#Scott La Rock

[todayinhiphophistory]

Today in Hip Hop History:

Scott La Rock of Boogie Down Productions died August 27, 1987 R.I.P.

[ninetydeuce]

Boogie Down Productions - My Philosophy

[dme-tv1]

Left to Right: E-love, Scott la Rock, LL Cool J, Krs-One, Doug E

[djducats]

KRS-One - Step Into A World (Rapture's Delight) 50 years is a long time, but barely scratched the surface. Happy 50th Birthday Hip-Hop... I messed up the first Friday of the month, but next Friday I’ll be diving into the 90s on Peaceful Journey.

[creativelywise]

[aarondolo]

Aarondolo edition tumblr.

[realnyhiphop101]

KRS ONE & DJ Scott La Rock The "Criminal Minded" Era 1987

[glfc2112]

Random Fact of the Day: Rush and Looney Tunes have a connection. You might be wonder thinking, what's the connection between Rush and Looney Tunes?  It has something to do with "La Villa Strangiato" which is off their 1978 Hemispheres. When pdbass connected the two, it blew my mind.  Around the six minute mark of "La Villa Strangiato," that's when the piece starts.  That section is taken from, pianist, Raymond Scott's "Powerhouse, written in 1937.  It was adapted and arranged by Carl Stalling.  "Powerhouse" has two parts.  The second section has been used in various Warner Bros. cartoons, "Ren & Stimpy," and others. Rush was sued for using it, but that statute of limitations had run out and nothing could be done.  They didn't owe him anything.  Upon Rush realizing what they did, they did what they thought was right and wrote him a penance cheque for using his melody. pdbass goes on to breakdown musical aspect of what Rush played.  Fascinating.  This is something I didn't know.  Goes to show that you're always learning something new. Wow.  Just wow.

[bonniehooper]

Top Picks of 2024

My Top 12 Favorite TV Shows - #6: Hell's Kitchen

Show Premiered: May 30th, 2005

Started Watching: March 2024

[naylasavannah]

check out Funky Fake on Spotify

this song always gives me anthem vibes

[kkarmalade]

The idea is that they killed Hip Hop in the 2000's (see Nas, "Hip Hop is Dead") by, "making sampling illegal." Machines can now make infinite samples that don't incur the need for copyright approvals.

The issue is that the adversary's plan isn't, "make Hip Hop illegal" anymore- it's, "buy out every sector of the industry so there can be tight controls on what constitutes, "marketable" material. If you consider what's possible with edge technologies and blockchain we could have a monster on our hands. Fight back.

Get up stand up. Stand up for your rights. Stand up for better search. The people need information.

"Hip Hop and what it meant to DJ Scott La Rock."

[todayinhiphophistory]

Today in Hip Hop History:

DJ Scott La Rock of Boogie Down Productions was born March 2, 1962

[jeffcbliss]

(Left to right) Will Champlin, Roberta Freeman, Miles Schon, Scott Page, Tony Franklin and Kenny Olson of Think: X, “Beyond the Wall, an Immersive 360 Xperience of Pink Floyd’s Music” - Wisdome LA; Los Angeles, CA (4-30-22).

Photo: Jeff Bliss

[misskattylashes]

This essay is so big, it needs two parts!

The EYCTE cycle

Part 1

From ‘I Just wanted to be one of the Strokes’ to ‘I’m scared of love’ and why I don’t think we will get TLSP 3 any time soon.

There is no doubt that Planet Milex is a different place to where it was in 2015. Back then, they hung out in LA, treated girlfriends like third wheels, were pictured cuddling and behaving like a couple outside The Kills gig, and then went onto record Everything You’ve Come to Expect.

Planet Milex 2024 seems like a desert. No official pictures of them together, the only indication they are still in each other’s lives being Miles frequently mentioning in interviews about hanging out with Alex, still sharing clothes, a picture of them walking the streets of Shoreditch, a sneaky photo at a Scott Walker tribute concert (which interestingly was taken down immediately). Then ultimately, Alex wanting his beloved to be the support act for the final days of the tour, when it was clear at times Alex felt a little overwhelmed by it all, and of course, Miles was there to hold his hand and bring him back down to earth.

‘Maybe I was a little too wild in the seventies’

It’s interesting out of all the Monkey’s songs, it is I Wanna Be Yours that Alex then merged with Star Treatment (often adding ‘I just wanted a jet ski for the moat’ – more of that later), which kind of confirms who I Wanna Be Yours is about – I have no idea why no none has ever questioned the addition of ‘secrets I have held in my heart’.

I think the EYCTE period was one where feelings deepened and promises were made. The one to watch is Miles. At the beginning of the promotional period, Alex looks like an adoring boyfriend, but Miles is quite composed and whilst flirty with Alex, it’s no more than he ever was before, during the SIAS and AM eras. By the end, in the days of Sziget and Rock en Seine. Miles is looking like a soppy puppy with eyes full of love (pretty much how Alex has looked at him since 2008!). But judging by the lyrics of Star Treatment (which Alex started writing during EYCTE), Alex was aware their little bubble couldn’t last ‘here ain’t no place for dolls like you and me’, but Miles, having fallen hard thought they could keep it going.

