOICE*
02.12.15
WHY DO HUMANS FEEL MORE COMPASSIONATE WHEN ANOTHER HUMAN DIES OPPOSED TO AN ANIMAL? WHAT GIVES HUMANS SUCH ENTITLEMENT TO CONSIDER OURSELVES THE SUPREME RACE? ANIMALS GET EUTHANIZED SOMETIMES JUST FOR TAKING UP SPACE IN A SHELTER OR SOME SHIT. YOU DON’T KILL PRISONERS BECAUSE JAILS ARE OVERPOPULATED. HUMANS FEEL ENTITLED TO EAT WHATEVER FORM OF FLESH THEY DESIRE. IF A HUMAN WAS TO EAT ANOTHER HUMAN IT WOULD BE FROWNED DOWN UPON! HUMANS CAN DESTROY, EXAMINE, DEVOUR WHATEVER LIFE FORM WE WANT BUT IF THE SHOE WERE ON THE OTHER FOOT WE’D PROLLY BAND TOGETHER AND GET ALL MILITANT AND SHIT.
FOR THE PAST TWO WEEKS I’VE BEEN WAKING UP AS EARLY AS 5/6AM.
HALF THE TIME MY SLEEP IS DISRUPTED BY MY GRANDMOTHER SHUFFLING DISHES AROUND IN THE SINK AND SHE CLEANS THEM FIRST THING IN THE MORNING
THE OTHER HALF IS HAS BEEN MY BROTHER WIRE AS HE CHANGES THE GUAZE KEEPING HIS PRESSURE ULCERS DRY
IT’S BEEN THIS WAY SINCE MY FAMILY MOVED BACK INTO MY GRANDMOTHERS MINIATURE BEDROOM APARTMENT. NOW WE'RE FORCED TO BE IN EACH OTHER'S FACES AND SPACES UNTIL FURTHER NOTICE. WHEN I WAKE UP I GO TO THE BATHROOM AND I SIT ON THE TOILET FOR A FEW HOURS WITH HOT WATER RUNNING, THAT’S THE ONLY TIME I CAN BE ALONE WITH MY OWN THOUGHTS WITHOUT BEING MICRO MANAGED BY MY FAMILY MEMBERS. THIS WAY I CAN MEDITATE IN MY MAKESHIFT SAUNA. THIS IS ME TRYING TO EVADE WINTER'S ANNUAL MELANCHOLY. THIS COLD ISN’T HELPING MUCH. I CAN FEEL MYSELF SLIPPING IN AND OUT OF DEPRESSION.
I’VE BEEN SMOKING MORE THAN USUAL. MY BROTHERS BEEN JUUGIN SO HE’S BEEN HAVING WEED TO SPARE. THE FIRST QUESTION HE ASKS ME WHEN I WAKE UP IS IF I CAN GET US A RELLO. IN THAT MOMENT I REGRET PICKING UP THE HABIT.
*QUICK QUESTION*
DON’T YOU JUST HATE WHEN YOU CUT YOUR NAILS TOO SHORT? IT HURTS TO GRAB ANYTHING WITH YOUR FINGERTIPS.
EVERY MILESTONE I REACH WITH MY ART FORCES ME TO REFLECT ON ALL THE TIMES I FELT DISCOURAGED. WHEN PEOPLE TOLD ME NO ONE WOULD UNDERSTAND MY ARTISTIC DIRECTION. THERE WERE MOMENTS WHEN MY FAMILY LOST HOPE IN MY CREATIVITY.
02.13.15
STUCK IN A RESTLESS HAZE. I REGISTERED FOR CLASSES SO THAT I CAN GET THAT REFUND CHECK OF THE REMAINING FINANCIAL AID MONEY! AS SOON AS THE CLASS BEGAN I INSTANTLY REGRETTED EVEN SIGNING UP FOR IT. I THINK MY “FUCK THIS” SETTING IS STUCK ON AUTOMATIC.
LAST NIGHT I GOT TO CHILL WITH SOME COOL ASS KIDS, AND IT’S PERFECT BECAUSE I’VE BEEN FEELING IGNORED BY THE FRIENDS I THOUGHT I WAS CLOSEST WITH. EVERYBODY'S LIVES ARE SO FAKE HECTIC. MAYBE I’M GETTING BORING TO PEOPLE. I HAVE MOMENTS WHEN I QUESTION HOW ENTERTAINING I AM TO BE AROUND.
*SIDE NOTE*
ALMOST READY TO BUY MY TICKET TO LA! I MAY NOT COME BACK.
02.19.15
IT’S BEEN A FEW DAYS SINCE I’VE LAST WRITTEN AND SO MUCH HAS BEEN GOING ON. I’VE BEEN RECEIVING MESSAGES FROM ARTISTS WANTING TO COLLABORATE, THIS EXCITES AND SCARES ME ALL AT ONCE. THIS EXCITES ME BECAUSE THIS MEANS THINGS ARE PICKING UP MOMENTUM. AND I WANT PEOPLE TO FUCK WITH WHAT I’M DOING LOW KEY.
OK SO VALENTINES DAY SOME FRIENDS OF MINE HAD A POTLUCK. IT WAS PRETTY CHILL EXCEPT FOR THE FACT THAT THEY KEPT REFERRING TO ME AS THEIR “GIRLFRIEND”, WHICH I DON’T LIKE. THIS ISN’T THE FIRST TIME EITHER. I’VE LET IT GO ON FOR TOO LONG.MY PEERS ARE STARTING TO LOOK AT ME FUNNY AND I DON’T BLAME THEM. ONCE MY FRIEND CALLED ME ONE OF HIS GIRLS BEFORE A LARGE AUDIENCE OF PEOPLE, THIS MADE ME SAD LOL.
GRANT IS GOING THROUGH SOME FAMILY ISSUES AND TAKING A HIATUS FROM MUSIC, LEAVING ME WITHOUT SOMEONE WILLING TO PLAY MY MUSIC WITH ME. AND I CAN’T BE LIKE “FUCK YOUR PROBLEMS AND COME DO MUSIC WITH ME”. AT THE SAME TIME I DON’T KNOW HOW LONG I CAN WAIT FOR HIM. SOME DAY SOON THE TEAM IS GONNA HAVE TO HAVE A TEAM MEETING.
02.20.15
*QUICK QUESTION*
ISN’T FUNNY HOW ASH CATCHEMS LAST NAME IS CATCH ‘EM? HIS WHOLE EXISTENCE REVOLVES AROUND CATCHING POKEMON. WHO ELSE KNEW THAT HIS VOICE WAS PLAYED BY SOME MIDDLE AGED WHITE WOMAN?
IT’S ALWAYS FUNNY WHEN AN ARTIST DECIDES TO EXPRESS HOW THEY DON’T LIKE ANOTHER ARTIST'S WORK TO THEIR FACE. THERES NO PROPER WAY OF DOING THIS. THERE’S AN ASPIRING DIRECTOR THAT I KNOW THROUGH MUTUAL FRIENDS THAT TOLD MY BEST FRIEND (ALSO A DIRECTOR) THAT HE MAKES “GAY SHIT”. THIS TOOK PLACE JUST DAYS AFTER COMPLEMENTING ME FOR THE VIDEO THAT ME AND MY FRIEND COLLABORATED ON TOGETHER. PHONY OPPORTUNISTS.
*RANDOM QUESTION*
WHY DO HUMANS ASSOCIATE CATTY, BACKSTABBING BEHAVIOR WITH WOMEN? WHY IS IT OK FOR WOMEN TO BE CATTY AND BACKSTABBING BUT NOT A MAN? WHY DO WEMON GET A FREE PASS TO BE ASSHOLES SO OFTEN? WHY DO WE MAKE THEM OUT TO BE THESE OVERLY EMOTIONAL CREATURES? BEING A BAD PERSON ISN’T A GOOD LOOK FOR ANYONE.
WHY DO WOMEN LOOK FOR MEN WITH TOUGH EXTERIORS WITHOUT A CLUE AS TO HOW TO MAKE THEM DROP THEIR DEFENSES? WHY ARE MEN SUPPOSED TO BE DISCONNECTED FROM THEIR EMOTIONS? WHAT MODEL OF MAN ARE WE MODELING OURSELVES AFTER? I CAN’T STAND HEARING A CHICK COMPLAIN ABOUT NOT BEING FELT OR HEARD. WHOLE TIME YOU HAVE SOME BULLSHIT IMAGE IN YOUR HEAD OF WHAT A MAN SHOULD BE, AND THAT’S HALF THE BATTLE.
