#short groove by christian parker

[unknown-songs]

BLACK LIVES MATTER

A list with black artists who have a song in the Unknown Songs That Should Be Known-playlist (Can be a black artist in a band or just solo-artist) (no specific genre)

Bull’s Eye - Blacknuss, Prince Prime - Funk Aftershow - Joe Fox - Alternative Hip-hop Strangers in the Night - Ben L’Oncle Soul - Soul Explore - Mack Wilds - R&B Something To Do - IGBO - Funk

Down With The Trumpets - Rizzle Kicks - Pop Dans ta ville - Dub Inc. - Reggae Dance or Die - Brooklyn Funk Essentials - Funk FACELESS - The PLAYlist, Glenn Lewis - R&B Tell Me Father - Jeangu Macrooy - Soul

Southern Boy - John The Conquerer - Blues Hard Rock Savannah Grass - Kes - Dancehall Dr. Funk - The Main Squeeze - Funk Seems I’m Never Tired of Loving You - Lizz Wright - Jazz Out of My Hands - TheColorGrey, Oddisee - Hip-Hop/Pop

Raised Up in Arkansas - Michael Burks - Blues Black Times - Sean Kuti, Egypt 80, Carlos Santana - Afrobeat Cornerstone - Benjamin Clementine - Indie Shine On - R.I.O., Madcon - Electronic Pop Bass On The Line - Bernie Worrell - Funk

When We Love - Jhené Aiko - R&B Need Your Love - Curtis Harding - Soul Too Dry to Cry - Willis Earl Beal - Folk Your House - Steel Pulse - Reggae Power - Moon Boots, Black Gatsby - Deep House

Vinyl Is My Bible - Brother Strut - Funk Diamond - Izzy Biu - R&B Elusive - blackwave., David Ngyah - Hip-hop Don’t Ever Let Nobody Drag Your Spirit Down - Heritage Blues Orchestra - Blues Sastanàqqàm - Tinariwen - Psychedelic Rock

Disco To Go - Brides of Funkenstein - Funk/Soul Circles - Durand Jones & The Indications - Retro Pop Cheesin’ - Cautious Clay, Remi Wolf, sophie meiers - R&B Changes - Charles Bradley - Soul The Sweetest Sin - RAEVE - House

Gyae Su - Pat Thomas, Kwashibu Area Band - Funk What Am I to Do - Ezra Collective, Loyle Carner - Hip-hop Get Your Groove On - Cedric Burnside - Blues Old Enough To Know Better - Steffen Morrisson - Soul Wassiye - Habib Koité - Khassonke musique

Dance Floor - Zapp - Funk Wake Up - Brass Against, Sophia Urista - Brass Hard-Rock BIG LOVE - Black Eyed Peas - Pop The Greatest - Raleigh Ritchie - R&B DYSFUNCTIONAL - KAYTRANADA, VanJess - Soul

See You Leave - RJD2, STS, Khari Mateen - Hip-hop Sing A Simple Song - Maceo Parker - Jazz/Funk Have Mercy - Eryn Allen Kane - Soul Homenage - Brownout - Latin Funk Can’t Sleep - Gary Clark Jr. - Blues Rock

Toast - Koffee - Dancehall Freedom - Ester Dean - R&B Iskaba - Wande Coal, DJ Tunez - Afropop High Road - Anthony Riley - Alternative Christian Sunny Days - Sabrina Starke - Soul

The Talking Fish - Ibibio Sound Machine - Funk Paralyzed - KWAYE - Indie Purple Heart Blvd - Sebastian Kole - Pop WORSHIP - The Knocks, MNEK - Deep House BMO - Ari Lennox - R&B

Promises - Myles Sanko - Soul .img - Brother Theodore - Funk Singing the Blues - Ruthie Foster, Meshell Ndegeocello - Blues Nobody Like You - Amartey, SBMG, The Livingtons - Hip-hop Starship - Afriquoi, Shabaka Hutchings, Moussa Dembele - Deep House

Lay My Troubles Down - Aaron Taylor - Funk  Bloodstream - Tokio Myers - Classic Sticky - Ravyn Lenae - R&B Why I Try - Jalen N’Gonda - Soul Motivation - Benjamin Booker - Folk

quand c’est - Stromae - Pop Let Me Down (Shy FX Remix) - Jorja Smith, Stormzy, SHY FX - Reggae Funny - Gerald Levert - R&B Salt in my Wounds - Shemekia Copeland - Blues Our Love - Samm Henshaw - Soul

Make You Feel That Way - Blackalicious - Jazz Hip-hop Knock Me Out - Vintage Trouble - Funk Take the Time - Ronald Bruner, Jr., Thundercat - Alternative Thru The Night - Phonte, Eric Roberson - R&B Keep Marchin’ - Raphael Saadiq - Soul

Shake Me In Your Arms - Taj Mahal, Keb’ Mo’ - Blues Meet Me In The Middle - Jodie Abascus - Pop Raise Hell - Sir the Baptist, ChurchPpl - Gospel Pop Mogoya - Oumou Sangaré - Wassoulou Where’s Yesterday - Slakah The Beatchild - Hip-hop

Lose My Cool - Amber Mark - R&B New Funk - Big Sam’s Funky Nation - Funk I Got Love - Nate Dogg - Hip-hop Nothing’s Real But Love - Rebecca Ferguson - Soul Crazy Race - The RH Factor - Jazz

Spies Are Watching Me - Voilaaa, Sir Jean - Funk The Leaders - Boka de Banjul - Afrobeat Fast Lane - Rationale - House Conundrum - Hak Baker - Folk Don’t Make It Harder On Me - Chloe x Halle - R&B

