#Byrd gang

[alazarrr]

Max Biggavelli…

[rebouks]

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Courtney: Take a right here. Oscar: Absolutely not. Courtney: C’mon! I have an idea. Oscar: Getting arrested for kidnapping is a terrible idea. [Oscar rolled his eyes as Courtney grinned and raised her hand threateningly; snorting, he threw the indicator on and pulled over with acquiescence, lest she get any ideas and grab the steering wheel herself] … Courtney: Is Levi ready? Nadia: For? Courtney: Camping. Nadia: He’s not going. Courtney: Oh-.. we’ve already booked a spot for him. Nadia: Hm. Courtney: It’d be easier if he were out of your hair for a week though-.. right? [Nadia squinted at the slightly unkempt woman before her; she was clearly mistaken in her previous assumptions that Courtney was a simple, feebleminded housewife] Nadia: Don’t take me for a fool. Courtney: Alright, what’s it gonna be then? Nadia: LEVI! Nadia: Do you want to go camping with these.. people? Levi: I thought you said-… Nadia: Do. You. Want. To. Go? … Nadia: That was quick-.. you won’t bring any bad habits back, will you? Levi: I’ll try not to. Nadia: I’ll miss you, sweetheart. [Levi clenched his bag tightly and ignored his mother’s outstretched arms, knowing full well they’d remain firmly plastered to her waist were there not a car full of Finch’s right next to them] Levi: Hey-.. scootch over, losers. Ava: Hi, Levi’s mommy! [Levi shut the door before Nadia could respond, catching naught but a glimpse of her upturned nose as Oscar sped off]

[newplaces2drown]

Guru and Donald Byrd

[thelongstrangedrivehome2]

the nineteenth of october twenty twenty-three

T. Rex - Bang a Gong

Tom Waits - Strange Weather

David Bowie - Under Pressure (Live 2004)

John Lennon - Imagine

Gang of Four - What We All Want

Cher - Like a Rolling Stone

Lady gaga - Babylon

Dar Williams - Highway Patrolman

Thelma Houston - Piano Man

The Buzzcocks - I Don't Know What To Do With My Life

CSS - Rat is Dead

Lou Reed - I'm Waiting For The Man

Sleater-Kinney - Get Up

Neil Young - This land Is Your Land

Stevie Wonder - You Are The Sunshine Of My Life

The Dead Weather - New Pony

Space Waltz - Out On The Streets

Neko Case - People Got A Lotta Nerve

Robyn Hitchcock - Madonna Of The Wasps

The Byrds - Positively Fourth Street

David Bowie - Rock 'n' roll Suicide

Against Me! - True Trans Rebel Soul

Curtis Mayfield - Readings in Astrology

Hole - Jennifer's Body

The Hollies - Long Cool Woman In A Black Dress

The Clash - The Card Cheat

Gorillaz - Dirty Harry

Suzi Quatro - Your Mama Won't Like Me

The Cramps - Primitive

[gerogerigaogaigar]

Curtis Mayfield - Curtis

The sprawling funk/soul explorations of Curtis Mayfield display a masterful talent for bombastic arrangements and biting political commentary. The calls for unity are par for the course when it comes to 70s funk, but rather than the both sides-ism of Sly And The Family Stone, Mayfield would like to remind us that we're all gonna fucking die if we don't work together. As for the music, the lush horns, frenetic percussion, frequent harp parts, and aspects of psychedelia make for an incredibly unique album, especially for it's time.

The Byrds - Sweetheart Of The Rodeo

Gram Parsons wanted country rock to be a thing so bad. He was willing to completely overhaul half the personnel of his band and tank their careers just so he could have his country album. Sweetheart Of The Rodeo has been severely vindicated by history considering how big of a genre country rock wound up being in the 70s and all the conservatives who got mad that long haired hippies were ruining their music can suck it. The album consists almost entirely of covers including artists like The Louvin Brothers, Merle Haggard, and Woody Guthrie. It feels very authentic. Acoustic guitar, fiddle, pedal steel, and honky tonk piano abound as Parsons croons over some decidedly non hippie country songs. It's clear they're being a little cheeky when they do The Louvin Brothers' song The Christian Life after all.

Gang Of Four - Entertainment!

What's better than angular, funky, post punk? Angular, funk, Communist post punk obviously! Frustrations about commodity fetishism make up like half of this albums lyrical content. But beyond just the politics the music is also revolutionary. The jittery guitars are matched by punchy drums and staccato singing. It's disorienting, it's angry, it's hugely influential. Come join the proletariat dance party.

Velvet Underground - White Light/White Heat

This album is completely feral. Half the songs are about people dying horrifically and there's a seventeen minute jam describing an orgy. No joke for real content warning ⚠️ this album features a very stark and realistic portrayal of how trans people were treated back in the 60s. We have to talk about Lady Godiva's Operation. It's a song about a transgender woman dying in the operating table due to a botched lobotomy. It's brutal and has always been one of the only songs that really scares me. The song's attitude is intensely sympathetic to it's subject, the only hint of Lady Godiva's trans status is one line were a doctor misgenders her and the fact that she was going in for a lobotomy at all (by the 60s they were mainly reserved for gay men and trans women). The humanity of the character in the first half of the song versus the indifference of the doctors in the latter half is an incredibly succinct condemnation of how society treated queer people at the time. ⚠️ Ok content warning over y'all can open your eyes again. Putting the subject matter aside White Light/White Heat is musically unhinged. The guitars are so scrungy and fuzzed out that it can be hard to understand what's going on. Songs like Here She Comes Now and the title track are basically 50s rock and roll with the most fucked up guitars imaginable. The Gift, Lady Godiva's Operation, and Sister Ray are weird droning things with mostly spoken word lyrics. And the guitar solos on Sister Ray are beyond punk and more like noise rock or even just noise. This album is not for everyone, hell it might not be for anyone, but I really like it. I have a soft spot for weird anomalies.