WHY HAVE WE SET UNREALISTIC SOCIAL STANDARDS FOR HUMANS TO ABIDE BY? THERE SHOULD BE NO HIERARCHY OF CLASS, NO FIGHT FOR CIVIL RIGHT. WE’VE BEEN TRYING TO MASK OUR TRUE NATURE SINCE CREATION LOL
IN OTHER NEWS, MY WEED MAN IS GETTING CLOSER TO SOLVING THE CASE OF THE ROBBERY THAT TOOK PLACE AT HIS HOUSE WHEN HE WAS OUT OF TOWN LAST HALLOWEEN.WHAT HE DOESN’T KNOW IS THAT A FORMER FRIEND OF MINE DID IT. THE ONLY REASON I HAVEN’T TOLD HIM IS BECAUSE I DON’T FEEL COMFORTABLE RUNNING MY MOUTH OFF. I JUST FEEL SOMEWHAT SHITTY BECAUSE I’VE BEEN BECOMING PRETTY CHILL WITH MY WEED MAN, HE SMOKES ME UP AND LOOKS OUT ON THE WEED ALL THE TIME. AFTER MY (FORMER) FRIEND HELD MY WEED MAN’S GIRLFRIEND UP AT KNIFE POINT HE’S BEEN SUSPECTING ME LOW KEY. WHAT HE DOESN’T KNOW IS THAT I HAD TO CUT THE ACTUAL CULPRIT LOOSE. I CAN’T HAVE SHIESTY PEOPLE IN MY PREMISES. APPARENTLY, HE WAS WAITING ON VIDEO FOOTAGE AND IT FINALLY RETURNED. NOW HE'S QUESTIONING MY ACTUAL FRIEND, WHO HAS LITTLE INVOLVEMENT WITH THIS WHOLE THING, BUT HE’S GETTING CLOSER FOR SURE. AND HE’S HELL BENT ON FINDING OUT WHO FINESSED HIM OUT OF A PS3.
Kelela - "Enemy" (Kingdom's Destruction Before Paradise Mix):
Kelela - Cut 4 Me - DELUXE Original album + 9 remixes Out April 6th 2015 on triple gatefold vinyl, CD, and Digital
It's really impossible to make Kelela's voice not sound like it came straight from the heavens above. Otherworldly Fade to Mind add just the right touch of future to her 90s R&B influences. "Enemy", originally produced by Nguzuguzu, sees a brand new treatment from fellow Fade to Mind creator and cohort, Kingdom. Kelela's voice sounds as soulful as ever while Kingdom builds a future club beat so delicate at times that it barely erupts into a full-blown ruckus. While you can hear the occasional pounding bass, grandiose synths, and a hint of the signature kicks of club music, Kingdom keeps his take on "Enemy" right under the threshold of a big room banger. That's some real finesse right there.
Vjuan Allure - "Wherkk ft. Purple Crush":
"Wherkk" is the title track from Vjuan Allure's latest EP, which is streaming over on THUMP right now. Allure is one of the innovators of the classic ballroom sound - house and disco tracks that you hear at vogue parties - and actually created "The Ha Dance" (later dubbed as "Allure Ha") which is basically what "Sing Sing" is to Baltimore club. But on his "Wherkk" EP, Allure demonstrates a vast knowledge of that classic club music sound, especially on the title track here featuring LA's Purple Crush on vocals. The horns are blowin', the kicks are perfectly energizing, and it sounds brand new and timeless all at the same time.
DJ Diamond Kuts - "Keep Your Ass Down":
Produced By DJ Diamond Kuts
Philly's DJ Diamond Kuts has a stellar reputation for being versatile behind the decks to deliver sets that are totally free of the binds of particular genres. However (!!), I know she has an affinity for club music stylings from Jersey to Baltimore. "Keep Your Ass Down" doesn't seem like a typical club track from the surface, but it has all the right vibes. It's repetitive and hyper just like a classic Jersey club track but the way she blends in bouncy twerk and the rolling hi-hats of trap makes it perfect for all kinds of dance floors.
It's no secret that women are underrepresented to a shameful extent, in music and otherwise. Shit, in every industry just about. It's also no secret that not enough fight against that goes down which is why things like The Exchange II are starting to pop up in Baltimore and all around. We need discussions like those to continue challenging the patriarchal structure of our society. Amy Reid of Baltimore duo, Chiffon, is doing her part in that challenge with her new Baltimore-based party, GRL PWR, which exclusively showcases women performers and DJ's. Her last party featured performative dance by Fluct, a live set by Ami Dang and DJ sets by Genie and Isabejja. Aside from proving that they didn't need any men to pack over 300 people in a tight warehouse space, it also showed that there are tons of talented female artists that go unnoticed. Wanting to know more about the origins and intentions of GRL PWR, I caught up with Amy recently.
Photo: Diamond Dixon
What was your initial mission when conceptualizing GRL PWR? Was it to show that you didn't need men or was it just to celebrate women?
Amy Reid: Definitely to celebrate women performers. Exclusion is the opposite of what I want. There is an obvious focus on women performers but I'm all about including people who want to be a part of it. Originally, I wanted it to be strictly DJS and then I realized how boring that could be to exclusively have DJ sets. I think the best shows are when you get a taste of everything which is why I love Baltimore. It's not out of the ordinary to walk into a show where there's 4 different genres of music being represented on a single bill and I love that. I also wanted GRL PWR to represent a mixture of established artists, up and coming artists, and people who have maybe never performed before. I was just getting into djing and I was trying to find women djs in the area and I had a hard time and I was kind of puzzled. I had a drink with a friend and they brought up a good point that I had never really thought of but if you don't see yourself represented in a genre or art form it's hard to picture yourself doing that. I think that's a little extremist but still holds some truth.
When you think about it, it's pretty crazy that there haven't been any women-focused shows in the city. But it's so common for an all-guy lineup to be booked without it even being a thing. I've been guilty of it too when putting shows together. How's all that make you feel?
AR: That was a driving force for sure and I know people don't do it intentionally I just hope that this event brings awareness to that. There have been a few that have happened over time like Puss Fuss, Female Front Fest, and Lady Fest. They are all cool events and there is always room for more. Like those events, mine is curated. I want every show to make sense even if it's in a non traditional way. There's a focus on electronic, club and movement/ dance performance so far but I'm not going to limit it to be only that.
Did any anxiety come during the planning process when you thought of how the party could be received?
AR: I definitely had anxiety before both events. Some people freak out when you start to talk about things like gender. I look at this event as a positive reaction to further support women performers and have a conversation about it if someone thinks differently. There was one person sort of trolling the first event facebook page which made me pretty bummed out. But realistically, you can't please everyone and not everyone will agree with you and that's okay, I am interested in the conversation that happened anyway even if I feel uneasy or start to second guess afterwards. That's how we grow, we listen to each other, contemplate, and agree disagree or meet somewhere in the middle. For the most part it's been positive.
Playing in Chiffon, you've done a good amount of traveling through touring with Future Islands. Was the disparity in women being booked a problem in other places as well?
AR: It's not unusual for me to be the only woman on a bill but thats not to say that it's 100% of the time. We play with a pretty broad spectrum of artists from a lot of different genres and backgrounds. When I'm on the road I actually forget about it cause I'm just doing my thing with Chase, my best friend/ bandmate. I don't really notice a difference in treatment or anything. It's when I take a step back and think about it, that's what makes me want to address it in a positive empowering way.
It's a common thought that women are marginalized the most in hip-hop culture but this party speaks to multiple genres. Is that struggle of being ignored just as prevalent in other genres, in your experience?
AR: I think that DJ culture is what initially sparked my interest in starting GRL PWR. It's a problem when you can't name more than 5 women DJS in your city and part of that is me learning more about djing in general. I obviously don't know everyone who is djing or interested in it, that would be stupid to assume. I just want to meet those people doing it or provide an opportunity for people interested in it.
Photo: Diamond Dixon
A great thing that I noticed at last week's party was that the all-female lineup had little-to-no effect on the crowd's diversity in comparison to other shows in Baltimore. Was that something you put a lot of thought into?
AR: Yeah, definitely. I want to put on shows that slay every time which is generally the philosophy behind every show I play or book. I think that everyone can get down with celebrating powerful women performers and I am confident in everyone I ask to play or that wants to play. I want people to come to GRL PWR knowing that they are going to have a great experience.
How've people been receiving GRL PWR?
