Podcasts about schooly d

In which The Curmudgeons straight cold rock a party and revisit hip-hop's greatest, most electrifying, most unendingly thrilling period, which stretched from 1986 to 1991. We tear through 12 brilliant albums and dozens of awesome singles that taught all the MCs and producers that followed how it should it be done--and how it would be done from here on out. We cover Run-D.M.C., Public Enemy, Schooly D, Ice Cube, 2 Live Crew, Big Daddy Kane, EPMD, Gang Starr, A Tribe Called Quest, The Beastie Boys, Queen Latifah and scores of other great and hugely influential artists.    Listen to our special Spotify playlist dedicated to this episode: https://open.spotify.com/playlist/4sf98fg4Qr5L4hJTg2uDQS?si=76c9e51cf474410f   Listen to an old episode of our podcast, in which we argue for A Tribe Called Quest's The Low End Theory as the greatest hip-hop album ever made:  https://podcasts.apple.com/au/podcast/the-greatest-hip-hop-album-ever-made/id1551808911?i=1000545909663   Here's a handy navigation companion for this new episode.   (0:52 - 4:43) - Arturo Andrade sets the parameters for our discussion of hip-hop's golden age   (5:02 - 18:25) - The Parallel Universe, featuring reviews of new albums from Bodega and Mdou Moctar   (19:10 - 01:16:54) - The Curmudgeons analyze 12 amazing albums that sprung from the golden age of hip-hop   (01:18:15 - 02:14:40) - We celebrate a whole ton of great, mad-fun hip-hop singles from the golden age of hip-hop   Join our Curmudgeonly Community today! facebook.com/groups/curmudgeonrock   Hosted on Podbean! curmudgeonrock.podbean.com   Subscribe to our show on these platforms: https://podcasts.apple.com/us/podcast/the-curmudgeon-rock-report/id1551808911   https://open.spotify.com/show/4q7bHKIROH98o0vJbXLamB?si=5ffbdc04d6d44ecb   https://podcasts.google.com/feed/aHR0cHM6Ly9hbmNob3IuZm0vcy80M   Co-written and co-produced by Arturo Andrade and Christopher O'Connor - The Curmudgeons  

Time for our final episode of our Slayer series ! Nik and Keefy are joined by Omar Cordy of @GhostCultMag to discuss the first post-Dave Lombardo era, and the merits of Paul Bostaph! We also rank every album we covered! Does "Divine Intervention rule?" drop a comment! Enter to win two VIP tickets to see @Slayer at Riot Fest 2024: https://ghostcultmag.com/giveaway-win-a-pair-of-vip-tickets-to-see-the-slayer-reunion-at-riot-fest-from-ghost-cult/ Check out our last series on the early classics of DRI: https://www.youtube.com/playlist?list=PLpHaaolFKt7N2PpiIjuLmoZZjN5XlwGqs Check out the Slayer books by DX Ferris, an inspiration for this series: https://amzn.to/3ukL7ke For Rock and Metal news: https://www.ghostcultmag.com For vinyl porn: Glacially_Musical To support the Pouredcast: https://linktr.ee/GlaciallyMusicalPouredcast Follow our guest Omar at https://www.instagram.com/ojcpics Invest In Vinyl mylar inner sleeves https://amzn.to/3pPLQaA Timestamp: 0:00 Intro Nik - Keefy Clepto 2:34 Beer ✅ Nik - Second Shift Brewing "D IPA," Keefy - Liquid Death 4:33 Vinyl ✅ Nik -  @stptv  +  @theblackkeys  + Styx, Keefy - STP +  @INCITEband  6:02 Beer ✅ Nik - Charleville - Hoptomistic Dub IPA, Keefy - @liquiddeath2793 16:04 News ✅ Nik -  @CarcassBand  to tour with  @hatebreed , Keefy - Record Store Day smash or pass - Acid King,  @amorphisofficial ,  @apocalyptica ,  @atthegatesofficial ,  @bodysnatcherfl , KRS-1/BDP,  @jeffbuckley , Eric Carr /  @KISS , Cheech and Chong, De La Soul, Enslaved, Excel, GBI, HIM, Iggy Pop, Jucifer, Memphis Slim - Sonny Boy - and Matt Guitar Murphy, Millitarie Gun, Motorhead, Mudhoney, Nas, Willie Nelson, PearlJam, Pigs x7, Pixies, Ramones, Schooly D, Screaming Trees, Sevendust, Soft Cell, Sponge, Tad, Corey Taylor, Teem Sleep, Sister Rosetta Tharp, Thin Lizzy live, My Life With The Thrill Kill Cult, Frank Turner, and Frank Zappa 33:01 Meat ✅ Slayer - "Divine Intervention" with Omar Cordy! 130:00 Shirt ✅ Nik - , Keefy - Goatwhore, Omar Titanique/ Celine Dion 131:00 Please like and subscribe! This is the "finger fudge pour: https://www.youtube.com/shorts/rTtqjPgZZ7s #podcast #vinyl #vinylcollecting #craftbeer #rocknews #metalnews #beer #slayer #reigninblood #southofheaven#seasonsintheabyss#powergroove#speedmetal #thrashmetal #progmetal #brianslagel#rickrubin #glaciallymusical #slipknot #genesimmons #vintagevinyl #vinylcommunity

Cette semaine on célèbre l'anniversaire de "Philadelphia" le premier album de Freeway. Au début des années 2000, Freeway émerge en tant qu'artiste phare de la nouvelle génération de rappeurs de Philadelphie. Au-delà de la simple rupture avec ses prédécesseurs, Freeway s'inscrit profondément dans l'essence musicale de sa ville.Son album met en lumière de manière poignante la rudesse de la vie à Philadelphie, résonnant ainsi pleinement avec l'héritage de Schooly D, véritable précurseur du gangsta rap. Freeway explore également la tension entre sa vie urbaine et sa spiritualité, en référence à la pratique de l'Islam à Philadelphie, la foie une thématique également présente chez Bahamadia avant lui.Enfin tout comme Jazzy Jeff & The Fresh Prince, qui ont apporté une touche d'entertainment et de légèreté à la scène musicale de Philadelphie, Freeway va également produire des morceaux plus légers et mainstreamAu final observer ce premier opus de Freeway, c'est un peu mesurer l'héritage musical immense de Philadelphie, et pour l'explorer de manière non exhaustive, nos deux Dj's s'appuient  aujourd'hui sur le titre "Uknowhowedoo" de Bahamadia. Dédié à tous les pionniers et acteurs de la scène rap de la ville, ce morceau sera  le fil conducteur du périple à Phily proposer par SLurg et Bachir  en exclusivité sur Grünt RadioHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

**The David RB Show Replay On www.traxfm.org. This Week DRB Featured Cuts From Suave N Thick, Janga, Mr Maph & More Plus Agent Sumo, T-Connection, Chequers, Joe Feat Jadakiss - "I Want A Girl Like You" (DJ Soulchild Remix), Mary J Blige, Schooly D, DMX, Cocoa Tea, Maurice Joshua & More The David RB Show Live Every Wednesday From 8PM UK Time The Station: traxfm.org #traxfm #davidrbshow #soul #funk #urban #hiphop #remixes #house #danceclassics #oldschool #nusoul #rnb #reggae Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : facebook.com/original103.3 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**

G Mateus celebrated 50 years of Hip Hop by taking you back to the old school with two hours of 80s classics. Featuring disco rap, electro, early gangster, and conscious tracks with a bit of boom-bap thrown in - bangers from Afrika Bambaataa, Run-DMC, Schooly D, and more...Tune into new broadcasts of In The Pocket, LIVE, Friday from 12 - 2 PM EST / 5 - 7 PM GMT.For more info visit: https://thefaceradio.com/in-the-pocket///Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

This episode we discuss the chatter about signs in the neighborhood to pick up trash and the featured topic is the history of, and likely return of, Automat eateries. We are joined by legendary musical guest Schooly D, the god-father of gangster rap, and feature a special track with collaborators Ice T and Chuck D.

**Sean Jay's Beats & Pieces Show Replay On traxfm.org. Sean Gave Us Old School Hip Hop/Electro Classics With Special Ed, Schooly D, Rakim, Hotstreak, Man Parrish, Lisa Lisa & Cult Jam, Newcleus, Steady B & W McGlone, Eric B & Rakim, Stezo, Freeez, C Bank & More. Catch Sean Jay's Beats & Pieces Each & Every Thursday From 9PM UK Time On traxfm.org #traxfm #seanjay #beatsandpieces #oldschool #hiphop #electro #remix #inthemix Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : facebook.com/original103.3 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Tune In Radio : tunein.com/radio/Trax-FM-s225176 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**

“Philadelphia, Mississippi” Over the course of his nearly thirty year career, the Grammy-nominated G. Love has put out close to fifteen albums both solo and with his band Special Sauce. From Coast To Coast Motel, to Yeah, It's That Easy to The Juice, his catalog is a consistently effortless blend of blues, hip-hop, R&B and alternative rock. Throughout the years G. Love has collaborated with Dr. John and Jack Johnson, played the HORDE tour, acted as the house band for Comedy Central's "Turn Ben Stein On" series, and helped launch the Coca Cola advetisting campaign for Coke Zero with his own take on the track “I'd Like To Teach The World To Sing.” G Love's new album is Philadelphia, Mississippi and it is just what its title suggests: a seamless hybrid of hip-hop and the delta blues that combines to make the quintessential album of the summer of 2022. Or any summer. This is a summer record—from the breezy bliss of Laughing In The Sunshine to Love From Philly, which features Schooly D., the Luther Dickinson-produced album also features Speech from Arrested Development, Alvin Youngblood Hart and Chuck Treece. It's got swagger, it's got soul and it's got heart. It's a perfect record. www.philadelphonic.com www.bombshellradio.com www.alexgreenonline.com Stereo Embers The Podcast Twitter: @emberseditor Instagram: @emberspodcast Email: editor@stereoembersmagazine.com

