#MC J-Tec

[da-ill-spot]

Tomorrow, May 11th! Timeless DNB 16 Year Anniversary w/ Break x Document One + More!

Don Quixote | Los Angeles, CA | 18+ | Tix

[oldschoolhiphoplust]

9 Female Hip-Hop Pioneers You Should Know

Many of you are probably under the impression that girls were not heavily involved during the inception of Hip-Hop culture. Women were actually involved in every single element, from any corner you can imagine. Women were involved as record label executives, mothers, b-girls, girlfriends, MCs, venue owners (houses), promoters, DJs and almost just anything you can think of. If you call yourself a #HipHopHead, take note that there are at least nine female hip hop pioneers you should know about. Allow me to take you through a journey of the accomplishments made by nine of Hip-Hop’s most embraced female pioneers.

In the late 1970s, The Bronx, New York was not the only place in love with break beats and rhymes. The youth of Philadelphia, Pennsylvania were also head bangin’ to dope rhymes and of course the influence from New York was just oh so strong. Depending on where you were determined what Hip-Hop record you heard first. Majority of the ears of 1979 recall hearing the Tec Records hit “To The Beat Y’all” as the first hip-hop record on wax. And the person rhyming on this record was a young lady from Philly by the name of Lady B. Despite Hip-Hop’s birthplace being in New York, it just so happens a female from Philly was among the first to lay this style on wax. Lady B is also best known as a Philly radio pioneer and overall DJ.

Once the 80s hit, Lady B become the reason why hip-hop records expanded beyond New York City. Her legendary show The Street Beat on Philly’s WHAT 1340 AM was the pillar for the dopest and latest hip-hop. If you were an up and coming act, you needed to go through Lady B to get your record played for the Philly hip-hop audience. Lady B helped jumpstart the careers of many hip-hop class acts such as Schoolly D, Public Enemy, Poor Righteous Teachers, Run D.M.C., LL Cool J, EPMD, UTFO, MC Lyte, Big Daddy Kane, Krs-One, DJ Jazzy Jeff and The Fresh Prince and so many more of the Golden Era’s finest. She was even one of the first radio DJs to play Eric B and Rakim in Philadelphia. Lady B’s place in Hip-Hop is never to be underestimated and always acknowledged.

There is no doubting the fact that in the early days of Hip-Hop, the female emcee was underrepresented. Starting off as a B-girl heading to jams and parties carrying records, Sha-Rock had no idea she would create a lane in this brewing culture we now know as Hip-Hop. Sha Rock always had a knack for rhyming. She was known for always having a composition book during lunch, practicing her rhymes in the high school cafeteria. This young lady was a pending force to be reckoned with. Through her neighborhood connections, Sha Rock joined forces with the Funky Four Plus One More becoming the first female MC to record in an all male Hip-Hop group. MC Sha Rock’s presence made female Hip-Hop listeners finally feel like they had a voice that the world can hear. This accomplishment is why MC Sha Rock is uplifted by the Hip-Hop community as Mother of the Mic.

As a member of the Funky Four Plus One More, Sha Rock was the first female MC to have an unblemished rhyming battle, which was against Grandmaster Flash and The Furious 5. On February 14, 1981, The Funky Four Plus One More became the first Hip-Hop act to appear on National Television. They appeared on Saturday Night Live which was hosted by Blondie’s Debbie Harry and this was the first time in the nation, on platforms that may have never heard a hip hop rhyme, witnessed a female laying down some funky bars. MC Sha Rock is a major contributor to the lane that was paved for female MCs of the next era, the Golden Era and the eras that followed. Until this present day, the female MC is still standing.

When it comes to the Hip-Hop DJ most of us will automatically think it was a grind for the boys. Let’s also wake up to the fact there were some females that wanted to play too, and DJ Wanda Dee was one of the first to break that ice. Growing up in the Bronx territory, Wanda always witnessed the spins of Grandmaster Flash and aspired to become the female version of him. This young lady took whatever chance she got to embody her desire. Wanda Dee first got the opportunity to DJ for Kool Herc at the local community center in Edenwall Projects. Once her name started buzzing around town, she became a member of Afrika Bambaataa’s Zulu Nation and became the Zulu Nation’s star DJ. Dee’s fellow male DJ peers made jokes, pulled pranks and threw insults her way, but Bambaataa was by her side to protect her.

