PHAROAHE MONCH HAS DONE IT AGAIN WITH THE UPCOMING ALBUM W.A.R. (WE ARE RENEGADES). "CLAP (ONE DAY)" IS THE FIRST RELEASE, AND IT HAS THE ACCOMPANYING SHORT FILM TO COMPLIMENT THE DENSE, INTELLLIGENT LYRICS. THE VIDEO IS NOT FOR THE FAINT OF HEART, AS IT SHOWS INTENSE IMAGERY. WATCH WITH AN OPEN MIND AND ARTISTIC SCOPE.
Saturday, March 12, 2011
Monday, March 7, 2011
SAMPLE SUNDAY-----COLD MONDAY EDITION
WE'RE ONLY A FEW WEEKS AWAY FROM SPRING, BUT I'M ALREADY LOOKING FORWARD TO SUMMER 2011. I AM SURE THIS IS GOING TO BE A SUMMER TO REMEMBER, BOTH MUSICALLY AND OTHERWISE. TO LOOK FORWARD TO THIS SUMMER OF ANTICIPATION, I HAVE A VERY DOPE SONG, SOMETIMES OVERLOOKED, WITHIN THE UNMATCHED CATALOG OF THE ONE AND ONLY SHAWN COREY CARTER. LAST NIGHT, WHILE ATTENDING A DOPE SHOWCASE AT 5 SEASONS, MY EARS PIQUED WHEN DJ TNT DROPPED THIS GEM ON THE CROWD, A SONG I HAVEN'T HEARD IN A GOOD WHILE, BUT A SONG THAT WILL HAVE ME LOOKING FORWARD TO "JAY-Z SEASON", SO TO SPEAK!
PRODUCED BY JUST BLAZE, "DEAR SUMMER" ACTUALLY WAS RECORDED FOR MEMPHIS BLEEK'S 2005 ALBUM 534. THE DOPE, JAZZY SAMPLE THAT SERVES AS THE BACKDROP FOR THE SONG IS A WELDON IRVINE CREATION, "MORNING SUNRISE".
"MORNING SUNRISE", FROM THE WELDON IRVINE ALBUM THE SISTERS (SAUCERMAN, 1979), IS A SURE-FIRE BANGER EVEN NOW IN 2011. I LOVE THAT JAZZY, ATMOSPHERIC SOUND FROM 1970'S MUSIC. IT DEFINITELY HAS SERVED AS THE SOUNDSCAPE FOR MANY A HIP HOP SONG. WELDON IRVINE IS A SOMEWHAT OVERLOOKED ARTIST DURING THAT HOTBED PERIOD OF THE 1970'S. TRACE HIS DISCOGRAPHY AND WRITING CREDITS TO SEE HOW INFLUENTIAL OF AN ARTIST HE WAS, AND STILL IS, ALMOST NINE YEARS AFTER HIS UNTIMELY DEATH AT AGE 58. MUCH LOVE GOES TO THIS INFLUENTIAL BROTHER WHOSE TOUCH GRACES THE MUSIC INDUSTRY, FROM JAZZ, TO FUNK, TO R&B, TO HIP HOP, AND BEYOND.
IT MAY BE MARCH 7TH, BUT "DEAR SUMMER" IS MY ODE TO WARM TIMES AND HOT RHYMES. BEFORE I GO, I CAN'T FORGET TO SEND HAPPY BIRTHDAY WISHES TO THE ONE AND ONLY SPEECH, MY RHYME PARTNER FOR THE BETTER PART OF THREE DECADES!
ONE LOVE! ONE BEAT!
PRODUCED BY JUST BLAZE, "DEAR SUMMER" ACTUALLY WAS RECORDED FOR MEMPHIS BLEEK'S 2005 ALBUM 534. THE DOPE, JAZZY SAMPLE THAT SERVES AS THE BACKDROP FOR THE SONG IS A WELDON IRVINE CREATION, "MORNING SUNRISE".
"MORNING SUNRISE", FROM THE WELDON IRVINE ALBUM THE SISTERS (SAUCERMAN, 1979), IS A SURE-FIRE BANGER EVEN NOW IN 2011. I LOVE THAT JAZZY, ATMOSPHERIC SOUND FROM 1970'S MUSIC. IT DEFINITELY HAS SERVED AS THE SOUNDSCAPE FOR MANY A HIP HOP SONG. WELDON IRVINE IS A SOMEWHAT OVERLOOKED ARTIST DURING THAT HOTBED PERIOD OF THE 1970'S. TRACE HIS DISCOGRAPHY AND WRITING CREDITS TO SEE HOW INFLUENTIAL OF AN ARTIST HE WAS, AND STILL IS, ALMOST NINE YEARS AFTER HIS UNTIMELY DEATH AT AGE 58. MUCH LOVE GOES TO THIS INFLUENTIAL BROTHER WHOSE TOUCH GRACES THE MUSIC INDUSTRY, FROM JAZZ, TO FUNK, TO R&B, TO HIP HOP, AND BEYOND.
IT MAY BE MARCH 7TH, BUT "DEAR SUMMER" IS MY ODE TO WARM TIMES AND HOT RHYMES. BEFORE I GO, I CAN'T FORGET TO SEND HAPPY BIRTHDAY WISHES TO THE ONE AND ONLY SPEECH, MY RHYME PARTNER FOR THE BETTER PART OF THREE DECADES!
ONE LOVE! ONE BEAT!
