#gary byrd

[c-40]

A-T-3 142 Gary Byrd & The G.B.E. ‎- The Crown

Sir Keir Starmer was talking to the BBC Radio 4's Today programme yesterday morning. The interviewer Justin Webb completes the circle jerk over prudence by quoting The Times 'at a time when we are being so careful about spending commitments...' setting Sir Keir Starmer up to announce his fucking over of students and people who don't want to amass massive debt to get an education

When I heard this my first thought was the public are paying £100million for a coronation and a further £300million to renovate the royal residences, where's the care in that?

The interview was done on the same day BP announced £4bn ($5bn) profits for the first three months of 2023... this is why I prefer not to use 'cost of living crisis' but 'mega-profit crisis' and 'greedflation'

A report in the FT headlined Will the extraordinary boom in luxury goods ever end? https://www.ft.com/content/72208629-1213-4ece-b405-1e2c21c08868 caught people's attention last week as billionaires saw their incomes treble over the pandemic, with nothing to spend it on, and the gap between the ultra-rich and the rest of us (including some pretty well off people) widening

On the Today programme interview Sir Keir Starmer defends continuing the tories implementation of trickle down economics while attacking trickle down economics' failure under the tories. Sir Keir Starmer is doing his best to look less like a government in waiting and more the tories' b team

The photo of the 1m (it doesn't say what denomination it is, lets call it fantasy bucks) I took last week is brilliantly insightful. With the coronation comes how Britain sees its future. Will the value of the pound tank so badly our currency will be more like Japan's where notes begin at a thousand fantasy bucks? The Bank of England has been abolished and replaced with The Bank Of Eternity because this Britain is a fantasy. Funnily enough the shop that had these on display in the window were very pro-Brexit, all brexiteers wanted their sovereignty so they could spunk it on the crown, the shop staff didn't bother with the 'we'll have more money for the NHS,' they were open about having a problem with foreigners... nasty nasty shameful people with horrible values

There's an episode of Melvin Bragg's In Our Time on the subject of Monarchy which discusses how it is far from eternal https://www.bbc.co.uk/programmes/p00545k6

The Crown Motown’s first rap record written and performed by rapping radio DJ Gary Byrd and Stevie Wonder

When queen elizabeth 2 died I watched a round table with African academics. Speaking on behalf of Africans they were saying they weren't opposed to to monarchy, there are kings and queens in Africa, monarchy has history covering millennia on the continent. New countries becoming independent from colonial rule have considered reinstating or introducing a monarchy

The sleeve of The Crown by Gary Byrd has him represented as a teacher, Bryd refers to himself a teacher in the rap. Black history is schools is major struggle, it's inadequate in the UK, it's a battle ground in he US, misunderstood Critical Race Theory is one of the fronts currently under attack

The lyrics of The Crown are a bit of a mess, there are references to Alex Haley's book Roots: The Saga of an American Family. Byrd also says he's not talking about just black people wearing crowns but literally 'everyone' including you and I. This is quaintly American and disregards what monarchy actually means. It's a really weird liberal idea that everyone be given the right to be a monarch, it's not how monarchy works, in a way it's how anarchy works if we ignore the finer points. I suppose it's an adaption of the American dream? Reading about kings and queens and imagining yourself in their positions has a lot of problems

Christian introduced me to this record and gave me his spare copy in the 1990s, thanks Christian

[krispyweiss]

Jorma Kaukonen with Special Guest John Hurlbut at Natalie’s Grandview, Columbus, Ohio, Feb. 25, 2024

“Are we following the list?,” Jorma Kaukonen asked when John Hurlbut joined him on stage Feb. 25 at Natalie’s Grandview.

“I noticed you did a real good job,” Hulbut replied sarcastically.

Kaukonen had just wrapped 50 minutes of solo-acoustic performance when Hurbut - billed as special guest - came on board to round out the evening with an hour of duo music.

