This is going to be the 3rd group of Hip-Hoppers that I know of going to Uganda in the past 3 years in a cultural exchange.

The first group was Crazy Legs, (Los Angelino) Ervin Arana & Ynot from the Rock Steady Crew. They met with Abramz from Breakdance Project Uganda and did a week's worth of workshops with the youth in the war-torn and impoverished Northern & Southern Uganda. The incredible Bouncing Cats documentary about this trip was put together and has been screening around the country the last year or two.

After that. another Angelino, Scratch Academy DJ Jawa, recently spent 2 months in the African countries of Uganda, Somalia and Tanzania. He spent his time there putting on DJ workshops and clinics for the youth there, many of whom had never seen a record or turntable. 

Next up, Open Mike Eagle and Ras G are working hard to get their journey to Africa started. Los Angeles Youth Arts Education program J.U.i.C.E. has partnered with the Ugandan Amagezi Germanyi Youth Association (AGYA) to bring these 2 LA artists to Africa. Please support!

The Project
J.U.i.C.E. is proud to announce that we are partnering with Amagezi Germanyi Youth Association (AGYA) on an international hip-hop artist exchange program that will bring Los Angeles-based MC and Hellfyre Club recording artist, Open Mike Eagle, and Los Angeles-based beatmaker and Brainfeeder recording artist, Ras G, to work with Ugandan rapper Mon MC, youth artists, and other local musicians in Uganda for three weeks in May of 2012.

Project Goals:
1) Exchange knowledge about the musical traditions of hip-hop, both its roots in African music and the unique styles of rapping and production born in Los Angeles, paying particular attention to similarities and differences in rhythm, melody, harmony, instrumentation and content.

2) Support the growth and development of hip-hop music in Uganda through artist-led workshops for emerging hip-hop artists in Uganda, which will cover hip-hop music production and rapping

3) Collaboratively produce works of art, culminating in the production of a 4-5 track CD; and

4) Provide public benefit and experience of the arts through a live performance for the general public at the Ugandan National Theater in Kampala, Uganda, through a low-cost exhibition, a panel discussion for Los Angeles residents upon return to Los Angeles, and through free online distribution of the culminating musical works.

The Organizations
J.U.i.C.E. is a non-profit hip-hop organization and collective. Through 10 years of weekly sessions and events J.U.i.C.E. has worked to support hip-hop to flourish as a form of self expression and self-empowerment for all people, with a special focus on at-risk youth and those who may otherwise turn to negative alternatives . Through MCing, Breking, DJing, Music Production and Graffiti, J.U.I.C.E. has provided a space to prrserve for hip-hop culture while supporting it to continuously grow and change.

The Amagezi Gemaanyi Youth Association (AGYA, a non-profit organization committed to creating safe, supportive, sustainable learning environment where youth can develop leadership skills and express themselves creatively. AGYA serves youth with limited opportunities and resources in some of the most populated urban slum communities in Uganda.

Project Budget
The total project cost is just under $18,000 and covers travel, room and board, equipment, stipends, and other items necessary for the trip. J.U.i.C.E. and AGYA have received partial funding of $8,000 from the Los Angeles Department of Cultural Affairs Cultural Exchange International (CEI) Fellowship Program.  While we are grateful to be among the recipients of the prestigious CEI fellowship grant, we still need to raise an additional $10,000 USD in order to make the project a success. We are using the online fundraising platform, StayClassy to raise $7,000 of the funds by April 30, 2012.

Donate to this project by clicking the DONATE NOW button at the top of this page! We encourage supporters to make a donation online or create your very own personal fundraising page with a minimum goal of $250.

If you can’t make a donation at this point, help us reach our goal by sharing this page on Facebook and Twitter!
Or, even better, send an e-mail to friends you think might be interested in contributing and include a link to our fundraising  page!

As the project launch approaches, we will be posting additional updates and details on the AGYA Blog, Facebook, and Twitter! Stay
tuned!

Thanks so much for your generosity!