2011 DMV AWARDS RECAP
HELLO BLOGOSPHERE! AS PROMISED, I WANTED TO PRESENT THE ENTIRE 2011 DMV AWARDS RESULTS TO THE ENTIRE MARYLAND/DC/NORTHERN VIRGINIA REGION AND BEYOND. IT IS VERY IMPORTANT IN MY BOOK TO RECOGNIZE THOSE THAT HAVE PUT THEIR LIVES AND SOULS INTO A MUSIC THEY LOVE, NO MATTER GENRE. EVEN THOUGH THE AWARDS PROGRAM DIDN'T END ON A BRIGHT NOTE, THERE CAN STILL BE SOLACE SOUGHT IN THE FACT THAT THE DMV AWARDS IS A MEANS TO UNIFY A COMMUNITY, NOT SEPARATE IT. THIS NOTION WAS VERY EVIDENT WITH THE PRESENCE OF THE SOMETIMES UNRECOGNIZED SISTER CITY TO THE NORTHEAST OF DC KNOWN AS BALTIMORE. WITH NO FURTHER ADIEU, HERE ARE THE FULL RESULTS FROM THE 2011 DMV AWARDS!
2011 DMV AWARD WINNERS
BEST DC FEMALE RAP = RA THE MC
BEST DC MALE RAP = TABI BONNEY
BEST DC FEMALE R&B = ALISON CARNEY
BEST DC MALE R&B = KYONTE
BEST MD FEMALE RAP = KEYS
BEST MD MALE RAP = PHIL ADE'
BEST MD FEMALE R&B = PAULA CAMPBELL
BEST MD MALE R&B = KEVIN ROSS
BEST VA FEMALE RAP = AUDRA THE RAPPER
BEST VA MALE RAP = K-BETA
BEST VA MALE R&B = CHRIS LEE
BEST VA FEMALE R&B = MIDIAN
BEST LIVE SHOW = BLACK ALLEY
BEST RAP GROUP = GODS’ILLA
BEST LYRICIST = PRO VERB
BREAKOUT ARTIST OF THE YEAR = FAT TREL
SONG OF THE YEAR = TOAST 2 LIFE – PHIL ADE' FEATURING KEVIN ROSS
BEST CLUB/DANCE TRACK = STEP ASIDE DOO-DEW KIDZ FEATURING MULLYMAN
BEST POET/SPOKEN WORD ARTIST = ARCHIE THE MESSENGER AND JO’RELL
BEST GOSPEL RAP = OUTSPOKEN
BEST GOSPEL SINGER = Y’ANNA CRAWLEY
BEST BAND DUE OR GROUP = UCB
BEST GO-GO BAND = WHAT BAND
MOST SUPPORTIVE MEDIA PERSON = PERMISS & DJ HEAT
MOST SUPPORTIVE MEDIA OUTLET = 1650 DA BEAT
LIVING LEGEND = DJ CELO, BIG G, BLACK INDIAN, SONNY BROWN, KOKAYI, SECTION 8 MOB, BUBU PRODUCER
BEST PHOTOGRAPHER = ANWAA KONG
BEST FEMALE MODEL = SHENNEKIA G
BEST BLOG/WEBSITE = DCMUMBOSAUCE + FORTHEDMVONLY
BEST OPEN MIC = UAU
BEST MIXTAPE DJ = DJ MOMO
BEST RADIO DJ = DJ QUICKSILVA
BEST CLUB DJ = DJ MONEY
MIXTAPE OF THE YEAR = THE LETTERMAN – PHIL ADE
BEST VIDEO DIRECTOR = SIX SHOOTA
VIDEO OF THE YEAR = NUTHIN BUT A HERO = TABI BONNEY
BEST MANAGER = UNRULY MANAGMENT
BEST PROMOTER = BILLY LYVE
BEST COMEDIAN = LARRY LANCASTER
BEST PRODUCER = MARK HENRY
BEST / ALTERNATIVE = KOKAYI
BEST GRAPHIC DESIGNER = CREATE DC
ALBUM OF THE YEAR = UP AND UP PRESENTS = GODS'ILLA
I WOULD LIKE TO CONGRATULATE EACH AND EVERY NOMINEE ON PRESENTING HIS AND HER ARTISTRY TO THE DMV REGION! YOUR CONTRIBUTIONS DO NOT GO UNNOTICED. PEACE AND LOVE IS A MUST IN THIS DAY AND TIME, AND I HAVE NO RESERVATIONS THAT THE DMV MOVEMENT WILL NOT BECOME STAGNANT, BUT FORWARD-MOVING AND PROGRESSIVE. AGAIN, CONGRATULATIONS TO ALL NOMINATED FOR THE DMV AWARDS. YOU'RE ALL WINNERS!
LINKS:
http://dmvawards.wordpress.com/
Sunday, March 6, 2011
2011 DMV AWARDS----THE GOOD, THE BAD, THE UGLY
WITHIN A 60 MILE RADIUS OR SO THERE IS A WEALTH OF TALENT IN THE HIP HOP REALM AND BEYOND. LAST NIGHT, WE HAD THE OPPORTUNITY TO SEE IF THIS MUSIC COMMUNITY WOULD BE A UNIFIED FRONT OR A FRONT PERIOD. I'VE BEEN ANTICIPATING FOR MONTHS THIS EVENT THAT HAS GROWN OVER THE PAST FIVE YEARS, BECOMING SOMETHING THAT IS NOW BEING RECOGNIZED OUTSIDE OF OUR GENERAL AREA. THE 2011 DMV AWARDS HAD THE POTENTIAL TO SHINE A POSITIVE LIGHT ON NOT ONLY HIP HOP IN THE REGION, BUT GO-GO, GOSPEL, CLUB, AS WELL AS MEDIA AND OTHER OUTLETS FOR ARTISTIC EXPRESSION. BECAUSE THE HYATT REGENCY CRYSTAL CITY WAS THE VENUE, I WAS HOPING THAT MY HIP HOP BRETHREN WOULD BE MINDFUL OF PERCEPTION AND RECEPTION BY A COMMUNITY THAT DOESN'T NECESSARILY SUBSCRIBE TO HIP HOP CULTURE. SO WHAT HAPPENED?