American Fans Discuss The Global Sport

Playlist Chamberlin Rhythmate Two Times The Trauma, “Freak Show” from I Fell In Love With An Ocean (2006 Starfly). There is an original Chamberlin Rhythmate at Roth Händle Studios in Stockholm, plus some other precious vintage equipment used in the making of the first album by Two Times The Trauma. Double Bass, Vocals, Magnus Eugensson; Drums, Percussion, Optigan, Mellotron, Tin Whistle, Turntables, Chamberlin Rhythmate, Mattias Olsson; Electric Guitar, Eric Fallope; Mellotron, Orchestron, Tobias Ljungkvist; Tuba, Fredrik Wennström; Vocals, Cecilia Åhlfeldt; Vocals, Acoustic Guitar, Mattias Eriksson; Xylophone, Daniel Kåse. Recorded at Roth Händle Studios 3 & 4, Stockholm. Mellotron bee tape set used with kind permission from Gaby Stenberg. Yamaha GX-1 used with kind permission from Benny Andersson. Orchestron French Horn disc on 'In Your Eyes' used thanks to Zac Rae. All Optigan, Mellotron and Chamberlin Rhythmate service and maintenance was performed way beyond the call of duty by Markus Resch. Wurlitizer Side Man and Swingin' Rhythm LCD Sound System, “Somebody's Calling Me” from This Is Happening (2010 Parlophone). Somebody's Calling Me; Finger Snaps Snaps, Matt Thornley; Finger Snaps Snaps, Synthesizer Casio MT-68, Wurlitzer Sideman, EMS VCS3 Putney, Korg Poly Ensemble, Bass, Piano Acoustic, Keyboards Roland System 100, Vocals, James Murphy; Mixed By, DS; Trombone, Jason Disu; Written-By, J. Murphy. Glenn Derringer, “The Girl From Ipanema” from Wurlitzer Swingin' Rhythm (1968 Wurlitzer). Glenn Derringer at the Wurlitzer electronic organ, demonstrating the Wurlitzer Electronic Swingin' Rhythm attachment with an unspecified Wurlitzer electronic organ. Each track on this demonstration disc explains the Swingin' Rhythm settings that were used. For “The Girl From Ipanema,” the settings were: “Moderate Bossa Nova. The Swingin' Rhythm was set at Latin, tempo control set to 1 o'clock.” What more can I say? Dick Hyman, “Strobo” from the single Strobo/Lay, Lady, Lay (1969 Command). Dick told me about this track, which was one of his Moog experiments that didn't make it onto his two albums around this time. Normally, he produced his Moog tracks with the help of synthesizer programmer Walter Sear. But in the case of this single, he did all the programming. For “Strobo,” he used a drum machine. It sounds like a Swingin' Rhythm. Jean-Pierre Sabar, “Fool on the Hill” from Super-Danse/Les Orgues Électroniques De Jean Pierre Sabar (1969 Sava). French LP of instrumental cover versions of popular music, all played on the Wurlitzer 4300 electronic organ with integrated Multi-Matic Percussion unit and Swingin' Rhythm, which was also sold as a standalone drum machine. In this case, I'm having a little trouble telling the difference between the drum machine and what sometimes sounds like a drum set with bass and toms. The settings on the organ indicate that the pedals can be used to play “drum” and “cymbal” sounds, and the Swingin' Rhythm unit had buttons for drum, brush, snare, block, and cymbal. Still, I can't account for the tambourine sound but so much of this rhythm section sounds like a drum machine repeating sounds robotically that I must assume that this is a combination of live drummer and drum machine. Jerry Styner And Larry Brown, “Dock of the Bay” from Orbit III (1971 Beverly Hills). Album produced to showcase the sounds of the Wurlitzer Orbit III organ, the “orbit” portion being a a third, two-octave keyboard that was a monophonic synthesizer. The instrument was equipped with the latest Wurlitzer rhythm machine built in. On this track, you not only hear sounds of a drum machine that sounds similar to the Wurlitzer Swingin' Rhythm machine introduced in 1969. Although the liner notes suggest that all of the sounds were created using the organ, there appears to be a regular human drummer playing along (probably percussionist and co-producer Larry Brown). I say this because there is a hit hat heard throughout and although Swingin' Rhythm had setting for a Snare, Brush and Cymbal sounds, as fills for the rhythm settings, they really did not reproduce the hit hat sound that is heard here. That and the miscellaneous drum fills added throughout sound more “played” than mechanized. Anyway, that's my take after examining this recording as compared to the actual sounds of the Swingin' Rhythm unit. Thomas Organ Byron Melcher, “Spanish Flea” from The Entertainers (1966 Thomas Organ Co.). Thomas Organ was one of the leading makers of electronic organs for the home. On this track, you can hear the Playmate rhythm component, a drum machine with 15 preset rhythms. The Thomas organ drum machine, circa mid-1960s. Thomas Organ was another maker of electronic organs for the home market. By 1966 they had created the Playmate rhythm component, a drum machine with 15 preset rhythms and a standalone device called the Band Box that had 10 preset rhythms. These were often sold as part of their Color-Glo line of transistorized organs. Color-Glo helped amateur musicians by lighting up the keys for preprogrammed melodies and chords to guide them along. Lowrey Organ Johnny Kemm “Taboo” from Latin Days (1970 Concert Recording). This album was created using the Lowrey Theater Console Deluxe organ model H25R-2 equipped with the built-in Automatic Rhythm drum machine feature. Not Sure Which Drum Machine Robin Gibb, “Mother and Jack” from the single Saved by the Bell/Mother and Jack (1969 Polydor). There was brief period in 1969 when the Brothers Gibb, otherwise known as the Bee Gees, had a sibling riff and Robin went off on his own to record some solo projects while Barry and Maurice completed a two-man Bee Gee album called Cucumber Castle. Perhaps because he was working along, Robin used a drum machine to mark time while recording various tracks and in the case of a few songs, he kept the mechanical rhythm as part of the finished recording. This might be the earliest purposeful use of a drum machine on a pop hit. I include it hear because it is probably a Swingin' Rhythm, although it might also be a Seeburg Select-A-Rhythm, also available at the time. Bruce Haack “Saint Basil” from The Electronic Record For Children (1969 Dimension 5). Tape composition, drum machine, and synthesis by Bruce Haack; Directed by P. Pandel; Performer, The Children Of Holy Trinity Cathedral School. Bruce used an unidentified drum machine on this album of children's music. Roland (Various) Michael Iceberg, “Mexican Hat Dance” from Does It Live: 100th Week At Walt Disney World (1977 Hihomusic). This album was only sold to tourists as a souvenir at Walt Disney World during the Michael Iceberg residency as a performer at Tomorrowland Terrace during the late 70's through the late 80's. Unknown drum machine, but likely a Roland Rhythm TR-55. Miha Kralj, “Apokalipsa” from Andromeda (1980 PGP). Yugoslavian record from synthesist Miha Kralj features a Roland CompuRhythm CR-78. Composer, producer, Synthesizer, Vocoder, Sequencer, Drum Machine, Effects, Miha Kralj. Gary Numan, “Slowcar To China” from Dance (1981 Atco). Bass , Mick Karn; Percussion, Gary Numan, Tim Steggles; Polymoog, Prophet 5, Roland JP 4, CP30, Claptrap, Electronic Drums Roland CR78, Gary Numan; Viola, Chris Payne. The Noyes Brothers, “Byte to Beat” from Sheep From Goats (1980 Object Music). Synthesizer and electronic drums, Solamar. The Noyes Brothers had two members, Steve Miro and Steve Solamar. They were from the UK and Solamar seems to be the only artist on this track and uses an non-specific Roland drum machine. This track is taken from a double LP, the only record I know of for the Noyes Brothers. Comateens, “Ghosts” from Comateens (1981 Cachalot Records). Here is a group who's unofficial fourth member was a Roland Compu-Rhythm CR-78. The inner notes for the album featured profiles of all of the artists, including Lyn Byrd on synthesizers and vocals, Oliver North on guitar and vocals, Nic North on bass, and vocals and the Roland machine, which was described as having a square black head, no body, with red, blue, and yellow buttons. In addition, the notes state that the Roland drum machine was born in Japan and existed as 3,468 separate pieces before assembled and called upon to serve with the Comateens. Joël Fajerman, “Espace – Oiseaux” from Azimuts (1981 PSA). French record by Fajerman featuring a Roland TR 808 Rhythm composer, and instruments such as the Multimoog, Prophet 5, Korg polyphonic 3100, Clavinet D6, ARP sequencer, Oberheim module. SPK (System Planning Korporation), “Emanation Machine R. Gie 1916” from Information Overload Unit (1981 Side Effects). Australian industrial sounds released in the UK. Guitar, Bass, Tape, Vocals, Mike Wilkins; Synthesizer, Roland Drum Programming, Effects, Vocals, Graeme Revell; Synthesizer, Effects, Dominic Guerin. Rüdiger Lorenz, “Out of the Past” from Invisible Voices (1983 Syncord). This late pharmacist/synthesist from Germany played all the instruments on this album, including Korg Polysix, Formant Synthesizer, Roland Vocoder VC 10, Roland TR-808 Rhythm Composer, Moog Sample & Hold, MXR Stereo Chorus, Electro-Harmonix Flanger, PPG Sequencer, Elektor Ringmodulator, and Pearl Vorg Echo-Orbit. Other analog drum machines Bob Hacker, “Careless Hands” from One Man Opry: Bob Hacker Plays The Yamaha Electone D (1980 Yamaha). This album, produced by Yamaha, features some of the wacky analog synth effects it could produce as well as its built-in drum machine. This was a spinet style organ, a small upright keyboard with pedals for the home market. Arthur Brown and Kingdom Come, “Time Captives” from Journey (1973 Polydor). Brown used Bentley drum machine to provide drums on this track. The Bentley was actually a UK version of the Roland TR-77 which was the very first product Roland released under they own name. In the US this same unit was sold by Hammond as the Auto-Vari 64. The unit has 5 faders for Volume, Tempo, Cymbal/HH/Maracas, Guiro, Snare, Bass Drum. The TR-77 has 6 faders for Tempo, Fade Time, Volume, Bass D, Snare D, Guiro & Hi-Hat/Cymbal/Maracas. Bass, Percussion, Vocals, Phil Shutt; Bentley Rhythm Ace, Vocals, Arthur Brown; Electric Guitar, Vocals – Andy Dalby; Mellotron, Synthesizer [Arp 2600, Vcs3], Piano, Theremin, Percussion, Vocals, Victor Peraino. Kraftwerk, “Radioactivity” from Kraftwerk – Radio-Activity (1975 Capitol).Electronics, Florian Schneider, Ralf Hütter; Lyrics by Emil Schult, Florian Schneider, Ralf Hütter; music by Florian Schneider, Ralf Hütter; Electronic Percussion Karl Bartos, Wolfgang Flür; Vocals, Florian Schneider, Ralf Hütter. Schoolly D, “P.S.K.-What Does It Mean? (instrumental version)” from‎ P.S.K.-What Does It Mean? / Gucci Time (1986 Schooly D Records). A remix of this track that features only the drum sounds of the The Roland TR-909 Rhythm Composer. This drum machine was one of the first Roland instruments to be equipped with MIDI, and was the first analog/digital hybrid machine, combining analog circuits for its drums with digital samples for its cymbal and hi-hat sounds. You can hear how Schooly D isolated the cymbals and drums on this track. Pixie Ninja, “Leng Plateau” from Colours Out Of Space (2020 Apollon Records). Another recording using the Chamberlin Rhythmate in the Roth Händle Studio in Stockholm. Roth Händle studios is run by producer and musician Mattias Olsson who collects, restores, and offers vintage musical gear for use by visiting bands. There is so much to listen to here with Pixie Ninja's hard-driving and somewhat deranged mix of vintage, cranky electronic instruments and modern guitars and synthesizers. You can hear the Chamberlin Rhythmmate in this track, a Bandmaster Powerhouse Drum Machine (the one that used 8-track tapes), and an Electro-Harmonix DRM-16 Drum Machine. Godin Shifter 4 Bass, Korg Krome 61, Korg Volca Keys, Korg Monotribe, Nord Lead A1, Glockenspiel, Polar Circle Bells, Kalimba, Marius Leirånes; Drums, Percussion, Mother Modular System, Mellotron M400, Philicorda Organ, Chamberlin Rhythmate, Fender Rhodes, Hohner Clavinet, Blind Typemachine, EMS VCS3, Casio PT-88, Roland JV-8080, Roland SH-101, Electro-Harmonix DRM-16 Drum Machine, Moog Taurus, Korg MS-10, Optigan, Roland VP-330+, Bandmaster Powerhouse Drum Machine, E-Bow (Bass Gizmotron), Jenco Celeste, Grand Piano, Mattias Olsson; Fender Stratocaster, Gretsch G5320T, TC Electronic AEON Infinite Sustainer, Korg Krome 61, Korg microKORG, Nord Lead A1, Arturia Microbrute, Stylophone 350s, Glockenspiel, Jostein Haugen; Rickenbacker 12 String Electric Guitar, Fender Rhodes, Philicorda Organ, Mellotron M400, Hampus Nordgren-Hemlin. Background Sounds Opening: Negativland, “Side 1, Track 3” from Negativland (1980 Seeland). An unidentified drum box is heard throughout this track. It sounds a lot like the Wurlitzer Swingin' Rhythm. Recorded Dec. 1979-April 1980. This privately release album had a hand-made sleeve made of cut-and-paste artwork assembled with xerox, wallpaper, black construction paper, and magazine photos. Beneath these pasted portions, the cover itself is spray painted and stenciled with parts of the band name, as well as hand-numbered. Synthesizer, edited by, voice, tape, David Wills; Tape, Electronics, drum machine rhythms, Booper (an electronic oscillator), Clarinet, Organ, Viola, Loops, Guitar, Mark Hosler, Richard Lyons. Description of previous way of producing drum sounds: George Wright, “Happy Talk” from Goes South Pacific (1958 HiFi Records). George Wright on the Mighty Wurlitzer theater organ, an electronic organ popular in the 1950s. Introductory dialog: Johnny Kemm “I Say a Little Prayer” from Latin Days (1970 Concert Recording). This album was created using the Lowrey Theater Console Deluxe organ model H25R-2 equipped with the built-in Automatic Rhythm drum machine feature. Description of Chamberlin Rhythmate: Audio track demo of the  Chamberlin Rhythmate  from the YouTube video posted by instrument collector Dan Hicks (aka Peahix), a collector in California. Description of Wurlitzer Side Man: Audio track demo of the Wurlitzer Side Man from the YouTube video posted by instrument collector Dan Hicks (aka Peahix), a collector in California. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog Noise and Notations.  

