#nyc mixtape

[realnyhiphop101]

DJ Doo Wop “95 Live & Da Bounce Squad” Era

[applewhizzle]

[upnorthtrips]

Do Remember! The Golden Era of NYC Hip-Hop Mixtapes is the first comprehensive deep-dive oral and visual history of the golden era of hip-hop mixtape culture in New York City. From street corners to corner offices, mixtapes made a huge impact on the music industry and hip-hop culture in New York City during the late ’80s, ’90s, and early 2000s. Mixtapes helped dictate what rap songs were hot in the clubs, on the radio, and in the streets, and they influenced which artists would get signed to record deals. Mixtapes also showcased which DJs had the most skills and creativity, and who had the juice to pull the illest exclusives. Do Remember! combines the best elements of oral and pictorial histories to explore the evolution of mixtapes as a crucial component of New York City hip-hop culture. Featuring a comprehensive collection of rare mixtape cover art, never-before-seen images, vintage tracklists, and exclusive interviews with Kid Capri, Brucie B, Mister Cee, Ron G, S&S, Doo Wop, Green Lantern, Lord Finesse, Clark Kent, Bobbito, Cipha Sounds, Havoc of Mobb Deep, the late, great DJ Kay Slay, and many more, including a special foreword by Fab 5 Freddy, Do Remember! captures an era in New York City that went on to inspire future hip-hop generations all over the world.

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[alazarrr]

Rest Well Stack Bundles.

[omegaremix]

Omega Radio for June 4, 2016; #112.

"Brand New" "Egg Raid On Mojo" "Cookie Puss" "She's On It" "Rhymin & Stealin'" "Girls" "Fight For Your Right" "No Sleep Till Brooklyn" "Paul Revere" "Brass Monkey" "The Sounds Of Science" "Hey Ladies" "Looking Down The Barrel Of A Gun" "Ask For Janice" "Pass The Mic" "Gratitude" "So What'cha Want" + (Soul Assassins RMX) "The Biz Vs. The Nuge" "Sure Shot" "B-Boys Makin' With The Freak Freak" "Root Down" "Sabotage" "Flute Loop" "Body Movin'" "Intergalactic"

Bonus broadcast; Beastie Boys Summer showcase.

[thefarfield-s5s]

chum

[mosleyboxing]

Mike TYSON x Cus D'Amato x Incredible Bongo Band x Grandmaster Flash

[omegaplus]

# 4,507

October 30, 2018.

Something inside me was nagging me to go to Manhattan. A few days later, I find myself on the Deer Park platform for a good half-an-hour before the westbound Penn Station train arrives. Six PM. Upper 40’s. The deep prismatic remnants of the fallen twilight sun sit on the horizon west on the tracks. Clear skies, no clouds. Stars in the sky and the moon’s already gone. It’s rare I’d take a train this late to the Five Boroughs and it’s not to see family, doctors, or for a band. I was curious to see how well my kit took night shots and take it from there.

I felt like I didn’t finish the job properly the last time I was there. By “job”, I meant the August photography session at The American Radiator Building, The Freedom Tower and Times Square. I always wanted to aim and fire at those two locales and that day’s doctor appointment made it possible. That was right after I entered a new sordid era. Ever since the Brooklyn goth girl tore my heart out I’d have a new perspective on what could’ve been and what I’ll be missing completely.

The brass ring I was told of was never there to begin with. Someone else had it all along. I was still poisoned with the effects of being led on, lied to, and deceived in the worst possible way. I would never feel or see the same way about city aspirations again. Yet, no matter how many razor-thin-tipped arrows are pierced deep in your body, you still fight on.

I don’t even remember what I thought of on the ride west to Penn Station. I was too busy numbing myself with the night’s playlist. I look out the window to my right as Impalers’ “High Wired” was as going fast as the motion blur itself. 65 minutes later, the train slows down as it enters Penn Station. Ron Morelli’s “Golden Oldies” came on when the line slowed down to darkness and crawled by the obscure rarely-seen corridors. The line slows to a complete stop. The doors open and it starts.