ONCE I ARRIVED AT THE VENUE, I COULD IMMEDIATELY FEEL THE ELECTRICITY IN THE AIR OUTSIDE THE BEAUTIFUL AND STATELY HYATT REGENCY LOCATED IN CRYSTAL CITY. I DEFINITELY PUT IN MY GRIND TO ATTEND THIS HIGH-POWERED LOCAL EVENT, SO IT WAS GOOD TO SEE SUCH A STRONG PRESENCE. I STOOD OUTSIDE FOR A FEW MINUTES, JUST TO ABSORB WHAT I IMAGINED WOULD BE THE SCENE INSIDE. I ENTERED THE REVOLVING DOORS FOR THE LUXURY HOTEL, AND NOTICED MANY, MANY MEN AND WOMEN, MOSTLY OF COLOR, FRESH-DRESSED LIKE A MILLION BUCKS! IT TOOK A GOOD WHILE TO WAIT AT THE ESCALATOR TO GO DOWNSTAIRS, WHERE THE EVENT WAS TAKING PLACE INSIDE THE BALLROOM.
We also extend a deep apology to the Hyatt Crystal City for the events that took place. These acts, by no means, represent the positive nature of the “DMV” music scene as a whole. This community is comprised of thousands from Baltimore to northern Virginia who love to make music and support the artists who do so. It was in this spirit that the DMV Music Awards were created five years ago, and in this spirit, the “DMV” will continue to move forward in the efforts to share great work with the worldwide community of music fans.
Again, thank you to supporters, fans, sponsors, vendors, voters, judges, media and artists. With a theme of “Time to Build,” The 5th Annual DMV Music Awards received support this year from various people and companies in all genres and walks of life. We hope that your faith and appreciation for talent in this region does not waiver.
A complete list of award winners will be posted shortly.
Sincerely,
2011 DMV Music Awards Committee"
I WILL POST THE FULL LISTING OF WINNERS FOR THE DMV AWARDS SHOW. I WANT TO MAKE SURE THAT THE WINNERS WILL STILL BE RECOGNIZED FOR CONTRIBUTIONS TO A MOVEMENT EXTENDING FROM NORTHERN VIRGINIA TO DC AND SURROUNDING COUNTIES, AND NOW INCLUDING CHARM CITY AS WELL. SALUTE TO THE WINNERS AND NOMINEES! NOW LET'S DO BETTER DMV...
ONCE I ARRIVED AT THE VENUE, I COULD IMMEDIATELY FEEL THE ELECTRICITY IN THE AIR OUTSIDE THE BEAUTIFUL AND STATELY HYATT REGENCY LOCATED IN CRYSTAL CITY. I DEFINITELY PUT IN MY GRIND TO ATTEND THIS HIGH-POWERED LOCAL EVENT, SO IT WAS GOOD TO SEE SUCH A STRONG PRESENCE. I STOOD OUTSIDE FOR A FEW MINUTES, JUST TO ABSORB WHAT I IMAGINED WOULD BE THE SCENE INSIDE. I ENTERED THE REVOLVING DOORS FOR THE LUXURY HOTEL, AND NOTICED MANY, MANY MEN AND WOMEN, MOSTLY OF COLOR, FRESH-DRESSED LIKE A MILLION BUCKS! IT TOOK A GOOD WHILE TO WAIT AT THE ESCALATOR TO GO DOWNSTAIRS, WHERE THE EVENT WAS TAKING PLACE INSIDE THE BALLROOM.
AFTER SECURING A WRISTBAND AND PROGRAM, I MADE MY WAY THROUGH THE TIGHT SECURITY CHECK BEFORE MAKING MY WAY TO THE RED CARPET AREA. ARTISTS FROM THE ENTIRE DMV AREA, INCLUDING BALTIMORE, WERE MAKING THEIR INDIVIDUAL AND COLLECTIVE PRESENCE FELT AT THE LIVELY RED CARPET AREA. YOU NAME IT, THERE WAS SOMEONE OF IMPORTANCE DOING IMPROMPTU INTERVIEWS AND TAKING FABULOUS PICTURES, ALL IN THE NAME OF SUPPORTING THIS REGION'S MUSICAL HERITAGE THAT IS BEING BUILT. COMP, SONNY BROWN, JAY MILLS, SI-NOTES, U.C.B., JEANNIE JONES, DIRT PLATOON. YOU NAME IT, THEY WERE MOST LIKELY IN THE HOUSE AND REPPIN' THE DMV MOVEMENT. I WAS VERY HAPPY TO SEE THE B-MORE CONTINGENCY MAKING THAT HOUR-LONG TREK TO NORTHERN VIRGINIA. THAT SHOWED A SENSE OF PURPOSE AND UNITY AND MADE A BROTHER PROUD!