Hurlbut’s presence transformed Kaukonen, who smiled widely after each number, from a solo-blues player into a lead folk-rock player accompanying his compatriot’s acoustic melodies and lead vocals. This is a rarely heard side of the guitarist - a side not displayed when Kaukonen plays alone or with Hot Tuna.

The duo’s informal set - they were seated in jeans and work shirts over black Ts - foreshadowed the April 20 release of Another Lifetime, which takes its title from Peter Rowan’s “Angel Island,” one of eight cover songs that may or may not have followed the list.

However they were chosen, the songs appeared in effective order, beginning with “Take this Hammer,” ending with “Travelin’” and scouring the American songbook to find such numbers as Bob Dylan’s “It Takes a Lot to Laugh, It Takes a Train to Cry,” the Byrds’ “Hickory Wind” and Dillard & Clark’s “Kansas City Southern,” rolled out as if “Day Tripper” was an acoustic blues.

Acoustic blues is, of course, Kaukonen’s specialty. And the 83-year-old Jefferson Airplane co-founder and Ohio resident used that template to take listeners on an aural trip from San Francisco to Piedmont to the Delta and back to his adopted state as he chose songs from a master list in front of his chair.

This is the familiar side of Kaukonen, who, despite his frequent appearances in central Ohio, rendered the sold-out Sunday-night audience pin-drop silent, the music interrupted only by the sound of a full-service restaurant doing its thing.

The din didn’t deter Kaukonen, who bent notes; played impossibly shaped chords, harmonics and pull offs; and employed his thumb pick to coax big sound out of six strings on 10 songs including “How Long Blues,” “Death Don’t Have No Mercy,” “Good Shepherd” and “Keep Your Lamp Trimmed and Burning.”

Despite the seamless, single-set presentation with no encore, Kaukonen and Hurlbut presented a gig that felt like two gigs owing to its diversity of style and substance in an all-too-rare live-music innovation.

“It is John’s and my intention that we all have a really good time tonight,” Kaukonen said when he took the stage.

Promise kept.

Grade card: Jorma Kaukonen with Special Guest John Hurlbut at Natalie’s Grandview - 2/25/24 - A-

2/26/24

[topoet]

Upright Peacock Jazz

Gary Peacock was a very busy session player for decades with the likes of Keith Jarret. On a lp to cd transfer I have his December Poems (1979) a mostly solo bass with Norwegian saxophonist Jan Garbarek added on two selections. His upright bass sound is sweet, his arrangements aren’t challenging & the music is sublime and not overly ‘romantic’ or emotional. I love solo upright bass. With this I…

[longliverockback]

Joan Jett & the Blackhearts Glorious Results of a Misspent Youth 1984 Boardwalk ————————————————— Tracks: 01. Cherry Bomb 02. I Love You Love Me Love 03. Frustrated 04. Hold Me 05. Long Time 06. Talking ‘Bout My Baby 07. I Need Someone 08. Love Like Mine 09. New Orléans 10. Someday 11. Push and Stomp 12. I Got No Answers —————————————————

Ricky Byrd

Lee Crystal

Joan Jett

Gary Ryan

* Long Live Rock Archive

[fantastickkay]

Based on what is in my collection

[nitesound1978]

Gary Byrd & The GB Experience - The Crown

To commemorate the crowning, today, of King Charles, here we have Gary Byrd & The GB Experience with their 1983 hit, The Crown.

[freddiemercurylegendabovelegends]

🔸Pre-Queen Singles Discography🔸

Today, on June 29th, 1973 - 'Pre-Queen' Story!

'I Can Hear Music' / 'Going Back' released in the UK, Germany and USA

🔸In the summer of 1972, Trident Studios' in-house engineer Robin Geoffrey Cable instigated an experimental project in an effort to emulate the "wall-of-sound" style made famous by Phil Spector. Queen happened to be recording their debut album in the studios at the time, so he invited Freddie Mercury to lay down the lead vocals who, in turn, roped in Brian May and Roger Taylor to provide percussion, guitar and backing vocals - as paid session musicians.