You might remember seeing Wanda Dee in classic Hip-Hop movie Beat Street, which made her the first female DJ to be featured in a movie thanks to the legendary Harry Belafonte. With her rapid back spinning, mastered scratching, vivid mixing and blending skills, Wanda Dee spun and mixed records by funk artists in the likes of James Brown, Brothers Johnson, and Bob James from one break beat to the other. In the 80s, Wanda Dee embraced her skill with Hip-Hop’s rap element as she became the first female rap artist to put out two consecutive platinum singles, “The Goddess” and “To The Bone”. She even displayed true showmanship as her performances expressed pure sensuality, beauty, glamour, choreography and sex. Wanda Dee went from the first female Hip-Hop DJ to a lifetime show woman.

If this girl did not yearn for new school clothes, Hip-Hop would not have even stood a chance. You see, it wasn’t about partying for a young Cindy Campbell. It was all about making sure she was fly and sharp on the first day of school. Posted up as a tag writer by the name of PEP-1 and a well versed B-girl, Cindy was fastened on finding a solution for her conquest to look fly. She decided to throw one of the most memorable parties in her community. Stationed at the recreation room on 1520 Sedgwick Avenue was Cindy’s back to school jam. This party was a fundraiser for her to get those back to school clothes. She was doing all in her power to cut costs for this party.

Cindy’s older brother was already skilled with their father’s turntables and records, so she asked him to DJ her jam and he did not hesitate to say yes. DJ Kool Herc was ready to rock the house. Cindy didn’t know what she was doing when she asked her brother to DJ. There was an entry charge of 25 cents for girls and 50 cents for boys along with snacks and Old English 800s and Colt 45s for sale. One thing that truly turned this party up was the slow jam session which most jams totally bypassed but Cindy knew what would rock the house just like her brother. Cindy was satisfied as she raised a total of $500 that night and unconsciously simultaneously birth the foundation of a culture that was later called, Hip-Hop. It is safe to say that Cindy Campbell is indeed the First Lady of Hip-Hop Culture.

The art of rhyme is one of many ways someone can express him or herself. There was a time during Hip-Hop’s infancy when women did not feel comfortable to express themselves on the mic. It took courage, self acceptance and confidence to be a young lady rocking a microphone. Zulu Queen Lisa Lee is one of the most notable pioneers who fought to make Hip-Hop a safe place for aspiring female emcees. One day as a student at James M. Kiernan Junior High School 123, at the tender age of 13, Lisa Lee and her community alliances lead her to the sounds of Afrika Bambaataa and Disco King Mario. She displayed her rhyming talent along with her B-girl moves and by the following week she was rockin’ the mic with Bambaataa and the Mighty Zulu Nation of the 70s.

Lisa Lee was the only female on Afrika Bambaataa and The Zulu Nation’s classic first recording “Zulu Nation Throwdown” with Cosmic Force. This pedestal qualified Lisa Lee for a motion picture that was prominent for Hip-Hop’s reputation all over the world. She was featured in cult classic Beat Street as one of the Us Girls along with MC Sha Rock. The Zulu Queen was also the only female who rapped in Wild Style, a classic documentary that was centered around Hip-Hop’s graffiti element. She also became the first and only female member of electro-funk and hip-hop mash group Soulsonic Force. This joining put Lisa Lee among the female MC pioneers who were key influences for those to come. Zulu Queen Lisa Lee exchanged the blows for the stance of the female MC in Hip-Hop to exist. You can’t look into the coming of the female MC without mentioning Lisa Lee.

Most of Hip-Hop’s first ensemble of female MCs came from a crew and started as a B-girl. Being a part of a crew made you an official hip hopper in the early days. One pioneer who did such a thing the best is MC Pebblee Poo. Poo’s coming into Hip-Hop was as a grooving B-girl but she was always armed with the desire to rhyme. She started to rock with a crew from Harlem, The Untouchables who had Mix Master Andre on their team. Pebblee took off from the Untouchables to become a member of the Smoke-a-Trons which was pretty brief until she met Dr. Bomb-Bay.