Mary J. Blige - What's The 411?

I'm usually pretty harsh on lengthy 90s R&B fuck jams, but this album is really good at being that thing. 92 was probably the exact time for a funky Hip hop influenced R&B album to be really good by my standards specifically. The beats, produced by Puff Daddy, are very reminiscent of late 80s style hip hop and the vocals are spaced out, very echoey. They combine nicely to create an effect where the vocals encompass you while the beats hit you in the face. A lot of the songs structure are more focused on layering vocals to create a sound more similar to P-Funk than soul, it stops the longer tracks from being boring since they need the four to five minutes length to explore those layers.

Kacey Musgraves - The Golden Hour

Unbelievably boring. I don't care at all about this album. Did you know that Weird Al also has a song called Velvet Elvis? It's basically the exact same song but it's a joke and it came out in the 80s.

[icannotgetoverbirds]

WHAT

Whyd no one tell me alligator Gars scientific name is Atrocious Spatula

[alazarrr]

Rest Well Stack Bundles.

[pixeldolly]

The Survivors, part 3

☢️Zuleika Izadi (by @nappe-plays-the-sims)

She may seem creepy and death-obsessed, but Zuleika is secretly a romantic at heart who hasn't given up on finding her soulmate, despite the...less than ideal circumstances she finds herself in.

She enjoys gardening and botany and is an uncanny knack for making plants grow even in contaminated soil. According to her, she once got her hands on a Laganaphyllis Simnovorii seedling and had it growing in a pot on the rooftop of her condo. As you do.

☢️Toni Byrd (Sim & bio by @goatskickin )

Toni Byrd has two rules for life: don’t fall asleep in a bathtub, and no tequila shots after midnight.

She isn’t sweet, but she sure is funny. She also hasn’t bought new clothes or had a real job since 2014. She’s your town’s laziest bike courier/”artist”. Truly, her life hasn't changed that much since the apocalypse.

She’s a filthy Sagittarius (bi) who is into crust punks (Stink) who don’t work (Unemployed). 

She’s also a moderator on a cryptid forum (unattracted to werewolves) - not that you asked, but she’ll tell you all about it.

☢️Marcella Sutter (Sim and original bio by @lilith-sims )

Marcella never felt ugly a day in her life although a lot of girls called her names and harassed all the way through high-school she was always able to make them swallow their own poison.

She’s a lot of fun and likes to flirt with everyone. She gets along with all kinds of people and loves travelling more than anything.

She's been drifting since the zombies attacked, but after one too many close calls, she decided to put down roots in a proper community.

☢️Miloni Bianchi (Sim & concept by @goatskickin )

Miloni has always been tinkering with something, although she was never formally trained as a mechanic - she just picked up a toolbox one day and started learning by doing. She got pretty good at it, too, although there have been one or two...accidents. Occupational hazard, as they say.

For some reason, kids love her (the cool robot arm helps!) although Miloni stubbornly claims the feeling isn't mutual. Her prickly personality has not endeared her to other survivors, but after losing an eye to a gang of raiders, she's ready to admit that safety is found in numbers. Safety, and maybe some food, too - because she is a terrible cook.

[howlsofbloodhounds]

Is there any version of Nightmare across the fandom that you like? Or ones that you think are interesting? [Im a nightmare fan :D. But mostly, particular fanon Nightmare versions. i have a bit of a love/hate relationship with the original Nightmare.]

I don’t care enough about nightmare or most fanon depictions to seek out content of him, but I do like signanothername’s version, as well as the Creature (i forgot what the users name was, the one where nm is very small and treats the gang like pets or toys, is kinda childish).

There’s also byrd’s version, can’t remember the username rn but from the little I have read about, that version is very interesting.

But tbh gang I prefer more canonish depictions of nightmare because fanon just isn’t interesting to me and feels very sanitized most of the time. Most people want him to just be misunderstood and that’s it, but this often comes at the cost of making him “good actually and everyone else is wrong” or “Dream was secretly bad or just mislead and naive” or just plain boring to me.

Not to mention I feel it again overlooks and ignores an opportunity to address or portray things like labor trafficking/modern day slavery, abuse, trauma, etc, because it feels like the fandom just wants everyone to like everyone and get along always and forever and everyone can be redeemed. Which is fine of course, just not for me.

Same way people think people going through the same types of abuse will all become codependent and empathic and love eachother and understand eachother so much even though the environment they’re in actively doesn’t foster that environment and it feels like another trope of the “perfect victim” where everyone is all so empathic and kind and understanding and they all hate their abuser together and trust eachother and will never harm or hurt eachother ever.

Even when their environment does not allow or foster that. Everyone just reacting and responding the exact same way to the same trauma and abuse and horror just feels very unrealistic and boring ig im tryna say as I go completely off topic.

