Monthly Archives: May 2008

June's Tunes + Detroit's Movement Festival Weekend

SELF PORTRAIT is the critically acclaimed vocalist and song stylist LALAH HATHAWAY newest musical offering. This release, out this Tuesday June 3rd, is Lalah’s fourth solo project, and marks the beginning of her new affiliation with the recently revived Stax Records label which is distributed via Concord Music Group. Listen & Learn

MOCHILLA is releasing JACKSON CONTI’S SUJINHO also this Tuesday June 3rd. The record is a collaboration between revered producer, Madlib and Brasilian Legend, Ivan “Mamão” Conti. The result of these two geniuses collaborating is pure sonic beauty. “A perfect encapsulation of both men’s commitment to Brasilian musical traditions and their insistence on new forms.” Listen & Learn

DWELE album on KOCH due June 24th. Click here for the 30 minute sampler of his new release.

NAS has confirmed that he has changed the title of his forthcoming controversial album from N***er and that the album will now simply be untitled. His 9th studio album is due in stores July 1.

MOVEMENT: Detroit’s Electronic Music Festival PHOTOS | BLOG

Internet Week NY Fusicology Event Schedule

DALLAS June 13-15: I GOT SOUL Conference

BIDS 4 BEATS benefiting NextAid – only until June 1st! View Items

Von Dutch Cyclone Relief T-Shirt | China Earthquake Relief

Myanmar Relief, Bids 4 Beats, Om Hip Hop + Invincible

BIDS 4 BEATS until June 1st where you’re sure to find something to bid on when you browse through the items. Proceeds go directly towards building the NextAid Youth with a Village Community Center and Children’s Residential Village. NextAid is also donating 10% of the proceeds for Burma (Myanmar) relief, via our partner, Architecture for Humanity. View All Auction Items!

Von Dutch Originals and Operation USA hosted an event last weekend with Tim Hutton, Bill Maher, Jackson Browne, The Bachelor, Elliott Yamin, Coolio, Esai Moralez, Gwendolyn Edwardsto and others to raise awareness and donations for the relief effort including their announcement of their Cyclone Relief T-Shirt | Event Photos | China Earthquake Relief

Detroit MC, Invincible, releases her album, “Shapeshifters”Listen & Learn | Exclusive Interview

OM HIP HOP: Black Spade – Evil Love Video | Raashan Ahmad’s “The Push” Exclusive Stream

PHOTOS: New Orleans Jazz Fest afterparties

DALLAS June 13-15: I GOT SOUL Conference

NYC June 3-10: INTERNET WEEK – FUSICOLOGY FEATURED EVENTS

Aaliyah, Invincible, K-Salaam & Beatnick + Downloadz

FADER 54 is an Aaliyahxtravaganza, as the world’s beloved Baby Girl graced the cover of the fourth annual ICON issue. The issue is now available for free, cop it here

Exclusive Freeload: Caps, Aaliyah U R Missed Mix, Parts 1 & 2 – an exclusive mix celebrating the music, life and love of Aaliyah – download here

Detroit MC, Invincible, talks with Fusicology on her new album, “Shapeshifters,” dropping next week, music today, and how she’s doing it without the majors…Full Story

K-Salaam & Beatnick Present: NY Is Burning, the new mixtape featuring exclusive songs and remixes from Mos Def, Damian Marley, Dead Prez, Sizzla, Collie Buddz, Buju Banton and many more. Free Download

DOWNLOADZ Magazine, new issue out now: Women of Rock & Soul II

NextAid’s Bids 4 Beats Online Auction through June 1st, participate in their online auction here!