Plastic Hamburgers - Fantastic Negrito - Hardrock Beyond - Leon Bridges - Pop God Knows - Dornik - Soul Soleil de volt - Baloji - Afrofunk Do You Remember - Darryl Williams, Michael Lington - Jazz Get Back - McClenney - Alternative Three Words - Aaron Marcellus - Soul

Spotify playlist 

In memory of:

Aaron Bailey Adam Addie Mae Collins Ahmaud Arbery Aiyana Stanley Jones Akai Gurley Alberta Odell Jones Alexia Christian Alfonso Ferguson Alteria Woods Alton Sterling Amadou Diallo Amos Miller Anarcha Westcott Anton de Kom Anthony Hill Antonio Martin Antronie Scott Antwon Rose Jr. Arthur St. Clair Atatiana Jefferson Aubrey Pollard Aura Rosser Bennie Simons Berry Washington Bert Dennis Bettie Jones Betsey Billy Ray Davis Bobby Russ Botham Jean Brandon Jones Breffu Brendon Glenn Breonna Taylor Bud Johnson Bussa

Calin Roquemore Calvin McDowell Calvin Mike and his family Carl Cooper Carlos Carson Carlotta Lucumi Carol Denise McNair Carol Jenkins Carole Robertson Charles Curry Charles Ferguson Charles Lewis Charles Wright Charly Leundeu Keunang Chime Riley Christian Taylor Christopher Sheels Claude Neal Clementa Pickney Clifford Glover Clifton Walker Clinton Briggs Clinton R. Allen Cordella Stevenson Corey Carter Corey Jones Cynthia Marie Graham Hurd Cynthia Wesley

Daniel L. Simmons Danny Bryant Darius Randell Robinson Darius Tarver Darrien Hunt Darrius Stewart David Felix David Joseph David McAtee David Walker and his family Deandre Brunston Deborah Danner Delano Herman Middleton Demarcus Semer Demetrius DuBose Depayne Middleton-Doctor Dion Johnson Dominique Clayton Dontre Hamilton Dred Scott

Edmund Scott Ejaz Choudry Elbert Williams Eleanor Bumpurs Elias Clayton Elijah McClain Eliza Woods Elizabeth Lawrence Elliot Brooks Ellis Hudson Elmer Jackson Elmore Bolling Emantic Fitzgerald Bradford Jr. Emmett Till Eric Garner Eric Harris Eric Reason Ernest Lacy Ernest Thomas Ervin Jones Eugene Rice Eugene Williams Ethel Lee Lance Ezell Ford

Felix Kumi Frank Livingston Frank Morris Frank Smart Frazier B. Baker Fred Hampton Fred Rochelle Fred Temple Freddie Carlos Gray Jr.

George Floyd George Grant George Junius Stinney Jr. George Meadows George Waddell George Washington Lee Gregory Gunn

Harriette Vyda Simms Moore Harry Tyson Moore Hazel “Hayes” Turner Henry Ezekial Smith Henry Lowery Henry Ruffin Henry Scott Hosea W. Allen

India Kager Isaac McGhie Isadore Banks Italia Marie Kelly

Jack Turner Jamar Clark Jamel Floyd James Byrd Jr. James Craig Anderson James Earl Chaney James Powell James Ramseur James Tolliver James T. Scott Janet Wilson Jason Harrison Javier Ambler J.C. Farmer Jemel Roberson Jerame Reid Jesse Thornton Jessie Jefferson Jim Eastman Joe Nathan Roberts John Cecil Jones John Crawford III John J. Gilbert John Ruffin John Taylor Johnny Robinson Jonathan Ferrell Jonathan Sanders Jordan Edwards Joseph Mann Julia Baker Julius Jones July Perry Junior Prosper

Kalief Browder Karvas Gamble Jr. Keith Childress, Jr. Kelly Gist Kelso Benjamin Cochrane Kendrick Johnson Kenneth Chamberlain Sr. Kenny Long Kevin Hicks Kevin Matthews Kiwane Albert Carrington

Lacy Mitchell Lamar Smith Laquan McDonald Laura Nelson Laura Wood L.B. Reed L.D. Nelson Lemuel Penn Lemuel Walters Leonard Deadwyler Leroy Foley Levi Harrington Lila Bella Carter Lloyd Clay Louis Allen Lucy

M.A. Santa Cruz Maceo Snipes Malcom X Malice Green Malissa Williams Manuel Ellis Marcus Deon Smith Marcus Foster Marielle Franco Mark Clark Maria Martin Lee Anderson Martin Luther King Jr. Matthew Avery Mary Dennis Mary Turner Matthew Ajibade May Noyes Mckenzie Adams Medgar Wiley Evers Michael Brown Michael Donald Michael Griffith Michael Lee Marshall Michael Lorenzo Dean Michael Noel Michael Sabbie Michael Stewart Michelle Cusseaux Miles Hall Moses Green Mya Hall Myra Thompson

Nathaniel Harris Pickett Jr. Natasha McKenna Nicey Brown Nicholas Heyward Jr.

O’Day Short family Orion Anderson Oscar Grant III Otis Newsom

Pamela Turner Paterson Brown Jr. Patrick Dorismond Philando Castile Phillip Pannell Phillip White Phinizee Summerour

Quaco

Ramarley Graham Randy Nelson Raymond Couser Raymond Gunn Regis Korchinski-Paquet Rekia Boyd Renisha McBride Riah Milton Robert Hicks Robert Mallard Robert Truett Rodney King Roe Nathan Roberts Roger Malcolm and his wife Roger Owensby Jr. Ronell Foster Roy Cyril Brooks Rumain Brisbon Ryan Matthew Smith

Sam Carter Sam McFadden Samuel DuBose Samuel Ephesians Hammond Jr. Samuel Hammond Jr. Samuel Leamon Younge Jr. Sandra Bland Sean Bell Shali Tilson Sharonda Coleman-Singleton Shukri Abdi Simon Schuman Slab Pitts Stella Young Stephon Clark Susie Jackson