Dr. Bomb-Bay schooled Pebblee Poo about the art of rhyming making her a pending force in the game. One day Dr. Bomb-Bay took her to a park jam that Kool DJ Herc was having. From that day on, Pebblee Poo started house rockin’ with Kool Herc and the Herculoids as DJ Kool Herc’s first female MC. As Herc’s reign began to dwindle, Pebblee Poo’s identity as an MC was sturdy and opened more opportunities for her. In the early 1980s, she became a notable member of The Master Don Committee. This gave her the chance to perform at hot spots like T-Connection and Harlem World. Pebblee Poo is known for her lethal, direct rhymes as proven in her 1985 song on Profile Records “Fly Guy”, which was a diss to The Boogie Boys. Pebblee Poo’s journey as a female MC shows the might and prowess it took in the early days to make your name known as a female MC.

In order to be considered a Hip-Hop Pioneer, you must have been the first of something or birth a factor that eluded lifetime prominence. This woman of many talents as a singer, songwriter, publisher, and producer was a known boss who was an aide in introducing the globe to the art of rhyming and element of rap. This woman is best known as Sylvia Robinson, the founder of Sugar Hill Records. Robinson started off as a Rhythm and Blues singer in the late 1950s. She was one half of the duo Mickey and Sylvia with Mickey Baker, and their song “Love Is Strange” was a Top 20 R&B hit that sold over 1 million copies in 1957. She was successful as a soloist in the 1970s with her classic album, Pillow Talk of 1973.

Sylvia honed orthodox music industry knowledge in which the popularized element of rap was questionable as to its pinch on vinyl. She imposed a strategy that changed the lives of many young boys and girls forever. In 1979 along with her husband Joe Robinson and Morris Levy, Sylvia founded Hip-Hop’s first label, Sugar Hill Records.This label became the home to several of Hip-Hop’s most notably pioneering acts; Grandmaster Flash and The Furious Five, Spoonie Gee, The Funky Four Plus One More, Sequence, The Treacherous Three, and The Sugarhill Gang. Sylvia Robinson was also behind the production for True School classics “Rapper’s Delight” and “The Message”. The success of “Rapper’s Delight” enabled her to flip the art of rap into an enterprise that has lead to the creation of long lasting careers. Sylvia Robinson’s experimental innovation of the business of Hip-Hop turning into a global phenomenon will forever be embraced.

Reigning from Sugar Hill records were three young ladies from South Carolina who were on a mission to put their raps on wax. Cheryl the Pearl, Blondy, and Angie B were cheerleaders at their high school and also very close childhood friends who happened to each be one year apart in age, with Angie B being the youngest. With the hype of “Rapper’s Delight” floating all over the nation, there was a Sugarhill gang concert happening in their city of Columbia at the Township Auditorium. These ladies decided to bumrush the concert not only to see the Sugarhill Gang live, but to aim for their chance to prove that they are better than the Sugarhill Gang. These ladies were all primarily singers, but had some rhymes underwraps.

After securing their spot backstage, the ladies bumped into Sugar Hill Records founder, Sylvia Robinson. They asked for a chance to show her what they got. After performing two of their R&B songs, Robinson didn’t seem to impressed. They closed out the audition with their rap song “Funk You Up” and by the time you know it, they were signed to Sugar Hill Records and became known as The Sequence. The Sequence single,“Funk You Up” became the first rap record on wax released by a female rap collective. “Funk You Up” also got airplay on top New York radio stations WBLS and WKTU. Not bad for some chicks from South Carolina. The success of The Sequence highly influenced the nationwide dynamic of the female Hip-Hop trio.

This young lady is one that can tell you the tales of the rugged journey for an aspiring female graffiti writer back in the 1970s. Born in the country of Ecuador and raised in Queens, New York, Lady Pink made a name for herself as the only girl who was skilled enough to compete with the dudes in the subculture of graffiti. She started painting as a way to cope with her spiraled relationship at the time. Her boyfriend was sent to Puerto Rico after being arrested in New York. In honor of her aching misses for him, she started tagging his name all across the city. Eventually, once she developed the moniker Lady Pink, that name was splattered all of New York City as well.