Tens of thousands of Burmese are dead or missing and a million are homeless. Please help now

Thousands in China are buried under the rubble after a powerful quake. Please help now

10 Questions with Detroit's own MC INVINCIBLE

05.07.08

Invincible's ShapeShifters LP

Detroit MC, Invincible, talks with Fusicology on her new album, “Shapeshifters,” dropping May 17, music today, and how she’s doing it without the majors…

1. Tell us about the meaning, or your interpretation, behind the name of your new album, “Shapeshifters”? “

INVINCIBLE: Since this is my first album I wanted to show my versatility as an artist who’s able to “shift shapes” into different styles, flows, production, and topics, so that I’m not pigeon-holed into one box for the rest of my life. The other meaning behind the title has to do with art being a transformational experience, and Hip Hop in particular being a way to resist oppression and make change, both personally and as a community. The title track itself is a science fiction joint that asks: who will sample Hip Hop in the future, and what will they evolve it to? It was mostly inspired by reading the “Parables” series by the legendary Octavia Butler.
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F: Yeah, that’s a really good question… who will sample Hip Hop, and what will that music of the future be called?
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2. The first single was already released, yes? Why did you choose “Sledgehammer!” as the first single?

INVINCIBLE: I dropped “Sledgehammer!” (produced by Lab Techs) in the fall (’07) with cases I hand-stenciled at shows, and free downloads off of bling47.com and my site, EMERGENCEmusic.net. The hook samples my favorite line by Jay Dee, and it’s about making people pay attention, which was my goal with that joint. This and the B-side, “In The Mourning” (produced by Waajeed), are both dedicated to Dilla and Proof‘s legacies.
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3. How will you be releasing this project? In what formats? Where? What is EMERGENCE Music?

INVINCIBLE: May 17th is the official release date through EMERGENCEmusic.net (CD, 12″ single, and digitally), as well as at my shows of course. One month later, (June 17th) it will be available through all digital download sites, and at stores through Fat Beats distribution.

I founded EMERGENCE after years of turning down wack deals [with mid or major labels] that had too many strings attached. It was inspired by different independent Detroit labels i came up around especially bling47 and Underground Resistance/Submerge. I’m not out here trying to sign other artists, I want to create a viable model so other artists can sign themselves.
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Invincible's ShapeShifters photo 1
Photo by Erik V. Stephens for Crush Media Group
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4. Who did you produce this album with? Any special guests?

INVINCIBLE: The music production is handled mostly by Lab Techs and Waajeed. Black Milk, House Shoes, Belief, Apex, Knowledge, Djimon and Jayhask also contributed heavy hitting joints. Finale is on a couple tracks (including the upcoming docu-music-video bonus joint “Locusts”), my crew out of NY the ANOMOLIES, Wordsworth, Indeed, Tiombe Lockhart, Abeer, Buff1, SUN, and PL all blessed it too.

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5. What made you decided to release this project now? How long have you been working on it?
INVINCIBLE: Its been a lifetime in the making! I basically learned English through Hip-Hop when I was 7 and started writing my own rhymes at age 9, been doing shows in Detroit/Ypsi/Ann Arbor area since ’96. When I was 17 I moved to New York to join my crew (the all female all elements collective ANOMOLIES), and rejected several record labels who tried to sign me. I was working on it all that time, and then when I moved back to Michigan in ’02 I got much more involved with community organizing (through Detroit Summer), which gave my music more of a center. I wanted to take my time and get everything right musically as well as lyrically. Finally a couple years back I was working a carpentry apprenticeship and one day I woke up and my car was stolen, making it impossible to get to work, so I took it as a sign to fully focus on the project.

F: Wow. So this really is your first life’s work project / album…
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6. Where was the album recorded? And mastered?

INVINCIBLE: After the “War” LP, Waajeed encouraged me to get my own studio set up and that’s how I was finally able to record at home with no stress. I then mixed and arranged it with Belief (who also produced the track “Ransom Note”), and it was mastered by Dave Cooley (Triple P, The Shining, etc). Both Belief and Dave added so much sonically to the album, it really brought all the vocals and production to their fullest potential.

F: Some folks that really know what they’re doing. Amazing how much quality engineering changes the overall impact of a record.