T.A. Allen Tamir Rice Tamla Horsford Tanisha Anderson Timothy Caughman Timothy Hood Timothy Russell Timothy Stansbury Jr. Timothy Thomas Terrence Crutcher Terrill Thomas Tom Jones Tom Moss Tony McDade Tony Terrell Robinson Jr. Trayvon Martin Troy Hodge Troy Robinson Tula Tyler Gerth Tyre King Tywanza Sanders

Victor Duffy Jr. Victor White III

Walter Lamar Scott Wayne Arnold Jones Wesley Thomas Wilbert Cohen Wilbur Bundley Will Brown Will Head Will Stanley Will Stewart Will Thompson Willie James Howard Willie Johnson Willie McCoy Willie Palmer Willie Turks William Brooks William Butler William Daniels William Fambro William Green William L. Chapman II William Miller William Pittman Wyatt Outlaw

Yusef Kirriem Hawkins

The victims of LaLaurie (1830s) The black victims of the Opelousas massacre (1868) The black victims of the Thibodaux massacre (1887) The black victims of the Wilmington insurrection (1898) The black victims of the Johnson-Jeffries riots (1910) The black victims of the Red summer (1919) The black victims of the Elaine massacre (1919) The black victims of the Ocoee massacre (1920) The victims of the MOVE bombing (1985)

All the people who died during the Atlantic slave trade, be it due to abuse or disease.

All the unnamed victims of mass-incarceration, who were put into jail without the committing of a crime and died while in jail or died after due to mental illness. 

All the unnamed victims of racial violence and discrimination. 

...

My apologies for all the people missing on this list. Feel free to add more names and stories. 

Listen, learn and read about discrimination, racism and black history: (feel free to add more)  Documentaries: 13th (Netflix) The Innocence Files (Netflix) Who Killed Malcolm X? (Netflix) Time: The Kalief Browder Story (Netflix) I Am Not Your Negro

YouTube videos: We Cannot Stay Silent about George Floyd Waarom ook Nederlanders de straat op gaan tegen racisme (Dutch) Wit is ook een kleur (Dutch) (documentaire)

Books: Biased by Jennifer Eberhardt Don’t Touch My Hair by Emma Dabiri Freedom Is A Constant Struggle by Angela Davis How To Be An Anti-Racist by Ibram X. Kendi I Know Why The Caged Bird Sings by Maya Angelou Me and White Supremacy by Layla Saad So You Want To Talk About Race by Ijeoma Oluo They Can’t Kill Us All by Wesley Lowery White Fragility by Robin Deangelo Why I’m No Longer Talking To White People About Race by Reni Eddo-Lodge Woman, Race and Class by Angela Davis

Websites: https://lynchinginamerica.eji.org/report/ https://museumandmemorial.eji.org/ https://archive.org/details/thirtyyearsoflyn00nati/page/n11/mode/2up https://lab.nos.nl/projects/slavernij/index-english.html https://blacklivesmatter.com/ https://www.zinnedproject.org/

[junker-town]

11 winners from Week 7 of the NFL season

Photo by Otto Greule Jr/Getty Images

The Baltimore defense is back ... at least for one week.

Week 7 of the 2019 season didn’t change much at the top or bottom of the NFL. The Dolphins and Bengals, despite flashes of competence, remained winless. The 49ers overcame a downpour to outlast Washington and stay undefeated, while the Patriots are 9.5-point favorites in their Monday night matchup against the Jets.

The creamy middle of the league, however, remains tumultuous. The Colts climbed to the top of the AFC South by beating the Texans. The Chiefs offered both the Raiders and Chargers a shot at their spot atop the AFC West following Patrick Mahomes’ knee injury, only for both to fall short on Sunday. The Saints embarrassed the Bears’ offense in a game that, somehow, made Chicago pine for the good ol’ days of Jay Cutler.

So who won the week after an action packed Sunday? Winners, as always, aren’t just for those who finished the game with more points than the other guys. True victory can escape the boundaries of box scores, just like it did for a handful of talented teams and players this Sunday.

It wasn’t: the Bengals, who are probably done with Andy Dalton once 2019 is over

Dalton was put in a tough space in 2019. His Bengals spent the offseason chasing away Marvin Lewis (which is good!) and then chasing down underwhelming free agents who didn’t make the team better in any appreciable way (which is bad). Ankle surgery has kept A.J. Green out for the first half of the season, while John Ross’ third year breakout was abruptly cut short by a broken collarbone in Week 4.

Dalton responded by turning players like Auden Tate and Alex Erickson into 100+ yard receiving threats. And by throwing interceptions. Especially on Sunday.

Yannick Ngakoue’s pick-six was just one of three Dalton turnovers that helped turn a fourth-quarter lead into Cincinnati’s 14th loss in its last 15 games. The QB’s TD:INT ratio is now stuck at an even 8:8. On the plus side, he was his team’s leading rusher in Week 7 by a long shot.

Ew. The Bengals are very, very sad this year. The good news is they’re trending toward a premier draft slot next spring — and they can release Dalton in 2020 without any dead money remaining on their salary cap. You know, if that’s their thing.

Now, on to...

This week’s actual winners

11. The Dolphins, who are trying very hard

It’s not about actual wins in Miami — the Dolphins are best served in 2019 by becoming the league’s third-ever 0-16 team and clearing their path to the top of the 2020 NFL Draft. Instead, this fall is about moral victories for the game’s most hopeless team. To wit:

TOUCHDOWN MIAMI DOLPHINS!!!!!!!!!!!!!!!!!!!!! FITZPATRICK TO PARKER!!!!!!!!!!! DOLPHINS HAVE TWO LEADS IN ONE GAME!!!!!!!!!!!