DRINKS WERE FLOWING, AND ENERGY WAS GROWING BY THE MINUTE, IN ANTICIPATION OF THE EVENING'S EVENTS. THE DMV AWARDS STARTED WITHOUT ANY HITCH, WITH DRE ALLDAYINTHEPAINT HOSTING THE FESTIVITIES. A GOOD SIGN WAS REVERAND TONY LEE STARTING OFF ON A SPIRITUAL NOTE, BLESSING THE EVENING THROUGH PRAYER. THE FIRST MUSICAL OFFERING HAD A GO-GO AND HIP HOP FLAIR, WITH A GOSPEL INTERPOLATION OF DIDDY-DIRTY MONEY'S "LOVING YOU NO MORE". AFTER NOTICING QUITE A FEW MORE DC-BASED ARTISTS IN THE PLACE, IT WAS TIME FOR THE FIRST SET OF AWARDS TO BE PRESENTED. THE FIRST CATEGORY TO GET THINGS STARTED WAS BEST GOSPEL RAP ARTIST, AND THIS CATEGORY WAS WON BY OUTSPOKEN. NEXT ON THE AGENDA WAS BEST GOSPEL SINGER, WON BY Y'ANNA CRAWLEY, SEASON TWO WINNER OF "SUNDAY BEST" ON BET. BEST PROMOTOR CATEGORY WAS WON BY BALTIMORE'S BILLY LYVE. AT THIS POINT TV 21, A DC-BASED ROCK-HYBRID BAND, HIT THE LIVELY AUDIENCE WITH MUSIC THAT WAS BOTH FITTING AND AGAINST THE GRAIN FOR THE EVENING. THIS PRETTY MUCH SERVED AS THE BLUEPRINT FOR THE SHOW.
SONG OF THE YEAR CATEGORY WAS WON BY UPSTART EMCEE PHIL ADE' FEATURING KEVIN ROSS, FOR "TOAST 2 LIFE". NEXT ON THE AGENDA WAS BEST CLUB/DANCE TRACK, AND B-MORE REPRESENTATIVES DOO-DEW KIDZ (FEATURING MULLYMAN) BROUGHT HOME THE TROPHY FOR "STEP ASIDE". I LIKED THE FACT THAT DIFFERENT GENRES WERE REPRESENTED FOR THE EVENING. BEST POET/SPOKEN WORD AWARD WAS WON BY ARCHIE THE MESSENGER AND JO'RELL. UCB WAS NEXT TO WALK THE STAGE TO ACCEPT AN AWARD, AS THE RECIPIENTS OF THE BEST BAND/DUO/GROUP AWARD. BREAKOUT ARTIST OF THE YEAR WENT TO FAT TREL, A DMV FAVORITE ON EVERYONE'S RADAR.
DEMONT PEEKASO WAS IN THE VENUE, SHOWCASING HIS DOPE ARTISTIC FLAIR ON THE CEREMONY STAGE. JEANNIE JONES, KNOWN TO THE DMV RADIO COMMUNITY AS "KITTY OF THE CITY", HELPED TO PRESENT THE NEXT WAVES OF AWARDS. BEST GO-GO BAND WAS WON BY W.H.A.T. BAND, WHO HAS BEEN HOT ON THE GO-GO CIRCUIT. MOST SUPPORTIVE MEDIA PERSONALITY AWARD WENT TO PERMISS. THE NEXT CATEGORY, MOST SUPPORTIVE MEDIA OUTLET WAS WON BY 1650AM DA BEAT. THINGS WERE DEFINITELY LOOKING VERY POSITIVE AT THAT POINT, BECAUSE MANY MORE AWARDS WERE ON DECK. BEST BLOG/WEBSITE WAS SHARED BY DCMUMBOSAUCE.COM AND FORTHEDMVONLY.COM. FOR BEST OPEN MIC HIP HOP NIGHT, DMV FAVORITES GODS'ILLA BROUGHT HOME THE TROPHY FOR THEIR UAU SERIES AT LIV.
BLACK ALLEY WAS NEXT TO HIT THE STAGE WITH THEIR POWERFUL GARAGE BAND BRAND. I HAD THE CHANCE TO CONGRATULATE PERMISS, DOO-DEW KIDZ, AND ONE OF THE GODS'ILLA BRETHEN ON DESERVING VICTORIES THROUGOUT THE EVENING. JAY MCGRAW, A BUDDING B-MORE ARTIST/CEO, WAS ALSO IN THE HOUSE, SPREADING HIP HOP LOVE. NEXT CATEGORY THAT I WITNESSED WAS BEST PHOTOGRAPHER, AND THAT SLOT WAS WON BY ANWAA KONG. ALBUM OF THE YEAR HONORS WENT TO THE VERY DOPE AND DESERVING GODS'ILLA, MAKING TWO WINS THUS FAR ON THE EVENING FOR THESE THREE POSITIVE BROTHERS. DC FAVORITE SON TABI BONNEY WON FOR VIDEO OF THE YEAR FOR "NUTHIN BUT A HERO". THE VIBE WAS VERY POSITIVE, AT LEAST FOR A LITTLE WHILE LONGER, AND I HAD THE HUMBLING CHANCE TO SPEAK WITH SOME OF THE ARTISTS IN ATTENDANCE, SUCH AS THE AFOREMENTIONED GODS'ILLA, PHIL ADE', SKARR AKBAR, AND OTHERS. AT THAT POINT, I NOTICED THE ENERGIES IN THE LOBBY AREA CHANGING, AND CHANGING FOR THE WORSE. I HEARD QUITE A FEW INDIVIDUALS TALKING ABOUT A SKIRMISH THAT TOOK PLACE DURING AN INTERMISSION. I MADE MY WAS BACK INSIDE THE BALLROOM AREA AFTER SPEAKING WITH JAY MCGRAW, AND I NOTICED THAT CHAOS WAS THE NAME OF THE GAME AT THAT POINT. WHAT HAPPENED? I'M STILL NOT SURE, BUT I MADE MY WAS OVER TO THE AREA WHERE THE MAJORITY OF THE ALTERCATION TOOK PLACE. PRAYERS GO OUT TO THOSE THAT WERE INJURED DURING THE NEGATIVE TURN, BECAUSE IT WAS OBVIOUS BY THE BROKEN CHAMPAGNE BOTTLES AND PLATES THAT SOMETHING WENT TERRIBLY WRONG. AFTER A FEW MINUTES TO ATTEMPT TO RESTORE ORDER, IT BECAME EVIDENT THAT THE SHOW WOULDN'T CONTINUE, AS POLICE AND AMBULANCE WERE CALLED TO THE EVENT. AT FIRST, ATTENDEES WERE STANDING IN PLACE OR TALKING ABOUT WHAT OCCURRED, BUT ONCE THE BOYS IN BLUE EXERTED THEIR POLICE AUTHORITY, EVERYONE NOT APART OF THE HYATT STAFF WAS ESCORTED FROM NOT ONLY THE