********************************************************************************************************************************************

Artist Bios

Open Mike Eagle

A veteran of countless cyphers and shows, Open Mike Eagle comes from the storied Los Angeles MC proving ground the Project Blowed. Also a J.U.i.C.E. alum, Open Mike has developed a professional recording and performing career with a bright future. Recently, Michael Eagle has traveled nationally and internationally while releasing two critically acclaimed albums in the last three years: his debut album Unapologetic Art Rap (Mush Records) and the follow-up, Rappers Will Die of Natural Causes (Hellfyre Club). with the release of these two albums, Open Mike has launched onto the underground hip-hop scene in the states and beyond. With a unique flow and delivery, highly skilled word consturction, and the ability to consturct intelligent, but accessible rhyme schemes that cover topics other rappers dream about, Open Mike Eagle is set to take his career, and your perception, to new heights.

Ras G

Ras G has been a fixture in the Los Angeles hip-hop scene since the early 1990’s.  Ras G’s unique production style uses spacey innovative rhythms, grimey drums, and sounds that create a his instantly recognizable sonic assault. Having toured the globe and released albums on several tastemaker labels, including Flying Lotus' Brainfeeder, Ras G is making an impact on the development of hip-hop globally through his many releases. His album Ghetto Sci-fi, produced under the moniker Ras G and the Afrikan Space Program, is an “an analysis of what came before us as told through sounds from the future” and exemplifies this proposed international exchange. Ras G looks forward to continuing his tradition of pushing the envelope to further hip-hop music as we know it.

Mon MC

Rapping for over ten years and performing at over 500 live shows, Simon Ssemwogerere aka Mon MC, is a 26-year old professional rap emcee from Kampala, Uganda. Rapping exclusively in his native tongue, Luganda, and infusing traditional African musicology into his style, Mon MC believes that rap music is the best way that he can educate the global community about issues facing people in Uganda. With songs like It’s Never Too Late To Fight AIDS, which was inspired by Mon MC’s mother who lost her battle with HIV/AIDS, Mon MC’s music is truly educational, uplifting and inspirational. Mon MC is the first Ugandan rap artist to have a music video featured on Black Entertainment Television (BET). In 2008, Mon MC was nominated for a Uganda Buzz Award for “Best Hip-Hop Single.” Mon MC is currently a guest lecturer on hip-hop performance and technique at the Amagezi Gemaanyi Youth Association (AGYA) as part of the “Recording Our Dreams” Studio Project.

Roland R-MIX Audio Processing Software

I've mentioned a few times about how I'm a huge fan of Roland (and Boss) and their gear, and once again they have released another incredible product. This new release is different than most of their traditional lines of gear (besides Cakewalk), as it's software instead of hardware.

Employing Roland's Veriphrase technology, which is included in almost all of Roland's latest and greatest instruments:

Because conventional samplers shift formant and pitch together, they are unable to convincingly transpose a single sample to other pitches; the result is often a “chipmunk” effect. To compensate for this, users must rely on multisampling—a process that requires not only large amounts of memory, but time, effort and experienced professional technique as well.

Solo encoding mode of VariPhrase, however, allows formant and pitch to be controlled independently via MIDI. Therefore, multisampling is no longer necessary to convincingly play a single sample across a range of keys. Users can change a sample’s pitch and time without destroying the formant simply by adjusting the Pitch/Time knobs and leaving the Formant knob unchanged. Or, by manipulating only the Formant knob, it is possible to achieve a level of expression never before possible, such as muting a trumpet sound naturally. With VariPhrase technology, musicians can work more efficiently, spending less time sampling and more time making music.

The software also includes a brand-new 21st-Century feature, the 'V-Remastering technology'. Working together these create visual color-coded 'clouds' of frequencies from the audio and you can see the "energy and harmonic matter as the song plays". This allows you to isolate and edit frequencies of the song, adding FX or changing the pitch for remixes or stripping the audio out completely for clean sampling. You can also remove vocals from songs, or remove the instrumental from a vocal track. 