AR: By the turn out alone I think it's going well. The first one was about 150 and the second was about 300 which is crazy and i was not properly prepared for. I was talking to isa bella about that earlier, DJ isabejja, and we were trying to figure it out. It's one of those things where I have no idea at this point if its the performers, the event, the philosophy behind the event or a combination of why people want to be a part of it. Either way, I'm grateful that people want to be a part of it.
What effect do you hope the party will having on booking trends throughout Baltimore?
AR: I hope that people who perform at GRL PWR gain more attention and people become more open to giving budding artists a chance to shine. I also hope that people think more deeply about the ways that shows can be more dynamic and interesting be it location or performers. Not saying that this already doesn't happen, but there is always room for things to grow into something more.
Dream acts to have play at GRL PWR?
AR: Missy Elliot, Tink, Holly Herndon, Kelela, Grimes, Kali Uchis, Emily Reo.....everyone that has already performed has been that dream come true.
Photo: Kyle Yearwood
Last weekend, Capri Shorter—a Baltimore-based brand strategist and artist manager—hosted and took part in the second edition of her rap-focused panel discussion series, The Exchange, at local bookstore and coffeehouse, Red Emma’s. Back in November, The Exchange’s (all-guy) first panel took on the history and state of hip-hop in Baltimore and as a panelist, I badly wanted a woman’s insight. Janae Griffin (Saturday’s moderator) penned an article for us leading up to the first installment, opening up about turning down an invitation to speak that night due to feelings of not being qualified to join the men who were asked to speak. And while I appreciated her honesty, it didn’t hold me back from the sadness I felt when she sent me that article’s draft. On a grand scale, I understood how feelings of inferiority can be internalized by women living in a patriarchal society but on a personal level, I kept asking myself “Why?!” No shade to the others who spoke at The Exchange back then, but what made them so qualified? Other than Scottie B and Labtekwon who’ve been putting in work before most of the panelists were born, the bulk of us are still trying to make a mark, no matter what we’ve accomplished so far. That’s why I was so happy to hit the all-female-focused second part of The Exchange last Saturday which featured Shorter, radio host and Baltimore Club DJ, Angelbaby, rapper TT The Artist, organizer Mia Loving, radio host Civ Jones, and event curator, Chin-Yer.
It didn’t take long at all for me to realize that I’m probably not half as strong as the panelists to repeatedly face the shit they do. “In the music business, men aren’t afraid to tell you they want to have sex with you,” Shorter answered to what some cons of being in a male-dominated industry are. “And that could be anyone from your boss to the artist you represent.” TT The Artist shared similar frustrations as she told stories of executives’ reasons for not investing in her were “we’re not attracted to you.” How to deal with those situations ranged from Civ Jones saying that she’s never had any incidents, to Chin-Yer asserting that “checking a man first to assure he doesn’t try again” to TT saying that she pretends she doesn’t even hear the sexual advances.
Sadly, mostly nothing I heard was particularly surprising that night. With an all-woman panel in this context, I expected to hear questions on how they were dealing with being a minority in the music business, I expected to learn about the pathetic shit men kick to them on the regular and I expected to hear them discuss what compromising situations they regularly faced. All that still didn’t fully prepare me for their stories. It’s like when you go into watching a gore-y film; you know people are gonna get whacked but that doesn’t always stop your reflexes when somebody’s chest gets opened up and you see their insides pop out. While being mostly enlightening, a lot of The Exchange II was numbing for that reason.
When the floor was first opened to the audience for questioning, many issues expressed by the panelists were manifested by bonehead inquiries and suggestions from too-out-of-touch male spectators. In reference to women nowadays wearing their shorts “up to here” (ugh), one asked: “If you can’t put a woman emcee on your level, then you won’t have respect for them. So what is being done by women in your industry to increase the respect level that men have for you?” With understandable frustration and anger, Shorter quickly snapped, “This event” before TT The Artist properly put things in perspective by expressing that the societal double standard in personal presentation should have no bearing on how much/little respect a woman garners. She also shared the trials she faced in her one year of teaching at the Baltimore Design School when her 6th and 7th graders caught wind of her “Pussy Ate” song and how she had to explain to both students and administrators that her art outside of her job was not to be compromised or used as ammunition for admonishing her as an educator. Soon after, another male audience member suggested women in the industry having “a coalition of men” to check men who step out of line, apparently not realizing that his advice was largely why we were all in attendance that night; a woman should not need a man’s protection while trying to complete her fucking job. Further, who’s to say that a member of this coalition wouldn't try a woman just as quickly as ones in her field?
Interestingly, Saturday's most heated and vital period was actually in response to topics not specific to women. In particular: are local artists doing enough in the community to redirect people from the detrimental happenings in society, especially in the inner city?
Other than Mia Loving's suggestion to start putting hip-hop back in the hands of children by encouraging them to create, getting funding to fuel organizations is what lit an explosive fire under the panel. Civ Jones expressed that instead of speaking on public issues, artists like Lil Wayne should put money into the communities that are "directly affected by the trash he talks about." Her sentiment here, while heartfelt, to me, was problematic and mirrored the double standard that the panelists spoke out against earlier in the program. Wayne—who's an entertainer first—has the right to speak on any issues he pleases and could very well be funding organizations in many communities. The lyrical content in his music doesn't have to reflect his political stances.
TT's "go fish for grant money" response led to justifiable kickbacks from other panelists who pointed out that grant money in Baltimore's art scene are rarely allocated to startups and organizations that have black progress as a priority. This is where shit got officially turnt to the point of TT's mic being cut off for being too overt and forceful in her conviction (I suppose), as she defended her suggestions by stating that no matter if you get the grant money or not (which she has tried and failed at repeatedly), you should still try. But after the explosion, Loving concisely stated: "If we don't try to continue to define the culture for ourselves and create mechanisms and institutions for ourselves, we'll continue to have these issues of segregation." No argument there.
An equal amount of passion was generated on the topic of local media's role in breaking new artists to which 92Q's Angel Baby asked, "Why are you coming to me for support?" Building a personal brand and a loyal following are what she urged underground artists to place as priorities, which Shorter responded with "92Q is not on our side." And while the audience clearly sided with Capri's rebuttal, this is a topic that will never be fully agreed on by anyone. The most important takeaway was Angel Baby and Civ sharing the knowledge that who they play on radio doesn't come down to what their personal preferences are; artists who are not backed by big corporations like SoundScan will probably never be played on local radio because there is no way to profit from them.
What was most refreshing about Saturday was the constant outpour of passion, no matter if it was synchronized claps for a "no shit" moment, explosive disagreement or just the willingness to show some fucking emotion; women, naturally, are better than men in that way. I don't know if vulnerability comes easier to feminine beings or if, at this point, it's just a might-as-well approach in response to being constantly tested by male counterparts. The male-donated first leg of The Exchange that I took part in, while insightful and informative, sorely lacked in FEELINGS. Stepping back and assessing both, I ask myself would men had even been questioned the way the female panelists were? How to conduct yourself, if compromising the grind is in your best interest for safety's sake, if I'm truly welcomed in this industry, etc. As a man, I don't ever HAVE to think about that shit. And also, as a man, I'm not constantly subjected to the self-marginalization that women all too often are. After I stepped out for a few minutes Saturday, some major pushback was given to a comment that Chin-Yer reportedly made in reference to the small presence woman have in hip-hop to which she said, there aren't as many good female rappers as there are male. A counterproductive comment? To say the very least, YES, but judging by the effects of oppression from women in hip-hop to people of color across the globe, it's not a complete surprise...just sad.
Hopefully, the efforts of Saturday's panel and others to come will start to reverse such mindsets and promote an overall awareness of women's worth—not only in rap, but in our society as a whole. For true progression, Baltimore could use more non-digital, cultural discourse within the arts community and The Exchange II showed how much can be learned and shared when we don't harbor our feelings.
Diamond Dixon snapped some amazing photos from the last installment of KAHLON which went down on January 31st at The Crown in Baltimore. Below are shots of Chae Buttah, DonChristian, Abdu Ali, Isabejja, Rip Knoxxx, OCDJ, Mental Jewelry and more!
The next KAHLON is back at The Crown on March 7th with live sets by Juliana Huxtable, Al Rogers, Qiana Kitt, Sunatirene, Abdu Ali + DJ Haram & Precolumbian.