BALLROOM AND LOBBY AREAS, BUT THE ENTIRE HYATT. I MADE MY WAY TO THE OUTSIDE, TRYING TO MAKE SENSE OF WHAT OCCURRED WITHIN A FEW MINUTES SPAN. WHAT OCCURRED WAS A GOOD EVENT BEING TAINTED FOR WHATEVER IMMATURE REASONS. I DON'T KNOW WHAT SPARKED THE MELEE, BUT I DO KNOW THAT THIS TYPE OF BEHAVIOR CAN'T CONTINUE IF ANY SEMBLANCE OF RESPECT IS GIVEN TO GENRES TYPICALLY USED AS TARGET PRACTICE BY THE MEDIA. THIS POTENTIALLY GREAT EVENT NOW HAS A BLACK EYE, AND IT IS GOING TO TAKE A CONCERTED EFFORT BY ALL THOSE THAT CONSIDER THEMSELVES TO BE ARTISTS, MEDIA, AND FANS ALIKE TO CHANGE THIS NEGATIVE TRAIT. I'M NOT TRYING TO BE ON ANY TYPE OF SOAPBOX, BUT LOOK AT THE FACTS. A GOLDEN OPPORTUNITY HAS NOW BEEN SQUANDERED, AND NOW WE HAVE TO WONDER, WILL THE DMV AWARDS MOVEMENT CONTINUE?
A PRESS STATEMENT WAS ISSUED BY THOSE IN CHARGE OF THE 2011 DMV AWARDS:
"The DMV Music Awards Committee would like to thank everyone who supported the program this year in the efforts to unite various communities for a night of celebration and recognition. The committee is truly saddened by the unfortunate events that took place, and most importantly, we send prayers and apologies to those who were injured last night. This program was designed to be a positive effort on behalf of various people in the local entertainment industry who were planners, judges, power player voters, artists, and fans.
We also extend a deep apology to the Hyatt Crystal City for the events that took place. These acts, by no means, represent the positive nature of the “DMV” music scene as a whole. This community is comprised of thousands from Baltimore to northern Virginia who love to make music and support the artists who do so. It was in this spirit that the DMV Music Awards were created five years ago, and in this spirit, the “DMV” will continue to move forward in the efforts to share great work with the worldwide community of music fans.
Again, thank you to supporters, fans, sponsors, vendors, voters, judges, media and artists. With a theme of “Time to Build,” The 5th Annual DMV Music Awards received support this year from various people and companies in all genres and walks of life. We hope that your faith and appreciation for talent in this region does not waiver.
A complete list of award winners will be posted shortly.
Sincerely,
2011 DMV Music Awards Committee"
I WILL POST THE FULL LISTING OF WINNERS FOR THE DMV AWARDS SHOW. I WANT TO MAKE SURE THAT THE WINNERS WILL STILL BE RECOGNIZED FOR CONTRIBUTIONS TO A MOVEMENT EXTENDING FROM NORTHERN VIRGINIA TO DC AND SURROUNDING COUNTIES, AND NOW INCLUDING CHARM CITY AS WELL. SALUTE TO THE WINNERS AND NOMINEES! NOW LET'S DO BETTER DMV...
Thursday, March 3, 2011
GEMSTONE SERIES-----JAZZYFATNASTEES
GEMSTONE----a precious or semiprecious stone that can be cut and polished for use as a gem
When discussing the Jazzyfatnastees, terms like "precious" and "gems" are more than apt. These two soul sisters have been on my radar since the middle of the last decade in the 20th Century. Tracey Moore and Mercedes Martinez are the vocal instruments, creative beings, and alluring figures that comprise a group that moves me more than almost anyone else in the realm of music. That speaks volumes, because music is a medium that is near and dear to my heart that beats like a Roland 808. Saying that the Jazzyfatnastees duo is a direct, and indirect, influence on my musical tastes is akin to stating that Barack Hussein Obama is the unequivocal leader of the Free World.
Where do I begin? The Jazzyfatnastees actually started as a quartet of harmonizing ladies, dating back to 1993 or so. When going back through my hip hop archives, I recognized the Jazzyfatnastees nomenclature on The Pharcyde album. Of course a little detective work revealed that J Swift, the seminal producer for The Pharcyde sound during their unveiling period, was the brother of Mercedes, so the union was a very natural one between the units. An obscure appearance by the entire four lady outfit was for Left Coast artist Quinton, part of the J Swift camp (along with The Wascals). Here's one to grow on Jazzy fans!