[mad-doodle-disease]

//notice: timmy riddle is now called doyle n. trouble. silly silly. in alio mundo, cerebra tua pingunt aquam

morning came all too quick for the yott escapees. prester was pleasantly surprised by the fact his head was actually placed on a pillow and not the cold hard floor. finally allowing himself to sleep really helped prester's general... aggression issues. not completely, he still was the brutal witch hunter, but sleep did help with any exhaustion/stress induced extra aggression he developed. he looked over at winston, curled up like a cat a couple feet away from him. his processors generally being sluggish due to just waking up and his muscle memory involving cats almost got him to reach out and run his hand over winston's spine. almost. almoooost.

after doyle and winston woke up as well, they all took the time to loot the theater for all it's worth. doyle found a discarded gag pouch, too, which combined with his toony nature would mean the small gang of mostly cogs would finally have access to hammerspace. they then gathered their thoughts, and decided to visit toontown central's playground for a much needed soak in the pond there. every one of them were their own degree of grungy, they could all benefit from some water being splashed on them.

after a short (and somewhat more creepy due to the corpses being much more visible in the broad daylight) walk to the playground, the gang immediately walked into the water. according to prester, it was much more "efficient" to wash both their bodies and their clothes at the same time, even if that meant theyd have to walk in sopping wet cloth later. doyle just chalked it up to him not wanting to even briefly appear exposed to potential threats, though. he did find it kinda unfair though, as winston obviously had much less that would potentially weigh them down later, just having a necktie. and, even then, winston was just sitting on a dock, barely dipping their blocky feet into the water. it was a bit confusing at first, but doyle eventually came to the conclusion that winston was apprehensive about dipping their incredibly exposed mechanical innards into water. prester looked over at them, before reaching a hand out.

prester virgil: your tie. bestow it upon me, muttonhead.

winston, a bit confused, unhooked their tie and handed it to prester. he then dipped the tie in the water, swirling around a bit to get whatever grime and dirt that built up on it over time, before using it as a rag to scrub over winston's endoskeleton. they leaned into the touch, enjoying the feeling of even the slightest hints of affection after so long. doyle looked on like he knew what they were.

winston byrd: tha-a-ank yo-you... prester virgil: i am merely doing this as to enlighten you on how you may find yourself doing this hereafter. i shalt not do this again, so please pay heed to my actions. winston byrd: oh i-i-i'm p-paying h-paying heed-eed-eed, HA HA. HA. doyle n. trouble: well, aren't you two chummy now? did something happen last night i was too busy catching up on my beauty sleep to notice? winston byrd: i-i put a pillow un-under his head! prester virgil: nothing happened of any sort you are thinking of, swine! i just woke up feeling... extra charitable this morrow.

doyle squinted at prester as he moved up to scrub the underside of winston's head, a smug grin forming on his snout.

doyle n. trouble: oh, i knew it. the brute with a secret heart of gold... and here i thought it might take a bit longer for you to open up! HA! all it took you was some "cat nap"! prester virgil: i can assure you, you know NOTHING of my brutish actions. if you knew what i did to that HOODED MUTTONHEAD back many moons ago, you would know that any "gold" in my heart is nothing but pyrite! fool's gold! winston byrd: i-i think i ate pyrite once i-in the dungeon! doyle n. trouble: yeah, yeah. yet here you are, handling them like an ANTIQ-

doyle suddenly went still, his face running pale and his eyes widened like globes.

prester virgil: well, by pure legal technicality, they ARE an antique!

doyle stayed silent, their smile immediately wiped from their face as they slowly turned to face the back left segment of the playground, at the seemingly abandoned schoolhouse. he stared at the cellar door, just BARELY propped open with... SOMETHING held between the door and its base.

doyle n. trouble: ...something is wrong...

the two cogs stayed quiet, prester wringing out the tie and hooking it back onto winston's neck. doyle squinted at whatever was propping up the celler door. once he recognized it, the pig began to yell.

doyle n. trouble: THAT'S A GUN! THAT'S A GUN! RUN! RUN!

the yott gang ran for the abandoned gag shop, shielding themselves from the bullets that never got fired at them.

NEXT

[mannytoodope]

Keith Edward Elam (July 17, 1961– April 19, 2010), better known by his stage name Guru, an acronym for(Gifted Unlimited Rhymes Universal), was a rapper, actor, and producer. He was a member of the hip-hop duo Gang Starr with DJ Premier. He began his career under Kiethy E but later changed it to Guru when Gang Starr was formed. The Boston native has been listed on various top MC lists. In 1993, he released the first series of four solo albums while still a member of Gang Starr. He worked with multiple artists, including jazz trumpeter Donald Byrd, N’Davenort, French rapper MC Solar, and other jazz and r& b artists. Guru was an excellent lyricist, and he was both street and socially conscious. His rap cadence paired perfectly with DJ Premier’s flawless DJ skills. Guru Shbewn is one of hip-hop’s best and my favorite  MCs.

[soelvfisk]

Jeg har været på restaurant og i biograf i dag. Med min mor og søs. To store ting. Brugte også hele dagen inden på bare at ligge og lade op.

Lægger mærke til noget jeg gerne vil huske. At når jeg bliver vred og har grænser og reagerer… så får jeg appetit. Selvom jeg skal sove lur efter at have italesat mine følelser… så vågner jeg op veludhvilet og med en følelse af… afklaring? Og altså virkelig bare en tydeligt definerbar følelse af SULT?

I morgen ska jeg vejes. Vil spørge min psykiater om det. Sammenhænge mellem appetit og effektivt at kunne udtrykke grænser. Tror min vrede skal komme først? Tror ikke min vrede gør mig dårlig, tror min vrede er et sundhedstegn?

Der er noget hypnotiserende ved at køre om aftenen som fik mig til at tænke på, at når ting sker… så fortsætter livet. Og at jeg er glad for at folks liv fortsætter. Selvom man kan føle sig slået ud af kurs eller bremset eller fuldkomment rodløs. Jeg troede jeg skulle finde en måde at leve som om det aldrig var sket. Som om jeg var upåvirket. Som om jeg skulle få en form, hvor mine skår var usynlige for alle. Så jeg aldrig var en byrde og aldrig havde brug for hensyn.