For my use it would be ideal for removing drums from bass or horn lines or any other sample. For a long time people who sampled had to separate elements using Hi/Lo pass filters and EQs, which works to an extent, but doesn't allow you to separate instruments or vocals completely. That new technology combined with piecing it together with the Veriphrase tech so you can spread those isolated samples out across your keyboard/sampler pad banks in a non-destructive pitched mess is pretty unbelievable. Game changer.

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Strictly Cassette is a new website/blog that's been collected, compiled and presented as a cassette archive. 

Seeing it all come together and on display is pretty mindblowing. Some of these I had when I was younger, so there's the nostalgia factor, but then a lot of them I had never seen or even thought that they existed. A Company Flow – 8 Snippets To Perfection cassingle? Hot damn. 

Some dope interviews as well. Definitely worth a peep.

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So we did it. 2012 Winter NAMM has come and gone, and I'm not really sure how I made it out alive. We were in kind of an inebriated Fear & Loathing style happy mess at the Hilton next door for the weekend, and the amount of bells & whistles and flashing lights and drums and people was just nutty and incredibly stimulating. 

I had been trying to get passes for NAMM since I first learned about it when moving to LA, but it had just never worked out. This year though, I guess since I buy & speak so kindly on all things Roland, my friend HYMNL & his wife (who works at Roland) got us the invites & hotel room comped for the weekend. And from there it was on.

I couldn't even begin to start trying out new gear and looking for things in the future that I might want to pick up just due to the sheer size & scale of the convention. I didn't know where to start, and with the amount of demonstrations and activities going on everywhere it was just too overwhelming for me to focus on anything. 

When we first arrived on Friday, we saw DJ Counterstryke from Divine Forces Radio there, so we went and chopped it up. Of course, if you know Counterstryke who still rocks the '98 era Akai varsity letterman jacket, the discussion went right to the new MPC's. I guess you can call them Numark's since Akai isn't even its own company anymore. I asked him if he was excited about the new line, and of course the answer was a 'Hell no'. That was expanded on due to the 'MPC' taking out everything that made it great and charging $1300 for a controller/audio interface. Of course, 'Akai' claims the software will be better than Ableton, so maybe it'll be worth it. Watched a bit of Teddy Riley give a demo & talk about it, wasn't too impressed. I didn't try them personally, so I can't say anything negative, I just don't dig the concept.

The Moog, Dave Smith and Big City booths were a lot of fun. The Hammond booth had the good Dr. Lonnie Smith hanging out there all day. We didn't get to see him demo anything, but he did perform with Bernard Purdie on Fri night at the Hilton. Seeing those two together was definitely a treat.

Click here to view the embedded video.

After the Bootsy show & after a few drinks we were in the elevator on the way to the Hilton lobby to see Pretty Purdie. We stop on a floor and in walks an older guy. This f'n guy Counterstyke & him give each other the "Ohhhh….heyyyoo", a little handshake and hug. Turns out the guy was Tom (or Jon?) Hammond, president of Hammond organs. He tells us he's on his way to watch Dr. Lonnie perform on his new 35lb. B3 organ. Turns out, and we didn't even know, that we were going to see Lonnie Smith & Purdie together. Definitely ill.

Purdie was really the event/performance I was looking forward to the most & I had brought my copy of the Revolution Will Not Be Televised by Gil Scott-Heron to get signed. After the show a couple people bum rushed the show to buy his CD & get it signed. I just rolled up w/ the wax & that was dope because I got a couple minutes to chop it up about that album & say thank you for everything he's given us over the years. Did pick up a CD afterwards though. An intense moment for me, fosho. 

We stayed at the party in the hotel lobby until around 4, but the music was done at 1, & I have no idea what happened in those 3 hours. The last band was a Van Halen cover band, of all the possible cover bands you could be. Shit was hilarious, especially with the amount of older Rock chicks all decked out for the evening. It was like Christina Applegate in Married With Children, except they were getting up there in age. It was all good though, in a Roadhouse bar party kinda way. Too much fun. 