Their signature harmony was already present when their blended harmonies made an impression on Bizarre Ride II The Pharcyde, at least from a studio perspective. J Swift actually penned their name, according to an article on http://www.jazzyfatnastees.com/. "The jazzy lyrics, the fat harmonies, and the nastee tracks, it's all about the music", is the way Ms. Moore put it when describing the Jazzyfatnastees potent concoction. Originally signed to once thriving Tommy Boy Records in 1993, the quartet, who blended their jazzy vocals with hip hop breakbeats to create a unique sound, became a duo at some point during the middle of the decade. Before this occurred, however, their patented blend made its way to the home of the "ATLiens", Atlanta. OutKast was blessed to have these sisters in the vocal spirit on another favorite of yours truly:
"Jazzy Belle" showcased the haunting, yet jazzy, for lack of a better term, backing vocals for a song uplifting our Nubian women. Very fitting indeed to have The Jazzyfatnastees on this ATLiens track. Afterwards, the duo of Mercedes and Tracey relocated from the West Coast to The City Of Brotherly Love, befriending a like-minded group of artists in The Legendary Roots Crew. The Roots would sign the now-duo to their MCA imprint Motive Records, allowing The Jazzyfatnastees creative room to develop their signature sound. The resulting first album from the duo was the very classic in my book The Once And Future. The video and song that stands out on the excellent debut was "The Wound", a tale depicting artificial as reality for women. Even though I have testosterone flowing through my system, I could (and still can) identify with the images and words within the video and song.
Even though the album didn't garner platinum record sales, Mercedes and Tracey developed a very faithful following. I've had the distinct pleasure of witnessing their personal and creative performances on numerous occasions. Devoid of pomp and circumstance, the Jazzyfatnastees allow God-given abilities to take the forefront when performing live. Their live performances, in my humble opinion, are second to none, because you feel at home and extremely comfortable with this duo singing, harmonizing, vocalizing in front of a musically hungry audience. I had the pleasure of meeting them after a performance at The Garage in DC years ago, with a then-unknown Kindred opening for the Jazzy ladies. Both were humble and personable, especially Mercedes, and I was fortunate enough to develop an e-mail communication of sorts with beautiful and talented Ms. Martinez, often discussing MCA as the "Musical Cemetary Of America". The next offering from these singing divas (and I use the term "divas" in the best possible light) was The Tortoise And The Hare, which was a continuation and expansion on the signature sound. Songs of empowerment, sensuality, and strength were found throughout this second offering from the Jazzyfatnastees, and to great effect. "All Up In My Face", "El Medio", "Let It Go", as well as seven other neo-soul/funk/hip hop influenced songs rounded out this very slept-on album.
Around this time, Tracey and Mercedes developed a very popular music performance series New York at The Wetlands that soon made its way to Philly called Black Lily, taking hints from Lilith Fair. Designed as a peformance showcase for artists to be themselves, it attracted many artists that influenced the burgeoning neo-soul movement. On any given Tuesday, you could find artists such Jill Scott (hey Jilly from Philly), Erykah Badu, Bilal, Musiq Soundchild, Kindred, Jaguar Wright, a very young Jasmine Sullivan, and many more. Typically backed by The Roots, this signature Illadelph event lasted for a number of years at The Five Spot, eventually ending its run (I'm hoping temporarily) in 2005. From those close to my inner circle, Black Lily, at least in that six-year run, is sorely missed. Looking at a Philly-based female hip hop documentary, "Scene Not Heard", my Jazzyfatnastee sisters made a point to state that even though Black Lily is no longer a weekly series at The Five Spot, it still lives on in spirit, and hopefully in the future the brand can be expanded. They were already spreading their creative wings in other arenas such as independent film, so I am anticipating, with fingers crossed, the next reincarnation of Black Lily. I can safely say that I am a faithful fan who will wait for as long as need be for the creative juices to flow from the Jazzyfatnastees, in whatever form or fashion.
There is an unreleased album that may see the light of day at some point, "The World Is Coming". If, and when, they release this third Jazzy project, I will be front and center on that fateful Tuesday. Until then, I am content with two musical offerings that are better in vocal quality and creativity than ANYTHING being played twenty times per day on radio. One thing that does linger in my mind is their hip hop brethren, The Roots, not using the Jazzyfatnastees for their opening cut on How I Got Over, "A Piece Of Light", featuring Dirty Projectors singers Angel Deradoorian, Amber Coffman, and Haley Dekle. Is it me, or does the atmospheric vocals of Dirty Projectors sound very similar to the signature harmonizing of the Jazzyfatnastees? If you read this Ahmir, let the Jazzy fans know why this is so. Coming from a professed Jazzyfatnastees fan of the highest degree, inquiring minds want to know. In any event, it has been good to see Mercedes listed on album credits for various albums over the years for her Illadelph family The Roots (How I Got Over, Rising Down). When the time is right, the world shall see and hear the group that was ahead of the neo-soul curve and very influential. Until then, do the knowledge, and experience this gem known as the JAZZYFATNASTEES!
When discussing the Jazzyfatnastees, terms like "precious" and "gems" are more than apt. These two soul sisters have been on my radar since the middle of the last decade in the 20th Century. Tracey Moore and Mercedes Martinez are the vocal instruments, creative beings, and alluring figures that comprise a group that moves me more than almost anyone else in the realm of music. That speaks volumes, because music is a medium that is near and dear to my heart that beats like a Roland 808. Saying that the Jazzyfatnastees duo is a direct, and indirect, influence on my musical tastes is akin to stating that Barack Hussein Obama is the unequivocal leader of the Free World.
Where do I begin? The Jazzyfatnastees actually started as a quartet of harmonizing ladies, dating back to 1993 or so. When going back through my hip hop archives, I recognized the Jazzyfatnastees nomenclature on The Pharcyde album. Of course a little detective work revealed that J Swift, the seminal producer for The Pharcyde sound during their unveiling period, was the brother of Mercedes, so the union was a very natural one between the units. An obscure appearance by the entire four lady outfit was for Left Coast artist Quinton, part of the J Swift camp (along with The Wascals). Here's one to grow on Jazzy fans!