Blastah- Give It Up To Me
More info: http://dotheastralplane.com/2014/09/02/premiere-blastah-give-it-up-to-me/ Follow: @blastahlx @do-the-astral-plane
I constantly have my ears open for unique productions of club music and "Give It Up To Me" grabbed my attention immediately. Located in Lisbon, Portugal, Blastah seems to have created his own personal blend of Baltimore and Jersey club in this track. A classic club beat drives the track while blasting gun shots, bed squeaks, and chopped up vocals accentuate its every unique twist and turn. "Give It Up To Me" has a comforting way of feeling very familiar while feeling so brand new and rejuvenating all at the same time.
Imaabs- Grafito
More info: http://dotheastralplane.com/2014/11/25/premiere-imaabs-graffito/ Follow: @imaabs @traxcouture
"Grafito" is a whole different monster here. It feels very dark and industrial as an ominous whirring and sounds of "machinery" add intriguing textures to the production. Imaabs, of Santiago, Chile, seems to thrive in mystery and darkness here as he blends warehouse techno with the hyperactive stylings of Jersey club music. Techno is usually pretty hit-or-miss for me but I'm so impressed with the way Imaabs expertly integrates that signature bass you'll only hear in Jersey. If you're feelin' this style, you can hear more on Trax Couture World Series Vol. 2.
Sugar Shane- Kill That Bitch (Promnite Remix)
Download mixtape: http://athletixx.club/Athletixx%20All-Stars%20Vol.%201.zip
Sugar Shane's "Kill Da Bitch" in its original form is already a certified club banger, but Promnite's remix elevated the track to critical mass. If Sugar Shane's stinkeye and super sass in "Kill Da Bitch" wasn't enough of a beatdown, New York-based producer Promnite kicked the joint into overdrive. "Kill The Bitch" takes on a future club sound at light speed with hints of vogue, heart-pounding bass, and a pitched-down chant that urges you to "go for the kill".
Major love to everyone who attended our January edition of FLATOUT in Baltimore. Special love goes to Butch Dawson for holding us down and hosting the party and Faded Mob, Exaktly, Abdu Ali, Neuport and Asaad for putting on a crazy show. There's more to come soon so stick with us!
Photos: Diamond Dixon & Megan Lloyd
What up, y'all! It's Stoop Girl here bringing ya the dopest club music I can find on The World Wide Internet. I usually try to keep it really weird and favor artists who thrive in the dark corners of the mainstream, but this week I wanted to show some love to our locals here in Baltimore. Very underrated at times, Baltimore producers are still fighting tooth-and-nail to put our city on the map. But having been all over the place and back again, these guys you'll hear below have a worldwide perspective on club music. They've really got a lot to offer for the future of club music and we're lucky to claim them as our neighbors here in Baltimore.
James Nasty - "Good Perereca"
If you've been following the Upper Cuts series so far, you know we like to put out music to make the clubs just a little bit sweatier. However, this brand new tune by Baltimore club icon James Nasty might just break the scale and cause some serious dancefloor fires as it's one of the heaviest tracks the series has ever seen. And this season has only just begun. While everyone is paying attention to Jersey club, Good Perereca introduces some much-needed B-more vibes into the Global Club Music scene via the Upper Cuts free download series, as local legend James Nasty refreshes this influential style with wicked Brazilian percussion and hypnotic vocal loops to create a dancefloor bomb like few others. If you're looking for ultra fast-paced beats with a ghetto attitude to beef up your next DJ set, then look no further than the latest Upper Cuts anthem by this criminally under-appreciated producer. @jamesnasty www.enchufada.com
What originally attracted me James Nasty's productions was a very apparent love for old school club music—classic breakbeats, what! what! chants, and lots of booty talk. But lately, he's really been looking at club music from a worldwide lens - a perspective that club music has desperately needed to launch it out of Baltimore and into the speakers of the rest of the world.
"Good Perereca", released via Enchufada's Upper Cuts project, is everything that's great about global club music: Brazilian percussion, samples of frog croaks, and that familiar club sound to keep it grounded. It sounds amazingly exotic right from the start—the perfect soundtrack to a hot and sweaty night in the club. I know y'all are gonna act like some wild animals when this shit gets played in the club.
HI$TO- Where Dat Pussy At?
remixed a classic bmore track for 2015..free download FOLLOW ME: sectorzero-zone.com twitter.com/_HISTO IG: HISTOOO
HI$TO flirts with hip-hop and bass music of all kinds so his approach to club music always feels like a well-rounded and complete composition. This track is some nasty shit and if it weren't for all the bed squeaks, sex moans, and a general future vibe to it, "Where Dat Pussy At" would take me back to the days of old school club music. And all that shit was hella freaky too. Let ya freak flag fly with this one.
Debonair Samir - "Drunk"
Off the Whatever Ep Coming in March
When was the last time you heard some new sounds coming from Debonair Samir?! I think the club scene might be ready to hear some new music from the pioneers again. I really dig Samir's manipulation of the classic Baltimore club horns on "Drunk"; they sound a bit warped and when I really think about it, that's probably what it sounds like when you're drunk and wildin' out in the club. Do ya thang. Anyway, I'm more excited to see what Samir's up to in the lab in 2015 and we'll all find out in March when his Whatever EP drops.
2014 saw four new issues of True Laurels and while we wish we could have caught back up with every single artist featured, here's what seven artists from the zine took from this year and how they're going into 2015. Check it!
Butch Dawson (True Laurels Vol. 2)
What was your favorite musical moment from 2014?
My favorite musical moment of 2014 was experiencing my first tour and first time in LA.
Best artist you got put onto?
I got put on to Thundercat this year and I listen to him all the time so he has to be my best artist.
What’s the most valuable lesson you learned this year to carry over to 2015?
I've learned that things are possible for a Baltimore guy like me and for all musicians from Baltimore, and that i shouldn't doubt myself or have a conscience when it comes to taking the next step. I wanna be able to take my confidence into the next year and show myself that I'm capable of doing what I need to do.
Abdu Ali (True Laurels Vol. 1)
You've been very candid online with your take on the structure of our society this year. What's a more fitting explanation: The world's bullshit making you more conscious or is your increased level of consciousness hipping you to the bullshit?
It's a combination of both: me being more conscious/educated on the shade of society and the current events of shade that have taken place as well. Both sort of provoke each other to come about. Also with age comes wisdom. As you get older, if fortunate, you become less blind and your perception of the world you live in starts to become more raw and real.
Something you did that even surprised you this year?
At the last Kahlon, during my performance I got too overwhelmed by the energy and became very emotional and idk. It was an out-of-body experience I had on stage for the first time, it was a lot to deal with. I loved it though. It was like I saw and felt that burning bush, as if "god" came down to me touched me and spoke to me.
3 Essential Do's & Don'ts for DIY touring.
Do: Be vegan. Drink a gallon of water everyday. Sleep as much as possible (fuck going out to sight see and all that). Don't: Eat bad. Smoke or Drink. Don't hold any emotions or feelings in.
Your most valuable takeaway from 2014?
To do the most you can, be uninhabited, and try to stay calm and positive. All three are vital. And try to be healthy as fuck. Drink a gallon of water a day. Try to eat meat once a week or twice. Or never. And vitamins are bullshit. They basically don't work. Most herbal supplements are bullshit because they are cheaply manufactured and can fuck your body up. If anything use raw herbs or powders. Get mad iodine (salt with iodine or from sea plants), b12 (veggies or a high quality b12 product that contains no cyanide), vitamin d (from sunlight or uv light) in your body. FOOD IS THE BEST MEDICINE.
UNIIQU3 (True Laurels Vol. 5)
Overall, club music seemed to have reemerged as a leading genre of interest on the web this year. As an artist in that field, how'd it make you feel?
To see something that we just grew up on grow to be enjoyed and accepted internationally was beyond amazing. It also gave me hope and reassurance that I'm doing something right, as far as my music career goes. Overall it's just a blessing.
You were on the road a lot this year. What was your best and worst touring experience?
This year was my first year being on the road. My best experience would have to be traveling to Australia. It's half ways around the world and it was my first tour! The whole thing was an amazing experience. My worst experience would have to be when I was getting picked up from the airport one time, my driver had the wrong name on the board so I walked around the ground transportation for an hour, but eventually I found him.
5 mixes you really rocked with from 2014?
That's kinda hard, I'm such a music junkie but here you go!
1. Pause FadetoMind :: Kingdom b2b Rizzla b2b Prince Will - Fade to Mind on Rinse FM - 10.9.2014
2. Pelicanfly :: Dj Slow - As The World Turns Slow Chapter 1
4. BEASTONLEASH :: SICH MANG - WARKSTAP FOR TRADER JOE'S MIX P3
5. The FADER FADER Mix: UNIIQU3
What's a non-music-related goal you have for 2015?
