Then there was that time I remixed a record, LIVE…
In 1994, I was Director of Marketing at a record company. The company has been dissolved and absorbed into what is now pretty much Universal Music Group. Back then, there was no “big four”. There were lots of labels and marketing was exciting. You could compete on ideas, make money, AND be creative! and I had an idea for a remix package for ED OG, a hip hop artist we were working.
The package was already coming together nicely. We had RZA (who was working as Prince Rakeem for this project) on board with an all new, unheard, Wu-Tang-ish track, and we had a remix from DITC’s Diamond D.
I thought the package should showcase a 360 hip hop experience, and there was some interesting work being done in hip-hop jazz fusion. I knew this because I was playing keys and drums on a regular basis out there. My bosses agreed with me, and we let the project take off. I worked with hip-hop pioneer DJ Teddy Tedd (of the Awesome 2), an old friend of mine, who was also Ed’s manager at the time. I pitched him the idea and he let me go with it. I called in some other friends of mine - a band called Groove Collective, who were making noise on the rare groove/acid jazz scene. We got together and in a recording studio and jammed. Then we called in Umar bin Hassan of The Last Poets - he wrote a piece on the spot, and the rest, as they say…
We called the session "Easy Comes Easy Goes", it is (largely) a one take live remix, and here are the official credits:
Bass – Jonathan Maron Flute – Richard Worth Keyboards, Producer – Daryle Lockhart Producer – Teddy Ted Saxophone – Jay Rodriegez* Trombone – Josh Roseman* Trumpet – Fabio Morgera Vibraphone – Bill Ware Voice [Poetry] – Umar Bin Hassan
We also had Axel Niehaus and, little known to many, Earl Blaize (of Anti-Pop Consortium) mix this record.
Yeah, that was a fun night. I’ve done a lot of cool stuff, but working with these musicians on this record…I loved it!
I’ve worked for record companies independently and on staff between high school and pretty much until 2001. I always say it was my first grad school experience. Well, enjoy one of my final papers!
Whether you’re a feminist or a fangirl or you just like to learn, these six “Tropes vs Women” episodes of Feminist Frequency are absolutely fascinating. Host Anita Sarkeesian makes sure you’ll never look at entertainment the same way.
I really suggest giving Women in the Fridge a watch - it was my favourite out of the group
Especially the line about these things not being created in a vaccuum. The tropes we find in comics are products of moral frameworks shaped by the society that writers and artists and producers find themselves a part of. I’ve heard the argument before that “If he didn’t MEAN to espouse some kind of political/social/moral philosophy in his art then you shouldn’t hold him or any of his fans accountable for whatever philosophy you read into it. Sometimes a blue curtain doesn’t mean depression, it just means that the curtain was fucking blue.”
The problem with this is that even if it’s unintentional, all forms of entertainment designed for general public consumption WILL SEND ACROSS A MESSAGE. Maybe they are just accidentally proliferating sexist ideals that already exist in abundance, but that doesn’t mean you shouldn’t say anything about it and that doesn’t mean it’s okay.
We should be constantly working to create a more equal society.
Women in Refrigerators is the trope I referenced in that one Protomen post, and the fact that it even shows up in what we all can agree a very moving, inspiring, fantastic narrative attests to just how widespread little notions like that is, how pervasive they can be, and, ultimately, how SHITTY they are.
I noticed a lot of Brotomen are female, but if we look at the story, there are little to no roles for us. For the countless mentions of ‘mankind’ and ‘man’ and ‘he’ and ‘him’, we have exactly three non-Emily references to women - ‘women lock their doors at night’ (while the ‘men [are] in the bar’, of course), ‘girls who’ve learned to stand up’, and ‘baby’, the girl Joe steals a kiss from.
The more I think of it, the more it bothers me, and the sadder it makes me. We can’t escape these shitty, shitty tropes, even in some really otherwise-incredible works.
And I’m not calling the Protomen overtly sexist - hell, they probably didn’t even THINK about it. It’s just what they’re used to. All of their influences, and the game itself, is centered around dudes and bros and pretty much ONLY dudes and bros so it’s no big surprise that their work is ALSO all about dudes and bros (with the added love-interest that’s refrigerated. Is it better than the little girl robot who cooks and cleans and is a little shopkeep and maid for Light? Not really I guess!)
In the post above mine, Rudi said this, “Maybe they are just accidentally proliferating sexist ideals that already exist in abundance, but that doesn’t mean you shouldn’t say anything about it and that doesn’t mean it’s okay.” and I agree with it wholeheartedly and I guess that’s why I made this post.
I know some bros don’t like it when I get my FEMINISM GAUNTLETS all up and on and shit and I don’t want anyone to be like ‘OH YOU CALLED THE PROTOMEN SEXIST AND I LOVE THEM SO I’M SEXIST BUT I’M NOT VIX WHAT THE FUCK’. I just want to point out something that sticks in my side, even while I acknowledge that the Protomen really did change my life and I owe a lot to them and this story.
It’s just that… every time I hear ‘mankind’ ‘man’ ‘he’ ‘him’, I feel just a little bit more excluded, a little bit more like this wasn’t MEANT for me.
and that just sucks.
On last night’s episode, pageant mom Marlo was shown stuffing her 11-year-old daughter Sydney into a corset — a corset! — while stating matter-of-factly: “It doesn’t matter if you can breathe or not, it only matters if you look beautiful.”
Things go downhill in a hurry, as Marlo has Sydney model her swimsuit, which her dad fears is too revealing. “We don’t start showing crack ‘til the 13-14 group,” Marlo tells her husband, entirely certain she is being reassuring.
“I’m not a crazy pageant mom: I’m an insane one,” Marlo says later on in the show. “The doctor says I’ll be just fine with medication and lots of therapy!”
Unfortunately, Sydney won “Grand Supreme” at the International Fresh Faces Missouri Pageant — whatever any of that means — so it is rather unlikely Marlo will be compelled to quit parading her daughter around like a life-size Bratz doll anytime soon.
The Gap Band - Disrespect
So the legend goes like this: Prince and The Revolution were playing Detroit in 1983. Charlie Wilson and the Gap Band are playing the same gig. Charlie wants to sit in with The Revolution. Prince shuts that down. Charlie gets pissed off and writes this song. Gets the label to fund an animated video indirectly dissing Prince.
And here it is.
In a valiant effort to preserve the artistic legacy of this most beautiful film, writer Joe Peacock has spent years amassing the single largest private collection of Akira production art. The Art of Akira exhibited recently in Philadelphia, but will be hitting the road soon.
Uffie et DJ Mehdi reviennent avec une cover de l’éternel titre de Tom Tom Club Wordy Rappinghood. L’histoire ne dit pas (encore) si le morceau a été enregistré pour la nouvelle campagne “bébé” d’Evian ou si la marque a mis la main sur le morceau avant même qu’il ne sorte. En tout cas, on ne pouvait pas passer à côté du résultat!
Electronic music pioneer Isao Tomita and late King of Pop Michael Jackson. Mike is seen here playing synth chords at Isao Tomita’s home studio. There’s a lesson here: You can’t innovate without being able to actually execute on all levels. You gotta get your hands on the keys sometimes.
(thanks Amalia for this)