Watch the episode HERE Chris Schwartz is the founder of Ruffhouse Records. At various points, the label included The Fugees, Ms. Lauryn Hill, Wyclef Jean, Cypress Hill, Nas, Kriss Kross, DMX, Kool Keith, and Schoolly D. Ruffhouse sold more than 120 million records worldwide, generating over a billion dollars in sales and a multitude of Grammy Awards. Chris has been the recipient of many awards celebrating his success while earning 250 gold and platinum records. Helping Schooly D birth an entire genre, gangster rap, and perhaps, more importantly, taking the first DIY rap artist to retail success will prove to be his most influential contribution to a culture he's lived for. In the show, we discuss Ruffhouse, Schooly D's burgeoning art career, Chris's fascinating basis for his next book Rebels & Poets, his new venture Ruff Nation, signing the first Asian hip-hop group, how rapping emerged as the top element of the 5 that comprise hip-hop, & a lot more. www.ruffnation.com Follow Chris @schwartz_music on IG Order Ruffhouse: From the Streets of Philly to the Top of the '90s Hip-Hop Charts Book by Chris Schwartz HERE (Physical or eBook)

Watch the episode HERE Chris Schwartz is the founder of Ruffhouse Records. At various points, the label included The Fugees, Ms. Lauryn Hill, Wyclef Jean, Cypress Hill, Nas, Kriss Kross, DMX, Kool Keith, and Schoolly D. Ruffhouse sold more than 120 million records worldwide, generating over a billion dollars in sales and a multitude of Grammy Awards. Chris has been the recipient of many awards celebrating his success while earning 250 gold and platinum records. Helping Schooly D birth an entire genre, gangster rap, and perhaps, more importantly, taking the first DIY rap artist to retail success will prove to be his most influential contribution to a culture he's lived for. In the show, we discuss Ruffhouse, Schooly D's burgeoning art career, Chris's fascinating basis for his next book Rebels & Poets, his new venture Ruff Nation, signing the first Asian hip-hop group, how rapping emerged as the top element of the 5 that comprise hip-hop, & a lot more. www.ruffnationent.com Follow Chris @schwartz_music on IG Order Ruffhouse: From the Streets of Philly to the Top of the '90s Hip-Hop Charts Book by Chris Schwartz HERE (Physical or eBook)

Watch the episode HERE Chris Schwartz is the founder of Ruffhouse Records. At various points, the label included The Fugees, Ms. Lauryn Hill, Wyclef Jean, Cypress Hill, Nas, Kriss Kross, DMX, Kool Keith, and Schoolly D. Ruffhouse sold more than 120 million records worldwide, generating over a billion dollars in sales and a multitude of Grammy Awards. Chris has been the recipient of many awards celebrating his success while earning 250 gold and platinum records. Helping Schooly D birth an entire genre, gangster rap, and perhaps, more importantly, taking the first DIY rap artist to retail success will prove to be his most influential contribution to a culture he's lived for. In the show, we discuss Ruffhouse, Schooly D's burgeoning art career, Chris's fascinating basis for his next book Rebels & Poets, his new venture Ruff Nation, signing the first Asian hip-hop group, how rapping emerged as the top element of the 5 that comprise hip-hop, & a lot more. www.ruffnation.com Follow Chris @schwartz_music on IG Order Ruffhouse: From the Streets of Philly to the Top of the '90s Hip-Hop Charts Book by Chris Schwartz HERE (Physical or eBook)

**Sean Jay’s Beats & Pieces Show Replay On www.traxfm.org. Sean Gave Us Old School Hip Hop/Electro Classics From A Tribe Called Quest, Beastie Boys, Biz Markie, Run DMC, Schooly D, Kid N Play, Masquerade, Malcolm McClaren & More. Catch Sean Jay’s Beats & Pieces Each & Every Thursday From 9PM UK Time On www.traxfm.org #traxfm #seanjay #beatsandpieces #oldschool #hiphop #electro #remix #inthemix Listen Here: www.traxfm.org Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: https://play.google.com/store/apps/details?id=net.traxfmradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/original103.3/ Trax FM Live On Hear This: https://hearthis.at/k8bdngt4/live/ Tunerr: http://tunerr.co/radio/Trax-FM Tune In Radio : https://tunein.com/radio/Trax-FM-s225176/ OnLine Radio Box: http://onlineradiobox.com/uk/trax/?cs=uk.traxRadio Radio Deck: http://www.radiodeck.com/radio/5a09e2de87e3370db06d44dc Radio.Net: http://traxfmlondon.radio.net/ Stream Radio : http://streema.com/radios/Trax_FM..The_Originals Live Online Radio: http://www.liveonlineradio.net/english/trax-fm-103-3.htm **

Sex, Drugs, Law Enforcement, and full frontal Keitel. Join us as we discuss a 90’s crime classic, joined by a special guest...A homicide detective.

Sean Jay’s Beats & Pieces Show Replay On www.traxfm.org. Sean Gave Us Old School Hip Hop/Electro Classics From Big Daddy Kane, Biz Markie, 3rd Bass, Schooly D, Rakim, UTFO, Newcleus,The B-Boys & More. Catch Sean Jay’s Beats & Pieces Each & Every Thursday From 9PM UK Time On www.traxfm.org #traxfm #seanjay #beatsandpieces #oldschool #hiphop #electro #remix #inthemix Listen Here: www.traxfm.org Mixcloud LIVE : mixcloud.com/live/traxfm Free Trax FM Android App: https://play.google.com/store/apps/details?id=net.traxfmradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/original103.3/ Trax FM Live On Hear This: https://hearthis.at/k8bdngt4/live/ Tunerr: http://tunerr.co/radio/Trax-FM Tune In Radio : https://tunein.com/radio/Trax-FM-s225176/ OnLine Radio Box: http://onlineradiobox.com/uk/trax/?cs=uk.traxRadio Radio Deck: http://www.radiodeck.com/radio/5a09e2de87e3370db06d44dc Radio.Net: http://traxfmlondon.radio.net/ Stream Radio : http://streema.com/radios/Trax_FM..The_Originals Live Online Radio: http://www.liveonlineradio.net/english/trax-fm-103-3.htm

It's Dice Raw of the Legendary Roots Crew. Dice Raw is a Rapper, Songwriter, Playwright, and Producer from Philadelphia. You will know his voice from iconic verses and hooks on many Roots albums and songs such as Here I Come, Lighthouse and more. I caught up with Dice while he was cooking dinner. So you could say we 'chopped it up'. I asked Dice about his background, his musical influences and preferences, how big the song Here I Come was, who is really a Money Makin Jam Boy, how the Roots sessions go down, a funny Schooly D story, and his new comedy album available now called CANCELLED. RAW LIFE BLACK INK! --- Support this podcast: https://anchor.fm/deekast/support