Their signature harmony was already present when their blended harmonies made an impression on Bizarre Ride II The Pharcyde, at least from a studio perspective. J Swift actually penned their name, according to an article on http://www.jazzyfatnastees.com/. "The jazzy lyrics, the fat harmonies, and the nastee tracks, it's all about the music", is the way Ms. Moore put it when describing the Jazzyfatnastees potent concoction. Originally signed to once thriving Tommy Boy Records in 1993, the quartet, who blended their jazzy vocals with hip hop breakbeats to create a unique sound, became a duo at some point during the middle of the decade. Before this occurred, however, their patented blend made its way to the home of the "ATLiens", Atlanta. OutKast was blessed to have these sisters in the vocal spirit on another favorite of yours truly:
Outkast - Jazzy Belle (Official Music Video). Watch more top selected videos about: OutKast
"Jazzy Belle" showcased the haunting, yet jazzy, for lack of a better term, backing vocals for a song uplifting our Nubian women. Very fitting indeed to have The Jazzyfatnastees on this ATLiens track. Afterwards, the duo of Mercedes and Tracey relocated from the West Coast to The City Of Brotherly Love, befriending a like-minded group of artists in The Legendary Roots Crew. The Roots would sign the now-duo to their MCA imprint Motive Records, allowing The Jazzyfatnastees creative room to develop their signature sound. The resulting first album from the duo was the very classic in my book The Once And Future. The video and song that stands out on the excellent debut was "The Wound", a tale depicting artificial as reality for women. Even though I have testosterone flowing through my system, I could (and still can) identify with the images and words within the video and song.
Even though the album didn't garner platinum record sales, Mercedes and Tracey developed a very faithful following. I've had the distinct pleasure of witnessing their personal and creative performances on numerous occasions. Devoid of pomp and circumstance, the Jazzyfatnastees allow God-given abilities to take the forefront when performing live. Their live performances, in my humble opinion, are second to none, because you feel at home and extremely comfortable with this duo singing, harmonizing, vocalizing in front of a musically hungry audience. I had the pleasure of meeting them after a performance at The Garage in DC years ago, with a then-unknown Kindred opening for the Jazzy ladies. Both were humble and personable, especially Mercedes, and I was fortunate enough to develop an e-mail communication of sorts with beautiful and talented Ms. Martinez, often discussing MCA as the "Musical Cemetary Of America". The next offering from these singing divas (and I use the term "divas" in the best possible light) was The Tortoise And The Hare, which was a continuation and expansion on the signature sound. Songs of empowerment, sensuality, and strength were found throughout this second offering from the Jazzyfatnastees, and to great effect. "All Up In My Face", "El Medio", "Let It Go", as well as seven other neo-soul/funk/hip hop influenced songs rounded out this very slept-on album.
Around this time, Tracey and Mercedes developed a very popular music performance series New York at The Wetlands that soon made its way to Philly called Black Lily, taking hints from Lilith Fair. Designed as a peformance showcase for artists to be themselves, it attracted many artists that influenced the burgeoning neo-soul movement. On any given Tuesday, you could find artists such Jill Scott (hey Jilly from Philly), Erykah Badu, Bilal, Musiq Soundchild, Kindred, Jaguar Wright, a very young Jasmine Sullivan, and many more. Typically backed by The Roots, this signature Illadelph event lasted for a number of years at The Five Spot, eventually ending its run (I'm hoping temporarily) in 2005. From those close to my inner circle, Black Lily, at least in that six-year run, is sorely missed. Looking at a Philly-based female hip hop documentary, "Scene Not Heard", my Jazzyfatnastee sisters made a point to state that even though Black Lily is no longer a weekly series at The Five Spot, it still lives on in spirit, and hopefully in the future the brand can be expanded. They were already spreading their creative wings in other arenas such as independent film, so I am anticipating, with fingers crossed, the next reincarnation of Black Lily. I can safely say that I am a faithful fan who will wait for as long as need be for the creative juices to flow from the Jazzyfatnastees, in whatever form or fashion.
There is an unreleased album that may see the light of day at some point, "The World Is Coming". If, and when, they release this third Jazzy project, I will be front and center on that fateful Tuesday. Until then, I am content with two musical offerings that are better in vocal quality and creativity than ANYTHING being played twenty times per day on radio. One thing that does linger in my mind is their hip hop brethren, The Roots, not using the Jazzyfatnastees for their opening cut on How I Got Over, "A Piece Of Light", featuring Dirty Projectors singers Angel Deradoorian, Amber Coffman, and Haley Dekle. Is it me, or does the atmospheric vocals of Dirty Projectors sound very similar to the signature harmonizing of the Jazzyfatnastees? If you read this Ahmir, let the Jazzy fans know why this is so. Coming from a professed Jazzyfatnastees fan of the highest degree, inquiring minds want to know. In any event, it has been good to see Mercedes listed on album credits for various albums over the years for her Illadelph family The Roots (How I Got Over, Rising Down). When the time is right, the world shall see and hear the group that was ahead of the neo-soul curve and very influential. Until then, do the knowledge, and experience this gem known as the JAZZYFATNASTEES!
THE JAZZYFATNASTEES DISCOGRAPHY:
The Once And Future MCA/Motive Records (1999)
The Tortoise And The Hare CoolHunter Music (2003)
The World Is Coming (Unreleased)* CoolHunter Music (2005)
*The World Is Coming----there was a limited download release, but no formal album release
SITES:
ARTICLE SOURCES:
Wednesday, March 2, 2011
"POWERFUL IMPACT..."