In June 1973, shortly before Queen's own debut album was released, EMI decided to cash in on the emerging glam rock trend and rushed out the resulting recordings as a 7" single under the name of Larry Lurex - an obvious send-up of Gary Glitter.

source ➡️ discogs.com

🔸The Ronettes (and later Beach Boys) classic 'I Can Hear Music' was recorded that summer in Trident Studios and features (per Freddie's insistance) Roger Taylor on drums and Brian May on guitar. The single was released in the UK a week before Queen's first album, becoming the first solo product by a Queen member. Freddie insisted the Queen name not be used for the release, so it was released under the pseudonym Larry Lurex.

🔸'Goin' Back' is best known as a 1966 single by Dusty Springfield. The song written by Carole King and Gerry Goffin and was recorded by a number of artists including The Byrds, Phil Collins and eventually Carole King herself.

The song was used as the B-Side to the Larry Lurex single "I Cant Hear Music".

source ➡️ queenvault.com

👉 'Mother Love' (taken 'Made In Heaven' album, 1995) ends with first strophe of song 'Going Back'

📸 Pic: 2016 Freddie Mercury 'Messenger Of The Gods' Boxed Set 7" Sleeve

[soliblomst]

The more days passed, the more Harry realised how much effort Draco put into being the best version of himself and showing how much he deserved to be forgiven in a world where Harry had already forgiven him. People could say it was impossible to change as much as Draco had, that his true nature would always be hidden somewhere, waiting to resurface and engulf him, and that if Harry looked closely enough, he might see the devil behind Draco's eyes. But Harry didn't believe any of it. He knew people could change, as he himself was no longer the same person.

Harry was no longer the Wizarding World saviour, the chosen one, the orphan living with an abusive family; he wasn't the young boy who had to be brave, fearless and ready to sacrifice himself. He was a young man living in Muggle New York, working at a club, son of Gary Byrd, brother of Saki Kimura, and boyfriend of Draco Malfoy. He was a young, bisexual man who loved cooking, listening to old vinyl, wanted a dog, loved the feeling of wet sand between his toes, loved the smell of coffee beans, loved resting naked against Draco's warm skin every morning, and who could spend hours simply watching people walk and talk on the busy street through the window of his living room. He could feel guilty, maybe even ashamed of the man he had become, until he remembered that he was the version of himself that made him happy, and until he remembered that he was the version of himself that Draco had fallen in love with. And for that, he would never want to go back in time.

In This Little World - Soliblomst

Part 2 of The Day You Bloomed

[harrisonstories]

Happy belated 80th birthday to my favourite guitar player. <3

A sequel to this post.

George Harrison: You need Eric Clapton.

John Lennon: No, you need George Harrison.

"He showed me a lot of things on the guitar. George was a really great guitar player. He just didn't think he was. He told me that he almost quit one time because he couldn't play as well as Eric. He said that Eric just had this feel and touch. George really wanted to play like that and told me so, many times. But who wouldn't?" - Bobby Whitlock (Derek and the Dominoes)

“[George is] a great guitar player. When he strikes up on the slide there’s nobody better; his precision, his vibrato is perfect. But he always plays it down.” - Jeff Lynne (ELO, Traveling Wilburys)

"I had heard George's playing on the records, but I hadn't seen him play before I saw A Hard Day's Night. I picked up some tips from him, like playing the G-string up and down the neck for lead guitar because it gave more punch to the lead line. And of course he played the Rickenbacker 12-string and that was a big influence on me, but I even liked to watch his Gretsch playing. He did a lot of barre chords -- John and George used barre chords almost exclusively, whereas coming from the folk tradition I used lots of open chords. With The Searchers and The Seekers, you could hear some of that 12-string out there, but primarily it was The Beatles. I know George influenced us a lot." - Roger McGuinn (The Byrds)