Description: One day after the LAPD beat up Rodney King, an Ice Cube concert went down in history as one of the most violent shows ever held at First Avenue. Hosted by Jay Smooth, we ask rap experts and former First Ave staffers about gangsta rap, security, and the uneasy relationship between the Minnesota music industry and Black hip-hop artists. This is the sixth episode of The Current Rewind's "10 Pivotal Days at First Avenue" season. If you missed the first five episodes, catch up below. • April 3, 1970 (The day it all began)• Nov. 28-29, 1979 (The days that told the future)• Sept. 27, 1982 (Bad Brains/Sweet Taste of Afrika/Hüsker Dü)• Aug. 3, 1983 (The birth of "Purple Rain")• Oct. 22, 1990 (Sonic Youth/Cows/Babes in Toyland) Transcript of The Current Rewind season 2, episode 6: "March 4, 1991" Anne O'Connor: We're talking about almost 30 years ago, but my memory of this was like, you opened up the gate at the horse races, and everybody was off to it. [Ice Cube, "The Bomb," with the lyrics: "With the L, the E, the N, the C, the HThe M, the O, the B, the greatLyrics that make the beat swing and I gotchaIt's the hip-hopper that don't like coppers." Hard cut.] Anne O'Connor: And it was just like an explosion, and it was non-stop all night long. ["The Bomb" picks up where it left off, running through these lyrics: "And if you try to upset the pot, sonYou get kicked in the chest like a shotgunI make the beats, I make the breaksI make the rhymes that make you shakeMake you findIce Cube never caught in the middleI make stuff that kick you in the a** a little." Hard cut.] Anne O'Connor: We just went from one fight to the next fight to the next fight. There was no breathing time. There was no downtime. It was just, "What emergency is there to go and deal with next?" [Ice Cube's "The Bomb" returns with a sample of spoken audio and several voices singing, "The bomb"] Cecilia Johnson VO: Gangsta rap was the most controversial music of the '90s – praised as an expression of Black America's righteous anger, reviled for its misogyny and depictions of violence. Taking cues from Schooly D and Ice-T, Los Angeles group N.W.A popularized the genre with their album Straight Outta Compton. Their most talented rhymer, Ice Cube, left the group to go solo in 1990. In early 1991, he brought his show to Minneapolis's First Avenue, for one of its most memorable nights ever. ["Hive Sound" by Icetep] Cecilia Johnson VO: [over theme] I'm Cecilia Johnson. This is The Current Rewind, the show putting music's unsung stories on the map. For our second season, we're looking back at one of the Twin Cities' – and the country's – greatest live venues through a series of pivotal nights. We're bringing on guest hosts for several episodes. In this one, Jay Smooth – the New York hip-hop radio legend and cultural commentator – joins us to tell the story of one of the most infamous shows in First Avenue's history. I do want to warn you: This episode contains explicit accounts of racism and violence. [rewind sound effect] Jay Smooth VO: Way back in 1991, I founded New York's longest-running hip-hop radio show, WBAI's Underground Railroad. It was a pivotal time for hip-hop music, when it was still just beginning to cross all sorts of cultural boundaries. And the other love of my musical life back then was the Black Minneapolis Sound, as defined by Prince and his many collaborators – who, in their own way, were on a similar path of bringing Black music into spaces where it hadn't necessarily been all that welcome. So, as a devoted student of Prince and hip-hop who came of age in that era, the First Avenue club and its relationship with Black music, and hip-hop, specifically, has always been an object of fascination for me. And though it was primarily defined as a rock club, First Avenue did host a number of high-profile hip-hop shows in the '80s and early '90s, according to someone who saw a lot of them. Tim Wilson: Timothy Wilson, Urban Lights Music owner. Jay Smooth VO: Tim's record store, Urban Lights, is a community hub in the Midway neighborhood of St. Paul. Tim Wilson: I remember seeing Run-D.M.C. I remember they had Jam Master Jay kind of suspended in the air, swinging back and forth, and they couldn't jump around on the stage, because the records were skipping and stuff like that, but they still made it through. I remember going to KRS-One; the sound crashed and he literally had one of his people beat box, and he continued to perform. [Tim laughs] Jay Smooth VO: On top of the big names from out of state, Minnesotan hip-hop acts the Micranots and the I.R.M. Crew sometimes performed in First Ave's smaller room, the 7th Street Entry. Still, it would take a while for the club's overall attitude to change, from what sound engineer Randy Hawkins, in Chris Riemenschneider's book First Avenue: Minnesota's Mainroom, called, quote, "anti-rap." The non-white population of Minneapolis grew nearly 70 percent during the '80s. But hip-hop took longer to bloom in the Twin Cities than on the coasts, partly because the success of Prince, the Time, and Jimmy Jam & Terry Lewis made funk the sound du jour there in the '80s. One of First Avenue's most successful dance nights was More Funk, every Thursday with the club's longtime DJ Roy Freedom. Prince and Jimmy Jam would sometimes bring test pressings for the occasion. Tim Wilson also DJ'ed there. Tim Wilson: You know, it was disco, funk, rap, kind of all mixed up into one hodgepodge. It was just a little bit of hip-hop at the time, because rap just hadn't really – hadn't really captured the imagination of the world, let's say it like that. It wasn't the Wall Street darling that it is today. So it was a record here, a record there, but it was just a lot of Minneapolis Sound stuff. Of course you would get a lot of Prince and people like André Cymone, the Girls, Ta Mara & the Seen, Alexander O'Neal. Dan Corrigan: More Funk with Roy Freedom? We used to call it More Fights with Roy Freedom – ha! Jay Smooth VO: Dan Corrigan has been First Avenue's official photographer since 1995. These clips are from a 2003 interview he did with Pete Scholtes of City Pages. Dan Corrigan: There was one night, there was the biggest fight I've ever seen down there. It was just crazy. It started on the dance floor and kind of went around the right and spilled all the way out to the entryway. Jay Smooth VO: That brawl took place in 1990, during More Funk's fifth anniversary. Randy Hawkins told our writer Michaelangelo Matos about that night. Randy Hawkins: The fifth anniversary of [More] Funk night it was a similar situation of losing control of the club. There was a few times where it was like, "We've lost control of this." Jay Smooth VO: Now, this kind of thing didn't happen very often. One reason for that is First Avenue's security system. Sabrina Keith: There's, like, a light switch at various locations throughout the club, like emergency buttons you press if something goes wrong. Jay Smooth VO: Sabrina Keith was a bartender, stagehand, and superglue employee of First Ave, working on and off from 1988 to 2004. Sabrina Keith: And you flip the switch, and let's see, upstairs, a central light goes on. It's, like, a siren light – a red siren light. And then, I think, at the front door there might be one, as well. And then, you look over to the side of the stage, and there's many lights of many different colors, and hopefully just one of them will be spinning, and that would be – that gives you an idea of where the trouble is. And actually, just the other day, me and another old employee were talking and can remember pretty much where all the trouble lights are. It's really disturbing. [laughs] I shouldn't know that green means pool tables, which means it's by where the current coat check is and no more pool tables. Jay Smooth VO: The origin of the so-called "trouble lights" is still fresh in Richard Luka's mind. He had been recruited to work security in 1975, when the club was still called Uncle Sam's. You may remember him from the Ramones and Pat Benatar episode earlier this season. Richard spoke with our producer, Cecilia, and First Ave's longtime general manager Steve McClellan. Richard Luka: The reason for that light was that in March of 1977, I was working alone. We'd purged a lot of people out of there at that time. Uh, there was all this new staff. They really didn't know anything, and I was all alone at the front door with the cashier, and a bike gang came to the door. The Iron Cross from northern Minnesota. And I had to card these guys, and I thought, "Oh my god, I can't – what am I gonna do here?" And I just – there was, like, six of them. I just said well, I guess I'm letting them in. And it turns out a few more came in, so we had like nine bikers in there who took their coats off. They were flying their colors in there. Steve McClellan: What show was it? Richard Luka: No, this was like a Saturday night in 1977, and I remember one of our regular customers, a guy named Tiger. He was Black, and he had a shaved head and these guys surrounded him. They were rubbing his head, saying, "I wish I had a watermelon," and I was like, "Oh my god, this is gonna get out of hand." And at the end of the night, they were just rude and belligerent to people. And [Tiger] came up and he said, "What on earth did you let them in here for?" I go like, "I was gonna get the s*** beat out of me. It's like I'm up here all alone." And they said, "Okay, we're putting a light in." So they installed this light, and a year later, the bike gang came back, but we had hired all new staff. [Steve and Richard laugh] We had some bigger people there, and I hit that light and people were right there, and these guys, they threw their jackets off and they were ready to go, and the police showed up. So that is what can happen at the front door. You never knew what was gonna show up there. Steve McClellan: Oh, the first light that he's talking about, my brother Kevin installed. When did we put in the different colors? So if it was the game room, it would go off green, and when it was – Richard Luka: It was, like, 1983, I'm gonna say. Steve McClellan: Yeah, that much later. The first one was '77, '78. And that was sufficient, and then we had to do a system that people wouldn't go to the front door. They would go to the game area, the upstairs, or bar five. So we had like a six-light sequence that would go off. Jay Smooth VO: Along with the trouble lights, the seriousness of First Ave's security earned it a reputation in town, according to Tim Wilson. Tim Wilson: People go through the usual First Avenue bulls*** when you go to First Avenue. You know, they look at your license and turn it upside down and flip it and flop it, pat you down, and you walk in. It was always one of those things like, oh man, don't go to First Avenue with a fake ID. Don't try to sneak in First Avenue. Their security doesn't play. And it's still the same thing. People get turned away. Sabrina Keith: One point that as always made kind of clear at First Avenue was, we're not bouncers. And we don't ever want to be called bouncers. We are security. We're just trying to make things better. We don't want to bounce you. We don't want to be mean to you. We don't want to beat you up. We just want you to have fun, and I've never understood why people go out and don't have fun. It's like, "Why are you starting stuff? You paid however much money to get in here, so have fun." Whether you kick them out or whether you put them back, it's up to how they act. I mean, I had one kid come up to me five years after the fact saying, "Oh my god, it's you," and I'm like, what are you talking about. "You kicked me out of Nine Inch Nails." I'm like, "OK." [laughs] I'm glad that was a great memory for you. [Sabrina and Michaelangelo laugh] Jay Smooth VO: The club's security staff have long been trained to de-escalate situations, according to a longtime staffer. Anne O'Connor: My name is Anne O'Connor. I worked at First Avenue for two different time periods in the 1990s. [pause] I mean, de-escalation can work in any setting. It really can. You have to keep your head. My strategy was always to get in between the people who were really upset, because they almost would never go after me. And so that would at least create some space. When people are hot-headed, a lot of times all they really need is to step back for a second and say, "Wait a minute, do I really want to do this?" And that's the kind of thing that we would say. [Ice-T's "Body Count" starts fading up] Anne O'Connor: And sometimes that didn't work at all. [Anne laughs] [Ice-T's "Body Count" plays for about 20 seconds] Jay Smooth VO: In February of 1991, First Avenue hosted one of its occasional rap shows: Ice-T, the revolutionary Los Angeles MC with sharp storytelling and a steely voice. That show was one of two he'd perform in Minnesota that year; he also came through St. Paul's Harriet Island on the Lollapalooza tour. And each time, Ice-T didn't just rap – he sang with an all-Black metal band called Body Count. Sabrina Keith told Michaelangelo about hanging out with that group. Sabrina Keith: It was just fun, because it was Ice-T, and he was doing metal, which, like, with Body Count, there's just not a lot of Black artists doing that. And we had Blake working at the club, who's basically the exact same thing, just not, you know, Ice-T. And so it's fun, it's novel and just a bunch of big guys, and they had really cool merch, and they wanted like our First Avenue jackets because we were all wearing them and I think it was cold then too. Michaelangelo Matos: February. Sabrina Keith: Yup, that's cold. [laughs] Jay Smooth VO: Ice-T and Body Count would see more than their share of controversy a year later, in 1992, when they released the song "Cop Killer." But in 1991, there was no more controversial figure in rap, or in music, than Ice Cube. He'd been the primary lyricist for N.W.A, who had debuted in 1989 with the iconic album Straight Outta Compton. Soon afterward, the FBI sent a letter to N.W.A's record label to complain about the lyrics of songs such as "Eff Tha Police" – lyrics that had mostly been written by Ice Cube, who was only 20 years old. But Cube felt like he wasn't getting his fair share of royalties, so in 1990, he and his friend and producer Sir Jinx went to New York to collaborate with the hottest producers of the time, The Bomb Squad. The Bomb Squad, featuring Hank Shocklee, Chuck D, and Eric Sadler, were Public Enemy's sample-heavy production team. With their help, Ice Cube finished his first solo album, AmeriKKKa's Most Wanted, and released it in May of 1990. He followed it with the Kill at Will EP in December. No rapper was hotter right then, as Tim Wilson recalls. Tim Wilson: That was good Ice Cube: AmeriKKKa's Most Wanted, one of my top five albums of all time. He left N.W.A, got politically conscious, and then there was just the whole thing with the group and the break-up, and then he went out east and hung out with Chuck D and Public Enemy, and they produced that album, and it was just – it was the hot album at that particular time. That particular album bridged gangsta rap and politically conscious material all into one project. You know, he was gassed up and ready to go. Jay Smooth VO: Ice Cube didn't lead a lifestyle as violent as his lyrics would suggest – like a lot of rappers, he'd rhyme in character. But some of his fans did carry the things he rapped about carrying, as John Smith, who would join the First Avenue staff in 1993 and is still a DJ and bartender at the club, would discover. DJ Smitty: First Avenue started using metal detectors. When you saw the metal detectors, it wasn't, "Oh, this is a new thing they're doing." It's like, "Oh, Ice Cube is coming." And then earlier that week, before the show, I was at Northern Lights Records, and I overheard some clerks talking about how they had overheard some kids talking about trying to stash some guns in First Avenue before the Ice Cube show, so that they would circumvent the metal detectors. Those were the people who first made it apparent to me that this was not gonna be business as usual. The record stores, I guess, were getting phone calls and whatnot – because we weren't a Ticketmaster club, [so] if you wanted to buy tickets for a First Avenue show, you had to go someplace and buy them. I think the Ice Cube crowd was a crowd that didn't necessarily know where to buy our tickets. So it was kind of that, where we realized, "This isn't just gonna be shiny happy hipsters going to a rap show. This is gonna be real." Jay Smooth VO: Anne O'Connor worked roaming security that night. Anne O'Connor: As the staff, we would get together and talk about what we were gonna do. And then what ended up happening is we hired in a bunch of extra additional security people. For about a week before the shows, we had metal detectors at the door so that people couldn't bring guns of knives or anything in and stash them in the club, so that they could use them during the shows themselves. You know, these were guys who, their show was about raising people's anger about some really unfair situations, about calling out some things that were really wrong, and so people had a tendency to get pissed. So we knew that, and we had to be ready for that. And the Ice-T show, I feel like we managed to do that without huge problems. We didn't have huge problems that night. When you put together people with loud music, lots of drinking and lots of young people dancing – body contact – you're really just setting a stage for some conflict. There's gonna be some conflict sometime. Jay Smooth VO: Ice Cube's March 4 appearance was, in fact, two shows – an all-ages in the late afternoon and an ID-only show at night. This was a regular occurrence at the club throughout the '90s. Sabrina Keith: I know for the first show, I did coat-check, so it was pretty mellow. Everybody thought the kids' show was gonna be bad, and it just was not. Jay Smooth VO: There was one issue during the all-ages show: Somebody threw a bottle over the upstairs balcony, where alcohol was allowed. When Ice Cube finished the first show, the club took two hours to change over. Sabrina Keith: You have to clean up and kind of reset everything to start the night fresh. I think they bought us pizza, and we just kind of hung out and waited. Jay Smooth VO: Rod Smith was bar-backing that night – running liquor from storage to the bars. Rod Smith: The attendance at the all-ages show was healthy, but nowhere near sold out. At the ID show, attendance was sold out-plus. I believe you've encountered the phenomenon where somebody in the office would panic about ticket sales and just start slamming comps out indiscriminately. A ton of comps had gone out, and then a ton of people paid, so attendance [laughs] was way over the top. DJ Smitty: We got there for the ID show. We walk in. First thing we figured out pretty quick was, we weren't gonna get any help, because anything with a counter, whether it was a bar or whether it was coat-check – they were busy. It was packed. It was full, and there were people yelling. There were people who were not happy with the order that they were being helped. There were people who were not happy with the prices. There were just a lot of not happy people. It was wet outside, and it was hot in there, which made it hot and wet – like a cave. The walls were sweating. The men's room had an inch of water going on, on the floor. There was a bad vibe. Jay Smooth VO: Our sources couldn't pick out one specific point where the fights started. But according to Anne, once they started, they didn't stop. Anne O'Connor: It was just bam-bam-bam. It was just non-stop, so you didn't really have time to stop and think, "Wow, this is really overwhelming; I don't know if I can do it." You just did it. The place was packed. There were so many people there. So if you were – if you couldn't get to the trouble light, that's one thing, but also if the trouble light was already going, you'd have a fight five feet away from you. Well, five feet in a packed room could be – it's a lot of feet to get to, sometimes – [laughs] you know – to get through the bodies and get to the actual fight, you're not always gonna make it. Rod Smith: These melees would just randomly break out. The outside security people that First Avenue hired did an outstanding job, because they were really aware of what was going on mood-wise in the club, and as soon as something broke out, they would start heading toward it. But, again, the problem being there was a certain amount of distance in the Mainroom, and when the club is that packed, you can't move that quickly. They were moving pretty quickly, though. So these fights were being stopped, for the most part, like, pretty quickly after they started. But they didn't really stop. I'd say they continued pretty much through the night. DJ Smitty: As a customer, I knew about the trouble lights, and I'd seen them go off in the past. I had never seen all of them go off at the same time. Rod Smith: I believe there were 27 all told, and there were incidents that didn't even prompt the trouble light, because nobody could get to a trouble light, because the club was that packed. Jay Smooth VO: Randy Hawkins worked the barricade in front of the stage for both shows. Randy Hawkins: There was three of us – four of us all in the barricade, and we had to stay there. Unless the situation was right in front of you on the floor, of which there were many, we did what we could from inside the barricade, but mostly the roaming security of people on the dance floor dealt with that stuff. And so it was like, it turned into a pretty serious us-against-them scenario, and like as far as security vs. the audience, which, you never want to get in that situation. But every time a door got opened, there'd be three people trying to bum-rush the show. But every time like a side door or anything got opened to let someone in, you had to have security at each one, basically just to defend the castle. It was kind of the same way with the barricade and every bar – just people trying to take everything they could take. Yeah. There was all sorts of, just grab whatever booze you could grab. Rod Smith: I encountered bartenders and bar backs crying back by the coolers, and that happened multiple times. The bar backs, because they'd been sucker-punched, and the bartender, because people kept I mean, there was some real ballers there, and they tipped really well, but then these wannabes would come along and steal the big tips that somebody else had just left. And it was so busy that it was impossible for the bartenders to really keep track of what was happening with their tips. Anne O'Connor: You know, we called the cops several times. We carted several people out to the cops. When you are in a fight at First Avenue, what ends up happening is you get surrounded by staff. Michaelangelo Matos: Quickly. Anne O'Connor: Quickly. And so, you know like, there's nowhere to go. Jay Smooth VO: But the cops weren't particularly soothing that night, or any other. In fact, just the night before, on March 3, 1991, a Los Angeles motorist named Rodney King was pulled over and beaten mercilessly by the LAPD. A man with a camcorder filmed the incident and sent it to a local TV news show. The Rodney King video wasn't yet national news when Ice Cube played First Avenue – that would be in a few days still. But for most people at the show, police brutality wasn't just something they heard about in rap songs – chances were, many of Ice Cube's fans knew someone it had happened to, if they hadn't experienced it personally. Anne O'Connor: What I would say is that there were a lot of valid reasons for being upset, and this was a place for them to have that upset, and sometimes that upset meant that they wanted to hurt someone. And so I'm not justifying the behavior or excusing it, but I'm just saying it was not a big surprise. When I say nobody got seriously hurt, I mean like broken bones or injuries that . . . Michaelangelo Matos: Hospital injuries. Anne O'Connor: Hospital injuries. It was a rough night. It was a rough scene. It was a very violent show, so I don't want to underplay that. Jay Smooth VO: Urban Lights owner Tim Wilson was in the audience that night – and he remembers seeing an opening group that included a rapper who would top the pop charts four years later. Tim Wilson: I remember a group called WC and the MAAD Circle, which was one of Ice Cube's groups – Dub-C who still tours with Cube. And Coolio was actually part of the group at that time. Crazy Toones was the DJ, which was Dub-C's brother. I remember they kept having sound problems. And they kept telling the sound guy, like, "Man you better fix this or we're gonna have a problem." And they would keep rapping, keep doing their thing, and then they would warn him again, and then the sound never changed. I think they warned him a third time. And honestly, what I remember is them jumping off the stage, breezing past us, and I remember – I never understood why First Ave set their soundboard – they had those steps that go down, and then they set their soundboard where, unfortunately, the way he kind of got jumped on, he ended up down in the crevice at the bottom of the stairs and where the soundboard started. And they were kicking him and hitting him until they got pulled off and back onto the stage. They just kind of shot past us and jumped on him. Then they jumped back onstage, and they kept rapping, and the sound man wiped the blood off his face and he just kept going. Jay Smooth VO: DJ Smitty, who couldn't get into the Sonic Youth concert last episode, did make it in the door for Ice Cube. He says the mood perked up when the headliner took the stage. DJ Smitty: People never talk about the fact [that] that was a great show. Ice Cube – I'd go see him again in a heartbeat. One of the best hip-hop shows I've ever seen. But a friend of mine did get close enough to the stage to see the set list and came back and said, "We're going. We're two songs away from the encore. Let's get out of here." And as we left, I had to hold the door open because they were stretchering someone out. [Ice Cube ft. Chuck D, "Endangered Species (Tales From The Darkside) - Remix"] Rod Smith: Management lost control of the club, too. Everybody lost control of the club. Steve McClellan: All I know is it was hateful because you couldn't – you got 1,500 people in the room. You could have 50 security staff. You don't stand a chance. There was so many people ready to quit after some of these shows. Jay Smooth VO: Anne O'Connor was one of them. Anne O'Connor: I put my notice in shortly after the Ice Cube show. I remember thinking, that is the violence that I don't need to be a part of. And I love the club, I loved the people I worked with, it was a lot of fun, but that wasn't fun for me. Rod Smith: A lot of people were really bummed out. I had quit smoking eight months earlier, and I started again that night. The mood overall was, "We got through it." A few people were traumatized. Anne O'Connor: We were worn out. And it was hard. And I remember everyone feeling pretty rough at that point. It was pretty rough. Jay Smooth VO: The show also got First Avenue in trouble with the city, not for the first time. Steve McClellan: I had too many incidents where the police wouldn't respond when I would book gangsta rap. I used to go to monthly downtown – what do they call them? – downtown association meetings or something. Where I'd go and I'd sit, and when you went to these meetings, and if you were a nightclub, the fire department was there to tell you exactly what you do to keep your license. The police department would be there monthly and tell you exactly what you needed to do to keep your license. They were more like – "This meeting isn't to ask questions. We're the city and you're gonna do what we tell you." Jay Smooth VO: Despite the complaints about gangsta rap, the next First Ave show that'd see similar violence was a 1995 appearance by a singer-songwriter whose politics could not have been further removed from Ice Cube's. Randy Hawkins: There's a country singer – oh my god, what's his name? Outlaw country singer. David Allan Coe. At the time, that was show two that had as many problems as Ice Cube. That David Allan Coe show, I think it wasn't as well attended. I got probably there was probably 800 people there, and so I don't think we ever really lost control of it, but it was definitely getting there. I came in the next day and everybody was just, like, shell-shocked: "You will not believe what we were dealing with last night." Jay Smooth VO: Chris Riemenschneider, author and longtime music reporter at the Star Tribune, suggests that the Ice Cube show is remembered as a turning point. Chris Riemenschneider: The biggest myth about that show – well, I don't know if it's a myth, but I mean, supposedly that show was – hip-hop was not booked at the venue for many years after that show, because it got so ugly. And they generalized over, "Well, hip-hop audiences are bad news." Jay Smooth VO: When we asked Steve McClellan and LeeAnn Weimar whether First Avenue avoided hip-hop after Ice Cube, Steve said that he still booked rappers through agents he trusted. Steve McClellan: There was a lot of drug dealers that were trying to bring me shows, because they had connections with the agent, and they wanted to bring in a lot of these hip-hop acts. LeeAnn Weimar: Or they had beepers. Remember, they had beepers. Steve McClellan: I called them the beeper phone promoters. In the '90s, I stopped dealing with beeper phone promoters that had plenty of cash but no trust from me. Jay Smooth VO: Steve returned to this point several times throughout the interview, insisting that if there was a lapse in hip-hop shows, it was only because he didn't want to work with so-called "beeper phone promoters." Whatever the case, First Avenue generally avoided hip-hop until the late '90s, according to Chris Riemenschneider. Chris Riemenschneider: It really wasn't until Rhymesayers and Atmosphere came along and started packing the place that they started giving hip-hop a good chance there again. Jay Smooth VO: Nationally, hip-hop had been ebbing into the mainstream for years. In Minnesota, indie rap label Rhymesayers capitalized on that shift. In the late '90s, they started throwing Soundset Wednesdays, a series of hip-hop dance nights at First Avenue, and their audiences trended whiter and whiter. At the same time, First Avenue opened the gates to touring acts such as OutKast, Eminem, Public Enemy, and the Black Eyed Peas. ["Hive Sound" by Icetep fades up and plays for a few seconds] Cecilia Johnson VO: Ok, so this episode was a whopper. And I think the material of this episode is still so relevant today. At this point, I want to bring up an article that rocked Minnesota music in 2016. Like, I still remember, the day that it came out, reading it at my desk. It's the Twin Cities Daily Planet's piece "Whitest hip hop scene you've ever heard of," written by Kayla Steinberg, and it speaks directly to the aftershocks of the Ice Cube show. I'm just gonna read a few somewhat abridged sentences: Quote, "When out-of-state and mainstream media and fans refer to Twin Cities hip hop, Rhymesayers Entertainment is often their point of reference. The common faces of Rhymesayers include Brother Ali, an albino Muslim rapper who identifies as white, and Atmosphere, a duo of racially ambiguous, arguably white-passing, hip hop artists. However, to Toki Wright, a Black North Minneapolis rapper, these are just a couple faces of the Twin Cities hip hop scene. "I think the face of Twin Cities hip hop is a 14-year-old kid on the Northside of Minneapolis in his bedroom, making beats or writing rhymes," he said. "The face of Twin Cities hip hop is Lexii Alijai recording with Kehlani and the local press turning a blind eye to it. That's Twin Cities hip hop." Enquote. Later in the article, Black rapper MaLLy talks about his experience at the Rhymesayers 20th anniversary show in 2015. The way he remembers it, many audience members went from supportive, when white artist Brother Ali rapped his song "Dear Black Son," to apathetic when Toki Wright and I Self Devine, both Black rappers, proclaimed messages such as "eff the police" and "kill white supremacy" on stage. Some things haven't changed between '91 and now, but First Avenue [itself] has undergone a monumental shift, in the way they operate, what causes they stand for, and whose names are at the top. It's all covered in our next episode, which is about Election Day in 2004: the day First Avenue declared bankruptcy. This episode of The Current Rewind was hosted by the one and only Jay Smooth and me, Cecilia Johnson. It was produced by me and Jesse Wiza and scripted by our head writer, Michaelangelo Matos. Marisa Morseth is our research assistant, and Jay Gabler is our editor. Our theme music is the song "Hive Sound" by Icetep. This episode was mixed by Johnny Vince Evans. And I wanna give a super special thank-you to Rick Carlson, Shelby Sachs, David Safar, Pete Scholtes, and Chris Wilbourn for additional support. If you want to check out a transcript of this episode or any other one, you can go to TheCurrent.org/rewind. And if you feel so moved, you can go ahead and rate and review the show on Apple Podcasts or tell a friend that it's out there. If you want to share any thoughts, feedback, or First Avenue stories, our inbox is open. You can just send an email to rewind@thecurrent.org. The Current Rewind is made possible in part by the Minnesota Legacy Amendment's Arts and Cultural Heritage Fund. It is a production of Minnesota Public Radio's The Current. The Current Rewind goes to First Avenue