Within the 1970s and early 1980s, men made several attempts to intimidate girls who were aspiring graffiti writers. Lady Pink’s passion won over that fear. She was painting subway trains from 1979 to 1985. Her epic paintings made her a leading body in the evolution of graffiti based art. During her subway painting days she was rolling with The Cool 5 crew and The Public Animals crew. You might recognize Lady Pink from her starring role in cult classic Wild Style. Lady Pink is the most recorded and photographed female graffiti writer from the True School era. Her career was a fight for respect as an artist. Lady Pink’s showcased courage made it possible for post generation female graffiti artists to own staying power. Lady Pink is without a doubt, the most influential female graffiti artist in the history of Hip-Hop’s graffiti element.

Well, there you have it. The aforementioned women deserve praise and recognition when the topic of Female Hip-Hop Pioneers is brought up. Not only when it comes to the element of rapping, but also the subcultures that Hip-Hop embraces such as DJing and Graffiti Art. At the time of Hip-Hop’s inception, it was not easy to become a master of a Hip-Hop element as a female due to the constant underestimation, but these women made it happen. Their courageous acts made it possible for the Hip-Hop genre to live and survive till this day. Think about it, the biggest hip-hop beef right now is between two female rappers (Remy Ma and Nicki Minaj). Let’s make it our duty to stay informed about who paved the way for today’s rich culture of Hip-Hop.

This article was originally published on March 15, 2017. This piece has since been condensed.

[werdmc]

Saturday July 23rd 2022 @xcellerateddnb & @killahurtzdnb Present: 🌞PLANET V: LA🌞 (A Night Of V Recordings, Liquid V, Philly Blunt & Chronic Recordings) Room 1: BRYAN GEE 🇬🇧 [2 Hour Set] PAUL T & EDWARD OBERON 🇬🇧 COMMAND STRANGE 🇰🇿 DAVE OWEN 🇺🇸 Hosted By: T.R.A.C & MC Dino Support From: DJ Construct & Seebass Room 2: [ In Alphabetical Order ] AIRGLO CATNAP CHEMISTRY CHROME MAMI DR APOLLO J-TEC KALLAN HK NODSY SKELLYTN SLIM TANK DUBZ WAVHART WERD WHYS Featured Vendors: @2fukdup @the_mineraldeposit @un.being -- - - - - - - - - - - - - - - - - - Sound By:  FUNKTION ONE & LACOUSTICS -- - - - - - - - - - - - - - - - - - 🎟  Presale Ticket Link:  🎟 https://planetvla.eventbrite.com @catchonela (In the Jewels, Noise & Tavern Rooms: First Floor) 4067 W. Pico Bl. Los Angeles, CA 90019 -- - - - - - - - - - - - - - - - - - Saturday July 23rd 2022 9:00pm-3:00am 18+ Event https://www.instagram.com/p/Cf-Ufmap7rtn7stH16shfZdvUdnjEh_c_uGFBI0/?igshid=NGJjMDIxMWI=

[jackmaccomm]

*Narrative Theory*

In this entry I will examine the critical question, “What central narrative(s) does this artifact tell through its rhetorical elements? In doing so, what values does it promote and ignore (who does it include and exclude)? In which ways is this narrative (ethically) productive for society, in which ways is it limiting, and is it more productive or limiting?”

The artifact that I will be examining is the studio album good kid, m.A.A.d City by Kendrick Lamar. This album productively shares a narrative of what is believed to be the ideals of a young black man growing up in poverty (Money, Power, and Respect), as well as the harsh reality of crime and gang life and how it is often the only route. 

Kendrick Lamars, good kid, m.A.A.d City was released in October of 2012. This album is often regarded as one of the greatest of all time and it has even been used in academia as it is looked at for its storytelling as well as the lesson taught. Kendrick used this album as a way of showing the world how he transformed from his adolescent self, to the well known rapper and celebrity. He wanted this album to not only relate to others that were put in the same situation as himself, but also to show the rest of the world that there is often no easy way out of low income America, and the struggles that impoverished people face.

Foss (2004) describes narrative by saying, “Narratives organize the stimuli of our experience so that we can make a sense of the people, places, events, and actions of our lives. They help us to interpret reality because they help us decide what a particular experience is about” (333). We have the ability to create our own narratives allowing those who have not experienced what we have, to be able to make their own interpretations of the situation. We often see this in music as artists often write about life experiences and how it shaped them into the person they are today.