I board off, head up the steps to and through Penn Station, and take the 1/2/3 to 42nd St. For the first time since one New Year’s Eve, I’m in the heart of Times Square at night. The Electric Behemoth. I set up my tripod in-between the streaming traffic while being aware of my surroundings. I aim high and shoot with all the settings and adjustments possible, even wildly playing around with the f-stop and leave the sizzling effects for interpretation. After an hour the kit’s display would tell me a story: I’d find out that no matter how I balance my settings I’d never have the right amount of color or sharpness. Too dim, too fuzzy, too bright. Not enough detail. The color’s are off. It seems you could only achieve what your camera allows you to. On towards Tribeca.

I take the 1/2/3 Express line all the way down to a few blocks short of the Freedom Tower. It’s a different scene from when I was there the last time. Not the pleasant blank-blue skies of a baked early-August afternoon, but the quiet pitch-black streets of the end of October where the silence begs for your attention. A few bars open on Church St. where a scant few people stand on the sidewalk conversing with associates or on their phones closing their deals. I line the camera down south and shoot darkness. The numerous specks of overheads and streetlamps illuminate stationary as the traffic lights instantly switch from red to green. The negative space help separate the dynamic range between darkness and colored lights as I play around with the zoom, firing the kit while it adjusts its focus to capture the bokeh effect.

I walk straight to the Hudson River Greenway. Only 3,500-4,000 feet of water separates me from Jersey City. 1,500 to One World Trade Center / Freedom Tower. Total isolation. A younger couple walking amongst themselves from the piers…and no one else to be found. All I could do was aim and fire at Jersey City with as many combinations of settings as possible. The empty office buildings are fully awake with their bright lights and lucid signs as they stood tall and away in the distance as no one else besides myself are around. After all I could, I turned it south towards the Freedom Tower and shoot as much as the batteries allowed it. I successfully managed to avoid the incoming traffic of cyclists because I paid attention and looked where I was going. Not so much for one oblivious muppet who walked first and looked later. He walked right in front of a oncoming bicyclist and they almost collided. “C’mon. Seriously?” barked the cyclist who verbally flashed some sense into the oblivious dullard. Now back to the 1/2/3 express line up north to head home.

I got off one stop short north of Penn Station, the Times Square / 42nd St. Stop where I ended getting up at 40th St. And 8th Av. I walked around Lord knows what streets. I didn’t plan it but somehow I walked past the Port Authority. And somewhat of a pleasant surprise to break negative thought if even for five minutes: a “post no bills” message stenciled on a random red door. Below it: another stencil of Bill Murray. Genius.

I walk through the Manhattan maze the night before Halloween. All five boroughs are gearing up for the whimsical festivities. The city streets are tidy and quiet with barely anyone walking through the minimal light and activity but it’s still all there. I’m right where I want to be. Always - except I walk solo. It would’ve been great to have someone join this unique experience with me. No reason why it shouldn’t but there always is. Instead, someone took me for a ride and left me head-fucked and demystified. She’s right here yet so far away and I can’t get to her. All I could think of on the walk towards back to Penn Station is another could-have scenario once again made possible by immature people and their foolish games. What’s worse? It’s her holiday tomorrow. I know in my mind she’ll be having lots of fun however she gets it. I won’t.

Another night in the record books. About 200 shots taken against the blinding million dollar lights, the pressing cold winds and the serene city silence. The 11:15PM line back to Deer Park is here. It usually takes about 10 minutes of standstill before the train finally takes off. It’s no surprise that Council Estate Electronics’ “60 Megawatts” grinds in my ears as I sit still in the front car sitting forwards and that alone is all doldrums; just waiting for train to take off. Then it morphs into Ron Morelli’s still-unsettling, suspenseful “Narco FRQ” as the line slow-rolls out of Penn Station in tune with the subtle clacking of the train’s wheels on the track. Another 65 minutes to go as I keep my quotient up and my era open, stupified as to what’s in store for me.