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Invincible's ShapeShifters photo 2

Photo by Erik V. Stephens for Crush Media Group

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7. Do you think this project has strong influences and/or references to your current hometown of Detroit? Or is there another influence that kind of permeates the majority of this project?
INVINCIBLE: Detroit is definitely my biggest influence and inspiration at this point in my life, especially reflected through the production styles, and on the bonus song “Locusts” featuring Finale and produced by House Shoes. The CD is enhanced with a docu-music-video for the song which interviews several youth, community activists, and artists about their vision for sustainable development in the city. The album is also heavily influenced by the other places I have called home: Palestine/Israel, Ann Arbor/Ypsi, and Brooklyn. In general though, my music is inspired by the potential for all of us to transform ourselves to our highest potential, and in turn evolve our communities, and I see the most tangible examples of that here in Detroit.

F: Yeah! That “Locusts” joint is amazing! It really sticks. That’s been around for a minute. Powerful.
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8. Tell us more about your choice to release free downloads for given time-frames, and your reasons behind releasing the album in the format(s) and promotion methodologies that you have chosen?

Mad Mike from Underground Resistance once told me that you have to be as creative and intentional with how you manufacture, market, and release your music as you are with the music itself. That really stuck with me, and Submerge/UR is a huge influence on EMERGENCE’s approach.
By giving out the “Sledgehammer!”/”In the Mourning”/”Loongawaited” singles for FREE I was able to get people’s attention and let them know that the project was FORREAL coming out this time, since I’ve had so many false starts in the past. Through the EMERGENCEmusic.net download I was able to collect contact info so that my relationship with people who listen can be more direct.
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I’ve also created hand silk screened pre-sale vouchers for the album, available at shows and on the site’s store. Those who buy the voucher are essentially investing into the pressing of the album, and into the growth of my music as a whole. One of the quotes off of the song “Looongawaited” is: “You want good music? You gotta support it.” And by saying this, I mean that artists are part of a larger community, and if we want those artists to represent our community, we have to support them on many levels, otherwise they will be less accountable to us and more beholden to the labels and disconnected entities that cut their checks.
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F: WOW. That’s deep. Especially during this time of transition in the regular method by which people today receive their music – a time of questioning if artists will ever again actually be able to compensate themselves for their work through real dollars from real listeners, without a deep-pockets middle-man. It’s a great approach. It seems that the grassroots hand-to-hand method still is most effective in the long-run.
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9. Can you elaborate a bit on the video circulating now on YouTube that you shot for “Sledgehammer!”? Who/when/where/why?
Do you think video is important for music today? Why or why not?

INVINCIBLE: I heard my long-time friend Talib Kweli was in the D performing so i headed down to St. Andrews hall with my camcorder. When I got there, I handed out my limited edition “Sledgehammer!” single to some of my favorite artists I ran into (Phat Kat, Royce, Elzhi, T3, Dez of Slum Village, Black Milk, and Kweli), then asked them to give their first reactions to me finally releasing my project. Afterwards, my homie Al-Iqaa the Olivetone (who helped edit everything) did the interview with me in the freezing cold walking down my street in southwest Detroit. The purpose was to give people who didn’t know me an introduction to who I am, as well as to update those who knew me but hadn’t heard from me in a while. And most of all to show people that A) I’ve been here for years, and B) the Hip-Hop community here is unified.
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I approach writing visually, so even if there never was a video for a song the listeners can still see everything in my verses, but to actually add the video piece helps people get the full picture. EMERGENCE media is the official name because we cover more than music, we also have the docu-music-video on the album (which will be released as a DVD later this year), as well as video montages at live shows. I plan to do many more multi-media projects and push the boundaries for how music can be experienced.
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F: Cannot wait.
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Invincible's ShapeShifters photo 3
Photo by Erick V. Stephens for Crush Media Group
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10. You have several release parties scheduled in various cities for this month and next already (conveniently posted on Fusicology, of course;)… what are your plans for this Summer ’08? Anything in the works for people to watch out for?