**DJ Specifik & The Cold Krush Radio Show Replay On www.traxfm.org. This Week Specific, Grills, & Whirlwind D Delved Back Into 1987’s Hip Hop Era Featuring Cuts From LL Cool J, Biz Markie, C.I.A., Dynamic II, Roxanne Shante, Schooly D, Public Enemy, Big Daddy Kane, MC Shan, TLA Rock…& Lots More. DJ Specifik & The Cold Krush Radio Show Every Friday From 8:30PM UK Time The Station: www.traxfm.org #traxfm #DJSpecifik #WhirlwindD #ColdKrushRadioShow #HipHop #UKHipHop #Rap #UndergroundHipHop #HipHopClassics #HipHopChat #RapClassics Listen Here: www.traxfm.org Free Trax FM Android App: https://play.google.com/store/apps/details?id=net.traxfmradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/original103.3/ Tunerr: http://tunerr.co/radio/Trax-FM Tune In Radio : https://tunein.com/radio/Trax-FM-s225176/ OnLine Radio Box: http://onlineradiobox.com/uk/trax/?cs=uk.traxRadio Radio Deck: http://www.radiodeck.com/radio/5a09e2de87e3370db06d44dc Radio.Net: http://traxfmlondon.radio.net/ Stream Radio : http://streema.com/radios/Trax_FM..The_Originals Live Online Radio: http://www.liveonlineradio.net/english/trax-fm-103-3.htm **