Plaque Marks: “Anxiety Driven Nervous Worship”

Council Estate Electronics: Urals

Erica Eso: “Vaccination Free”

AceMo: Black Populous

Arctic Flowers: Weaver

Pop Group, The: “(Amnesty Report II)”

Impalers: “Filth Binge”

Boy Harsher: “Motion”

Fellony: “Politics Of Verticality”

Sky Ferreira: “Voices Carry”

Heem Stogied X EyeDee X Tha God Fahim: “Drive By”

Gnarcissists: “We All Just Wanna’”

clipping.: “Something They Don't Know” (Bad Zu RMX)

Jeremiah J ft. Knxwledge: “Almost”

War On Drugs, The: “Up All Night”

Radon: “A Fist Full Of Potash”

Palm: “Ostrich Vacation”

Impalers: “High Wired”

Caroline K: “Chearth”

Echo Beds: Why Bother Stacking The Chairs On A Sinking Ship”

Blueprint: “Five Years Ago”

Beths, The: “Great No One”

FACS: “Primary” (demo)

Death In June: “Little Black Angel”

Philippe Hallais: “Hero / Fall / Angela”

Fire Engines: “(We Don't Need This) Fascist Groove Thang”

Dilly Dally: “Doom”

Serge Gainsbourgh: “Je T'aime Moi Non Plus”

wosX: “Armageddon”

Young Fathers: “Lord”

Further Reductions: “Central System”

Street Sects: “And I Grew Into Ribbons”

Frankie Cosmos: “Outside With The Hotties”

Badlands: “Heavy Sighs”

Ron Morelli: Disappearer

[bmfentertainmentinc]

A Social Justice Lens: Capital Prep Schools was born out of a national crisis in education, where access to quality education is defined by your zip code. Not only is the quest for social justice in our DNA, and why we are here, social justice is at the root of the CPS curriculum: Capital Prep scholars are taught that they have an obligation to work to correct circumstances that are unjust when they infringe upon their community. The Social Justice Project (“SJP”) is a performance based task where students will demonstrate their ability to question, research, lead, act, present, and reflect in order to confront a social injustice in their community. It is an example of synthesis, the assembling of critical elements of what the students learned in a new combination, product or other form. The Social Justice Project will be evidence of the students ability to fulfill the mission of the Capital Preparatory School. The SJP is a graduation requirement for high school seniors. In order to pass the SJP, students must do the following: Identify a social justice problem in the community. Create an informed “Social Justice Action Plan.” Conduct activities that will attempt to solve the problems. Raise awareness in the broader community through an event or series of events. Analyze data throughout the project. Present a comprehensive overview of findings to panel of academic and community advisors

[greatvacationvegas]

A Social Justice Lens: Capital Prep Schools was born out of a national crisis in education, where access to quality education is defined by your zip code. Not only is the quest for social justice in our DNA, and why we are here, social justice is at the root of the CPS curriculum: Capital Prep scholars are taught that they have an obligation to work to correct circumstances that are unjust when they infringe upon their community. The Social Justice Project (“SJP”) is a performance based task where students will demonstrate their ability to question, research, lead, act, present, and reflect in order to confront a social injustice in their community. It is an example of synthesis, the assembling of critical elements of what the students learned in a new combination, product or other form. The Social Justice Project will be evidence of the students ability to fulfill the mission of the Capital Preparatory School. The SJP is a graduation requirement for high school seniors. In order to pass the SJP, students must do the following: Identify a social justice problem in the community. Create an informed “Social Justice Action Plan.” Conduct activities that will attempt to solve the problems. Raise awareness in the broader community through an event or series of events. Analyze data throughout the project. Present a comprehensive overview of findings to panel of academic and community advisors

[digmagazineblr]