A narrative that Kendrick plays on heavily is that young black men in lower class America have no choice but to join a gang or be involved with crime due to the situation they have been born into. You see this in one of the most popular songs on the album, “maad city.” He goes in depth about how being affiliated with a gang is the norm and it is something you have to adapt to. Kendrick says “Pakistan on every porch is fine, We adapt to crime, pack a van with four guns at a time.” Later in the song he says, “Iv's on top of IV's, Obviously the coroner between the sheets like the Isleys, When you hop on that trolley, Make sure your color's correct, Make sure you're corporate, or they'll be calling your mother collect, They say the governor collect, all of our taxes except, When we in traffic and tragic happens, that shit ain't no threat, You movin' backwards if you suggest that you sleep with a TEC, Go buy a chopper and have a doctor on speed dial, I guess, M.a.a.d city.” He is putting into perspective the war zone like lifestyle that comes with growing up in Compton, California. The point though, is not to gain pity, but to create awareness for why he joined a gang. Kendrick realizes that it appears as though young black men join gangs just because this is what they want to do. He corrects them by explaining that he is in fact just a product of his environment. 

Another main narrative that Kendrick plays on is the believed ideals of Money, Power, and Respect. Growing up in Compton, Kendrick talks about how these were what he believed to be the keys to success. In his song “Money Trees,” he says, “Dreams of living life like rappers do (like rappers do, like rappers do), Bump that new E-40 at the school (way at the school, way at the school), You know big ballin' with my homies (my homies), Earl Stevens had us thinking rational (Thinking rational, that's rational), Back to reality we poor, ya bish (ya bish, ya bish), Another casualty at war, ya bish.” He explains that he had dreams of living a lavish lifestyle with money and fame but quickly came back to the reality of his situation. While Kendrick is not shaming the idea of making money and having respect, he is rather stating that money, power, and respect, are not the only things you should work towards in life. Kendrick also says, “A louis belt will never ease that pain.” Another example of him pushing the idea that money and fame can be wonderful, but internally, they won’t make issues go away. It is very important for him to get this message across to other people who are in a similar situation that he was. Kendrick doesn’t want to seem them make the same mistakes that he did.

Kendrick Lamar’s message is inspiring and helpful, but it is possible that some could find it unproductive. While his intention is to provide insight into his own life and the life of many others like him, it could be taken as a message about black youth as a whole. American politics from the time of this album release until now have been riddled with talks of systemic racism. This album could be used as ammo for extremists. They could claim that Kendrick, a black man from poverty himself, claims that all black men join gangs and are criminals. This is the exact opposite purpose of his work, but it is not uncommon for words to be twisted in American politics. While this is a possibility The album is still productive in regards to what it is trying to do. Overall Kendrick creates an entertaining narrative that not only teaches a lesson to those in a situation similar to his, but it also allows people who are completely unfamiliar with this culture and lifestyle to have an idea of what is going on. As stated, this album has been used in academia because of its ability to create such a vivid story. 

Narrative is an essential form of human communication. We as humans are natural storytellers. In a journal By Guowei Jian, Jian says, “Fischer (1989) argues, Human beings are storytellers or "Homo narrans" (p. xiii) who rely on the narrative logic to communicate” (89). One of the most common forms of storytelling that we use is music. Artists are experts and creating a vivid image in our brains through a form of art that is very easy to consume. Because we as humans are creative, it makes understanding through music even easier. Whether he realizes it or not, Kendrick uses narrative theory in creating his music and he is one of the best at it.

In conclusion, Kendrick Lamar puts on a beautiful display of storytelling layed out in such a way that provides entertainment and a lesson. He provides narratives on gang life and strong desires for money and respect. Kendrick gives us a piece of work that is highly productive for society and has continued to be relevant years after its original release.

Foss, S. K. (2009). Rhetorical Criticism: Exploration and Practice (Third ed.). S.l.: Waveland Press.

Jian, G. (2019). Transforming the Present Moment through Conversation and Narrative: Toward a Hermeneutic Leadership Theory. Communication Theory (1050-3293), 29(1), 86–106. 

Lamar, K. (2012). m.A.A.d city [Recorded by K, Lamar. MC, Eiht]. On good kid, m.A.A.d City. City of production: Top Dawg Entertainment. (2012).