— The Phinsider (@thephinsider) October 20, 2019

This was the first time in 2019 that Miami had regained a lead. The Dolphins led for 26:44 of game time Sunday, nearly seven times longer than the amount of time they’d led through the previous six weeks of the season (3:46, all against the Chargers in Week 4). That’s ... something. Right?

10. Pat O’Donnell, whose ability to understand how screwed he was saved the Bears five points

Pat O’Donnell was in the middle of a disastrous play when the ball rolled toward him in the end zone. The Bears’ punter had just been exploded by the Saints’ special teams, who blocked his kick and sent it bouncing toward the back line. O’Donnell had a chance to dive on the ball for the recovery, but was surrounded by rabid New Orleans defenders. Any miss would turn the play into an almost-certain touchdown for the Saints.

So rather than trust his hands, O’Donnell scooped the ball out of the end zone and ceded two points instead of risking seven.

it's technically an illegal bat from Pat O'Donnell here, but the result is the same -- safety for the Saints. smart play from the Bears' punter, who was totally screwed either way pic.twitter.com/B5y1SDHbKZ

— Christian D'Andrea (@TrainIsland) October 20, 2019

The play was flagged as an illegal bat, but that ruling didn’t change the outcome. New Orleans got its safety, but couldn’t do anything on the ensuing possession, effectively making O’Donnell’s quick thinking worth five points. Without that effort, Chicago would have lost by 16 instead of just 11!

9. Jalen Ramsey, whose cure for a sore back was escaping football purgatory

Ramsey hadn’t played in what turned out to be his final three weeks with the Jacksonville Jaguars. The All-Pro cornerback, locked in an impasse with Jags ownership over a trade request, missed games due to the birth of his child and then a lingering back injury.

Now he’s a Ram. And his back? Miraculously healed.

He made his Los Angeles debut in Week 7, recording four tackles and providing lockdown coverage for a team in desperate need of aerial defense. Los Angeles held former NFL MVP Matt Ryan to just 5.9 yards per pass and a 60.6 passer rating before the veteran was forced out of the game with an ankle injury.

He also showed off his tackling chops by getting his shoulder directly on the ball to force a Devonta Freeman fumble.

Jalen Ramsey already making plays as a Rampic.twitter.com/0ZRWQR47Gz

— Dov Kleiman (@NFL_DovKleiman) October 20, 2019

That was a massive win for a Rams team that had allowed 290 passing yards per game in its three-week losing streak, but there’s still room for Ramsey to wind up disappointed on the West Coast. If he’s not the missing piece LA needs to turn the franchise into a Super Bowl champion, the Rams don’t have many more assets left to add a proven playmaker to the lineup.

8. Cowboys offensive coordinator Kellen Moore, who got his groove back

For three games, Moore looked like the offensive mind capable of supercharging the Cowboys and turning Dak Prescott into an elite quarterback. Dallas got off to a 3-0 start while averaging 32.3 points per game as Prescott, Amari Cooper, and Ezekiel Elliott carved up some of the NFL’s worst defenses.

That momentum screeched to a halt in Week 4, as America’s Team (tm) skidded to a three-game losing streak in which they only scored 56 total points while getting beat by the Teddy Bridgewater-led Saints (respectable), Packers (reasonable), and Jets (uhhhhhh). This was very concerning and it threw Moore and head coach Jason Garrett’s futures in Texas very much into question.

Fortunately for them, a showdown with the defensive back-deficient Eagles was all they needed to get the offense clicking again. A freewheeling Prescott exploited weaknesses across the Philly secondary and a creative rushing attack averaged 5.3 yards per carry en route to a too-easy 37-10 win over the Eagles.

Moore even found a way to get Tavon Austin his first touchdown of 2019 via third-down trickery:

TAY ALL DAY! @Tayaustin01 gets the TD for the #DallasCowboys #PHIvsDAL pic.twitter.com/HUVuVFYIcK

— Dallas Cowboys (@dallascowboys) October 21, 2019

The Cowboys’ defense played a major role in the Sunday night win — they sacked Carson Wentz three times and forced four turnovers — but the headline for Dallas’ slump-buster was an offense that suddenly looked exciting and dynamic again.

7. Johnny Hekker, whose QB rating is now 106.4

Hekker may be the Rams’ second-best quarterback. This is impressive, because Hekker is a punter.

Johnny Hekker w/ the 1st down pass! (via @thecheckdown)pic.twitter.com/VEBYWpkvkG

— PFF (@PFF) October 20, 2019

Hekker completed his 12th NFL pass in 20 tries by hitting Nick Scott for a 23-yard gain in the second quarter of a game against the Falcons. He’s averaged a shade under nine yards per pass as a pro. Blake Bortles, the team’s current No. 2 QB, has a career 6.7 yards-per-pass rate.

That doesn’t mean Hekker’s the better backup quarterback, of course. Just that he has the best arm of any punter out there — at least until we get to see whether or not Jamie Gillan can uncork a 30-yard rugby pass downfield at some point this fall.

6. Ryan Tannehill, the franchise quarterback the Titans had been waiting for all along

Tennessee struggled through six weeks of the 2019 season before making a change; free-agent-to-be Marcus Mariota was out as starting quarterback. Free-agent-to-be Ryan Tannehill was in.

The former Dolphin, mercifully traded before the team’s tanking effort, landed in Nashville as a high-value backup behind a quarterback who hasn’t played a full 16-game schedule in his NFL career. That presented a massive opportunity for Tannehill to rebuild his value as a passer, and when Mariota’s mediocrity yanked him out of the lineup, the Miami castoff came through.