The next day we woke up and went over to check out the Beat Junkies 20th Anniversary at the Rane Mixer booth. Def nice to catch, as I had never seen all the members together like that.

Click here to view the embedded video.

We spent a lot of time downstairs, where a ton of smaller companies and companies that make experimental instruments were located. I felt like we were in the Willy Wonka's Chocolate Factory of musical instruments. Too much cool stuff to check out. Also caught a nice performace by bassist Abraham Laboriel for an amp company. Abraham had 2 younger guys with him, one conga player and another on flute, so it was really dope in a little Last Poets-style session.

We ventured back to the Roland arena after that (Roland had the entire convention center arena to itself). As we were getting there these 2 super babes were getting onto the smaller Boss stage. Not sure what to expect, we stuck around. A minute into the set we were like 'this is the best shit ever!' I'm not the biggest metal fans, but these girls were shreddin'. It was damn captivating.

Click here to view the embedded video.

After about a half hour or so a band went on the main Roland stage, so we went & chilled in the arena seats for a while. Caught the end of their set from up there as well, def a highlight. Found out later they're from a LA band called the Iron Maidens. Some bad, bad chicks. Will def be trying to catch them around town.

Unfortunately, I missed Stevie Wonder (he was there all weekend, I guess & performed at a tribute for one of my fav bassists – James Jamerson), Herbie Hancock, James Gadson, Bernie Williams, Z-Trip & I'm sure tons more. I was trying to use my phone as little as possible & just soak up the event, but as I was leaving I realized I could have been following the NAMM tag on Twitter & been aware…all good though.

The one new product I saw I was def diggin' was the Tascam DP-24. Tascam's been making great "Portastudio" recording devices for years (decades?) now. This one seems to be a continuation in that tradition. All the 2012 features you could want and relatively low price tag makes me hope I can find some budget for it.

Big thanks to Joseph Timmons for allowing me to use the last 3 pictures in the set. Def worth checking his blog out as well!

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Click here to view the embedded video.

Click here to view the embedded video.

These could be real leaks of Akai's next release, the MPC Fly, and they could be fakes, of course. The official Akai announcement comes Thursday evening, probably at NAMM. The Fly could just be an I-something download, a mobile app version of their new software, but since MPC has rebranded itself as "Music Production Controller" (they need to hire Roger Linn again, everytime he leaves Akai the quality of their products falls off), it might have some pads. They did just release the MPC Studio, which they sell as their on-the-road MPC, so why they need 2 "road-controllers" I'm not sure.

My purely speculative guess is that since the Renaissance is coming with a $1400+ price tag (for a MIDI controller/audio interface, whut?), the MPC Studio isn't really going to be made for the road, but as a centerpiece for everyone who gets priced out of the Ren but still wants to buy Akai & the Fly will be be their true travel controller.

Akai also already makes the SynthStation 25 (& the mobile app gets terrible reviews so far), which is a controller with an Iphone/Ipod touch dock, so I guess they want to have 2 different controllers for use with I-somethings with 2 separate apps? One with keys, one with pads? All that's cute and all, but at the same time it's kind of pointless. Maybe I'm an old-timer, but I can't see that being the future of music gear, nor is it making music creation any better, so why waste that much R&D money on these little gadgets? 

I don't see why they didn't open up their new software for EVERYONE who already owns an MPC. Then you could use the classic models as a stand-alone or controller, and there you have a true hybrid. The "hybrid" tag on the Ren is completely misleading, because it's a controller. The classic machines will always be relevant, so why not just update their functionality to the best of todays technology & advances? 

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Click here to view the embedded video.

RIP to Jimmy Castor. Saxophonist, percussionist, singer/songwriter & funk MONSTER. I knew about him like most people my age (I assume) through his Bboy anthem "It's Just Begun". With the break appearing in the 1983 film Flashdance in the scene with legendary Rock Steady Bboys Frosty Freeze, Crazy Legs, it blew up Bboying (and Hip-Hop in general) globally. "It's Just Begun" has held on & become one of the staple jams of the culture. Another great scene with the cut is the end credits of QD3's Freshest Kids Bboy documentary.