**DJ Specifik & The Cold Krush Radio Show Replay On www.traxfm.org. This Week Specific, Grills, & Whirlwind D Delved Back Into 1987's Hip Hop Era Featuring Cuts From LL Cool J, Biz Markie, C.I.A., Dynamic II, Roxanne Shante, Schooly D, Public Enemy, Big Daddy Kane, MC Shan, TLA Rock…& Lots More. DJ Specifik & The Cold Krush Radio Show Every Friday From 8:30PM UK Time The Station: www.traxfm.org #traxfm #DJSpecifik #WhirlwindD #ColdKrushRadioShow #HipHop #UKHipHop #Rap #UndergroundHipHop #HipHopClassics #HipHopChat #RapClassics Listen Here: www.traxfm.org Free Trax FM Android App: https://play.google.com/store/apps/details?id=net.traxfmradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/original103.3/ Tunerr: http://tunerr.co/radio/Trax-FM Tune In Radio : https://tunein.com/radio/Trax-FM-s225176/ OnLine Radio Box: http://onlineradiobox.com/uk/trax/?cs=uk.traxRadio Radio Deck: http://www.radiodeck.com/radio/5a09e2de87e3370db06d44dc Radio.Net: http://traxfmlondon.radio.net/ Stream Radio : http://streema.com/radios/Trax_FM..The_Originals Live Online Radio: http://www.liveonlineradio.net/english/trax-fm-103-3.htm **

ep 179 - “Say it loud, I’m Black and I’m proud”..Il brano di James Brown pubblicato nel 1968, è ancora oggi un anthem dei diritti civili degli afroamericani e non solo. Il suo ritornello, il beat, le batterie hanno ispirato numerosi artisti da Bob Marley ai Funkadelic, da Schooly D ai Red Hot Chilli Peppers, da D-Nice ai Public Enemy…..To be continued…. funk/sample/ hip hop

ep 179 - “Say it loud, I'm Black and I'm proud”..Il brano di James Brown pubblicato nel 1968, è ancora oggi un anthem dei diritti civili degli afroamericani e non solo. Il suo ritornello, il beat, le batterie hanno ispirato numerosi artisti da Bob Marley ai Funkadelic, da Schooly D ai Red Hot Chilli Peppers, da D-Nice ai Public Enemy…..To be continued…. funk/sample/ hip hop

ep 179 - “Say it loud, I’m Black and I’m proud”..Il brano di James Brown pubblicato nel 1968, è ancora oggi un anthem dei diritti civili degli afroamericani e non solo. Il suo ritornello, il beat, le batterie hanno ispirato numerosi artisti da Bob Marley ai Funkadelic, da Schooly D ai Red Hot Chilli Peppers, da D-Nice ai Public Enemy…..To be continued…. funk/sample/ hip hop

**DJ Specifik & The Cold Krush Radio Show Replay On www.traxfm.org. This Week Specific & Whirlwind D Gave Us Cuts From The Four Owls, Jungle Brothers, Three Times Dope, Schooly D, Phill Most Chill, Steady B, Tuff Crew & More. DJ Specifik & The Cold Krush Radio Show Every Friday From 8:30PM UK Time The Station: www.traxfm.org #traxfm #djspecifik #whirlwindd #coldkrushradioshow #hiphop #ukhiphop #rap #undergroundhiphop #hiphopclassics #turntableism #funkybreaks #hiphopchat Listen Here: www.traxfm.org Free Trax FM Android App: https://play.google.com/store/apps/details?id=net.traxfmradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/original103.3/OnLine Radio Box: http://onlineradiobox.com/uk/trax/?cs=uk.trax Tune In Radio : https://tunein.com/radio/Trax-FM-s225176/ Radio Deck: http://www.radiodeck.com/radio/5a09e2de87e3370db06d44dc Radio.Net: http://traxfmlondon.radio.net/ Stream Radio : http://streema.com/radios/Trax_FM..The_Originals Live Online Radio: http://www.liveonlineradio.net/english/trax-fm-103-3.htm **

**DJ Specifik & The Cold Krush Radio Show Replay On www.traxfm.org. This Week Specific & Whirlwind D Gave Us Cuts From The Four Owls, Jungle Brothers, Three Times Dope, Schooly D, Phill Most Chill, Steady B, Tuff Crew & More. DJ Specifik & The Cold Krush Radio Show Every Friday From 8:30PM UK Time The Station: www.traxfm.org #traxfm #djspecifik #whirlwindd #coldkrushradioshow #hiphop #ukhiphop #rap #undergroundhiphop #hiphopclassics #turntableism #funkybreaks #hiphopchat Listen Here: www.traxfm.org Free Trax FM Android App: https://play.google.com/store/apps/details?id=net.traxfmradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/original103.3/OnLine Radio Box: http://onlineradiobox.com/uk/trax/?cs=uk.trax Tune In Radio : https://tunein.com/radio/Trax-FM-s225176/ Radio Deck: http://www.radiodeck.com/radio/5a09e2de87e3370db06d44dc Radio.Net: http://traxfmlondon.radio.net/ Stream Radio : http://streema.com/radios/Trax_FM..The_Originals Live Online Radio: http://www.liveonlineradio.net/english/trax-fm-103-3.htm **

**It's The Pacman Show Replay On www.traxfm.org. This Week The Pacman Gave Us Cuts From Michael Jackson, Cherrelle & Alexander O'Neal, Mohammad Rafi, Yarbrough & peoples, The SOS Band, Schooly D, Alexander O'Neal, Gwen Guthrie's “It Should Have Been You” (Trax FM Remix), Bimbo Jet, Midnight Star, Rebbie Jackson, Shankar - Ehsaan-Loy, Michael McDonald & More. Catch The Pacman Live Every Monday From 8:30 PM UK Time The Station: www.traxfm.org #traxfm #thepacman #doinittoyou #soul #funk #danceclassics #hindi #bollywood #reggae #hiphop #rnb #boogie Listen Here: www.traxfm.org Free Trax FM Android App: https://play.google.com/store/apps/details?id=net.traxfmradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/original103.3/ OnLine OnLine Radio Box: http://onlineradiobox.com/uk/trax/?cs=uk.trax Tune In Radio : https://tunein.com/radio/Trax-FM-s225176/ Radio Deck: http://www.radiodeck.com/radio/5a09e2de87e3370db06d44dc Radio.Net: http://traxfmlondon.radio.net/ Stream Radio : http://streema.com/radios/Trax_FM..The_Originals Live Online Radio: http://www.liveonlineradio.net/english/trax-fm-103-3.htm**

Programa emitido el 15 de noviembre de 2019 donde sonaron temas de : -HIJO PRODIGO + ONEBRILLA + GANG STARR feat. J COLE ( Nuevo ) En la sección de nuestro dj residente DJ DSGRANDE especial sesión dj : 10 OUT OF 10 de SOLO LOS SOLO En el REMEMBER CLASSICS el especial : SCHOOLY D No te lo pierdas ¡¡¡ LOS CUERVOS SOBREVUELAN LA NOCHE !!!!