Corey Davis catching dimes from @ryantannehill1 pic.twitter.com/IBmsK5FbAY

— Tennessee Titans (@Titans) October 20, 2019

Tannehill threw for 312 yards, two touchdowns, and one interception as his Titans held off the Chargers to improve to 3-4 on the season. It was his first 300+ yard performance since September 2016.

His emergence also served as the rising tide that lifted the fortunes of some of the team’s most promising young targets. Corey Davis, Jonnu Smith, and A.J. Brown combined for 15 catches on 18 targets, springing for 208 yards and a touchdown in the process.

5. Darius Leonard, who cancelled the Texans’ comeback effort

Deshaun Watson is a bad, bad man. The MVP candidate quarterback is capable of covering massive swaths of turf in very little time thanks to his ability to extend plays in the pocket and then launch passes to a wide array of deep threats downfield.

So even though the Colts led Houston 30-23 with 26 seconds to play, there was still a good chance the Texans could find a way to tie or win this game before the end of regulation. That’s where Darius Leonard came in.

that's one hell of an INT, Darius Leonard pic.twitter.com/llewR0slUs

— Christian D'Andrea (@TrainIsland) October 20, 2019

Leonard, the reigning NFL Defensive Rookie of the Year, put together an absurd display of athleticism and concentration to snuff out Houston’s comeback hopes and make a diving save on a pass thrown just slightly behind second-year wideout Keke Coutee.

At 4-2, Indianapolis currently stands alone atop the AFC South. Leonard, who returned in Week 7 after missing the previous three games with a concussion, led all players with 10 tackles. Although the Colts proved they can win without him, this defense reaches an extra gear with its do-everything stalwart calling out orders in the middle of the field.

4. The NFC West, the only division in the football world where no one has a losing record

The Cardinals won three games in all of 2018. Through seven weeks, they’ve already matched that.

Arizona improved to 3-3-1 by grinding Daniel Jones down to a paste, sacking him eight times in a 27-21 win in New Jersey. While top overall pick Kyler Murray put together a mediocre stat line (104 passing yards, no touchdowns or interceptions), tailback Chase Edmonds proved capable of giving his team a spark. The former Fordham Ram matched his all-time NFL total by rushing for three touchdowns and a career-high 126 yards while keeping the Cards’ afloat.

That's the hat trick for @ChaseEdmonds22 pic.twitter.com/59u7E2FFss

— Arizona Cardinals ⋈ (@AZCardinals) October 20, 2019

With that win, all four of the NFC West’s teams now sit at .500 or better. The Cardinals, undefeated 49ers, and Rams all won Sunday. Only the Seahawks, who lost to old friend Earl Thomas and the Ravens, tasted defeat. With surprises across the board, the West has developed into the NFL’s most competitive division.

3. Raiders-Packers, which was packed with great highlights both good and bad

The football gods deprived us of what could be the only Patrick Mahomes-Aaron Rodgers regular season showdown we’d ever get when Mahomes dislocated his kneecap Thursday night. And then, like the WWE trying to appease fans after pulling a star from an indy booking, they sent a surprisingly solid replacement to fill that void.

Derek Carr had one of the finest games of his career (with a few exceptions, which we’ll get to later) as he and Rodgers put together a passing clinic. From the 6:01 mark in the first quarter to 1:01 remaining in the second, neither Carr nor Rodgers threw an incompletion — and that was a perfect pass that caromed off Packer wideout Allen Lazard’s chest.

Not 40 seconds later, Rodgers put on a masterclass in looking off safety help to hit Jake Kumerow (the pride of Wisconsin-Whitewater!) for the second touchdown of his NFL career.

JAKE KUMEROW CONTENT@UWWhitewater pic.twitter.com/kxokSrsByW

— Christian D'Andrea (@TrainIsland) October 20, 2019

Rodgers finished his day with 429 passing yards, five touchdowns, and a perfect 158.3 passer rating. Carr had a season-high 293 yards and a pair of touchdowns. In the game, 15 different players had at least two catches each. Marquez Valdes-Scantling had 133 receiving yards and only two receptions, which is the kind of box score line you’d only find on a Super Tecmo Bowl end screen.

But the lasting impression left behind by Raider QB will likely end up being his continued penchant for reckless dives to the end zone that have no chance of success.

DEREK CARR, HAVE YOU LEARNED NOTHING? pic.twitter.com/p86kOMi1Yn

— Christian D'Andrea (@TrainIsland) October 20, 2019

Like his last-gasp dive against the Cowboys in 2017, that ball bounced out of bounds for a touchback, turning a scoring opportunity into the runway the Packers needed to add another touchdown before the half. If you liked big passing plays and schadenfreude-inducing mistakes, this was more or less perfection.

2. Falcons fans, who wisely avoided Mercedes-Benz Stadium

Julio Jones aside, there aren’t many reasons to watch Atlanta this fall. Dan Quinn has spent 2019 inching ever closer to unemployment as his Falcons look both outmanned and underprepared each week. On Sunday, they helped snap the Rams out of a three-game losing streak in a 37-10 loss that dropped Atlanta to 1-6.

Not that many fans were there to watch that nigh-unwatchable mess live.

Mid first quarter in Atlanta. Empty seats from here to Augusta. pic.twitter.com/F6dh4OP521

— Dan Wolken (@DanWolken) October 20, 2019

This is the stadium with the $2 hot dogs and $5 beers, by the way — so it’s not like watching a game live after scalping some $20 seats would be that much more expensive that hitting a local sports bar. People in Georgia just really, really don’t want to watch the Falcons right now. And the ones who do would like a refund for their trouble.

Fans screaming “We want our money back” in the tunnel.

— vaughn mcclure (@vxmcclure23) October 20, 2019

That’s fair.