INVINCIBLE: Besides the “ShapeShifters” LP release tour featuring Finale (and Waajeed in several cities), I also plan to perform with the ANOMOLIES at the Allied Media Conference in Detroit on June 21st, and am continuing to add dates to the July tour schedule. I’m extremely excited about touring opening for Bahamadia and Roxanne Shante in Europe this August/September too.
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As far as projects go, I have a mixtape with DJ Graffiti dropping this summer, and am anticipating touring in support of Finale’s solo debut coming out next Fall, not to mention me and Waajeed’s project but that’s still under wraps!

F: You heard it here FIRST : lookout for INVINCIBLE & The ShapeShifters crew in YOUR city this season!!!
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— Interview by Jocelyne Ninneman for Fusicology
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2nd Annual Fringe Festival brings out the Freak in All of Us…

04.09.08

fringe: noun [ frinj ] members of a group or organization who hold views not representative of the group and usually more extreme.

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2nd Ann. Fringe Festival Detroit

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Based on this definition, this writer and other fringeful souls were treated to a night of pure fringed-out debauchery. Though I missed some of the earlier performances of the evening, my compatriot and I did arrive in time enough to catch Los Minstrels Del Diablo & Afrika Baambaata. Though the crowd was, for the most part, anemic, the visual show and electro/techno contraption-playing talents of the minstrels kept the night going strong. Counter culture images of current and former members of the Bush administration as well as images of Hillary Clinton bounced off the screen. The spotty audience came alive whenever the words “Bush is an Idiot” appear on the screen with America’s worst president.

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Concurrent to Los Minstrels Del Diablo’s show was random mingling of all the fringesters throughout other areas of the Music Hall. For whose like a little ‘noise’ with their music, The Jazz Café (beautiful body painted Three Olive vodka servers didn’t hurt either). Can’t remember the name of the band or whether it was a one man band or what. I know–oops—sorry! One thing for sure, though, is that if you like the sounds of chalk screeching down a blackboard you probably would have liked them too! Whoever this band was, they were the epitome of fringe, and thus, in my opinion, a very good selection for the occasion.

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The night wrapped with the legendary Afrika Baambaata, who, though taking the stage minus his trademark garb, wore out the dance floor in the most unpatentable way. Flanked by Hardcore Detroit Breakers break dance trio, he played old school breakbeat and hip hop classics. By the time he was half way into his set folks were movin’, smilin’, and laughnin.’ This solidified in my mind, why Afrika Baambata is a true hip hop icon. He spun classics as well as some songs that many so-called purists would debate the ‘hip hop’ credibility. A tapestry of people danced the night away and it was another great night in the city we hate to love.

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— Drake Phifer, Urban Organic Lifestyle & Music

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History of the Word: The Power of Spoken Word + Saul Williams

[For this blog, we asked some of the young poets and writers of Detroit Summer to express their thoughts on their experience attending the play "History of the Word" wsg Saul Williams on 02.16.08]

History of the Word: featuring Saul Williams

Last Saturday’s “History of the Word” at the Music Hall [downtown Detroit] featured talent old and new, New York and good old Detroit style poetry.

The night kicked off with some of Detroit’s freshest young poets. They dealt with topics from walking the streets of the D as a young person, to mother nature, to family and spirituality. They hailed from different high schools (Cass, DIA, Southfield, to name a few), and local organizations (city wide poets, team hype Detroit summer, etc).

Going along through the night… History of the Word was a play based off of writings and lives of five gifted New York poets’ experiences of high school. The play centers around a child of the Black Nationalist movement who knows more about the Civil Rights history then the teacher does, and pays for it. The supporting characters are a pleasantly plump and self-conscience girl who always compares herself to the well-liked and well sought-after dancer-type with daddy issues. She, in turn, gets her heart broken by the Iraq-bound “joining the army to get my papers” Thai Muslim break-dancer.