“The innovations in guitar technology he brought to The Beatles were just amazing. He defined what we now know as this classic Rickenbacker 12-string sound. He laid the groundwork for me. And it’s utterly definitive. Nobody had used that volume-pedal technique before ‘I Need You’ […] But you can’t beat ‘Ticket To Ride’. It’s futuristic guitar, even before Hendrix came on the scene. It still sounds like a modern guitar part now." - Johnny Marr (The Smiths)

"I met George during the session Cream did for Badge, and I was very impressed with his playing [under the pseudonym L’Angelo Mysterioso]. I took it for granted that people like McCartney and Lennon were brilliant but didn’t really analyse it. But when you actually play with George you could see what an amazing guitar player he was, doing things that I hadn’t even thought of." - Jack Bruce (Cream)

"Me personally, I worshipped guitar players like George Harrison, who was this melodic part of the Beatles sound and he seemed like he served the song more than his own ego of how many notes per second he could play. I really appreciated that." - Vicki Peterson (The Bangles)

"I love George Harrison so much because [of] the way he would construct a little kind of solo within the song which would be part of the song. So from him I learned about melody […] George Harrison would create a little masterpiece in 8 bars in the middle of Hard Day's Night for example. It's a perfect example of that where he would do something that no other guitarist in the world would think of. He'd put this little lick in. It would have some little fast bits in it, and it would be so outside what you'd imagine the solo of that song to be. Later on I got to know George very well. We became very good friends at one time, and he could do things that no one else could do, and his slide playing was amazing because he used to have very strong Eastern influences from his days with Ravi Shankar and doing the meditation and everything. Just to be around someone like that you learn so much. He really was a giant in the music world for me, very sadly missed." - Gary Moore

"George’s guitar playing was just perfect. In those days we didn’t jam and get to the middle of a song and just play any old thing (laughs); we would have rehearsals and you’d kind of figure out what the part would be so from then on, when you played that song, that was the solo. He was that sort of guitar player and I learned that and I really liked that ‘cause that’s what I was thinking most of the time." - John Fogerty (Creedence Clearwater Revival)

"To see George Harrison there [on the Ed Sullivan Show], standing off to the side, looking down at his guitar while he played his licks -- to my impressionable mind it defined what a lead guitarist was. I knew right then what I wanted to do with my life: I wanted to be like the guy in the middle -- the guy looking down at his guitar and playing all the little fills and solos. Harrison taught me about short solos and hooks, and what a hook is. All those mid-Sixties Beatles tracks -- whether it was 'Day Tripper' or 'Ticket to Ride' or whatever -- they all start with a guitar lick that you wait to come around again in the chorus. That’s where I learned to do that." - Elliot Easton (The Cars)

“His chords were sometimes more a cluster of notes that, to my ears, are beautifully dissonant. The turnaround lick over the last chord in the chorus of the Beatles’ ‘Help’ functions on many levels. It’s such an innovative use of the open G and B strings ringing out, while a minor 3rd shape chromatically descends below it.” - Brian Bell (Weezer)

"I modeled myself after George Harrison a lot in the early days; solos you could sing along with. To this day, that's my approach, and I teach it as a guide at IMA's Rock 'n Roll Girl's Camps." - June Millington (Fanny)

“George was responsible for perhaps the most romantic guitar solo of all time when he recorded Something. It’s arguably among the most gorgeous and expressive solos in any song.” - Nancy Wilson (Heart)

“The solo [from the album version of Let It Be] -- the way his lick comes in after the keyboard breakdown strikes the perfect emotion and uplift for the track. I’ve ripped it off a million times, and will probably rip it off a million more before I’m through. The tone is perfectly gritty but without a safety net and mixed way on top of the tune, warts and all. Love it.” - Chris Shiflett (Foo Fighters)

"I was into Harrison. He's an amazing guitar player. Songwriter too." - Jim Root (Slipknot)