1. Marcus Peters, who got quite the INTroduction* to Baltimore, and the rest of the Ravens suddenly-scary defense

Peters was traded from Los Angeles to Baltimore earlier this week as the Rams cleared space for Ramsey to make his move west. The mercurial cornerback went from one needy secondary to another, but his first game in purple and black saw him notch his second pick-six of the season — against a familiar and unlikely opponent.

Welcome to the squad, @marcuspeters. pic.twitter.com/dOOJSVZeD1

— Baltimore Ravens (@Ravens) October 20, 2019

Russell Wilson hadn’t thrown an interception since December 2018 until Peters jumped this floater of an out route and turned it into an easy six points. A consistent performance from a notably inconsistent cover corner would be a major boon for the Ravens. They came into Week 7 allowing 8.1 yards per pass — 26th in the league. On Sunday, they held an MVP frontrunner to a season-low 5.9 yards per attempt.

Peters was from the only person responsible for Baltimore’s leveled-up performance. Earl Thomas, facing his former team for the first time, didn’t get many opportunities to strike back at Wilson Sunday but still came up with five tackles, despite a Seattle offense that tended to push plays away from him. Multiple teammates would later cite the safety as their extra motivation behind Sunday’s upset win.

"I told @Earl_Thomas, we gonna win for you." @Lj_era8 pic.twitter.com/WBF4IvxWAl

— Baltimore Ravens (@Ravens) October 20, 2019

Chuck Clark and Brandon Carr each had passes defensed. And while the Ravens only got one sack, they also managed to keep Wilson from getting comfortable in the pocket by hitting him eight times (via seven different players).

The Ravens were scary even without a Ravenesque defense thanks to Lamar Jackson’s continued mastery of both the running and passing aspects of quarterbacking. He had 100+ rushing yards for the second game in a row and is currently on pace for 3,771 passing yards and 1,316 rushing yards. Now he’s got a defense that suddenly looks scary, and that’s awful news for the rest of the AFC.

*Do you get it? Do you get my joke? Because INT is the abbreviation for interception? Football is full of fun moments like this. Let’s enjoy them together, friend.

[sinceileftyoublog]

Live Picks: 4/25

Billy Bragg

BY JORDAN MAINZER

Young talents and old legends.

Boogie, Reggie’s

For the most part, Everythings for Sale, the debut album from Compton rapper Anthony Dixson, aka Boogie, is one of the better first major label efforts in recent memory. Short, concise, cohesive, and brimming with ideas, Boogie dexterously plays off downtempo instrumentation and beats to share his anxieties about leaving a legacy and being in a relationship. Ultimately, it paints a realistic picture because he never truly leaves his darkness.

From the start, Boogie is stuck in a rut and wants to die. Experiences like those on “Silent Ride” don’t help much, as he recalls the story of passing out drunk, his girlfriend giving him a ride home and looking at his phone for directions but ultimately going through his phone and uncovering dark secrets. She’s mad about what she saw, and he’s mad she violated his privacy, and he expertly details their silent tension over appropriately awkward flutes and beats. That the source of their conflict comes from a betrayal and lack of communication is the inherent problem behind “Lolsmh”, too. The title may be a cheap reference to overused text abbreviations, but Boogie has a point about how non face-to-face interactions cheapen emotions. “No, my skin ain’t thick, it’s thin, it prolly bleeds soon as you touch me/I love if you hate me, I hate that you fuckin’ love me,” he confesses, still wanting everything to be alright even through his crisis of confidence. And “Whose Fault” starts with a skit of fighting parents, Boogie in a spiral of self-awareness about his faults as a parent and stereotypes of black fathers: “I'm too pissed I say ‘no bitch, go tell your nigga do it’ uh / Another stereotype that I couldn't prove wrong.” Horns from none other than contemporary master Christian Scott aTunde Adjuah add emotional weight to the song.

The best songs are when Boogie takes the leap, moving forward even when he’s in a bad place. “Swap Meet” is a slow jam that doesn’t see him commodify a woman but comparing his lack of traditional currency--money--and plentiful emotional support to a bargain. He wants to “change your view on a bad day,” and you can’t ask for much more. So on “Skydive”, over gorgeous acoustic guitar, he laments our generation’s insecurity over commitment, comparing it to the title, a thrilling experience your average adult (born in a generation where marriage occurred much earlier in life and plane technology was worse) would consider scary. “Live 95″ provides a bed of calming smooth jazz over which Boogie is able to “find bliss in the abyss.”

What prevents Everythings For Sale from being a great album is a mixture of filler and misfires. The JID-featuring “Soho” is nothing more than a nervous sounding banger. “Self Destruction” is another radio ready track that’s both a thematic outlier and kind of pointless, Boogie wavering between appropriating mumble rap/ignorance and harping on it. The worst is “Rainy Days”. Boogie’s signed to Shady Records, Eminem’s label, which is easily ignorable save for Eminem’s awful guest appearance on the song. (I cannot unhear Em’s nadir,  “I left my legacy hurt? Fuckin' absurd / Like a shepherd havin' sex with his sheep, fuck what you heard.”) Thankfully, though, Boogie admits his faults on brief closer “Time”, featuring a gorgeous guest vocal spot from Snoh Aalegra, wherein he declares that he just can’t help himself, whether it comes to sexual escapades, the desire for self-harm, or even just making the occasional bad song. At least he’s honest.

7.5/10

Rappers KB. Devaughn, Bobby Sessions, & R I L E Y open.

Billy Bragg, Lincoln Hall

Folk punk singer-songwriter and activist Billy Bragg’s currently on the One Step Forward, Two Steps Back tour during which he delivers a set spanning his entire career. Expect to hear mostly his solo material, though perhaps a song or two from his beloved collaborations with Wilco as well as plenty of covers.