I really want to be the best version of Cherise I can be, and I'm well on my way there.
B L A C K I E (True Laurels Vol. 2)
You've been a fighter through your music since Day 1. Has this year's heightened exposure to police killing black men added more fuel to your fire?
Not really. Not at all. I'm focusing on making sure my family is living good and all that outside of music. That's the first & only real battle. I got a black child. Fuck the police state. Fuck these tyrants.
Something you HAVE to get better at in 2015.
I want to get better at maintaining my own personal solitude. Kick all the fakes, flakes and mistakes to the dumpster.
Something new you learned about yourself this year?
This year I learned I can move on in my life and not let anyone (even myself) restrain me.
Three albums that got the most spins from you in 2014?
Ola Playa - Slime Season
Blunt Fang - 777 #1 Hits
Deftones - White Pony
Chrissy Vasquez (True Laurels Vol. 4)
What was your biggest challenge of 2014?
My biggest challenge in 2014 was going to summer school and going on the Freakshow Tour. I had to wake up early in the a.m for a straight month and ride my Huffy bike to school while going out of town on weekends, coming back to school exhausted and not ready to pass some days. In general, it's hard trying to level out school and performing. It's like, "Okay do I take this chance and be half sleep in the morning while the school bus is 20 minutes away?" and I always did it. To be able to express is a blessing.
What artists did you listen to the most this year?
Artists I listen to the most: Nas. 2Pac, Crystal Castles, Andre 3000, A Tribe Called Quest, Michael Jackson, Erykah Badu. Can't forget the good bike rides listening to Earl Sweatshirt. I listen to tons of artist and tons of genres. So it's not as if I listen to the same people everyday.
You're always carrying around a gallon of water. What health tips can you lend us going into next year?
Yes. I try my best to drink a gallon of water a day. Your body and my body needs water. I've transitioned from a vegetarian to a vegan, it being a full year now. I'm not saying in order to be healthy you have to drop the meat and lift the veggies...however, that would be a good option. I recommend everyone to eat many servings of vegetables and fruit a day. It's many fun things you can do with your food to make a healthy lifestyle not so bland. I enjoy making a good vegan meal with a spot of green tea. Sip it, it's good for you and very relaxing. Everyone should have up to 2 spots of tea a day. For my protein I like to eat beans and eat tree nuts...and digging my finger in the peanut butter jar. Be optimistic when it comes to having a colorful diet. Broccoli is your friend. Pineapples love you. Always remember that you can either look at your body as a trash can or a temple, and that what you eat on a daily basis can either better you or harm you in the long run.
Was there anything you read that changed your perspective?
I'm in the process of reading "Think and Grow Rich" by Napoleon Hill. To sum it up, it talks a lot about the mental and how you can think positively and act on your goals, pushing them to your full potential. Most of the people who are successful now is because it took hard work and a smooth thought process. You can do anything you desire as long as you strive for it. In the book he talks about successful people and situations where a blockage may come into your life and you just have to bite your way through it. I'm not going to summarize the entire book, but here's something I underlined: "Tolerance and an open mind are practical necessities for the dreamer of today. Those who are afraid of new ideas are doomed before they start."
Hi$to (True Laurels Vol. 3)
With some of your peers being featured in both Boiler Room's Baltimore and Jersey club episodes, how were you affected? Were you motivated?
I was definitely moved and more confident in being next. I've payed attention to these people for years prior to moving to Baltimore and I get respect from most of them featured in both episodes. I have a few joints with TT The Artist, a remix I'm working on for James Nasty, and I'm working on a beat I want UNIIQU3 to hop on for my next tape. I met Sliink again around this time last year and talked to him about working before but he was touring heavy over seas after that. One day.
What there a moment this year that made you really miss Houston?
Not really but I say that because I spent three months in Houston over the summer. But if there was a moment, it was definitely SXSW. I missed out on it this year and I usually kick it in H-town before I go to Austin.
Did you develop any new musical routines during the year?
I've been practicing new scratch techniques on the turntables. I learned a personal technique where I can knock out remixes within a day. And I'm currently working on fusing visuals I create with my sounds right now for my short film dropping next year.
Four tracks that never left your rotation in 2014?
That's kinda hard but my favorites I mostly play are:
Lakim- "Rent4"
iLoveMakonnen - "Don't Sell Molly"
DJ Rashad - "Do It Again"
HI$TO & Gianni Lee - "Shake"
Asaad (True Laurels Vol. 2)
What's your proudest moment of 2014?
The entire 2014. The fact that I stopped lying.
You were on the road with Ab-Soul for the These Days Tour. Your three favorite stops and why?
Chicago because I like the thrill. Toronto because I'm Drake there lol. Madison, Wisconsin was a great vibe.
I saw online you were talking about getting your health right this year. What was your method?
I rid the lying, rid the stress, told the truth and got some rest.
Your 5 favorite tracks from the year?
Lil Mouse- Don't Get Smoked
Asaad- Blue Note Entendre
Pharrell- Gust Of Wind
Rick Ross Feat. Yo Gotti- Trap Luv
Chief Keef- Faneto
1. Nicki Minaj- Lookin Ass
2. FKA Twigs- Two Weeks
3. B L A C K I E- Wings Blocking Out The Sun
4. D.R.A.M.- Never Again
5. Kelela- The High
6. Shy Glizzy- Coca Loca (Feat. Zed Zilla)
7. Jay Electronica- Better In Tune w/ The Infinite (Feat. LaTonya Givens)
8. Cities Aviv- (Self 100): Know Who You Are
9. Abdu Ali- Shiva
10. Freddie Gibbs- Real
11. Vince Staples- Nate (Feat. James Fauntleroy)
12. Run The Jewels- Early (Feat. Boots)
13. Asaad- In Tha Black Sand
14. Lor Scoota- Bird Flu Remix (Feat. Shy Glizzy)
15. Greedy- All My Niggaz (Feat. Kortaz & Coach B)
16. Azealia Banks- Ice Princess
17. Young Thug & Metro Boomin- The Blanguage
18. Drake- Days In The East
19. Skepta & Wiki- That’s Not Me
20. Lil Wayne- D’usse
21. Rich Gang- Givenchy
22. SZA- Childs Play (Feat. Chance The Rapper)
23. Butch Dawson- Red Leather Chair
24. Tkay Maidza- Switch Lanes
25. Willow Smith- Female Energy: Freestyle
26. Young Moose- Dumb Dumb (Feat. Bigger Vales)
27. Rae Sremmurd- No Type
28. Mykki Blanco- Baby’s Got Big Plans
29. Jungle Pussy- Satisfaction Guaranteed
30. D’Angelo- Ain’t That Easy
31. DonChristian- Clerk
32. JuegoTheNinety- Lost
33. Migos- Story I Tell
34. Theophilus London- Water Me (Feat. Leon Ware)
35. Doe B- I Remember
36. Arca- Xen
37. Boosie Bad Azz- O Lord
38. Ratking- Canal
39. Isaiah Rashad- R.I.P. Kevin Miller
40. Jeezy- ¼ Block
41. PartyNextDoor- Options
42. Buffa7o- Lango
43. Gucci Mane & Chief Keef- Semi On Em
44. Chiffon- Milk & Marble
45. Cashy- Da Kid
46. Dola- Unresponsive
47. Travi$ Scott- Drugs You Should Try It
48. 2$ Fabo- My Planet
49. ZelooperZ- Plateau
50. Abhi/Dijon- Honest
BMORE OBVIOUS : Baltimore Club Take Over Promo Mix Mixed by .rar Kelly, of Normaling "57 Minutes. 4 Decks. Nothing Was Planned. Just Played." Tracklist: Mike Jay - It’s Going Down in Baltimore Scottie B & King Tutt - African Chant Thunderbird Juicebox - The Quickness Blunted Dummies - House For All Blunted Dummies - House For All (KW Griff Edit) James Nasty - Back It Up 2.0 KW Griff - Phil Collins DJ Say Wut - Hey Hey James Nasty - My Body (Dub Mix) Emynd - Nowhere To Run TT the Artist - New New A Dub - Big Girl Anthem DJ Dizzy - Hands On The Ground Schwarz feat. TT the Artist - 12 O’Clock Boyz Booman & KW Griff - Pick Em Up (Oh Snap!! Remix) Grz - Uber DJ Dizzy - Charlie Brown Emynd - Hangin On Dane Ierna & Vices - Beatin' Down The Block Steve Starks - Git Em Murder Mark & Mike-Mike - Cherry Hill And Down Ya Block (Instrumental) Azealia Banks - 212 (Thunderbird Juicebox Remix) Bobby Shmurda - HOT NI%#A (Booman Remix) DJ Technics - Throw Ya Handz Rod Lee - Hollaback (Tony Quattro x Cliff Muh Headly's Edit) KW Griff - Pork & Swift Murder Mark feat. TT the Artist - Get Low DJ Technics - Everything (Beatdown Mix) TT The Artist feat DDm - Elevator (Thunderbird Juicebox Remix) Chavy Boys (Scottie B / Shawn Caesar / King Tutt) Feat. Jon Kwest - Wet DDm - Come Thru (Mighty Mark Remix) Astronomar - Look At Her Butt (Samir’s Horn Mix) DJ Sega - My Girl’s Orgasm (The Diva Dance) Swick feat. TT the Artist & Lewis Cancut - Dat A Freak Double Duchess - Girl Girl Freak Out (Normaling Remix) R. Kelly - Bump & Grind (.rar Kelly’s Bodymore Tellin’ Me Yes Edit)
Over the weekend, Pittsburgh enjoyed all the "Think"-breaks, gunshot samples, and grimy vulgarities that Baltimore club music has to offer. Sharing is caring and if other cities want to hear what we have to say (and man, do we have a lot on our minds), who are we to deny them the pleasure? So Pittsburgh promoter, Obvious, hosted an array of Baltimore club producers spanning multiple generations of the sound, including Scottie B, TT The Artist, Mighty Mark, Normaling, DDm, and Thunderbird Juicebox, for the ultimate post-Thanksgiving shake off.