“I feel like the music world mostly thinks of George Harrison as the phenomenal songwriter that he was, but I think he’s really underrated as a tone innovator. I remember reading a GW article [January 2014] about I’m Only Sleeping and how George got this crazy tone by writing the solo, learning it backward and then recording it with the tape running back to front, resulting in the initial solo he had written with this insane, surreal effect. It’s so interesting to think about what that process would have been like, getting those tones in a completely analog studio setting.” - Nita Strauss

“As a guitarist, I've always loved George Harrison. I've never been a fan of the rock'n'roll style, or the solos, etc. I like simple things. When Harrison does a solo, it doesn't sound like a solo, it's just his part, it's never a show of virtuosity. I don't like sham.” - Alex Scally (Beach House)

“The mix [in Savoy Truffle] is all about a trip to the dentist’s office. The guitar tone -- most likely run through a fuzz pedal -- sounds like a drill. The bending, stabbing notes during the lyrics, ‘But you’ll have to get them all pulled out’ really gets the image of a dentist’s drill across vividly. I borrowed those bending, stabbing notes from him and have no intention of returning them anytime soon. The phrasing is total Harrison -- even with the fuzz, you can tell it’s him. He does have that ‘George Harrison sound’ as well, but to identify a guitar player with phrasing is rare.” - Joey Santiago (Pixies)

“Till There Was You shows George’s vast range of playing in 1963. He has lovely phrasing, uses diminished notes –- and there’s a fantastic use of the Gretsch tremolo arm before a fabulous run into the middle eight. [GW Editor’s note: Although he used a nylon-string guitar on the studio recording, Harrison often performed the song with an electric guitar.] To my young ears, this was masterful guitar playing." - Bernie Marsden (Whitesnake)

“No one changed the face of guitar more than George, in my opinion.” - Steve Lukather (Toto)

“He gives [Dig a Pony] space where it’s needed and doesn’t clutter the sound or detract from the lead vocal. This is definitely something we could all learn from him. His choice of notes adds a sense of melancholy to the song, lifting it above what could otherwise have been a bit of a throw-away number. Lennon would later refer to the song as ‘garbage,’ but for me, Harrison’s class makes it an underrated gem. Watching the footage, we get an insight into George’s excellent technique throughout the song; expertly switching between flat-picking, hybrid picking and straight finger picking to accent the lead lines and add texture to his parts. There’s a great shot where you can see him with his pick palmed while playing with his fingers, followed by a quick adjustment of the volume and tone controls, before swiftly returning the pick for some flatpicking. It’s skillfully done and impressive to watch.” - Kevin Starrs (Uncle Acid and the Deadbeats)

“I mean he was one of the first guys to really play melodic slide because most guys that play, they want to play blues, you know? Which is great, but George from My Sweet Lord on, he would play really melodic. I love the way he played, and he was really kind to me. He was very supportive, and he told me several times that he liked the way I played slide too, so I’m greatly indebted to George.” - Mike Campbell (Tom Petty and the Heartbreakers)

'My impression of George when I first met him was that he wasn’t really extremely confident, didn’t understand what all the fuss was about and felt like maybe people were mistaking him, or making a mistake, or seeing something that wasn’t there. That was the feeling I got from him. Everyone was into hot licks, but he didn’t have any. So I feel he didn’t have a glimpse of how really wonderful a musician he was…He was very conscious that he couldn’t read music and that he couldn’t play searing solos off the top of his head. What he could do was worth more to me. He was a beautiful musician, extremely musical. The 'Moonlight Sonata' is a very simple thing to play on the piano, but it’s beautiful. And beauty is not about technique." - David Bromberg

[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 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 Ragtime, to Jazz, to Rhythm & Blues, to Soul & Funk, to HipHop. 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, 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. 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 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; which defies 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.