Eels, Thalia Hall

We previewed Eels’ set at Thalia Hall last year:

Mark Oliver Everett, E, MC Honky–those are all names currently or at once ironically adopted by the only consistent member behind depressed rock band Eels. Their new album The Deconstruction provides the exact sort of sad-sack music you’re used to from this band. While it doesn’t reach the same epic levels as an album like 2005′s Blinking Lights and Other Revelations or doesn’t have anything nearly as catchy as classics 'Novocaine For The Soul' and 'Mr. E’s Beautiful Blues', it’s another solid entry in an ever-expanding catalog.

Rock band The Inspector Cluzo opens.

Makaya McCraven, Empty Bottle

Jazz drummer Makaya McCraven takes Universal Beings back to Chicago tonight. When we saw him at Big Ears Festival last month, we wrote:

“Makaya McCraven, whose Universal Beings was a relatively global album (despite what he says) offered a blissful, nimble set of slow-burning grooves from that record and Highly Rare, with a band that included bassist Junius Paul and guitarist Jeff Parker of Tortoise.”

Who he plays with and what he plays may be different tonight, but the qualities should remain the same.

Chicago collective Resavoir opens.

[teachanarchy]

           Quiet as it’s kept, the music we call jazz began life as an experimental remix of dance grooves from Africa and Europe that got chopped and screwed by high-stepping bluesicians of New Orleans over a century ago. From the git-go, the jazz thing has been as much about alchemy as flashy chops.          

           Everything we love about modern song, noise, and dance sprang from swing and bebop roots: R&B, rock, Motown, funk, disco, hip-hop, Detroit techno, Chicago house, drum & bass, et al are all extensions of a movement-inciting continuum that started in antebellum New Orleans’ Congo Square—breakbeat culture’s ground zero. It was the explosive site where enslaved Africans were permitted to get their ya-yas out to the beat of the drum—well, at least until the human traffickers of that time figured out rebellion was also being plotted in the Square under the cover of a funky good time. Same as it ever was.          

           Early New Orleans jazz connected those rebel riddims to funereal and carnivalesque marching band stomps; Jelly Roll Morton decided ragtime piano was needed to further excite the cipher of tubas, trumpets, clarinets, bass drums, and tambourines. Duke Ellington brought a rich palette of colors to big band swing that was adopted from the spirituals, Debussy, and Stravinsky. Louis Armstrong made a trumpet emulate a man laughing to keep from crying his eyes out and transformed his singing voice into a sardonic freestyle horn. What did I do to be so black and blue? Armstrong inquired in 1925, and his existential query has yet to stop worrying the minds, bodies, and souls of African-Americans to this day.          

Collage, cut-and-paste, sampling, remixing, and genre contamination has been a preferred mode in African-American music since the 1800s.

           The flavors that Armstrong’s triumphant horn shot out so perplexed the French manufacturers of his instrument that they sent engineers to his first Paris concerts to find out what modifications he’d made to his trumpet. Sacre bleu could have been the only response when the builders realized Satchmo’s ancestral African lips and tongue were the only technological innovations at play.          

           By the 1970s, Sun Ra had already pioneered the introduction of electric pianos and Moog synths into serious freedom jazz: Miles Davis had strapped a wah-wah pedal to his horn and was in the studio making vicious breakbeats with tape loops, tabla players, and live handclaps on electronic jazz masterpieces like On the Corner and Get Up With It. Students of Miles—like Herbie Hancock, Chick Corea, and Weather Report—soon followed, with sublime composition, improv chops, and grooves steady enough to yank in hardcore disciples of James Brown, Sly Stone, and Funkadelic. Meanwhile, Maurice White’s Earth, Wind & Fire so wickedly blurred the line between avant-garde soul and electronic jazz as to render distinctions between the genres patently absurd.          

           In a nutshell, the pioneers of ’80s and ’90s breakbeat dance culture were following precedents set by jazz musicians of the 1920s, ’40s, ’60s, and ’70s—even if some didn’t know it. Not entirely their fault: serious jazz got a lot less concerned with the dance floor from the mid-’40s on, thanks to Charlie Parker and Thelonious Monk, who were more concerned if their virtuosic flights made them happy than if they did everyday people; all the serious hoofers, toe-tappers, and lindy-hoppers got the message and moved on. Where they moved to was a hot, newfangled conflagration of gospel beats and vocalizing gone blasphemously secular, jazz harmonies and gutbucket blues forms—all that mess being pioneered by one Ray Charles. This kitchen-sink template set the stage for everything that’s come down the pike since, from mojo-handed talents as diverse as Little Richard, Nina Simone, Jimi Hendrix, The Isley Brothers, Larry Levan, Ron Hardy, A Tribe Called Quest, and Lauryn Hill. Collage, cut-and-paste, sampling, remixing, and genre contamination has been a preferred mode in African-American music since the 1800s.          

           Guru and DJ Premier of Gang Starr did much to assert the common humanity and creative urges of rappers and beboppers in their collaborations with Donald Byrd and others on their epochal Jazzmatazz series of albums of the late ’90s and aughts. They sparked a breakbeat-jazz hybrid scene on both sides of the Atlantic that yielded much musical fruit for a brief time but never cracked the blinged-out materialist hip-hop mainstream of the late Clinton and early Bush years. The Soulquarian Movement rallied by The Roots to assemble D’Angelo, OutKast, Jill Scott, Common, Bilal, Black Star, and Erykah Badu under one roof, and all threw hints and flashes of their own jazz genes into the conversation for those who knew the codes.          

           On the contemporary set, cats like Christian Scott, Jason Moran, Flying Lotus, Thundercat, Marc Cary, Vijay Iyer, and Robert Glasper are reuniting the urge to cunningly improvize with the urge to move the crowd. So of late we’re seeing a revival within the jazz world of electro-acoustic forays that refuse any opposition between software-driven sonic modernity and a good old-fashioned bebop-infested blowing session—both in the studio or on the stage. Ironically enough, as DJing has evolved into a standalone art form, it’s become much akin to ’60s freedom jazz, drawing crowds who don’t feel weird about gathering to hear turntablists experiment in public with their craft.          