All these characters get nicely fleshed out early on with the help of the beat-boxing, break dancing guitarist student and the one-man facility who plays every teacher from the “wants to have a progressive classroom but falls short” History teacher, to the “devil may care” gym teacher. They set the tone for the scenes and elevate every one’s performances.

As for the play, it gracefully delivers a spoken word ride that puts you into a seat in future high. Though it did feel like some of the story arcs were left unresolved by the end making you wonder if you got the abridged version of it.

History of the Word

On to the feature performance of Saul Williams…Before getting into his amazing set, he said, “Those kids back stage had the nerve to tell me, I’m inspiring. I think they’re inspiring!” (referring to all the youth performers from earlier in the night).

He then went into an enthralling performance that makes you remember he’s a slam champion. Easily stepping from behind the mic to get gradually closer to the audience, we could still hear him with ease because A) he has good vocal cords and B) the music hall isn’t that big.

With a mixture of personal antidotes between poems, he explained things like why he was so angry when he was writing a particular poem. It made the whole night much more memorable, even with great poems that you’d feel in your bones. He ended by making the observation that poetry is really popular right now. He want on to say, if you look back through history, at the moments when poetry was thriving, like the Harlem Renaissance or the Beat Movement, it always preceded great transformations in society, He wasn’t just saying that poetry is some kind of indicator species, but rather, poetry and art have the power to expand the “technologies of freedom” in our consciousness that make great social movements possible. It’s exciting to think that right now we are in one of those moments.

— by Jon Blount, Detroit Summer Live Arts Media Project Youth Leader

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2008 NOLA JAZZ FEST: Wonder, Warehouse Parties, Wow!

April 25 – May 4 this year saw the 38th Annual New Orleans Jazz & Heritage Festival, and Fusicology was pleased to run amok in the madness… because there’s just nothing like it.

NOLA Jazz Fest stage

For those that couldn’t make it this year, better luck next year. And for those that weren’t hip to this scene, consider yourself in the know ;)

Excerpts from our daily blog here…. Enjoy!

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THURSDAY

Thursday actually kicked-off the second weekend of Jazz Fest for us at “Midnight Preserves” – Preservation Hall’s debut of the first installment of a multi-media project underway as a creative partnership between Preservation Hall Creative Director and local musician, Ben Jaffe & The Preservation Hall Jazz Band, and Philly’s acclaimed DJ/producer, King Britt.

The project began when Britt came across music from work done by Jaffe’s father, also a New Orleans musician, where the late legendary Crescent City folk artist, Sister Gertrude Morgan’s song Let’s Make A Record” was versioned. Britt was immediately inspired to embark upon his own variation of this, and look further into more of Sister Gertrude’s art.

Connecting with the son of the original “remixer” of “Let’s Make A Record” commenced an ongoing partnership between Jaffe and Britt that would find King visiting historical and personal family sites in destroyed areas of New Orleans, such as Sister Gertrude’s neighborhood in the 9th Ward.

PHJB 300

The project soon moved beyond music collaborations and began to incorporate photo and film as well. What we were able to experience Thursday night in the small and humble original performance room of Preservation Hall in the heart of the French Quarter was film piece partially narrated by Ben, including photos and footage taken in places residential to people such as Sister Gertrude and the Jaffes before and directly after the storm that was Hurricane Katrina. The videographer, Darien Bagley, also hailing from Philly, created some very profound, yet subtle, statements in the visual presentation, merging the personal footage with some of the thoughts and concepts traveling through people’s minds during and after the great common loss that was “the storm.”

The sonic backdrop to engrossing film was a soundtrack DJ’d live by Britt himself, with an amazing surprise live over-dub by respected New Orleans trumpeter, Terrence Blachard. I parts we couldn’t help but get up and start to groove in the small open spaces, and during other moments we were frozen, taking in the sights and sounds before us.