Lamar, K. (2012). Money Trees [Recorded by K, Lamar. J, Rock]. On good kid, m.A.A.d City. City of production: Top Dawg Entertainment. (2012).

[kevindurkiin]

Legend Alert: Xcellerated to Host Dillinja, Bass Brothers, Fury and RAW in One Show, Not to Mention the Dubstep Lineup

It’s hard to keep up with the full LA calendar of bass music these days, with multiple events going on almost every night and will do for the forseeable future. In fact, it’s tough just to keep up with Xcellerated, who consistently put on lineups so stacked it rivals anything seen in the UK or EU. This time around tomorrow Friday April 26 Xcellerated will have the absolute drum and bass legend that is Dillinja in the venue along with the Bass Brothers, Fury and local legend RAW It’s Dillinja’s first US appearance in a decade, so trust these are deep, old school vibes and not to be missed. Anyone who’s loved DnB for a long time knows the power of this lineup but those who are new to the scene, consider this your drum and bass education.

The home venue to Xcellerated, Catch One on Pico Blvd, has multiple rooms and this Friday a second room will be open and hosted by Mad Ting! with yet another stacked dubstep/riddim lineup. Hatcha headlines the dubstep vibes along with Youngsta, Subtle Mind and Endigo. Lots of bass music love for everyone this Friday, no matter what BPM you choose. MC hosts for the night will be Dino, J-Tec and Woes and just announced today, there will be a live art display from Blacklight King.

Pre-sale tickets will be available online until 7pm the day of the show Friday, April 26. Visit Eventbrite or the Facebook event page for tickets and more info. United in bass, see everyone there!

This article was first published on Your EDM. Source: Legend Alert: Xcellerated to Host Dillinja, Bass Brothers, Fury and RAW in One Show, Not to Mention the Dubstep Lineup

Legend Alert: Xcellerated to Host Dillinja, Bass Brothers, Fury and RAW in One Show, Not to Mention the Dubstep Lineup published first on https://soundwizreview.tumblr.com/

[bluebuzzmusic]

Legend Alert: Xcellerated to Host Dillinja, Bass Brothers, Fury and RAW in One Show, Not to Mention the Dubstep Lineup

It’s hard to keep up with the full LA calendar of bass music these days, with multiple events going on almost every night and will do for the forseeable future. In fact, it’s tough just to keep up with Xcellerated, who consistently put on lineups so stacked it rivals anything seen in the UK or EU. This time around tomorrow Friday April 26 Xcellerated will have the absolute drum and bass legend that is Dillinja in the venue along with the Bass Brothers, Fury and local legend RAW It’s Dillinja’s first US appearance in a decade, so trust these are deep, old school vibes and not to be missed. Anyone who’s loved DnB for a long time knows the power of this lineup but those who are new to the scene, consider this your drum and bass education.

The home venue to Xcellerated, Catch One on Pico Blvd, has multiple rooms and this Friday a second room will be open and hosted by Mad Ting! with yet another stacked dubstep/riddim lineup. Hatcha headlines the dubstep vibes along with Youngsta, Subtle Mind and Endigo. Lots of bass music love for everyone this Friday, no matter what BPM you choose. MC hosts for the night will be Dino, J-Tec and Woes and just announced today, there will be a live art display from Blacklight King.

Pre-sale tickets will be available online until 7pm the day of the show Friday, April 26. Visit Eventbrite or the Facebook event page for tickets and more info. United in bass, see everyone there!

This article was first published on Your EDM. Source: Legend Alert: Xcellerated to Host Dillinja, Bass Brothers, Fury and RAW in One Show, Not to Mention the Dubstep Lineup

source https://www.youredm.com/2019/04/25/legend-alert-xcellerated-to-host-dillinja-bass-brothers-fury-and-raw-in-one-show-not-to-mention-the-dubstep-lineup/

[codycordova]