Luckily for myself and others who attended, they convinced Jimmy to come out of retirement & perform at the 2010 Long Beach Funk Fest. He put on a great set, with the highlight being the jam, of course. Definitely a special moment so thanks to the organizers there for making it happen.

Jimmy Castor…songwriter, singer, saxophonist, percussionist. Producer, arranger, humorist …alias The E-Man, has earned his well deserved reputation as “THE EVERYTHING MAN.”

Before even finishing junior high school, Jimmy Castor had written his first million seller for Frankie Lymon and the Teenagers called, “I Promise To Remember.” While furthering his education at New York City’s prestigious High School of Music & Art and later attending City College, Jimmy pursued his musical career by assembling a band of his own playing an assortment of major New York nightspots. He then wrote his second million seller, “Hey Leroy Your Mama’s Calling You,” on Mercury Records, through which a new flashy and spirited performer was introduced to the public – JIMMY CASTOR. Still early into his career, Castor befriended such music greats as Jimi Hendrix, Sly Stone, Tito Puente and King Curtis to name only a handful.

Moving on to RCA Records, “The Jimmy Castor Bunch” continued to show off Castor’s witty, pop/r&b writing ability through his amusing characterizations of “Troglodyte” and “Luther the Anthropoid,” hit singles from their first and second RCA albums, “It’s Just Begun” and “Phase Two” – the title cut from the “It’s Just Begun” album was featured in the movie “Flashdance.” On the third RCA LP, Jimmy further established his versatility as an artist/producer by expanding the group’s more serious instrumental abilities as first recognized through Castor’s haunting rendition of “The First Time Ever I Saw Your Face” and “A Whiter Shade of Pale”.

By the time Jimmy Castor released his debut album for Atlantic Records, it was no wonder that his aptly descriptive nickname could no longer be kept a secret. “The Everything Man” LP was released, and through Jimmy’s obvious talent as a master of all trades, The E-Man and The Bunch justly enjoyed a victory in obtaining Record World’s “Top Instrumental Group” award for the year. And, yet another new pair of innovative singles, “Maggie” and “The Everything Man,” hit the charts.

The internationally famous, smash LP, “Butt of Course,” was Castor’s second Atlantic release. It featured two more pop/r&b hit singles, “The Bertha Butt Boogie” and “Potential”. From the same album, there was also the legendary worldwide disco hit “E-Man Boogie,” which rated number 10 in Billboards’ annual disco poll.

“Supersound,” the next Atlantic LP yielded two more prosperous singles for The Bunch – one being the widely publicized, international favorite “King Kong” which entered the Top 100 Pop Charts in the first week of its release and reached number 1 in Japan. “E-Man Groovin’,” Castor’s fourth Atlantic LP, brought forth still another successful tale – this time about the universal and immortal Transylvanian figure “Dracula.” Castors “Maximum Stimulation” and “The Jimmy Castor Bunch” LPs further displayed Jimmy’s brilliance as a writer and performer through his enchanting saxophone melodies and smooth vocal harmonies.

In addition to his success as a recording artist, producer, writer and arranger as “The Everything Man,” Jimmy’s natural ability to relate to people along with his skill, confidence and ease as a performer and speaker has captivated and motivated audiences throughout the world at various speaking engagements.

Castor has appeared on such television shows as Dinah!, American Bandstand, Soul Train, Positively Black and Don Kirshner’s Rock Concert. Jimmy and The Bunch have also enjoyed sold out performances at such venues as The Roxy in Los Angeles, The Felt Forum and Madison Square Garden in New York, RFK Stadium in the nation’s capitol and the Omni in Atlanta.

And to add to his credit, much of Jimmy Castor’s music (“It’s Just Begun,” “The Bertha Butt Boogie” and “King Kong,” to name a few) has been sampled innumerable times in movies and by a myriad of today’s most popular artists. His statement of “What we’re gonna do right here is go back,” is LEGENDARY

Bio from the Jimmy Castor website

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Another DAW? Sure, why not. This one is put out by Bitwig Studio (Ableton Live expats). It looks a lot like a slicker, more polished version of Live. Whether it works as fluidly as Live won't be known until the Beta version is released.