As frequently happens when the gems of our parents’ eras undergo rediscovery, old rhetorical baggage fades and the glorious innocence of crate-digging for soul gold remains.

           The ever-ambitious Flying Lotus—grand-nephew of Alice Coltrane and her husband John, a far-flung composer of dream-dusted cosmic music in his own right—has done much to surgically conjoin the beatmeisters and jazzers of now through his Brainfeeder label. It’s an enterprise which in a relatively short while has normalized the curious drift of instrumental improvisers to the dark side of hiss-and-glitch clouded boom-bap, and vice-versa.          

           Political upheaval and jazz revivals tend to go hand in hand for African-Americans, and this Black Lives Matter-defined moment is no different in that regard. The jazz-damaged hip-hop artist of now who has made the convergence of ambient sonics, beats, and sexy improv seem inevitable, a seamless fait accompli, has been Kendrick Lamar—especially given how fluidly and fluently he deployed Glasper, Thundercat, and other bi-coastal jazz pros in the composing process that produced To Pimp a Butterfly. Because critics were so quick to label the album a black protest psalm, Butterfly hasn’t yet been fully recognized as the Bitches Brew of our time—an artist’s nuclear meltdown of this era’s dominant musical tropes into a definitive abstract-expressionist statement—one that We The People can feel, call and respond, rally around, freely quote, space out, get our wiggle on to, etc., etc.          

           Butterfly is a bedazzling combo of beats, rhymes, and live in-the-studio experimentation. Jazz heads have no choice but to flip over “For Free,” a straight-up freedom swing where Kendrick turns rapping into scatting and what author Jack Kerouac called bebop prosody, while string and drum breaks pop like bomb bursts around his head. It’s a ballsy declaration of jazz-funk allegiance from an MC not afraid to play a game of virtuoso chicken with players who routinely eat knotty changes for brunch. There’s as much Isley Brothers and P-Funk influence as Coltrane and Mingus, but in the ’70s it was never unusual to hear funk bands sharing stages and tours with Miles acolytes like Hancock and Corea. A musical rapport and mutual language was shared, one bonded by the warm-blooded tones of the Fender Rhodes piano—the universal solvent of ’70s black music across the rhythmic spectrum. Ya gotta love that Kendrick recognized having Glasper on Butterfly—with his sumptuous touch on the Rhodes—gives more life to the sonic beds his rhymes flowed over. Ditto Terrace Martin’s yearning-burning alto sax on “Alright,” which establishes a stellar emotional plateau for jazz and hip-hop hybrids.          

           That Lamar is a multidirectional rapper—able to supershift his cadences, character-acting, and melodic caches on a dime—is what unveils him as a jazzer in hip-hop guise. He’s not alone in these mutant abilities: the members of Freestyle Fellowship, The Pharcyde, Snoop Dogg, and Del Tha Funky Homosapien all inject that gene into a loosey-goosey California rap skill set. Lamar’s just the first artist to make it so fearlessly explicit at breakneck tempos when many of his generational peers are still drawling lockstep to gothic trap beats. It’s hard to imagine Drake, Young Thug, or even Chance The Rapper so viciously and fluently going toe-to-toe with a stomp in 9/8 like Kendrick does at the midway point on “Momma.” Fortunately, the race toward the dreamy side of the jazz-ecstatic aesthetic continued on K-Dot’s surprise March release, untitled unmastered—a spooky revisitation of the trans-dimensional realm of loops and live-riffing in modern rap that he and his cohorts have made their privileged wheelhouse.          

           The most immediate beneficiary of this perfect storm, though, has been Kamasi Washington and his comrades in the West Coast Get Down crew. Washington’s May 2015 release, The Epic, signals how modern acoustic jazz could go down to the breakbeat and improv, harvesting a global flow of heads ready once again to embrace 15-minute tenor saxophone solos with as much ardor and attention as they’ll bestow on their favorite MC’s next 64 bars.          

           Washington’s rapid ascent to world-stage prominence has been linked to both exceptional good fortune and family ties within jazz, but the striking thing about The Epic is that there’s nothing overtly hip-hop-friendly about it. It’s as pure a sonic throwback to the ’70s freedom-cum-cosmic swing of his dad’s youth as has been heard in acoustic jazz since that era, when Alice Coltrane, Pharoah Sanders, and McCoy Tyner extended the range of Sun Ra’s intergalactic inventions into forms that found traction among a post-Black Power generation of listeners on historically black college campuses. Also woven in are nods to the smoother funk-jazz of the ear, purveyed by Grover Washington Jr. and The Crusaders. The twain rarely met up and played nice back then due to political divisions in jazz over spiritual purity and pop ambitions. But as frequently happens when the gems of our parents’ eras undergo rediscovery, old rhetorical baggage fades and the glorious innocence of crate-digging for soul gold remains. Even more remarkable, though, is how Washington has made those open-ended modal jazz forms relevant, rabidly followed by the musically intrepid and curious collegiate crowds of now—the Black Power flower children of the Black Lives Matter era. Many of us jazz lifers got lifted seeing more twentysomethings at Washington’s February coming-out gig in New York City than we’d witnessed at a Gotham jazz club since The Marsalis brothers and Steve Coleman’s confederates stormed their youth movement onto the scene in the 1980s.          

           As always, jazz never went away; it just kept vibrating in its batcave, laying in stealthy wait for a shaken-and-stirred world to get hip and revolutionary-minded again, between wars and between the ears.          

[yesshinypizzastudentthings-blog]

kate spade new york Keds® glitter sneaker, gold

Details

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Rubber outsole.

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