Tonight Xcellerated #042 Feat MAJISTRATE, JOHN B, the USA debut of TURNO, R.A.W. & Machete. Hosted by MC Questionmark, MC Dino, J-Tec, & Kaspa MC. Live Visuals by RES. Room 2 will be hosted by Heavy Dub with Uber, Crowell and much more! Room 3 hosted by Fugitive Sound Sessions with a special UK headliner Addison Groove, along with Neuropunk and much more! This is an 18+ special event 9pm-3am at UNION (4067 W Pico Bl. LA, CA 90019) get your limited discounted tickets now in the link below: Event Page: https://www.facebook.com/events/1743119972676322/?ti=icl Presale Link: https://xcellerated42.eventbrite.com #Xcellerated #xcellerateddnb #DrumAndBass #DnB #LA #UNION #MainRoom #Saturday #January21 #2017 #Majistrate #SweetTooth#JohnB #Beta #Turno #USADebut #Playaz #LowDownDeep #RAW #Machete #Event #LosAngeles #California #JumpUp #Jungle #UnionClubLA #XLR8D #Drum&Bass #dubstep #riddim #kidnappa #uberdubstep #crowell #supremedubs (at UNION)

[ginanddonuts]

2017 had some songs. Here’s 50 of them I thought were better then the rest. Thought it was gonna be hard to pull 50, but I ended up having to cut a bunch of tracks out. No order except for the first (top) five. As usual there’s a spotify playlist  and a youtube one - youtube is better because it has all 50 songs and spotify has zero Crew remix dance videos

Goldlink ft Brent Faiyaz & Shy Glizzy - Crew (Prod Teddy Walton)

Creek Boyz - With My Team (Prod A2rBeatz) 

Cardi B - Bodack Yellow (Prod. J. White)

Rich Homie Quan - Heart Cold (Prod. Izze the Producer)

SOB x RBE (DaBoii) - Calvin Cambridge (Prod. Parts Unknown)

Prezi - Do Better (Prod. 1smackz) 

Kash Doll- For Everybody (Prod. Blasian Beats) 

Kendrick Lamar - Loyalty (Prod by Terrace Martin, DJ Dahi & Sounwave) 

Neff the Pharaoh - Bling Blaow ft Slimmy B (Prod. Two.Fifteens)

Husalah - M.O.B. (Prod. Young L)

Lil Durk & Lil Reese - Distance (Prod Young Chop) 

Tay K. - The Race (Prod. S.Diesel)

G. Herbo - Red Snow (Prod. C-Sick)

ZumBee - Banana Peels (Prod CashMoneyAP) 

Lor Choc - Fast Life (Prod ?)

Mozzy -  Like You Say You Do (Prod June) 

YoungBoy Never Broke Again - Left Hand Right Hand (Prod ?)

Migos - T-Shirt (Prod Nard & B)

CupcakKe - Cartoons (Prod ?)

Baby Soulja ft Boosie Badazz - Dirty (Prod  P-Dox aka Zay) 

G Perico - All Blue (Prod Kacey Khaliel) 

Young MA - Walk (Prod 1Mind, DJ Burn One + The Five Points Bakery.) 

Chynna - Bet (Prod Tālā)

Starlito & Don Trip - What I Gotta Do (Prod Chefry Kitchen)

Valee - Shell (DJ Bandz)

Lil B - Free Life (Prod Lil B)

Chris $penser - Shark Wrestling (Prod Chris Crack) 

CyHi the Prynce - Murda ft Estelle  (Prod Anthony Kilhoffer, Brandon Black, Shawty Redd & Mark Byrd) 

Future - Fresh Air (Prod Major Seven Detail Mantra[a] King BNJMN) 

Playboi Carti - Magnolia (Prod Pi'erre Bourne) 

Z-Ro - Owe You Niggaz Shit (Prod ?)

Z-Money ft Valee - Two 16’s (Prod ChaseTheMoney) 

Chelly the MC - Northeast Baby  

Blac Youngsta ft LIl Yachty - Hip Hoppers (Prod Mike WiLL Made It.) 