**DJ Specifik & The Cold Krush Radio Show Replay On www.traxfm.org. On this Fridays Cold Krush Radio Show Gives Us Part 2 Of The Philly Hip Hop History Special With Whirlwind D & DJ Specific With Your Daily Diet Of UK/Underground Hip Hop With Cuts From DJ Shadow, America Gazaway, Planky Feat Leaf Dog, Percy Filth, Steady B, Schooly D, The Funk Junkie, Seven Spherez, & More. DJ Specifik & The Cold Krush Radio Show Every Friday From 8:30PM UK Time The Station: www.traxfm.org #traxfm #djspecifik #whirlwindd #coldkrushradioshow #hiphop #ukhiphop #rap #undergroundhiphop #hiphopclassics #turntableism #funkybreaks #hiphopchat Listen Here: www.traxfm.org Free Trax FM Android App: https://play.google.com/store/apps/details?id=net.traxfmradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/original103.3/OnLine Radio Box: http://onlineradiobox.com/uk/trax/?cs=uk.trax Tune In Radio : https://tunein.com/radio/Trax-FM-s225176/ Radio Deck: http://www.radiodeck.com/radio/5a09e2de87e3370db06d44dc Radio.Net: http://traxfmlondon.radio.net/ Stream Radio : http://streema.com/radios/Trax_FM..The_Originals Live Online Radio: http://www.liveonlineradio.net/english/trax-fm-103-3.htm**

Bob and Mike play a diverse range of artists, starting with Inez & Charlie Foxx, then Von Lmo, The Schramms (twice!), Schooly D, Long Fin Killie, and Laetitia Sadier Source Ensemble. Also included were diversions on DJing, drummers, and the six songs that Bob played on that were perfect on the first take.

About: Chaka, Philly native and Central High School grad, grew up on a diverse diet of local music ranging from Schooly D to Sun Ra.  He's brought those learnings to various projects across a multitude of genres.  He has work under the name Trikonometry using midi and software synthesis.  In the past couple of years, he has focused strictly in the hardware synthesis realm, and has a deep and abiding passion for the Eurorack format. Links: https://soundcloud.com/chaka-benson https://www.facebook.com/chaka.benson https://bandcamp.com/chakabens

**The David RB Show Replay On www.traxfm.org. This Week The Badger Featured New Cuts From Matt Warren, Magoo, Redvenom, DaVido, Crack Of Dawn, Gage Feat Tyga. Plus Loose Ends - “Choose Me” (Remix), Rupert Gayle, Tyronza, Schooly D, The Sugarhill Gang, Donna McGhee, Two From GQ & Glenn Jones, Blackstreet - “No Diggity” (Remix), Doug Masters Vs Candido - “Jingo”, Happy Clappers - “I Believe” (Remix), Kashif …..& More. The David RB Show Live Every Wednesday From 8PM UK Time The Station: www.traxfm.org #traxfm #davidrbshow #soul #funk #urban #hiphop #remixes #house #danceclassics #oldschool #nusoul #rnb Listen Here: www.traxfm.org Free Trax FM Android App: https://play.google.com/store/apps/details?id=net.traxfmradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/original103.3/OnLine Radio Box: http://onlineradiobox.com/uk/trax/?cs=uk.trax Tune In Radio : https://tunein.com/radio/Trax-FM-s225176/ Radio Deck: http://www.radiodeck.com/radio/5a09e2de87e3370db06d44dc Radio.Net: http://traxfmlondon.radio.net/ Stream Radio : http://streema.com/radios/Trax_FM..The_Originals Live Online Radio: http://www.liveonlineradio.net/english/trax-fm-103-3.htm **

**DJ Specifik & The Cold Krush Radio Show Replay On www.traxfm.org. This Week Specifik Touched Cuts Like The 4orce, Hardnoise, Mr Fantastic, Jam Baxter & Ed Scissor, D.O.C., Bobby Byrd, Doom, Mellow Man Ace, Funky 4 + 1, Masta Ace Incorporated, Ghettosocks, Schooly D, RJD2 …& More DJ Specifik & The Cold Krush Radio Show Every Friday From 8:30PM UK Time The Station: www.traxfm.org #traxfm #djspecifik #coldkrushradioshow #hiphop #ukhiphop #rap #undergroundhiphop #hiphopclassics #turntableism #funkybreaks #chat Listen Here: www.traxfm.org Free Trax FM Android App: https://play.google.com/store/apps/details?id=net.traxfmradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/original103.3/OnLine Radio Box: http://onlineradiobox.com/uk/trax/?cs=uk.trax Tune In Radio : https://tunein.com/radio/Trax-FM-s225176/ Radio Deck: http://www.radiodeck.com/radio/5a09e2de87e3370db06d44dc Radio.Net: http://traxfmlondon.radio.net/ Stream Radio : http://streema.com/radios/Trax_FM..The_Originals Live Online Radio: http://www.liveonlineradio.net/english/trax-fm-103-3.htm **

“The East Vs West Debate” details the trials and stories of artists on both ends. The rise, success and feuds. As well as the relationship between sound and style and how they differentiated. #hiphop has always been about developing beauty from nothing. The West Coast delivered artists such as Tupac (even though he was raised in New York and Baltimore for some time), Ice Cube, Schooly D, Snoop Dogg, NWA etc... all of these artists brought their own unique style and molded it with the culture of good weed, gorgeous women, hydraulic chevy’s and bass knocking speakers. The East Coast Side has brought so much to the culture and it should not be forgotten that #hiphop originated In the Bronx with just the intent to bring the party together. It began to evolve and it took shape to become grittier and grittier. Eventually taking over places outside of New York such as New Jersey & Philadelphia. Acts such as Mobb Deep, Jay Z, Nas, The Wu Tang Clan, A Tribe Called Quest, Redman (which had G funk elements along with his longtime collaborator EPMD). The East Coast had tough winters, leading to the popularity of big jackets in timberlands. Making them a staple of hip hop fashion. Both sides have carried a lot of weight and generated a fair amount of effort to stay relevant in changing times. Both sounds may differ even though to the core the themes remain the same. Struggle, Love, Loss, Success, Power, and Passion is what made hip hop great in the first place. Is it right to say one coast is better than the other? I don’t know. What do you think? Let me know.

Description: Rock decides to ambush Sesheta with Tek about her love of Hip Hop. (CORRECTION): All references to Spoonie Gee by Sesheta Khepra should have been for Schooly D out of Philadelphia, PA.

Description: Rock decides to ambush Sesheta with Tek about her love of Hip Hop. (CORRECTION): All references to Spoonie Gee by Sesheta Khepra should have been for Schooly D out of Philadelphia, PA.

For the 10th episode I wanted to do something special and different so I dug up a live set from when I was out in Indianapolis a little over a year ago thuggin’ it out with long-time friend and all around OG Ron Miner aka DJ Indiana Jones and got invited to spin at one of Indy’s longest running and most respected Hip-Hop nights, “Take That Tuesdays”, hosted by two of Naptown’s finest people, J.Moore and DJ Metrognome. That party has been rockin’ downtown Indianapolis for over 12 years and still going strong. It was truly an honor to be a part of it and the way Ron recorded it you can hear all the people’s reactions in the background and the set was perfectly narrated by host with the most J.Moore. This thing has been sitting on my hard drive for a while now, time to let it go…flubbed blends, mistakes and all...it was a live set, working with a completely new mixer, the Pioneer DJM-S9 which had just came out and is sexy af…it took a little time but I started having fun with the features and put the crowd in an old school NY state of mind for a while. By now you should know I don’t post my tracklists but this one features some classic material from the likes of EPMD, Cypress Hill, Super Lover Cee & Cassanova Rud, Phaze & Rhythm, Jaz, Jay-Z, Alkaholiks, LL Cool J, Black Sheep, MC Lyte, BDP, Naughty By Nature, Original Flavor, Gang Starr, Schooly D, Tribe Called Quest, De La Soul, Mary J Blige, Biggie, Run DMC, Eric B & Rakim, Biz Markie, Showbiz & AG, Diamond…I want to thank everyone who has been supporting this little experiment of mine, I plan to keep this thing going with plenty of new ideas lined up for the next 10 eps…enjoy!

**It's The David RB Show Replay On www.traxfm.org. This Week The Badger Featured New Cuts From Javeon, X.Wolf, Smallzz Feat Pryme Kingz, Change, APX, . Plus Cuts From Benny Rosa, Curtis Mayfield - “Move On Up” (Remix), Nerd Feat Rihanna - “Lemon” (Remix), Schooly D, The Oceans, Marc Sidane, Alphonse Mouzon Feat Carol Dennis ..& More. The David RB Show Live Every Wednesday From 8PM UK Time The Station: www.traxfm.org #traxfm #soul #funk #urban #rnb #hiphop #remixes #house #danceclassics #oldschool #nusoul #remixes Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb Like the Trax FM Facebook page - facebook.com/original103.3**

SECRET CINEMA on: - Facebook: www.facebook.com/secretcinema.gem - SoundCloud: @secretcinema 3Q to SECRET CINEMA: Q: Tell us about your selection please! 1 The Jimmy Castor Bunch – Its Just Begun: I sampled this song in Grooveyard - Watch me Now. A track I made in 1994. The original is a great way to start this podcast. 2 Public Enemy – You Gonna Get Yours: I took the bus, subway and tram to buy this album at a record store called Tinsel Town in Rotterdam. The first Public Enemy album. 3 Schoolly D – P.S.K. What Does It Mean: There was an ’88 hip hop documentary on Dutch television called ‘Big fun in the Big Town’ about early hip-hop. It ended with Schooly D performing with a DJ using only a 909 and a turntable. The 909 became the foundation for techno and is still widely used today. 4 Meat Beat Manifesto – Radio Babylon: When I heard Meat Beat Manifesto for the first time it blew my mind. Where are these sounds coming from? Who samples like this? It triggered me to do the same, sample sample sample. 5 Bob James – Take Me To The Mardi Gras: This was one of the tracks that inspired many hip hop artists. I also sampled it in Watch Me Now. Such a solid beat and break. I have this baby on vinyl. 6 Conrad Schnitzler – Zug: I heard it for the first time at a record store owner’s home. I was always hanging out in his store and we became friends. This was synthesis as I never heard before. I still love it! 7 Jean Michel Jarre – Oxygene II: You can't be into electronic music without having heard of Jean Michel Jarre. Out of this world compositions especially for that time. I listened to this in bed falling asleep many times. 8 Yello – I love You: The masters of sampling in pop music. All the greats were influenced by them. This track is off my favorite Yello album. I still play it sometimes. 9 Divine – Native Love: The first 12 inch I ever bought when I was still a child. My mom told me the woman on the cover was a transvestite. I couldn’t care less, I liked the music. This year I played it at an LGBT festival. The first record I ever bought 37 years ago. Amazing! 10 Amnesia – Ibiza: I was 16 years old at Parkzicht, Rotterdam when I heard this. That club started the gabber scene years later. This new beat sounded so fat, I knew I wanted to make music like this for the rest of my life. 11 Humanoid – Stakker Humanoid: When this came out I heard it more than 3 times a night and I couldn’t get enough of it. Those layers of acid sounds building and building. Relentless and impressive. 12 Lil' Louis – French Kiss: The ultimate house track. Nothing beats that rhythm of the chords and sexiness of the whole thing. I have the first pressing on vinyl and I will cherish it forever. Q: Within almost 3 decades inside the business you became a pioneer of electronic music. If you compare the past with the present: what changed most during the time? A: What changed things the most is the internet. Back in the day you would release on vinyl and had to invest to be able to release. Now anyone can start a label and start releasing any time. Social Media completely changed the game. No cool Instagram, no success as an artist. It is not only about music but how cool you are. The way you invest in your identity. You can basically buy your career. You still need talent though. So I guess moving forward is always better than looking back. Q: Which future projects are on the way? A: I have a new release out on Drumcode with Reinier Zonneveld called ‘Pain Thing’. Next release will be on my own label Gem Records. It’s the follow up to my Séance EP. Happy to get some of the new music I’m producing out there. We also have releases by Egbert and VNTM coming up. My radio show is also doing nicely. It’s called Gem FM and we are on Dutch national radio but also Soundcloud, Mixcloud iTunes. Guests include Pig&Dan who just joined the Gem Bookings agency, Bart Skils, Noir, Wehbba and many others. The future is looking bright and sparkly!