Men jeg tror jeg skal leve et liv som fortsætter. Herfra. Med mere vrede end før. Min mormor har ret. Skal være strengere. Tror det er en trodsalder af en art jeg bevæger mig ind i. På en meget selvkærlig måde. Selvom det indebærer sorg og vrede, som egentligt er to følelser jeg synes er uoverskuelige.

Men det skal til. Og så må min stilhed og mine udskudte planer fortsætte lidt endnu. Jeg er i gang. Også selvom man ikke kan se det. Og det er vi allesammen. Tænker på at alle jeg kender er i gang. Kan ikke komme i tanke om nogen som ikke er i gang. Og det er rigeligt at være i gang. Det er nok. Det går. Nu vil jeg sove<3 hejhej og kram

[ambrossart]

Hello, my question is about the Bowers gang and the music. I simply found it curious and fun and since Victor also seems to be a music fan and invited Evelyn next time to listen to music, my question is about her musical tastes, if she has a group. favorite or what genre of music do they listen to or if they have a favorite singer since Belch is a character who is characterized by the fact that he loves Metallica, so he asks me what type of music would each one listen to, Belch, well, he listens to metallica and anthrax (he has a band t-shirt and it appears in a movie if I remember correctly) Victor in one of the chapters says that he likes an Aerosmith song but from there I don't have an idea of ​​the bands or singers I heard, much less Henry or Patrick, I feel Patrick would be the strangest, he doesn't even seem like a person who listened to music or is a fan of someone and Henry doesn't seem that way to me either, and also it's from the 80's so it's even more interesting because I love the music of the 80's. 80s and 70s.

First of all, I absolutely love questions like this! I’ve had the worst week, so this was a very welcome mental vacation. Thank you for this.

Anyway, let’s discuss everyone’s music preferences! I’m just gonna break this down character by character to make my life easier.

— Evelyn

Evelyn likes whatever songs catch her ear on the radio. Music isn’t a huge part of her life, so she doesn’t really have a favorite song or artist. She has songs she likes (a lot of those classic 80s pop hits), sure, but I doubt she knows the names of most of them. So far, I think the only artists I’ve specifically mentioned her liking are Olivia Newton-John, the B-52s (literally just for “Love Shack” probably), and The Beach Boys, but we’ll discover more of her interests later. It’s not a major storyline by any means, but it does get explored.

— Vic

This may be a departure from canon, but in my mind, Victor Criss is an early adopter of the whole 90s grunge aesthetic. Messy hair. Ripped jeans. Flannel. Oversized shirts. Drinking coffee and smoking weed. If this story took place in the 90s, Vic would be all up in that grunge scene. I’m honestly super bummed I couldn’t go that route with him, but mark my words, that boy will go full grunge in college. He will.

Since this story doesn’t take place in the 90s, a lot of people (and by “people” I mean the characters in the story) probably assume Vic’s into heavy metal like Belch, but that’s not necessarily true. See, Vic is very picky about his music, and I don’t mean that in a snobby way at all (although Vic can be a little snobby about it). For him, music is therapy. Vic just wants to get really high, listen to some music, and escape himself for a while. And the wrong kind of music can be painfully grating to him, like to the point where it would cause him intense physical discomfort. That’s why he’s so picky.

So what kind of music does Vic like? I dunno… I could see him being into psychedelic rock, artists like Pink Floyd, Jimi Hendrix, Cream, The Byrds, The Beatles, stuff like that. Vic is very private about his music, though. There’s a reason Christie Gibson can’t seem to figure him out.

It's also a pretty big deal that Vic has invited Evelyn to listen to music with him. Just saying.

— Belch

Next to Victor, Belch is probably the most serious about music. As we all know from the movie, heavy metal is his preference and his passion, but he’s also the kind of guy who can (secretly) appreciate a well-composed song regardless of its genre. That being said, Belch does tend to steer clear of the mainstream pop music scene… unless, of course, Christie Gibson is with him. Yeah, when those two are together, he pretty much lets her play whatever music she wants (because Belch is a good boyfriend).

— Henry

Yeah, I don’t think Henry is that serious about music. He listens to it, sure, everyone does, but it doesn’t impact his life significantly. Despite that, Henry’s tastes are probably very similar to Belch’s, simply because that’s how Henry gets exposed to most of his music: he listens to whatever Belch plays in the car. Apart from that, I could also see him being into bands like Led Zeppelin, Blue Öyster Cult, Deep Purple, Kansas, etc. But would he consider any of them his favorite band? Probably not, because Henry doesn’t have a favorite band.

Honestly, I think Henry has a very negative relationship with music in general. Anything that tries to tap into his emotions or influence his emotions, yeah Henry doesn’t like that. At all. He doesn’t wanna feel things. He doesn’t wanna think about his parents or his childhood. He wants all that shit to stay buried real deep.

— Patrick

For Patrick, all music sounds the same—and by that, I mean it’s all just “noise” to him. He doesn’t connect to it on any level, least of all emotionally.

In Chapter 5 (I think?) we saw Patrick using the radio kind of like a weapon. He purposefully messed with the knob to create the most annoying sounds his possibly could, hoping that it would drive the other guys in the car crazy. And it worked. Belch almost crashed the damn car. That pretty much sums up Patrick’s relationship with music. It’s just something else for him to manipulate and use for his entertainment.