Yet, what was just as remarkable as, or possibly even more so, the piece itself, is discovering that this is first time in Preservation Hall (a museum to traditional and indigenous acoustic New Orleans music) history that a DJ or electronic producer/musician has been asked to co-produce a native music project with its artists in residence, and only the second time that a DJ has been allowed to perform inside Preservation Hall (the first time being Questlove from The Roots). An amazing evolution indeed.
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FRIDAY

As the crowd swarmed around the Acura Stage at the end of the day, backed up even into the beaten entry paths, dark clouds coagulated above, as if something epic was about to happen. And indeed, something epic was about to happen: Stevie Wonder.

But just about 15 minutes before he was due to come on, the dark clouds released their reserves and sent droves of people packing, while others – not missing Stevie Wonder even if they had to float in their folding camp chairs – simply popped their umbrellas and held their place in view.

As we all hoped, the rain did let up in time for the Wonder to greet the people just a bit behind schedule, and a roar crescendoed over the muddy racetrack field. The legend appeared on the jumbo screens, that familiar smile evoking a sea of smiles… soggy, dripping smiles, but smiles nonetheless.

First, Wonder brings up his daughter, Aisha Morris, so that he can take her by the hand while he addresses New Orleans, salutes them for rebuilding their city, and suggests that perhaps instead of “The United States of America,” we might need to start referring to ourselves as “The United People of These United States”… if we are going to get anywhere out of this mess. He says he hears “that [his] people in Detroit are having a rough time right now, and next, Stevie takes the opportunity to say that, in spite of all of this, or maybe because of it, he is “excited about Barack Obama.” Finally, he assures the crowd that, together, “yes we can.”

Stevie Wonder JAzz Fest 08 #1

And with that, he takes his bench at his baby grand, his daughter taking her place behind one of the back-up mics, and he opens, quite appropriately, with “Living for the City.” Just the sheer sound of his voice alone sends shivers down your spine, and brings tears to your eyes. No matter how often you hear the songs, there is nothing like the real thing.

With intermittent spurts of rain, and the popping and sharing of umbrellas [insert many a Rihanna joke here], a sense of unity and, if only temporary, peace washed over the enormous crowd. For “Ribbon in the Sky,” Wonder breaks into a call-and-response with the people which soon found all chanting in unison: “The ribbon, the ribbon –ah, ah –The Ribbon.” Somehow we had chased the rain away, and once again, The Wonder had brought the sunshine.

Native songstress Irma Thomas joins Wonder on stage to perform their Grammy-winning song from 2007 together, and then Stevie continues to moves through almost 2 hours of solid gold, making everyone hold out til the very end for “Superstition.” And back to reality it was. Yeah, if anyone could save the world, Stevie could.

Stevie Wonder JAzz Fest 08 #2
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Jazz Fest Second Line

We spent several nights taking in some groovy dancefloor time and plenty ‘o second-line action to the horny, funky rhythms of the Soul Rebels Brass Band, the Hot 8 Brass Band, Rebirth Brass Band, Trombone Shorty & Orleans Avenue, Spyboy, and Big Sam’s Funky Nation… not to mention the annual George Clinton & P-Funk show that never fails to disappoint. Got our DJ action on with Soul Sister, Real, and crew upstairs at the Blue Nile, and enjoyed simply wandering around the lively & colorful Frenchmen St.

Trombone Shorty Jazz Fest 08

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SATURDAY

And just as we thought this much amazing soul music in one place in one week’s time just must be a dream, the sun finally really came out to play on Saturday where we enjoyed sets from rising soul singer, Tondrae Kemp, reggae culture staple Steel Pulse, and of course The Roots. With some new players on deck, ?uestlove and Black Thought led a rock-steady set of both new and old, opening with their new single, “Rising Up,” and peaking with an uber-anti-war statement with their cover of Bob Dylan’s classic, ?uestlove introducing the “song that is near and dear to all of [The Roots]” with the notion that he is “kinda sick and tired of the present administration, naw’mean?” Quest gives his subtle (or not so subtle) nod to Obama, and Dylan’s classic is off and running.