[movies-to-add-to-your-tbw]

Title: Jumanji

Rating: PG

Director: Joe Johnston

Cast: Robin Williams, Kirsten Dunst, Bradley Pierce, Bonnie Hunt, Jonathan Hyde, Bebe Neuwirth, David Alan Grier, Adam Hann-Byrd, Patricia Clarkson, Laura Bell Bundy, James Handy, Gillian Barber, Brandon Obray, Cyrus Thiedeke, Gary Joseph Thorup, Leonard Zola

Release year: 1995

Genres: fantasy, adventure

Blurb: When siblings Judy and Peter discover an enchanted board game that opens the door to a magical world, they unwittingly invite Alan - an adult who's been trapped inside the game for twenty-six years - into their living room. Alan's only hope for freedom is to finish the game, which proves risky as all three find themselves running from giant rhinoceroses, evil monkeys, and other terrifying creatures.

[omegaremix]

Omega Radio for June 2, 2021, #265.

Johnny Hammond: “Why Can’t We Smile” (ver.)

Funk Fusion Band: “Can You Feel It”

Michael Soward: “Standing On The Top”

Quarteto Em Cy: “Tudo Que Voce Podia Ser”

Ana Mazzotti: “Feel Like Making Love”

Abahambi: “Abahambi”

Asiko Rock Group: “Lagos City”

Creative Funk: “Funk Power”

Lafayette Afro Rock Band: “Hihache”

Gary Byrd: “Soul Travelin’ Pt. 1 (The G.B.E.)“

Jack Wilkins: “Naima”

Taj Mahal: “The Cuckoo”

B.B. King: “Chains N’ Things”

Renee Costy: “Like A Magic Dream”

Jimmy Smith: “My Place In Space”

Donald Byrd & 125th St. NYC: “I Feel Like Loving You Today”

Hysear Don Walker: “Inner Face Rebirth”

Lightmen Plus One, The: “Wench”

Brian Auger’s Oblivion Express: “Future Pilot”

Bernard Ebbinghouse: “Mister Carefree”

Bobby Hutcherson: “Montara”

Steve Khan: “Candles”

Breath Of Life: “Keep In Touch”

Piero Piccioni & Shawn Robinson: “Right Or Wrong”

Arena: “Scrichell Cat”

Grover Washington Jr.: “Moonstreams”

Sonny Fortune: “Come In Out Of The Rain”

Kenji Omura & Kazumi Watanabe & Lee Ritenour: “I Feel Breeze”

Jeff Lorber Fusion Group: “Glisten”

Eddie Henderson: “Beyond Forever”

Stanley Turrentine: “Hope That We Can Be Together Soon”

Barry White: “Playing Your Game, Baby”

Champaign: “I’m On Fire”

Mass Production: “Slow Bump”

Whole Darn Family: “Seven Minutes Of Funk”

Instant Funk: “Never Let It Go Away”

Bonus Omega; crate-digging and sampling. First summer bonus broadcast.

[drakehavenelite]

Joan Jett & The Blackhearts - Gary Ryan, Joan Jett, Lee Crystal & Ricky Byrd - 1983

[mymelodic-chapel]

The Byrds- Younger Than Yesterday (Folk Rock, Psychedelic Pop, Psychedelic Rock) Released: February 6, 1967 [Columbia Records] Producer(s): Gary Usher

[longliverockback]

Joan Jett and the Blackhearts Flashback 1993 Blackheart ————————————————— Tracks: 01. Hide & Seek 02. Summertime Blues 03. Indian Giver 04. I Hate Long Good-Byes 05. Cherry Bomb 06. Fantasy 07. Light of Day 08. Gotcha 09. She Lost You 10. MCA (EMI) 11. Louie, Louie 12. Star, Star 13. Rebel, Rebel 14. Be My Lover 15. Bring It on Home 16. Play with Me 17. Activity Grrrl 18. Heartbeat 19. Stand up for Yourself 20. Black Leather 21. Call Me Lightning 22. I Love Rock ‘n Roll —————————————————

* Long Live Rock Archive