I made this mix in preparation for a gig in San Diego last weekend, a cool spot called Ganja Galaxy with all sorts of vendors promoting some quality medicinal products if you know what I mean. Special thanks to Lionel Splifkin, Too Kool Tony & McDabbin. This was my set practice mix, I figured it would make a good podcast while helping me sort out what I wanted to play that night... this is me in Cali/420 party mode with some reggae & ganja tunes upfront by George Dekker, Collie Buddz, Barrington Levy, Baby Cham, Spragga Benz, Beenie Man, Red Rat followed by some random hip hop classics from the likes of Cypress Hill, Biz Markie, French Montana, Shyne, D.O.C., Slick Rick, Mac Dre, 2pac, MC Breed, Eric B & Rakim, Schooly D, Kid Capri, RUN DMC, Big L and more...it's too many to list...just vibe with it!

Tracklist : DJ PA “Crazy Collaborateur” Schooly D “Parkside 5-2” Public Enemy “Black Steel In The Hour Of Chaos” N.W.A. “8 Ball” King Tee “Played Like A Piano” Kool G Rap “Streets Of New York” Queen Latifah “Wrath Of My Madness” Whodini “V I P” Ice-T “Colors” Kool Moe Dee “Oh Yea” Eric B & Rakim... Cet article Les Collaborateurs #72 est apparu en premier sur Radio La Fabrik.

Join Scott and Shawn as they breakdown and review a classic episode of a subversive animated talk show, hosted by a superhero and featuring his two imprisoned adversaries: "Space Ghost: Coast to Coast"! Listen as they discuss "Banjo", the highly rated episode featuring Space Ghost's monstrous pet sea monkey as well as celebrity guests Schooly D and Weird Al Yankovic! They'll talk about the history of the characters of Space Ghost, from the  1960's Hanna-Barbera cartoon "Space Ghost and Dino-Boy", to Adult Swim spin offs like "The Brak Show", and even DC Comics like "Future Quest"! They'll also discuss the great voice work of the late C. Martin Croker, who voiced the hilarious villains Zorak and Moltar and the great musical work of the late Sonny Sharrock. Plus, Shawn will also talk about the amazing experience of seeing Weird Al Yankovic live! So don't forget your super-special vitamin, feed your sea monkeys, and get ready to receive a transmission from the Ghost Planet!  Please email us at hittingplayshow@gmail.com  Hitting Play on Twitter: http://www.twitter.com/HittingPlay  Scott's Twitter: http://www.twitter.com/MCandFriends  Scott's Vine: http://www.vine.co/MCandFriends  Shawn's Twitter: http://www.twitter.com/Weazel1978  Shawn's YouTube: http://www.youtube.com/3BMMC 

Episode 75 This Stay Hatin is being posted from a kitchen in Texas because Serg is on vacation. Noz shows up again to profess his love for Lil Boosie, make claims that Chief Keef is the new Schooly D, Mista Whatz Gafflin plays a YG Hootie song, Serg is the only one who likes Billard, […]

Howard Bloom joined Peter and I on #NW3RADIO this Wednesday. In part one of our two part conversation, Howard broke down his role in hip-hop history, as the publicist for Sylvia Robinson & Grandmaster Flash & the Furious Five, and later on for Run-DMC. He explains Russell Simmons' genius and why he turned down working with Schooly D. He also defends Sylvia from some of the criticism she's received over the years. Rap Nerdery at its finest!

STREAM or DOWNLOAD On this event-filled investigation Mista Montana and Menace do this: Minneapolis mouthpiece Slug,joins us to celebrate and explore Atmosphere's 8th full-length album "Southsiders", an ode to Minnesota and a testament to their illustrious and influential careers. We discuss its creation and explore the differences with their releases prior, specifically "The Family Sign", which he say's he made when he was in love. We also talk about their fans searching for hope in their music, the meaning behind their single "Kanye West", his highly anticipated album with Alchemist, of which he jokes will be called "Detox", Wu-Tang Clan's "Once Upon A Time In Shaolin" and much more. Everything is Awesome for rising Phoenixville, PA producer Vanderslice right now. New album. New label. New fans. We talk to the Demigodz affiliated producer about his latest release "Everything's Awesome" and everything between including his forthcoming music, which is set to include contributions from the likes of Roc Marciano, Freddie Gibbs, BJ The Chicago Kid, Troy Ave, Latoya Williams, Scarface, Anthony Hamilton, Merkules and more. We also touch on his new forthcoming project "My Neighbourhood", the Pen & Pixel era, Ron Jeremy and more. Awesome stuff! Apathy reports from the deep and dark hidden side of New England to detail his many upcoming projects, including "Connecticut Casual", an as of now untitled album with Celph Titled, a project with O.C. under the name Perestroika, a new Army Of The Pharoah's album, his oft delayed album with Diabolic and another solo album! We also talk the success of AOTP's new album "In Death Reborn", making it to number 63 in the Billboard chart, the visuals behind his latest video "The Grand Leveller", the misconceptions of him being a Free Mason, the disbanding of The Get Busy Committee and so much more. Bishop Nehru joinsus on the show fresh from his Nas co-signing to discuss his upcoming project "Nehruvian DOOM", a project he insists he can't describe better than its title. His goals of one day appearing in an episode of The Boondocks, the possibilities of working with Adult Swim and more in a passing chat with legends. President and co owner of Ruffhouse Records Joe Nicolo engages in a chronological history lesson, breaking down many of the legendary label's greatest and most defining achievements to date, reflecting back over such memories as the infamous Steady B and Cool C bank robbery, Schooly D blowing up studio speakers, Tim Dog's "Fu*k Compton"; making going to Compton a challenge, taking 'Shrooms with Cypress Hill during the mixing of "Hand On The Pump", working with Nas, The Fugees, The Goats, Kool Keith, clearing samples and so much more, in one of our favourite interviews to date. Classic! AND THAT'S NOT ALL! Mista Montana and Menace world premiere a pile of brand new songs, hand-passed to them at the CWR studio. ENJOY OUR MOVEMENTS! Contact:conspiracyworldwide@gmail.com

STREAM or DOWNLOAD On this event-filled investigation Mista Montana and Menace do this: Minneapolis mouthpiece Slug,joins us to celebrate and explore Atmosphere's 8th full-length album "Southsiders", an ode to Minnesota and a testament to their illustrious and influential careers. We discuss its creation and explore the differences with their releases prior, specifically "The Family Sign", which he say's he made when he was in love. We also talk about their fans searching for hope in their music, the meaning behind their single "Kanye West", his highly anticipated album with Alchemist, of which he jokes will be called "Detox", Wu-Tang Clan's "Once Upon A Time In Shaolin" and much more. Everything is Awesome for rising Phoenixville, PA producer Vanderslice right now. New album. New label. New fans. We talk to the Demigodz affiliated producer about his latest release "Everything's Awesome" and everything between including his forthcoming music, which is set to include contributions from the likes of Roc Marciano, Freddie Gibbs, BJ The Chicago Kid, Troy Ave, Latoya Williams, Scarface, Anthony Hamilton, Merkules and more. We also touch on his new forthcoming project "My Neighbourhood", the Pen & Pixel era, Ron Jeremy and more. Awesome stuff! Apathy reports from the deep and dark hidden side of New England to detail his many upcoming projects, including "Connecticut Casual", an as of now untitled album with Celph Titled, a project with O.C. under the name Perestroika, a new Army Of The Pharoah's album, his oft delayed album with Diabolic and another solo album! We also talk the success of AOTP's new album "In Death Reborn", making it to number 63 in the Billboard chart, the visuals behind his latest video "The Grand Leveller", the misconceptions of him being a Free Mason, the disbanding of The Get Busy Committee and so much more. Bishop Nehru joinsus on the show fresh from his Nas co-signing to discuss his upcoming project "Nehruvian DOOM", a project he insists he can't describe better than its title. His goals of one day appearing in an episode of The Boondocks, the possibilities of working with Adult Swim and more in a passing chat with legends. President and co owner of Ruffhouse Records Joe Nicolo engages in a chronological history lesson, breaking down many of the legendary label's greatest and most defining achievements to date, reflecting back over such memories as the infamous Steady B and Cool C bank robbery, Schooly D blowing up studio speakers, Tim Dog's "Fu*k Compton"; making going to Compton a challenge, taking 'Shrooms with Cypress Hill during the mixing of "Hand On The Pump", working with Nas, The Fugees, The Goats, Kool Keith, clearing samples and so much more, in one of our favourite interviews to date. Classic! AND THAT'S NOT ALL! Mista Montana and Menace world premiere a pile of brand new songs, hand-passed to them at the CWR studio. ENJOY OUR MOVEMENTS! Contact:conspiracyworldwide@gmail.com

Friday 2nd Sep 2011 Close to the edge / The AoN Beatboxed / The AoN Son Of Beatstreet / Jazzy J The Coldest Rap / Ice T Hip Hop BeBop / Man Parrish Do Ya Like Scratchin / World Famous Supreme Team Beatronic / The Unknown DJ Grapevine / Zapp Love Groove / Reeno Electro Bitch / Orson Bramley *Dagobert Lp Teaser / Dagobert* For more info regarding this release visit http://www.electroempire.com/forum/showthread.php?t=7386 and also https://www.facebook.com/dominanceelectricity Get down to my technique ( Dynamix II remix ) / Jackal & Hyde Phaze Me / Alden Tyrell Solar Storm / Lektroid Bass Invasion / Dagobert AmnesicSpecies / The Outsider In Control / Fleck Beat Technician / Debonaire Electro Scratch / Skyborg Programmed 4 Love / Newcleus Lefty Righty / BMV Transformer / MC Craig G PSK ( what dose it mean ) / Schooly D You can Do It / Ice Cube Roxanne Roxanne / UTFO Download Here

Statik brings along guest co-host Fatnice of Philadelphia's Supergroup 84. Expect to hear a bunch of new joints from Homeboy Sandman, Black Milk, Black Thought, and more. It's The Sure Shot. ---PLAYLIST--- Get It Up - Buff 1 & DJ Rhettmatic 100 Remix - Dice Raw ft. Freeway, Schooly D., EST, and Bonic What We Are - Little Brother ft. Quiana Shine - Pharoahe Monch ft. Mela Machinko Session One - Eminem ft. Slaughter House Premeditated Murder - J. Cole Here We Go Remix - Drake ft. Twista The Day - The Roots ft. Blu, Phonte, and Patty Crash Not Pop - Homeboy Sandman Lock It Down - Slum Village Fired Up! - Hezekiah ft. Talib Kweli and Bahamadia Welcome (Gotta Go) - Black Milk Ain't Nobody Better Than Us - Fortilive Mona Lisa - Black Thought Unwind - Mojo Green ft. Fatnice