To celebrate Baltimore's invasion into Pittsburgh, our own .rar Kelly mixed a proper hour-long Baltimore club set to prepare the city for what was to come. You might know .rar Kelly from his work with DJ Lemz in their Baltimore-based production duo, Normaling, in which they create their own interpretation of Baltimore club music that sounds a lot like future club met dark techno on the fashion runway. The sound is so personal and genuine - there really is nothing else that sounds like it right now and that's what makes it incredible.
.rar Kelly said this mix was a totally spontaneous creation. Nothing was planned - he just worked the decks the best way he knows how and I just can't get over how one hour perfectly encapsulated his main ideas about club music. First, that club music should be shared with everyone who is willing to listen - even those outside of our respective city lines - so that's why you'll hear Philly artists, like Emynd, and DJ Sega, naturally sharing space with Baltimore's myriad of club producers on this mix (Share the wealth!).
Second, this whole club movement works best when the original pioneers mingle with the up-and-coming generation of artists. Baltimore club is constantly evolving but it doesn't start and end with one producer's arbitrarily defined hey-day. Magic happens when the first generation of club music is engaged with current club producers and contemporary artists. This is evident with Booman remixing Bobby Shmurda and Samir remixing Astronomar. Club music is truly more interesting, complex, and engaging when it's generational.
And third, everybody has a voice here. Before the show, .rar Kelly told Pittsburgh City Paper that "Baltimore club music is one of the most authentic, regional sounds in America, period." As a city, it's hard to deny that this sound is so uniquely us - yet exclusivity will only hold us back. We're all in this together now. So you'll hear OG pioneers like Scottie B, KW Griff, and DJ Technics harmoniously mixed in with today's current favorites like Mighty Mark, James Nasty, and TT The Artist, along with up-and-coming producers you might not be familiar with yet, like Thunderbird Juicebox, DJ Dizzy, and Grz. This special sound that we're nurturing belongs to all of us.
Club music just never ceases to amaze me. This mix proudly showcases the unique interpretations of each producer and the amazing evolution the sound has taken so far. In fact, this would be a great way to introduce a new fan of Baltimore club to the depth of its culture by moving past the hits and straight to the underground that drives the movement forward.
Tracklist:
Mike Jay - It’s Going Down in Baltimore
Scottie B & King Tutt - African Chant
Thunderbird Juicebox - The Quickness
Blunted Dummies - House For All
Blunted Dummies - House For All (KW Griff Edit)
James Nasty - Back It Up 2.0
KW Griff - Phil Collins
DJ Say Wut - Hey Hey
James Nasty - My Body (Dub Mix)
Emynd - Nowhere To Run
TT the Artist - New New
A Dub - Big Girl Anthem
DJ Dizzy - Hands On The Ground
Schwarz feat. TT the Artist - 12 O’Clock Boyz
Booman & KW Griff - Pick Em Up (Oh Snap!! Remix)
Grz - Uber
DJ Dizzy - Charlie Brown
Emynd - Hangin On
Dane Ierna & Vices - Beatin' Down The Block
Steve Starks - Git Em
Murder Mark & Mike-Mike - Cherry Hill And Down Ya Block (Instrumental)
Azealia Banks - 212 (Thunderbird Juicebox Remix)
Bobby Shmurda - HOT NI%#A (Booman Remix)
DJ Technics - Throw Ya Handz
Rod Lee - Hollaback (Tony Quattro x Cliff Muh Headly's Edit)
KW Griff - Pork & Swift
Murder Mark feat. TT the Artist - Get Low
DJ Technics - Everything (Beatdown Mix)
TT The Artist feat DDm - Elevator (Thunderbird Juicebox Remix)
Chavy Boys (Scottie B / Shawn Caesar / King Tutt) Feat. Jon Kwest - Wet
DDm - Come Thru (Mighty Mark Remix)
Astronomar - Look At Her Butt (Samir’s Horn Mix)
DJ Sega - My Girl’s Orgasm (The Diva Dance)
Swick feat. TT the Artist & Lewis Cancut - Dat A Freak
Double Duchess - Girl Girl Freak Out (Normaling Remix)
R. Kelly - Bump & Grind (.rar Kelly’s Bodymore Tellin’ Me Yes Edit)
What up! It's stoopgirl and I'm back for another week of Pick 'Em Up! I really hope you heard something new from the tracks in the very first post from last week. This week we're traveling the world with club music and we're starting right in our very own backyard.
Juicy J - Low (Mighty Mark & DJ K-Spin Remix
Juicy J- Low(Mighty Mark and Dj K-Spin) remix #Bmore
I just can't get over all the vibes Mighty Mark and DJ K-Spin are incorporating in this brooding club remix of Juicy J's "Low". It boasts a hyperactive breakbeat but a dark, future club vibe to it that makes it sound really complex. Baltimore residents Mighty Mark and DJ K-Spin sample only the essential parts of Juicy J's "Low" to make this more of an original production instead of a run-of-the-mill remix. "My beat low/My bass low/I ride low/She go low," pitched down so low that you can't help but to sport a serious stank face. They even cut into a sample of Ludacris' "How Low Can You Go" to bring the whole theme full circle and make this track one that the ladies won't be able to resist in the club.
DJ Tuco - "Sweet Talk"
Upon my first listen of "Sweet Talk", I totally thought the producer was gonna be some old head from Baltimore with a really solid appreciation of both Baltimore club music and R&B. I was so, so, so wrong here. DJ Tuco kicked off his career in London, explored the world, and then set up shop in Prague. So yeah, some producer in Czech Republic is making Baltimore club music and it's fucking classic. Sampling one of my not-so-guilty-pleasures, "Heard It All Before" by Sunshine Anderson, DJ Tuco embraces the classic breakbeat of Baltimore club but goes heavy with the synths, bringing it right back to 2014. I love how many audiences "Sweet Talk" could potentially appeal to: club heads, dance music fans, and ladies who are mad at their boyfriends. I think it's a win-win situation for everybody on this dance floor tonight.
Lucid - "Heartagram"
Proud to announce my EP "Heartagram" is out NOW itunes.apple.com/au/album/id934340219 Werk Wit It Lucidsdreamy – Lucid-werk-wit-it
I'm not usually a huge fan of festival tunes but I found "Heartagram" by Lucid to be especially intriguing when I heard its nod to the high energy and rapid pace of Jersey club music. The Melbourne-based producer has created quite a niche for himself within big room dance music and exactly how he melded the two genres together on "Heartagram" has a unique way of meeting both genres right down the middle - making Jersey feel a little bigger and a festival feel a little more intimate. I'm actually curious if Lucid found any inspiration from his label-mate and proud New Jersey resident, Nadus, for this track (both artists are members of the Belgian-based record label, Pelican Fly). "Heartagram" is the title-track for an EP that Lucid released last week, so if you're into this kind of sound, feel free to check out the other three tracks.