So yeah, I could see Patrick listening to some really weird shit, like music that isn’t really music, but more like a bunch of random creepy/disturbing sounds put together. Patrick’s a weirdo. There’s no way he listens to traditional music.

___________

Okay, that's all I have to say on the subject. Thanks again for this ask! It was a lot of fun to think about. ❤️

[militantinremission]

HipHop's 50th Anniversary: What 'Culture' are We talking about?

I was in Elementary School back on Aug. 11th 1973. My family left The Bronx, but I spent a lot of time w/ my 'big cousins' in the Harlem River Houses. My cousin Mona babysat my brother & I, taking Us everywhere w/ her; including dates. I remember Mona taking Us to 'The Summer Of Soul Concert' in Harlem, & I remember going to a few of those Park Jams in Bronxdale & in Soundview. I think We saw more of King Mario than Kool Herc & Coke La Rock. My oldest brother formally introduced me to HipHop in the Spring of 1977 (b4 the Blackout). I remember coming home from School to find his Crew set up in Our Dining Room.

I got my 1st look from the 'Other Side of The Rope', & I was hooked! I wasn't a Rapper (yet), or a Break Dancer, but I had an ear for music. Like a lot of Old School Deejays (& under My brother's tutelage) I carried Crates & cut My teeth on Component Sets & BSR Turntables; rocking Line In switches b4 getting a [real] Mixer... I bought My own DJ Set in 1984 (B2s), & mastered my Craft as a Street DJ, & later in a few NYC Clubs. Most DJs are disciples of [Grand Master] Flash or [Grand Wizard] Theodore; I was more of a disciple of Jazzy Jay & Cut Master DC. We All have Our Unique Features, but EVERYONE went back to School when Jazzy Jeff introduced the 'Transformer Cut', back in 1986. Like a lot of DJs disenchanted w/ 'Gangsta Rap', I split time w/ HipHop's Twin Sister- House Music.

I say all of this, to qualify myself as a 'bonafide Shorty' of 1st Generation HipHop, & a full fledged Member of The New School Era. My point, is to say that 'In The Beginning', there was just The Culture. It didn't have a formal name- but it was being done ALL OVER NYC. I associate the '1520 Sedgwick Avenue' Story of HipHop w/ Afrika Bambaataa; he's The First Person that I remember telling this Story. Disco King Mario predated Kool Herc by years. Herc copied Mario's Style- down to his equipment! King Mario wasn't alone, Pete 'DJ' Jones & Hank Spann were dueling Frankie Crocker & Gary Byrd On The Radio (WWRL vs WBLS), while DJ Flowers, DJ Spotlight, DJ Smokey, DJ Hollywood, The Disco Twins, & a number of Club DJs were also mixing it up.

A major argument is whether Disco is connected to HipHop. The Cats up in The Bronx say HELL NO, while the rest of NYC says HELL YES! People need to understand that when We talk about 'Disco', we don't mean 'The Sound' or Studio 54; We mean 'The Disco Fever', 'Harlem World', 'Sugar Hill', & 'The Factory'. The DJs that spun @ these Clubs molded the format that HipHop DJs still follow Today. Kool Herc is credited w/ The 'Merry Go Round'- his mix of Break Beats, but he wasn't the only DJ mixing Breaks or James Brown songs. The Black Spades that were interviewed, speak on King Mario spinning 'Soul Power' & how they chanted 'Spade Power'- as early as 1971. This creates a schism between Bronxdale & Soundview.

Black Americans say HipHop started in Bronxdale, as late as 1971. West Indians; Jamaican- Americans in particular, say it started on Aug. 11th, 1973. Puerto Ricans [Nuyoricans/ Puerto Rocks] say it started between 1975 & 1977, when Afrika Bambaataa incorporated Latino Breakers into 'his' HipHop scene. While there is debate over When & Where in The Bronx it started, EVERYONE AGREES that HipHop was created to Stop Gang Violence. The Culture involves individual expression through Graffiti, B- Boy Style of Dress, & Dance, Spoken Word, & the ability to keep The Party going non-stop. The Original Gangs splintered into Crews that now 'battled' each other w/ Turntables & Mics, on the Dance floor, & w/ Spray Paint Cans (Bombing).

The vernacular of HipHop is based in The Nation Of Islam & The Nation of Gods & Earths, so it's big on Black Power, Black Excellence, & The Traditional Black Family. Both Organizations are Pan Afrikan in their Philosophy, so The Black Diaspora is represented. The same is true w/ The Zulu Nation. Before the rise of The Nation of Latin Kings & Queens, you would find Latino Zulu Kings & Queens- it was All Love! Afrika Bambaataa coined HipHop's 'Mission Statement' of: "Peace, Unity, Love, & Having Fun!", in a song w/ James Brown by the same Name. He also defined the existing '5 Elements' as the fundamentals of HipHop Culture. The Zulu Nation were the unofficial Ambassadors of HipHop; first taking it Downtown, & later taking it Globally... No One questioned Bambaataa's actions.

As We celebrate 50Yrs of HipHop, Afrika Bambaataa's Legacy is tarnished @ best. He has been Radio Silent, since allegations of Child Molestation rose against him 7Yrs ago. Every Move that Bambaataa made is being questioned- Was it a good move for HipHop to go Downtown to SoHo? Did it open the door to the current 'isms' that plague The Culture? It was a Black Specific art form, but it opened itself up to integration w/ Sexual Deviants, Drug Abusers, & White Record Executives. In retrospect, We can see what lured Bam Downtown. I'm curious- is the current manifestation of 'The Culture' Bambaataa's intended goal? It goes against his language, but it's in line w/ his actions.