"POWERFUL IMPACT, BOOM, FROM THE CANNON..." IS SUCH A FAMILIAR PHRASE AND VERSE FROM THE ONE, THE ONLY, THE INCOMPARABLE BUSTA RHYMES. IT ONLY MAKES SENSE TO DISCUSS THIS HIP HOP ICON, WITH OVER TWENTY YEARS (AND COUNTING) IN THIS MUSICAL GAME WE HAVE ON OUR HANDS. BUSTA HAS BEEN A FIXTURE SINCE GEORGE BUSH (THE FATHER, NOT THE BUMBLING SON) WAS IN OFFICE, IF I'M NOT MISTAKEN. IN THAT TIME, WE HAVE SEEN SO MUCH THAT I DON'T HAVE THE TIME OR PATIENCE TO LIST THE RELEVANT POINTS. LET'S JUST SAY THAT HIS "INFLUENCE IS STILL SHININ'', QUOTE UNQUOTE.
WHERE DO I EVEN BEGIN WHEN DISCUSSING ONE TREVOR TAHEIM SMITH, JR.? IT WOULD BE EASY ENOUGH TO TALK ABOUT HIS LEADERS OF THE NEW SCHOOL REGIME, SO I DON'T THINK I WILL EVEN START AT THAT POINT. IT SEEMS THAT THE BUZZ FOR MR. RHYMES HAS BEEN IN THE AIR, FROM A LIKE-MINDED AFFIRMATION FROM B-MORE EMCEE/POET/ARTIST LAST BORN CHILD, TO A SIMPLE, YET WELL-NEEDED FACEBOOK POST ABOUT SAID ARTIST. HE'S BEEN BLAZING TRAILS ON THE FEATURE FRONT FOREVER. EVEN NOW, CATCH HIS SCENE-STEALING SONG WITH CHRIS BROWN AND LI'L WAYNE, "LOOK AT ME NOW".
HAS BUSTA RHYMES EVER REALLY FELL OFF? IN MY EYES, ABSOLUTELY NOT! HE HAS ARGUABLY BEEN THE MOST CONSISTENT ARTIST IN HIP HOP (JAY-Z NOTWITHSTANDING). I CAN'T PINPOINT A TIME OVER THE PAST COUPLE OF DECADES WHERE THIS DYNAMIC ARTIST HAS RELEASED OR DROPPED WACKNESS, PLAIN AND SIMPLE. IT JUST HASN'T OCCURRED. NOW BECAUSE OF THE NATURE OF THE MUSIC BUSINESS, RECORD SALES HAVE DROPPED ACROSS THE BOARD WITH MOST ARTISTS, INCLUDING BUSTA. FROM '96 TO THE PRESENT BUSTA HAS BEEN EVER-PRESENT IN THE HIP HOP SPHERE, AND PRIOR TO HIS SOLO DEBUT, HE WAS A FORCE TO BE RECKONED WITH AND AN ARTIST THAT WOULD STEAL THE SHOW. IN FACT, HE STILL IS! TIME AND TIME AGAIN HE HAS PROVEN HIS WORTH AND METTLE, BY DROPPING OUT OF THIS WORLD LYRICAL CONTRIBUTIONS. "TOUCH IT". "NEW YORK SH-T". "MAKE IT CLAP". "BREAK YA NECK". HIS HEAT ON THE DJ KHALED-PRODUCED "ALL I DO IS WIN (REMIX)".
THERE ARE SO MANY EXAMPLES OF HIS LYRICAL PROWESS,BUT I'M GOING TO LEAVE THE FLOOR AND BLOG OPEN FOR POSITIVE DIALOGUE AND DEBATE WHEN IT COMES TO ONE OF HIP HOP'S GIANTS, AN ARTIST WHOSE ALMOST-MIDAS TOUCH IN THE GAME IS SOMETHING TO TRULY BEHOLD. SO WHAT DO YOU SAY WHEN IT COMES TO BUSTA RHYMES? IS HE INDEED MR. "POWERFUL IMPACT"? DOES HE HAVE A TRACK-RECORD THAT IS BAR-NONE? I THINK THAT 2011 IS GOING TO BE A SPECIAL YEAR FOR BUSTA RHYMES. FROM MY UNDERSTANDING, THE FOLLOW-UP TO HIS 1998 CLASSIC ALBUM EXTINCTION LEVEL EVENT (FINAL WORLD FRONT) WILL BE RELEASED. EXTINCTION LEVEL EVENT 2 IS SURE TO OFFER THAT NECK-SNAPPING, ENERGETIC, ALMOST APOCALYPTIC HIP HOP WE HAVE ALL COME TO EXPECT FROM BUSTA.
WE SHALL SEE...
CHARLIE SMARTS-----"THE SKIN"
CHARLIE SMARTS, OF KOOLEY HIGH FAME, IS POISED TO DROP HIS NEXT SOLO OFFERING, TRIDENT, THIS MONTH. HERE IS "THE SKIN", A NICE, JAZZY JOINT THAT FITS IN NICELY WITH THE CAROLINA BLUE SOUND, AS I LIKE TO CALL IT. PEEP THIS BROTHER, AS WELL AS THE REST OF HIS KOOLEY HIGH COHORTS (ESPECIALLY RAPSODY). YOU CAN HIT CHARLIE SMARTS AND THE KOOLEY HIGH CREW UP AT http://www.kooleyhigh.com/. NOW BACK TO OUR REGULARLY SCHEDULED PROGRAM...
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