Yellow Mardi Gras Indian

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A quick rejuvination with some ‘Nawlins seafood, fried green tomatoes, and boudin balls, and we entered what we had no idea would become the packed sweatbox that was a good ‘ole fashioned warehouse party! Just off the infamous, and hopping, Frenchmen St an unsuspecting warehouse was transformed into the 3-room party of the week by co-hosts Rehage Entertainment, Preservation Hall, Fusicology, Monopoli Projects, and Toyota Matrix “Antics.”

NOLA rum tasting, free, live on-site Tshirt screen-printing, pimped-out Matrix models, and more while gorilla-style sets by The New Orleans Bingo! Show with The Preservation Hall All-Stars and Holy F*ck rang round the brick. King Britt warmed up the growing crowd and we were glad we had room to dance for at least the time being, as the walls seemed to close in just as ?uestlove took to the decks. Without a word, ?uestlove delivered a seemless 2 hours of unrelenting classics and unexpected transitions, closing with one announcement: “See, all music is Hip Hop. Remember that.” And he was out.

Then, while 1,800 sweaty bodies clamored for towels and napkins, the set went silent, the lights came back up and M.I.A.’s DJ informs us that he will now play some dirty beats for us while M.I.A. gets ready to blast us with her Sri Lankan femi-gangster. M.I.A. and hype girl rush the stage only for the house to erupt with might we wouldn’t have imagined was left. M.I.A. & co. too out 2 sets, while we jammed backstage with M.I.A’s biggest fan, Jude Law, not of course sans entourage.

After M.I.A. said her farewell and did her damage, local funk-soul heroine, DJ Soul Sister, took the helm on the 1s and 2s and winded us down with some rare grooves and classic wax to make for the perfect cool-down to bring us back home. A quick stop at the taco truck outside, and home we went just as the day broke.

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SUNDAY

tambourine

We had no choice but to take it easy in the Big Easy on closing day with a Tribute to NOLA Godmother, Mahalia Jackson, plus Santana, Galactic, and more. Phew.

So THIS is why New Orleans is important! There really is no other place like it on Earth.

— Jocelyne Ninneman for Fusicology

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***Jazz Fest Photos to be Posted Here 05.08.08***

NOLA Jazz Fest logo

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Bids 4 Beats, Janelle Monae, New Orleans JazzFest Review

Bids 4 Beats Online Auction Launches! Now through June 1st, NextAid invites you to participate in their online auction!. Bid NOW on products from Ableton, Dubspot, Cakewalk, SF Yoga School, Seventh Generation, iZO Force Energy Products, Zip Car, Glaceau, Rane, Natural High Lifestyle, Nomadic Wax, DJ Dan, Positive Energy Clothing, M-Audio, IKY Clothing, OM Records, Traxsource, Putumayo, and Yeah Yeah! Block Printed Clothing plus various local restaurant and club offers. more…

In the wake of a massive cyclone, tens of thousands of Burmese are dead; More than 40,000 are missing and a million are homeless. Click here to help the Burmese people with a donation and see a video appeal to Avaaz from a leader of the monks.

Janelle Monae debuted in Los Angeles on Wednesday to an explosive crowd with her label head and host for the night, P. Diddy. Show blog & Photos @ Vimby.com | Hear Janelle’s 1st single from her upcoming album – Download for Free! Next week we will feature an exclusive interview with this rising start out of Atlanta discussing her upcoming release thru Bad Boy.

Astral22 together with Soulinterviews.com present HESTON (Interviewed by Melissa Young) more…

This week is National Hip Hop Week, for all national events go to templeofhiphop.org

New Orleans JazzFest ’08 in review: Stevie Wonder brings the sunshine, endorses Obama, + The Roots bring the heat, M.I.A., ?uestlove, King Britt, more kill it! blog + photos

Fusicology is now offering quality web and graphic design services. Revamp your Myspace or website with impressive turnaround at an affordable rates. Send any inquiries via our Contact Form