Besides the interface, one of the coolest features I saw was the "Lan multi-user jamming & "Multi-user music production over the internet", where you can collaborate in real-time on the same project on different computers. That's pretty fresh.  The nodes/mod system, device nesting are some other new/unique features that look interesting to check out. Of course, coming from the Live family the packaged instruments and how they can be tweaked & freaked are a must to explore.

I signed up for the Beta, I'll wait & see if they send me a copy. I'll also be keeping an eye out for them a NAMM next week. 

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L-Fudge – Liquid – What If – Show Me Your Gratitude 12"

Great moments in Hip-Hop 12"s – L-Fudge, Mike Zoot, Shabaam Sahdeeq, Skam & Kweli – "What If". Produced by DJ Spinna.

This was a classic Rawkus posse cut. Spinna had released his Heavy Beats LP, Skam (Skam2) dropped a 12" w/ Eminem (he also did the ATCQ Beats, Rhymes & Life artwork, Sahdeeqy was killing everything at the time & had a couple 12"s on Rawkus, the classic "Arabian Nights" & "Sound Clash/Pendilum/5-Star Generals (w/ Eminem, All Lyrics, Kwest & Skam).

Mike Zoot was another one of our favorites at the time, quirky as shit and rapping about cabbage calabash, he was another indy dude who was everywhere at the time. He released a string of 12"s on Matt Fingaz's Guesswhyld label, but he was everywhere else as well. The jam we kept on repeat was the Buckwild-produced "Live & Stink". It was/is great 40oz drinking music. As far as L-Fudge himself, we didn't know much about him at the time (maybe his first release?) The highlight/heavyweight was Talib Kweli. 

Kweli now has minor superstar status, but back then he was just another hungry backbacker kid who was just smashing everything. From "Manifesto" to the early Black Star 12"s, to cuts with his preferred producer Hi-Tek on the Mood Doom LP, Kweli was just everywhere, killing everything. "What If" is a perfect example of that. 

We bring it back to science, with the finest of Medina
Imagine all the people livin in/maybe I'm just a dreamer
Non-believers microscopic like ameobas
Runnin out of phony acts,
be at the underground spots when you need us
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guess who the animals (guess who)
They over-work us and jerk us till we ain't thinkin clearly (come one) Cuz the history we stay weary of various theories
Question evolution and use to pass this lesson through revolution
Ask what not to do (yes),
without firepower how is you militant? (yes)
That type shit we don't forget like elephants (never forget)
We stompin black holes in space
If you tore this wicked system down,
what would you build in its place?
You gotta plan then we rollin (come on), don't waste my time (please) There is land that is stolen which is rightfully mine
What if slavery never happened and we was never colonized?
What if governments never lied and white folks apologized?
Or if the environment didn't create the context for the art
When niggas celebrate the death and breakin black mommas hearts What part, would a MC like me play wit my positive talents play
If there was no negativity to keep the balance

Everybody handles it, but Kweli was just on another level. It wasn't hard to tell who was going to be the one to blow up. Just such a classic jam, it can take me back in an instant every time I put it on the platter.

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I saw this on @eyeonesh (EYE ONE) Facebook page last night, where he mentioned he had done some work on the film. I checked it out this morning and it looks like it’s going to be an incredible piece of work.

Based on the life of TEMPT ONE, from a being a prolific writer and considered a true King of the Los Angeles graf world, to commercial works with Tribal Gear and Third Rail. He has also spoken at the United Nations, worked with the youth, and done all the other related activities that go along with it.

In 2003 TEMPT was diagnosed with ALS (Lou Gehrig’s disease) that left him paralyzed. During his time left immobile, he teamed up with the Not Impossible Foundation and the Graffiti Research Labs to develop software that allows people with paralysis to draw with their eyes. 

The film premiers at the Slamdance Film Festival January 24th, 2011.

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