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Last month, True Laurels presented FLAT OUT with performances by D.R.A.M., Greedy and Sadaf, with music by Potionz and DJ Dizzy. Time Spent came through to capture some footage of the performances and I got to catch up with some of the acts as they were finishing up sets or just getting ready to go on. Check it out and stay tuned for the party's next installment!
I remember being in middle school, listening to 92Q, and recording Baltimore Club classics onto cassettes from artists like Rod Lee, Ms. Tony, and of course Scottie B. I was a half-white/half-Panamanian girl living in the suburbs while all my friends were bumpin' Backstreet Boys and Linkin Park so of course I was the fucking oddball in the crew. And it's not that I wasn't interested in that kind of music, but it's always been Baltimore club that has stuck by me even when I went through weird musical phases of my life, like that one time in high school I was really into trance music and that other time I couldn't stop listening to ska. UGH. For me, Baltimore club music was never a phase. It's one of the only genres of music that consistently moved me. I just have a pure, unwavering love for club music of all shapes, sizes, and wavelengths.
So, hey, I'm Casey (also known as @stoopgirl on Twitter) and welcome to a brand new series on True Laurels, "Pick Em Up", that will explore all avenues of club music. When I'm not here kickin' it with Lawrence and his truly exceptional zine, you can find me over at my own blog,Cool Breezy. Anyway, let's go:
Swagson- Bring It Back Up
Lately, I’ve been trying to tackle the question of whether an artist has to physically reside in the city of Baltimore to make proper Baltimore club music. Are they truly capable of translating the very tangible aggression of these city streets into gritty, raunchy club music? The answer remains inconclusive, but Baltimore club music can feel very exclusive sometimes. However, I discovered an incredible exception to the rule with Swagson’s “Bring It Back Up”. I mean, wow. The horns are blowin’, our signature what!s are expertly sprinkled within, and engaging vocals from Baltimore’s very own Rye Rye are sampled masterfully from her hit, “Shake It To The Ground”.
Would you even believe me if I told you that Swagson is based out of Germany? Apparently Swagson is a part of a crew called REALMSIX, an anonymous collective of producers making electronic club music from every corner of the world. But I swear I can hear this shit bumpin’ right out of the cracks of the sidewalks on North Ave. So, believe it, man. I’m 100% fucking with it. So maybe you gotta be from Baltimore to make authentic club music; maybe you don’t. I’ll let you decide.
Kilbourne- Jellybeans
This one will rattle the damn bones out of your skin. You should really prepare yourself for “Jellybeans” from Kilbourne’s latest EP, Satisfaction. In typical Jersey club fashion, “Jellybeans” borders daringly on sensory overload with alarming sirens, repetitive what!s, and gunshots galore – but I love every second of it. For me, “Jellybeans” stands out amongst a lot of other Jersey club that tends to become a blur after a while. It sounds clean, not distorted, and I can pick out every intricate sound within the production. And it’s fucking fast – music that is bound to move every wallflower out onto the dance floor in the club. Fresh off the Motivational Tour with Baltimore’s own Abdu Ali and Schwarz, Kilbourne is definitely someone you wanna keep up with.
DJ Juwan- Dance Sing
#BmoreClub www.DjJuwan.Bandcamp.com Follow me on Twitter @DJJUWAN www.Facebook.com/DjJuwan www.Mixcloud.com/DjJuwan Email: Jmelvin222@Gmail.com
It’s back to basics with DJ Juwan. To be honest, I don’t know too much about this guy. I heard he’s from Baltimore and he’s only like, fifteen years old. But I’ve never seen an actual picture of his face so who really knows. It’s very mysterious to me. But what I do know is that he has fully embraced the classic sound of Baltimore club music. For real though, his productions sound like they were made back in the 90s during the heyday of Baltimore club music. Case in point here with “Dance Sing” in which DJ Juwan structures the song around the classic Baltimore club break beat and introduces a vocal sample every now and again. (By the way – does anybody know where this sample comes from? I know Cajmere used it in “Do Dat Dance” from 1991’s Underground Goodies Vol. II, but it’s killing me not to know more). Anyway, it’s very minimal and that’s what I love about it. Today, it’s very easy to get carried away with an abundance of samples and textures in music but sometimes it’s the simple beats that get us moving.
A little after his powerful performance at FLAT OUT, Baltimore's Greedy linked up with Time Spent to spit an a cappella verse on The Crown's ground floor with some help from his supporters. Peep the footage above and check timespent.biz to catch more videos.
During FLAT OUT, our people from Time Spent captured live footage of the show and managed to squeeze in a few acts for their series of a capella rap sessions. Before everything got going, they linked up with D.R.A.M. for the most soulful segment they've ever got on tape as he strolled through The Crown harmonizing. Peep the footage above!
Visit timespent.biz to catch more videos.
Photo: Ben Cooper
Something is brewing in Baltimore. I know I'm probably the millionth person to say that and I'm not even sure what is actually brewing but, there is something. I can feel it...? Before the past few years, there were two things you were getting from black artists in the city: club music and street rap. That's not a complaint, though; both are still my favorite kinds of music but now there is some form of variety. We badly needed that. Artists like Lor Scoota, Young Moose and Greedy are holding the streets down with their music. TT The Artist, Matic808, DJ Dizzy, Mighty Mark and Angel Baby are doing right by club music. Abdu Ali is doing his best to fuse all of those energies. And with Llamadon and 7th Floor Villains—interchangeable collectives forging a scene with experimental shoot-offs of rap—Butch Dawson, Dylijens, Buffa7o and Black Zheep DZ have a concrete following.
Zheep has proven to be the most ambitious of Llamadon's camp. He's dropped four projects in the past three years and while his artistic progression didn't seem so evident to me most of those times, his latest effort, 8th World, shows him in a more authoritative role when it comes to developing a sound and stringing together tangible narratives. Recently, I had the chance to chat with him about the making of 8th World, where he sees himself as an artist and if he's sharing enough of himself with his audience. Read up!
Right off, I noticed that 8th World is much more melodic in its production than any of your previous work. Is that indicative of the style you wanna go forward with or was it specific to this project?
That’s kind of what I was going for with progressing my sound and the sound for the project. I have more shit that sounds soulful now but that was my aim.
What was the concept behind 8th World when you named the project?
It was kind of an idea behind the seven wonders of the world. It was always a question about what the eighth wonder is and as a standout figure from Baltimore, which is a standout city, I felt like making that my eighth wonder. It's a place that a lot of people don’t get to see. They're on the outside looking in. I just wanted to show people a different perspective of it--even people who're from here. I know it's a different sound than what other people make. That's why it's called 8th World.
How do you know when you've heard the right beat to rap over? Are you in the studio with producers or are you less hands-on with it?
A couple people sent me their beats but 80% of the project was me sitting down with producers and creating with them. I was telling a lot of producers what I wanted. Like Radical the Kid was hands-on, Teklun was hands-on, Eu-IV hands-on. They knew how to sync their signature sounds with mine.
On "Mine" with D.R.A.M., you go over your hustle and desire to keep pushing through. Being on the local scene for the past few years, how do you feel about your own progression and the scene's?
I feel like it’s been moving. Just like the song says, “Ain’t nothing stopping me.” A lot of people on the local scene might not know about me and some people do but it's coming back around because other cities starting to show more love now so they're starting to see what it is.
With the scene, you got people that are in different lanes. That's hard. Everybody gets to focus on a different sound and they're not going for the same thing. It's definitely diverse and I'm happy for this shit. Everybody has their own keys to open the door, you know?
http://www.blackzheepdz.com/
A lot of people don't know that Tim Trees--one of the few locally big rappers we had in Baltimore growing up--is your brother-in-law. Has he given you any useful advice that you've been able to apply to how you're moving?
Yeah he gives me a lot of advice and helps me a lot. Like every time I talk to him he'll help out. He just keeps my head on straight and lets me know that it’s a lot of fuck shit out here so just watch out for it. He helps me with distribution. But it's a lot of personal advice and music advice. Basically just "stay doing you" and don't let nobody stop that.
On "6th Sense" you mentioned that waiting too late to realize that you're not seeing life clear is a fear of yours. Can you elaborate on that. What's cloudy for you right now?