A Social Justice Lens: Capital Prep Schools was born out of a national crisis in education, where access to quality education is defined by your zip code. Not only is the quest for social justice in our DNA, and why we are here, social justice is at the root of the CPS curriculum: Capital Prep scholars are taught that they have an obligation to work to correct circumstances that are unjust when they infringe upon their community. The Social Justice Project (“SJP”) is a performance based task where students will demonstrate their ability to question, research, lead, act, present, and reflect in order to confront a social injustice in their community. It is an example of synthesis, the assembling of critical elements of what the students learned in a new combination, product or other form. The Social Justice Project will be evidence of the students ability to fulfill the mission of the Capital Preparatory School. The SJP is a graduation requirement for high school seniors. In order to pass the SJP, students must do the following: Identify a social justice problem in the community. Create an informed “Social Justice Action Plan.” Conduct activities that will attempt to solve the problems. Raise awareness in the broader community through an event or series of events. Analyze data throughout the project. Present a comprehensive overview of findings to panel of academic and community advisors

[sports-drugs-entertainment]

THE MOBB DYNASTY APPARENTLY YOU THOUGHT I WAS SOME OTHER TYPE......

[omegaremix]

Consumer Electronics / Alberich / Yellow Tears / Copley Metal @ Saint Vitus, N.Y.C.; December 7, 2015.

“Consumer Electronics will be the next act I will buy tickets for should they come to New York City” I exclaimed in September. It was checked off by Philip Best, and five weeks later there it was. Consumer Electronics declared a show in New York City. There it was. I called it. I got what I asked for, so now go get it or else.

I took the train to Woodside, then its’ “7″ subway to the “G” to Greenpoint and Manhattan Avenues, walked a few blocks to arrive at Saint Vitus which has to be the most raw, tasteful, and bad-ass venue dressed in black. As soon as I verified my ticket, I wasted no time to walk through the bar to the floor where Copley Metal, dressed very nice and neat, was performing right in front of the audience at their level.Ten minutes later Copley Metal ended to pack up to give way to Hospital Production’s Alberich, who offered us a thirty-minute slow-burn of maelstrom noise set. Alberich sat very calm and collective in much control, later on shaking a microphone for more effects and adding in voice samples. He stood up adding more force to his combat noise, shaking the microphone more vigorously before giving it lyrics when some Gaye Advert look-a-like in a leather jacket bowling-pinned her way to the front of the crowd, giving free unsolicited hugs to a select few other bystanders. Alberich shuts it off for good before getting a very respectable round of applause from the crowd.

Yellow Tears then arrived. Their set-up consisted of Korgs, Yamahas, two guitars, knobs, a toilet seat placed on a custodial bucket, and two “splash zone” banners draped from their tables. If there was a joker card thrown into the set, then they would be it. Their performance went in a different direction from what other people would assume in any given noise show. Ridiculous. No one knew who they were before this, so any expectations of seriousness and maturity flew right out the window. Yellow Tears played the audience as equal as they were playful themselves as they pulled every card from their very versatile deck.

What other act would repeatedly scream “What Is Frank?” as a still of vocalist Frank Ludovico constantly zooms in and out? Psychedelic backing films on screen that could make Tim And Eric blush and reconsider themselves, plus a film loop of Disney’s Cinderella shower scene as Ludovico literally lightly sweeps the stage and then proceeds to sit down on the makeshift toilet seat bucket, exasperating light sighs of relief while the whole audience continued their what-the-fuck moment with Yellow Tears. During their entire set, they went from many different styles of music while seeming to perform as if they were a skit comedy show in succession. At first, I thought they were playing with a random bag of tricks to the tune or game of “do you get it?”, but since the audience had been there and seen various cartoon, kid show, or skit culture references before, they did get it. And they weren’t finished: Yellow Tears’ set turned a participation act into a sales pitch. Only Ludovico has the steel to take two audience members up on stage to sell them ten-dollar coffee mugs with free cups of coffee during their set, and they fucking bought it.

Finally the moment all of us have been waiting for: Philip Best and wife Sara Ruth Best shortly took the stage to set up shop, fine-tuning everything before starting. Consumer Electronics still continues where Whitehouse left off with all the controversy, uneasy subject matter, deprivation, and grit that the former was all about, while Whitehouse became William Bennett’s Cut Hands, a tribal-electronic project of his. Whitehouse truly made me think of how they got away with everything they done, how their lyrics were pieced, how the noise not like the others came to be, and what to make of their output. Over the last few years, I was so interested in Whitehouse that I followed their respective future projects and took what they offered in terms of thoughts, commentary, or even recommendations. With the Best’s Consumer Electronics project, the philosophy still continues.