In the wake of Afrika Bambaataa's 'Fall from Grace', people began questioning his narrative of HipHop. Original B- Boys are still walking The Streets, so it wasn't hard to fact check. DJ Phase has spoke on many Youtube videos under 'The Culture', where he breaks down the Foundation of what became HipHop. According to DJ Phase, HipHop was born on June 7th, 1971- in the Bronxdale Houses. He said that it wasn't organized; Mario simply set up on the grass & spun records. Later that Summer, in July- DJ Phase said that they were more organized w/ more sound & records, so THAT was when Brothers got serious about what they were doing. Disco King Mario did a series of Jams that culminated in the legendary 'Rosedale Park' Jam, that lit up The Bronx & inspired future pioneers.

There is a lot of controversy today concerning the Origins of HipHop. Jason Black, of 'The Black Authority' had the best comment on the subject: "Success has many Fathers, but Failure is an Orphan". As We question the running narrative of HipHop's birth, We also have to question WHO gets Credit for WHAT. No One questions the contributions of Jamaicans, Puerto Ricans, Cubans, Haitians, & Panamanians to The Culture, but the claims being made by Busta Rhymes, Pete Rock, Fat Joe, & John Leguizamo are disrespectful. Busta & Pete Rock assert that Jamaican Culture DIRECTLY INFLUENCED HipHop; Busta says 90%. He goes on to say that Kool Herc brought the Sound System & Jamaican 'Toasting' or 'Ranking' to the Bronx Youth. Puerto Ricans weren't really prominent in HipHop b4 'Beat Street' & the 'Break Dance Movies', but Fat Joe & John Leguizamo say Puerto Rico contributed 50% to The Culture... They ALL sound ridiculous.

In an effort to get ahead of King Mario predating Kool Herc, people have gone as far as saying that Disco King Mario is [half] Puerto Rican. When it was proven that Mario came from North Carolina, a Story came out that his family migrated to (Jim Crow) North Carolina back in 1912. Mario's Sister says they aren't Puerto Rican- They're North Carolinian & 'Country'... His Mother just liked the name Mario. This effort to remove Black Americans from a Black American genre is confusing. Making a contribution 'to', or an innovation 'of' something, doesn't make one 'The Originator' of it. DJ Phase made a point to elaborate on The Energy behind HipHop, & what inspired it. Our Family from The Diaspora mostly arrived after The Civil Rights Movement; They really don't know what AmeriKKKa was like before 1970.

Contrary to what Busta Rhymes, Pete Rock, or Fat Joe may say, HipHop begins w/ The Black Spades. As a boy in Harlem, I remember how revered The Black Spades were. They were respected, but I didn't understand why... Before The Black Spades, Blackfolk in The Bronx were being victimized by Whitefolk; 'Authur Avenue' Italians, in particular. According to The Black Spades, they couldn't go ANYWHERE w/o being attacked, so they organized & struck back. The Black Spades- essentially Black Teens, didn't just beat those Racists back; they opened up The Bronx for EVERY Black Person, giving them The Right of Autonomy. That Energy or Spirit of Revolution was celebrated in Song & Dance, & King Mario was The Conductor.

Kool Herc got to see King Mario & The Black Spades at 'The Tunnel'. He heard the Breaks & saw how the Black Spades reacted- He heard the chants of 'Spade Power!' Herc himself said that he analyzed what 'they were doing' & came up w/ The Merry Go Round. That, is an innovation. Herc never said that he introduced Toasting to those Baby Spades; in fact, Herc admitted trying to play Jamaican Music, but The Crowd didn't take to it. If Busta & Pete Rock were right, We should have some Reggae among familiar Beat Beats. All of these Cats talk about 'Culture', but they just sound ignorant. A 'Culture' is defined as: 'The sum total of Social Life'. If West Indian (i.e. Jamaican) and/or Latinx (i.e. Puerto Rican) Culture plays such a major role in HipHop, why did ALL of them adopt Black American Social Mores? Kool Herc admitted that he was clowned when he arrived in The Bronx; he thought Cowboy Boots were cool.

If we're going to run w/ the: 'Kool Herc is The Father of HipHop' Story, Coke La Rock should @ least be mentioned. He is credited w/ being The First Emcee. He was Herc's Partner. Busta & a literal Legion of Yardies want to coronate Herc as 'King of HipHop', but it was Coke La Rock that transformed 'Clive' into 'Kool Herc'. Clive DIDN'T KNOW THE CULTURE. Coke La Rock took him down to 125th Street, showed him what to buy, & how to sport it. Somehow, Coke La Rock was written out of the narrative. Again, Bambaataa started this. Another issue w/ Herc being hailed as 'The Father' of HipHop, is how easily he Bowed Down to U- Roy. Herc referred to him as 'his King'. Big Respect to U- Roy, I- Roy & ALL the Pioneers of Ska, Reggae, Lover's Rock, Dub Poetry, & Dancehall! That said, Black Americans BOW TO NO ONE! This is a Problem.

When We talk about Culture, HipHop embodies The Spirit of Revolution. Lay it out on the Black American Timeline, & it's a natural transition; from Work Songs, to Country & Blues, to Ragtime, to Jazz & Big Band, to Rhythm & Blues, to Soul & Funk, to HipHop (& House). It's the tireless spirit of Black Liberation in AmeriKKKa. Where does Jamaican or Puerto Rican 'Culture' fit in? They were 'Lovers, not Fighters'. We were Angry! What were they angry about? They were in America- Everything was 'Irie'! When DJ Phase was asked about this [Kool Herc] narrative, he cut to The Chase & said that this narrative gives Whitefolk a 'lane of claim' to Our Culture. It was Too Black, Too Strong, but it's been watered down. When We raise Our Heads, We will see that the people claiming ownership of Our Culture, are the same people representing Us in Government. They are the ones allowing Benign Neglect to continue & contesting Our Right to receive [Lineage Based] Reparations. They also represent Us 'On Screen', but they rarely depict Us in a dignified manner; We're either Ghetto, or Cowards.