Alex went off to France to record TBHC leaving Miles stranded in LA, friendless and a bit lost, meanwhile Alex went through a period of self-reflection and justifying to himself why he had let Miles down. Not all the songs on TBHC are related to Milex, Alex was influenced by a whole variety of things, but songs like Star Treatment, Golden Trunks, Batphone and The Ultracheese address their situation. The Ultracheese even ends ‘I done some things that I shouldn’t have done, but I haven’t stopped loving you once’. I see TBHC as Alex’s ‘excuse album’. Sorry I let you down Miles, but look what a big superstar I am with all these big responsibilities, but know I love you’

Miles on the other hand was angry and hurt and wanted to lash out. Coup de Grace is full of angst with thinly veiled digs at Alex (of course during the official promotion, Miles said it was about Hannah his ex but I do think mentioning Alex’s personal information in Killing the Joke is kind of telling). Wrong Side of Life is possibly one of the saddest and most desperate songs I have ever heard. And on Silverscreen, how do you explain Two Faced Johnny as being a woman?! The only hint at self-blame is on Too Little Too Late, with the lines ‘I’m too fickle set in my ways, I’m too little too late’ – which has echoes of Troubled Son. Personally, I think one of the reasons Alex possibly wanted to go back to how they were prior to EYCTE was because Miles had never committed before (see most of AM!) and it was a case of do the hurting before being hurt. But CDG ends with Shavambacu, which in an interview Miles said was about an ex and they used to call each other Shavambacu as a silly little name (cue footage of Miles calling Alex Shavambacu on stage). And the last line is ‘oh honey I love you’. Like TBHC, CDG ends with a declaration of love.

In between CDG and CTS we have the night at La Cigale (which I will write about in a different post) where I think their fall out came to a head, because not long after that, we have grainy footage of them hanging out in East London. At the same time Miles is writing Change The Show, and whilst the songs are still a bit angsty, there is a lot more pragmatism. See Ya When I See Ya stands out, and we have the ‘Johnny’ character again, but instead of being angry with Alex for his double life and secrets, Miles has resigned to himself he’ll always be there for him and keep his secrets for him. I think because they had reconciled to a degree, Miles realised they weren’t going anywhere, but it didn’t mean Alex didn’t annoy him. Final track Adios ta ra ta ra indicates exasperation at their constant battles, but there is still an air of resignation.

Part two tomorrow

[artisticlegshake]

THE DANCE AWARDS LAS VEGAS 2024

MINI SOLOS:

1st Sylvie Win Szyndlar - CLUB DANCE JP!

2nd Tatum Self - CLUB DANCE JP!

3rd Kennedy Marble - CLUB DANCE JP!

3rd Belle Marie Arauz - DANCE TOWN JP!

3rd Savannah Jackson - LARKIN JP!

4th Lexie Charnstrom - LARKIN JP!

4th Caitlyn Mckenzie - CLUB DANCE JP!

5th Alivia Hughes - DC2 JP!

5th Mikayla Isler - CLUB DANCE JP!

5th Stella Brinkerhoff - CSPAS JP!

5th Maylin Munos - LARKIN JP!

5th Junie Beus - MLDA JP!

6th Kynzli Reece - K2 STUDIOS JP!

7th Harper Schwalb - CLUB DANCE JP!

8th Neala Murphy - LARKIN JP!

8th Lennon Bailey - DC2 JP!

8th Chase Lang - LARKIN JP!

9th Abbey Scott - CLUB DANCE JP!

9th Eva Wright - K2 STUDIOS JP!

9th Penelope Akey - DC2 JP!

9th Nixie Vance - CLUB DANCE JP!

9th Melina Biltz - THE ROCK JP!

9th Libby Johnson - CLUB DANCE JP!

10th Evie McCune-Barrett - LARKIN JP!

[bitter69uk]

“When I grow up, I know exactly how I want my hair to look. Like Anouk Aimee's in La Dolce Vita." From "Introducing Rock 'N' Roll's Lady Raunch: Patti Smith" by Amy Gross, Mademoiselle, September 1975

“I was so fucked-up-looking in school, but it just didn't matter. Besides me wanting to be an artist, I wanted to be a movie star. I don't mean like an American movie star. I mean like Jeanne Moreau or Anouk Aimee in La Dolce Vita. I couldn't believe her in those dark glasses and that black dress and that sports car. I thought that was the heaviest thing I ever saw. Anouk Aimee with that black eye. It made me always want to have a black eye forever. It made me want to get a guy to knock me around. I'd always look great. I got great sunglasses.” From “Patti Smith: Can You Hear Me Ethiopia?" by Scott Cohen, Circus Magazine, December 1976

Born on this day ninety-two years ago: that most feline and inscrutable of mid-twentieth century French actresses, Anouk Aimée (née Nicole Françoise Florence Dreyfus, 27 April 1932). She’s a haunting, sensual and Garbo-like presence in the glory days of European art cinema. My favourite performances by Aimée: Les Amants de Montparnasse (1958), La Tête contre les murs (1959), La Dolce Vita (1960) – unforgettable as the most elegant jaded rich nymphomaniac in cinema history (pictured)! – Lola (1961), Model Shop (1968) and Justine (1969). But hell, I also love Aimée as the cruel lesbian queen in trashy sword-and-sandal biblical epic Sodom and Gomorrah (1962), with her voice dubbed by an American actress! It’s fascinating to contemplate that at the height of her international fame in the sixties, Hollywood considered Aimée for two high profile roles: the part played by Faye Dunaway in The Thomas Crown Affair (1968) – and The Baroness in The Sound of Music (1965)!