I feel like I’m seeing clear but sometimes when you’re so focused on something, it's still people looking from the outside. I've had this happen to me before. Like I’ve had my mother and father look at me when I first started rapping like, “This nigga crazy. Everybody raps." They looked at me like I wasn't seeing life clearly and in the song I was saying, "what if I wait too late to realize that?" But I feel like I’m not though. I feel like I'm gonna accomplish what I'm going for. I was just saying “what if” because that's how it's always been with that.
If you had to pinpoint one thing you need improvement on, what would that be?
I don't think it's lyrics. I definitely need to keep progressing on my sound. It's no so much about lyrics now because I think I'm a good lyricist. I'm not at my best--nobody is. It's always room for improvement.
As a listener, I always long for more transparency from rappers. Do you feel like you're as revealing as you could be about who you are?
Yeah. I feel like I’m revealing enough for the time. I do that on purpose because you gotta leave some mystery behind it. We progressing everyday so I don't wanna lay everything on the table. It's definitely more shit to be heard, trust me. I'm far from where I wanna be and I'm revealing just enough so as the time goes, my story gonna unravel. I'm writing my book, you know?
http://www.blackzheepdz.com/
One of 8th World's bonuses, "Mr. Slick", is a collaboration between you and Matic808. It seems like a no-brainer to me. Even Tim Trees had a whole album produced by Rod Lee. Why do you think there isn't more exchanging between club artists and rappers in Baltimore?
It’s crazy. I think it’s so hard for Baltimore rappers to work with club producers because we so used to the sound. We always heard it at parties so it's hard to embrace it. We really grew up on it and I fuck with club music so I like to embrace it. I'm not one of the people running away from it just because it's from my city or it's old. You can always mix old with the new.
Do you think if more club producers and rappers worked together more, it would help develop a more-defined sound for Baltimore rap? Because there still isn’t one.
Hell yeah. I think that shit would definitely help a lot because a lot of people love club music, hands down. And some club producers know how to make hip-hop shit too. If they work together it would definitely help blow the spot up.
What do you want people to get out of your music?
I wanna make people feel good, for real. That soulful shit that you can just take in. I don’t want it to be just one message. I wanna be the messenger and tell people shit that they can listen to when they need to get through something.
You’re one of the best local artists when it comes to branching out and working with people outside of the city. Do you think that’s something that Baltimore artists are hesitant to do and what do you take away from branching out?
I think a lot of artists lack the reaching out thing because of where we’re from; that’s kind of how it is. Niggas don’t like to talk and people be anti-social. I learned skills like that from traveling and from my peoples. It’s nothing wrong with connecting; shit happens like that. You can't walk around being anti-social all day. Being social helped me a lot. It helped me make connections I never that I would make. All I can say is that I'll keep on doing that. It's not like I try; it's just instilled in me. Everywhere I go I'm gonna be a people-person.
How is being a part of Llamadon and 7th Floor Villains helping you as an artist at this point?
As an artist, it’s helping me stay grounded. We talk about shit and plan shit. We're pretty much running it more like a label than a collective. We got these individual artists and we all have plans so we try helping each other execute. So it's definitely helping me as an artist and helping us build a brand--as a whole and separately. So aside from 7th Floor Villains the brand name, niggas are actually my homeboys. It's just a genuine feeling and we get to build with each other, progress and make each other better everyday.
http://www.blackzheepdz.com/
Hear 8th World on Black Zheep DZ's Sound Cloud.
Back in July, I was standing in Hour Haus amongst a crowd of people watching local rapper Al Rogers perform at the annual Rapscape festival. In the middle of his performance he shouted out Eze Jackson, another local rapper who was there as a spectator, for being a long-running member of Baltimore’s rap community and an inspiration to his musical career. A similar situation happened the previous day at Play Hookah Lounge during a show where rapper, The Boy Blesst, saluted Skarr Akbar for his years of contribution to the Baltimore music scene.
Two months later, I posted a status to my Facebook page about how disappointed I was by the poor organization of an event called “New Baltimore”, resulting in backlash from both the older and younger generation of rappers. The event was held in an unbearably hot DIY space with most of the artists rapping over recorded tracks and lacking stage presence. Half of the artists I paid my money to see left before the show really began because of the chaos. Older artists in the Facebook conversation claimed that there wasn’t a need for a “New Baltimore” and discredited the newer artists’ movement, while the younger ones criticized the old heads for not being supportive enough of their hard work. The title “New Baltimore” had already been a touchy topic in the artist community because of the preexisting sensitivity to the issue of ageism in rap music. However, the generational divide only seemed to get worse with this incident.
At 26 years old, I feel like I am stuck between a generation of 20-somethings and 40-somethings in Baltimore that both perpetuate this concept of ageism because they have opposing views of what rap culture should be. When interacting with the rap scene I tend to flock to the middle aged and older crowd for several reasons: As a blogger just starting out two years ago, I would frequent the local venue, Nowchild Soundstage, where this crowd mostly dwelled. As a mentee, I came up under radio personality, Civ Jones, who is more invested in the older generation of rappers and those rappers seemed more interested in my blog--contributing their music to my site for exposure. The “New Baltimore” just didn’t seem as concerned about it. But, while I respect “Old Baltimore” for their wisdom and appreciation of media, I also respect the new scene for their innovation, drive, and “do it yourself” method of getting things done. Without much help from media, these artists have a solid following and quality turn outs for their events. Unfortunately, what exists between the two groups is an underlying tension instead of a complement of each other’s work to further the cultivation of today’s music.
I was having a conversation with someone who felt that the older generation should be the one to reach out to younger people, given that they are the elders in the community. In my mind, I had to agree, especially when I find that many of my older rap friends are unaware of whom many of the popular new artists are when I mention them. If I bring up a Rickie Jacobs or a Soduh in a conversation, I immediately get a blank stare followed by a, “Who’s that?” Dylan Sullivan-Ubaldo, creator of the Llamadon collective that coordinates a lot of events for new artists in the city, shares the same sentiments: “I think that older people will always doubt the abilities of younger people,” he says. “That’s why it’s important for young artists to create their own outlets. There are some older cats in the city offering resources to younger artists, but they’re few and far between. There’s definitely a disconnect.”
Older artists may feel like they have done what the newer ones are doing ten-fold and feel less included when they aren’t able to lend their expertise, but they also have a sense of entitlement that discredits their efforts too, which can give off a sense of jealousy or haughtiness when their views are expressed. Although not everything was done right at New Baltimore, there have been plenty of events coordinated by vet emcees that were far from perfect: a bill full of unknown acts that lack creative delivery on stage, lyrical content lacking substance in their work, and ultimately a stale showcase of emcees being sold.
On the other hand, young people like me can be very oblivious to the years of labor put in by the older generation of our culture, sometimes disregarding it, which can be like a slap in the face for them. For example, younger rappers now have the advantage of social media to extend their reach to a broader audience, whereas older rappers had to work harder to get their music heard: hitting the streets with CDs, having face-to-face interaction with people in order to network, not having a space on the internet like Youtube or a personal website that can host and archive their bodies of work.
Jimmie Thomas, co-founder of the international hip-hop blog, Curators of Hip Hop, has witnessed the same issue of ageism in his hometown of Tallahassee, Florida. He mentioned that while ageism exists, their seasoned emcees help tutor the younger ones and collaborate on songs. Still, some young artists feel like they have all of the answers and want to do their own thing.
“We had a good monthly event going called The Renaissance Movement where a seasoned group headed it up for us putting on a show each month at the same location with new artists each time,” Thomas says. “A younger artist felt that they should have been in charge of the show and basically caused drama, which got personal and ended up causing a conflict in the scene. The showcase is no longer taking place because of it and it's unfortunate. Ego is the biggest downfall--be it young or old.
In my opinion, both parties could do a better job of communicating with one another to become more open-minded. Granted, the older crowd will not always be willing to listen to today’s style of rap or go to crowded shows, and not every young person is going to desire attending a boom-bap rap showcase. While both ends are understandable, reaching out wouldn’t hurt. Even if it’s just to show support.
-Janae Griffin
This past weekend was the second installment of our FLAT OUT party. The Crown was packed with people who came out to let loose and hear great music from some of our favorite underground artists doing it right now. Thanks to everyone who came out to support and have a good time! Special thanks to Potionz, Greedy, Sadaf, DJ Dizzy and D.R.A.M. for all giving super live and passionate performances. The energy was crazy and already has me anticipating the reaction to the next party. For now, take a look at some performance shots by Diamond Dixon and others by Mike Edmonds!