While We're on the subject of 'Culture', let's point out how the level of deviance & violence has risen w/ the number of Jamaican & Puerto Rican Rappers. Boogie Down Productions gets Full Credit for setting off the 9mm talk. Just- Ice's 'The Original Gangster of Hip Hop' was just plain Raw... Also, B- Girls didn't dress like or behave like Dancehall Girls; compare Shante, Sweet Tee, & Latifah to Lil Kim, Nikki Minaj, & Cardi B. White Record Executives, like Lyor Cohen & Jimmy Iovine, have rerouted HipHop's 'messaging' to target Suburban Whitefolk eager to hear about 'Ghetto Life'. Today's Artists have been set up lovely by those who came before them, but I wonder if the New Jacks know The History? Do they know what it took for Us to maintain this? Cats had to show restraint, because Authorities were just waiting for Us to mess up. We were stealing electricity from Street lights; We didn't want to draw more attention to Ourselves by using a lot of profanity. Emcees were Wordsmiths that bragged about their Oratory Skills & the size of their vocabulary. U can literally count the # of times U heard the N- Word b4 NWA... Do they know Themfolks tried to shut Us down in 1982; leading to the 'New School/ Hardcore Era' that started in 1983- 1984 w/ Run-DMC, T- La Rock & Jazzy Jay, & LL Cool J?

Truth be told, The Park Jams faded out by 1986- 1987. The Crack Wars began to make large gatherings dangerous. The 1st Crack Dealers (in My Hood) were The Dreads, who sold out of Weed Spots. The 'Rude Boys' weren't concerned w/ 'protocol', so things got Hot pretty quickly.... I understand that there is an effort to make HipHop EVERYONE'S genre, but it isn't; not anymore than Motown or Bebop. The World is welcome to enjoy HipHop, but make No Mistake- it's a Black American genre that just happens to be globally appreciated & adopted by many. That said, notions of people like Kool Herc, or Eminem being the 'Father' or 'King' diminish the effect that those 'Baby Spades' had on The Original Concept. We can appreciate their contributions, but HipHop Culture is bigger than them. It has a purpose, & it's NOT making Non Indigenous Blackfolk wealthy.

It was a youthful expression of Black Power & Creativity, but outside forces have turned it into a Golden Goose that only benefits White Record Execs & their Proxies. We treated Her like a Debutant, but She has been reduced to a Crack Whore that EVERYONE can get a piece of. Young Family has to go back to The Root. A Race War is looming, & i'm not sure that their music is up to task. Most of today's Artists are more concerned w/ their 30 pieces of silver, than The Culture it represents. Cats like Busta & Fat Joe aren't concerned, they're taking the money & running. Fat Joe wasn't even a Rapper back in The Day, he was a Stick up Kid; so he's always been about the 'Vic'. Immortal Technique & Big Pun R The Real Deal... HipHop has become symbolic of Black American Courtesy- We say: "have some", & Our 'guest' proceeds to help themselves to Everything. NO ONE is allowed to be more than a Guest in the genres of Jamaican & Latinx Music, so why do they expect ownership in Black American Music?

When We talk about HipHop Culture, We need to remove All the noise in The Room. ANYONE making a claim to Our Culture should be Checked quickly. This 'Back to School Party' Story doesn't make sense! It's supposed to be inspirational, but it's narrated like just another Party. What's so special about it? What exactly motivated Herc's Sister to have this Party, several weeks before School started? How does this 'Party' spark a Movement? Compare it w/ HipHop being a Celebration of Black Youth in The Bronx [dramatically] winning their fight against White Supremacy & their Right of Autonomy- An UNAPOLOGETIC DISPLAY of Black Power. There was a REASON why NYPD left Mario & the Black Spades Deejays alone. When they were 'Jamming', The Black Spades weren't beating down White Racists... No disrespect, but Immigrant Family weren't Here, so they don't know what sparked this Movement.

The Original Concept of HipHop is rooted in stopping Gang Violence. It was a creative alternative to the death & destruction that We brought on each other. The current version of it is so far removed, it's almost unrecognizable. Today's manifestation (The 5th Generation), is literally a Death Cult that offers little to no benefit to The Artist. White Executives seem convinced that it's only about Beats & Rhymes, but the Crap being presented is vulgar & cookie cutter; it completely ignores HipHop's DEMAND for Originality & Excellence. After 50+Yrs, it's apparent that HipHop is best represented when it's Culturally connected to the Experience of Black American Life. EVERYONE ELSE is a House Guest & should behave accordingly.

[mywifeleftme]

363: R.E.M. // Murmur

Murmur R.E.M. 1983, IRS

Some Short, Disconnected Statements on the Matter of Murmur

1. Insert the following into Waring blender

The Velvet Underground, Pylon, the Byrds, Gang of Four, Patti Smith, the Feelies, Joy Division, the Method Actors, Big Star, the dB’s, the Monkees. Press “Blend” button. (I’ve never owned a blender; I don’t know what the buttons say.)