70th St Carlos - Bag it Up (Prod Trel itz a Hit) 

Tec & Maine Musik ft BTY Young'N (Prod ?) - Came wit the Game

Quelle Chris ft House Shoes - BS Vibes (Prod Chris Keys) 

Payroll Giovanni feat. HBK, Roc, B Ryan - How We Move It (Prod Helluva)

03 Greedo - Never Bend (Prod ? )

 Moneybagg Yo & Youngboy Never Broke Again - Aquittal (Prod June James)

1247 Swift - Money Machine ( Prod Lyfe) 

Scarface - Same ol Same (Prod Scarface)Asian Doll - Gucci (Prod Bankroll Got It) 

Asian Doll - GUCCI (Prod Bankroll Got It)

Open Mike Eagle- Brick Body Complex (Prod Caleb Stone)

Young Thug ft Millie Go Lightly- She Just Wanna Party (Prod. Charlie Handsome & Rex Kudo)

Rico Nasty - Key Lime OG (Prod WhoisMike)

Gunplay & Mozzy - That Easy (Prod ?)OMB Peezy - Lay Down (Prod Drum Dummie) 

OMB Peezy - Lay Down (Prod Drum Dummie)

LIl Uzi Vert- 444+222 (Prod Ike Beats & Maaly Raw) 

21 Savage & Offset - Still Serving (Prod Metro Boomin) 

[kevindurkiin]

World Of Drum and Bass Tour to Touch Down In LA This Weekend at Xcellerated

It’s time for another exciting UK legends meets hometown heroes this weekend in Los Angeles, as the World of Drum and Bass tour rolls through the City of Angels. The annual spring tour was begun by D&B icon DJ SS and each year features both HIM AND Simon Bassline Smith and at least one other major UK headliner.

This year, the World of Drum and Bass Tour will be rolling through Mexico, Canada and many parts of the US on its North American legs but the first stop is in LA, hosted by Xcellerated. This year is no exception and the festivities will not only include Mr. SS and Mr. Bassline but also the dynamic UK duo of North Base, jungle and DnB legend Mampi Swift and an opening set from yet another UK headliner, High Roll. This will be High Roll’s first time playing in the U.S. so get there early and don’t miss it.

For World of Drum and Bass Xcellerated always comes correct so the newly refurbished Catch One on Pico will also open the loft area and feature as many local heroes as one can cram into a night: Replicant, Maseo/Hokilla, Mr. Deeds, Satin, BK Willy and Lymyt will all be lighting up the decks in the loft. MC hosts for the evening will be Dino, J Tec and Werd.

The World of Drum and Bass Tour only comes around once a year and each time it’s completely different so this is always a don’t-miss event in LA. Pre-sale tickets are recommended and available until 7pm on the day of the event, tomorrow, March 16. Go to the Xcellerated event page for pre-sale link and more info.

This article was first published on Your EDM. Source: World Of Drum and Bass Tour to Touch Down In LA This Weekend at Xcellerated

World Of Drum and Bass Tour to Touch Down In LA This Weekend at Xcellerated published first on https://soundwizreview.tumblr.com/

[bluebuzzmusic]

World Of Drum and Bass Tour to Touch Down In LA This Weekend at Xcellerated

It’s time for another exciting UK legends meets hometown heroes this weekend in Los Angeles, as the World of Drum and Bass tour rolls through the City of Angels. The annual spring tour was begun by D&B icons SS and Simon Bassline Smith and each year features both of them and at least one other major UK headliner.

This year, the World of Drum and Bass Tour has already rolled through Mexico, Canada and many parts of the US on its North American legs but one of the pinnacles it always their stop in LA, hosted by Xcellerated. This year is no exception and the festivities will not only include Mr. SS and Mr. Bassline but also the dynamic UK duo of North Base, jungle and DnB legend Mampi Swift and an opening set from yet another UK headliner, High Roll. This will be High Roll’s first time playing in the U.S. so get there early and don’t miss it.

For World of Drum and Bass Xcellerated always comes correct so the newly refurbished Catch One on Pico will also open the loft area and feature as many local heroes as one can cram into a night: Replicant, Maseo/Hokilla, Mr. Deeds, Satin, BK Willy and Lymyt will all be lighting up the decks in the loft. MC hosts for the evening will be Dino, J Tec and Werd.

The World of Drum and Bass Tour only comes around once a year and each time it’s completely different so this is always a don’t-miss event in LA. Pre-sale tickets are recommended and available until 7pm on the day of the event, tomorrow, March 16. Go to the Xcellerated event page for pre-sale link and more info.

This article was first published on Your EDM. Source: World Of Drum and Bass Tour to Touch Down In LA This Weekend at Xcellerated

source https://www.youredm.com/2019/03/15/world-of-drum-and-bass-tour-to-touch-down-in-la-this-weekend-at-xcellerated/