Best greeted us “cunts”, as he always does. We cheered because we know it comes from Mr. Best. Best charged his accusation finger calling for all of us to “Come Clean”. Throughout the show, he shared with us all of his raw material: cut up, photocopied, stitched, glued, and wrinkled for all of us to see. He even walked over to show us lyrics to “Elite Gymnastics”. The references: various questionable obscenity, controversy, Anne Frank’s smiling portrait, Alice Elizabeth, Baby’s Gang, present for all to witness. Best licked the pages and rub it against his crotch. Later on he threw those same pages on the floor, once knocking over a drink from the stage to the floor. He licked his fingers in such an uneasy, disgusting gesture. His fists shaking, screaming in his usual rage, sometimes inciting the crowd. With Best walking and his usual blood going, he walked back and forth to two microphone stands, trading tirades from one to another. All the while, the tall, slender, and beautiful Sarah Best did controller duties and even took to screaming for a few songs including “Murder Your Masters” and “Co-Opted By Cunts”, made with repetitive, sweeping, crunchy beats courtesy of sometimes-member Russell Haswell, who unfortunately was not part of the show’s festivities. But we were treated to “Affirmation”, “Colour Climax”, “Estuary English”, “Knives Cut”, and more from the last four Consumer Electronic’s records (2007-2015). They ended their show with the horrific and terrifyingly real “Black Cotton Wool”, a abrasive shred of bone-shivering abusive screaming and grinding noise before Best motioned to have Sarah shut it down, declaring to visit us again very soon.

Two beer cans (Pabst Blue Ribbon, the prized beer of hipsters) were thrown in their direction. A cute shaven skinhead girl was dancing happily. One heckler was screaming at the couple to “get back to work” with other pointless one-liners as well. One fan who was leaning on the speakers took a very heavy whiff of an ether his lady friend offered him and twitched uncontrollably for about five minutes. When he finally came down to Earth, he screamed at Best to “fuck me, Daddy”. Best replies: “You wish.” We all burst in laughter. During some songs, the meat of the crowd suddenly whipped itself in a frenzy. As those songs came into play, the crowd got very into it and bobbed to the pulsations of the Bests’ driven beats. One person stage-dived into the crowd while others participated into a vicious mosh on the floor. And that’s why it’s called power (violence) electronics, as times haven’t changed. The Best’s made it all happen. It was everything I expected to be and I’m very happy to have seen The Bests / Consumer Electronics in action as I wanted to.

Which now leaves me to one more act on my current bucket list which is the other half of what was Whitehouse: William Bennett’s Cut Hands. I had the chance to see him along with Pharmakon and Godflesh but passed it up, and another on very short notice this year with only a week to have a ticket but scheduling disallowed it. Just like seeing Consumer Electronics and the other noise show earlier this year in New York City, I need to see Cut Hands for an excuse to go to the city again to keep my music quotient and style points up.

[firebarzzz]

Stretch Armstrong - Lesson 1 (1997) NYC, NY sides A&B - MixTapes -

Stretch Armstrong - Lesson 1 (1997) NYC, NY sides A&B

Tracklist 1 Company Flow– 8 Steps To Perfection2 Krumb Snatcha– Gettin’ Closer To God3 Brainwash 2000– Break It Down4 Godfather Don– Properties Of Steel5 Hillfiguz– Not Enuff Time6 The Korp– The Champion7 L. The Head Toucha– Too Complex8 Natural Elements– Bust Mine9 Black Attack & Problemz– Freestyle10 R.A. The Rugged Man– Freestyle11 F.T.– Freestyle12 Dogface– Freestyle13 Lace Da Booms–…

[royaltyrules816]

Happy Birthday DJ Kay Slay‼️