2. Easy formula for a great band

Having one temperamental genius songwriter guy sounds kind of hard to maintain. Have you considered simply getting four people who are really excellent and distinctive at the respective things they do (at least three of them great singers), who all write well, get along, lack substance abuse issues, have good taste, and modest egos? Why don’t more bands do this?

3. Notes on the early discourse

A lot of the things people wrote back in the early ‘80s to champion this band were dumb as hell. R.E.M. weren’t good because they didn’t use keyboards or synths; pop music didn’t need to be returned to its "honest" folk-rock roots; giving them a thumbs up for not wearing flashy clothes and makeup is dork behaviour.

They were good because they made weird music that derived organically from their time (early ‘80s), place (a college town in the South), and selves (bright, independent, adventurous, sincere, ¼ gay).

Anyone who listened to Chronic Town or Murmur, with their post-punky murk and lyrical references to Laocoön and Marat, and thought to themselves, “As yes, the second coming of Roger McGuinn, this will put those effete new wavers to flight,” was an idiot.

4. Veteran of the psychic war

Somewhere around age 22, R.E.M. took over the mantle Metallica had held as My Favourite Band in the World Forever and Ever, and I proceeded to be almost as annoying about them as I had been Hetfield and the boys. I posted a lot about them; rigged “best music” polls on random message boards I didn’t even post on in their favour; cornered people at parties; crowbarred them into playlists; grumpily chose to dislike bands I saw as stealing their shine; etc. etc. Some (some) of this is maybe cute in retrospect, but really: don’t be like this about music. If you love a band this much, learn how to play their songs on an instrument; write a few poems; paint something. Worst case: review them.

5. Learning nothing, 2024

6. Athens: Lyrics & Enunciation

The matter of what exactly Stipe was singing on the early R.E.M. records was a subject of intense speculation, and eventually, parody. Some of the mystery’s in the mixing, some’s in his Georgian accent, and some’s in his enunciation (never quite as mushy as people claimed, but not exactly Ella Fitzgerald either). But most of it’s in the arbitrary decisions he makes with regard to syntax that cause even accurate transcriptions to seem implausible. Stipe is probably a little bit autistic, which goes some way to explaining the impressionistic intuitiveness of his words, and also went to art school, which fetishizes that sort of thing, but he was always shy of people seeing the words to something like “Sitting Still” on the page because he thought he might be exposed as a nincompoop. “Up to par and Katie bars / The kitchen side, but not me in / Sitting top of the big hill / Waste of time sitting still,” goes the chorus, according to at least one gnostic sect, but the important passage is the one everyone agrees on, when the stream of impassioned babble releases into a howled “I can hear you / Can you hear me?”

Later on, when he would sing more clearly over airy arrangements, with the lyrics neatly printed in the booklet, he’d occasionally try one of those old sound-over-sense moves and embarrass himself (“Leaving New York was never my proud” still rankles). But Murmur’s eternal elusiveness is in the way fragments of sense catch your ear from out of its sleeptalk glossolalia:

“The pilgrimage has gained momentum” “Conversation fear” “Lighted, lighted / Laughing in tune” “Hear the howl of the rope / A question” “A perfect circle of acquaintances and friends / Drink another, coin a phrase” “Shaking through / Opportune” “Take oasis” “Heaven assumes / Shoulders high in the room” “Did we miss anything?”

7. Permission to be arbitrary

I remember sitting in the basement of my college house with my old hometown buddy Brad (mostly a metal/classic rock guy), playing him “Shaking Through” and explaining one of the things I love about old R.E.M. is that it’s great music to yell to. I don’t know how much he really got it, but we were drunk and it’s a catchy song, so we howled and made keening, wordless, Stipean noises along with it and the next few until one of my roommates came and asked us to keep it down.

Also: one theory for why cats purr when they’re injured is that the vibrations somehow reduce pain and encourage healing. From many experiences humming these songs while wrapped up in headphones and bedsheets in the middle of a day that’s passing like a kidney stone, I can confirm.

8. Note on the modern discourse: Influence?

Black Francis, Kurt Cobain, Bob Mould, Steve Malkmus, Bob Pollard, and Thom Yorke loved R.E.M. So did, to his own apparent consternation, Metallica’s Cliff Burton. Still, you sit down with someone and listen to those musicians with the goal of showing them the R.E.M. influence (don’t do this, why would you do this?) and it’s honestly pretty oblique. Most of the bands who directly aped aspects of R.E.M.'s early sound were at best pleasantly minor (see Captured Tracks’ Strum & Thrum comp), and the ones who seemed to be listening most closely to their ‘90s efforts were not who you want.

Their ultimate influence was probably simply showing what an art-first, indie-adjacent rock band could accomplish by sticking to their guns and bending the system to their desires instead of being bent by it. They were like a Velvet Underground for the college rock era, except everyone talented who heard them was inspired to start a band that didn’t sound much like them. They always used their spotlight to introduce people to other bands and, when they really got huge, they modeled how to deal with success. There don’t seem to be many R.E.M. stories, Peter Buck’s airplane incident aside, about them being anything other than kind. That’s a fundamentally less exciting type of influence than most other “great” bands have. But I do think it’s kinda cool they were the wise old heads for an entire national movement of alternative music.

8b.

Of course, it still bugs me people don’t think they’re cool. Murmur at least, should be considered cool. And Reckoning, mostly. Chronic Town for sure. Some of Fables. Am I crazy for saying some of Monster and New Adventures even? I’ll stop. I’ll go on.

9(-9). The music

They were a pop band, they were an art band; they sounded like children, and like craggy old men buried in kudzu weed; natural and pretentious; date-stamped and timeless. Decide yourself. Happy 41st birthday Murmur.

363/365