Download Mick Boogie's new "Represent the Stripes" Hypetrak mixtape. Pooh can rhyme. He's not done. Hear where he is. Listen to the mixtape. The track is great.
stick a fork in Pooh, he's DONE
I was/am a member of this great pastors teaching..even though my post is not in 2009, I hope that you know that we support your goal in capturing a true inspiration in African American Gospel...
NC Artist Shane #TasteOfFame music Video Enjoy!
I wouldn't expect IBMA to get any less conservative than they've always been. They are great an embracing the artists that keep the tradition of bluegrass alive, as they should, but they also should be embracing the bands that are taking the music in new directions. The Avetts and CCL, as you say, are great examples. Unfortunately, the IBMA members have always been very cold to these folks, even when the organization have done their best to help them out.
Change in bluegrass has come at a glacial pace. Look no further than the IBMA awards that have been handed out for more than a decade and you'll see the same names pop up on the list time and time again. Dixieland music is great, too, but strictly defined music that doesn't allow change can end up being a museum piece. A great museum piece, but a museum piece all the same.
It would be nice to think that this move to Raleigh will change things, but past experience shows that this isn't going to happen.
thanks for the article i heard boundaries on an nyu radio station in new jersey and i loved it man! and my dad is dead as well! i spent a solid amount of time trying to find the song and it was worth it! thanks mark and chris! peter
Confessor is so rad.
I lived on Maiden Lane, had to walk past Sadlacks to every class I ever attended at NC State.
Again, "emminent domain" has been perverted to line the pockets of private developers.
And given the conditions that the students in that neighborhood live in - Maiden lane in the 1920's was the "high rent district" - the Theta Chi House was then the Mayor's residence, named "maiden" after his daughters - but in the 1980's it was the student Ghetto the rats had nicknames. I'm wondering how many of those properties are still owned by the same slumlord John Schrader who made his living from milking students who could afford no more than hot and cold running roaches.
But Sadlacks, that's the problem. Yeah right.
Well, you can see Sadlacks from Hillsborough Street, you know when the board of Trustees and the crowd with all the endowments is paraded around to convince them to give money to the University.
Raw capitalism is good for some things, but it does have limits.
Why must it have limits?
Because left completely alone, it starts to eat itself.
I'm happy to hear the optimism in the owner; I started school in 1985, the year after she took ownership. I salute her for being able to maintain that corner for thirty years as it is.
As for another eight-story building -
The Belltower was once the tallest structure on campus. It was still a guiding landmark all these years, "We're across the street from the belltower"
These dumb fools will keep this up until you can't even see the belltower from anywhere but behind the windows of their monuments to greed.
You had me at "new album... dB's". Haven't seen those guys since 19*cough*ty*cough* at The Pier. Can't wait to hear what they're up to now... Wow.
Great article. Karen had a very hard life and she led it bravely as long as she could. It's wonderful that Ari has memorialized her this way. Absolutely beautiful and full of grace.
The link to Byron Woods' review of Chaunesti Webb's play "I Love My Hair When It's Good: And Then Again When It Looks Defiant and Impressive" is http://www.indyweek.com/indyweek/stirring-…. Thanks, Eric!
Calicat, you should read Byron Woods review of the play, I Love My Hair When It's Good: And Then Again When It Looks Defiant and Impressive. It's on "this website" and I think it might curb your annoyance.
rhythmchile, Why are you taken aback? Seems to me like she's just using the term "good hair" colloquially, in reference to complex hair identity issues among black women. But nothing suggests that she believes that her grade of hair is superior to others'. In fact, it's usually the other way around. Some black people actually go out of the way to point out that someone else's grade of hair is "better" than their own. Sometimes in jest, and sometimes "for-real-for-real". Either way, it's a sad psychology.
One thing I have not been able to do is stop smiling when i read something about me true or false. I am the Darnell Glover that you visit and saw your letter upon my wall. I have any song for Bandit Label although I have done a lot work for it's owner Arrow Brown as a Freelance Photographer and the promoting of his son Deno Brown going to Calif. talking with movie producers. Although when you came by my house to talk with me and a Chicago Public Housing (Projects) was across the streets where I lived is not a part of the public housing, but own by someone I have know fro years. The subject in which we talked about was my record label "South Town Records" and it's artists. The Flairs who was my first artist that I recorded and the song was "I Want You" and "All I Need" and there are artists like The Next Movement in which they was with Lonnie Hampton who was a partner of mine as both us worked with many talented youths from all over the city including the young man who sung the song "Love Jones". During that time Lonnie Hampton was The Next Movement personal manager. But I do want to think you for mentioning my name in this.
Thank you, marcus11. It's been corrected.
pls change Stiltbreeze to Siltbreeze.
In much of West Africa, people use the term "white" with Black people to mean someone who has lived in the West. So the same term would have been used for any Black person, mixed ancestry (African-American or what have you) or someone with a White parent, or even with someone purely African - as long as you have lived in the west and show that outwardly in your behavior/composure. It's common for people to misinterpret the meaning of the statement (as Giddens and the writer of this article did). Africans with a white parent are fairly common since this method was used during colonialism to infiltrate and break various African empires and "tribes". So seeing someone who does not look "purely African" (for lack of better words) would not have been "confusing" for these children at all.
I was surprised by her "good hair" comment. My hair is similar to hers, both my parents are Black, my sister's hair is kinkier, and I don't see my hair as any better than my sister's hair or anyone else's. Strange comment for someone to make in the context of this article, lol. How ironic.
Annoying to constantly have to hear dumb sh!t about hair - especially on this website of all places. However, I enjoy her music and her efforts to preserve our African-American instruments/music. Best of luck to her and the rest of the Drops.
Great story about a great colleague!
If you like Robert Glasper, you might like my blog, Rhymes and Reasons. It’s a series of interviews with hip-hop heads who discuss their lives and a few songs that matter to them. Pretty powerful stuff. Check’em out here:
David -- Good points all, thanks for writing and helping to shape up my understanding and our readers' too. Bob
Nice piece. A couple of exceptions, though:
(1) "Despite the religious bent, shape-note singing is first and foremost a social rather than a worship practice . . . . The point isn't prayer. It's to have fun." Actually, to many traditional singers, it *is* first and foremost worship, and they'll come down on you hard if you treat it with less than the seriousness they think it deserves. That the Sacred Harp community manages to combine the worship-minded and the fun-minded with a minimum of conflict is one of its more remarkable characteristics.
(2) The high part in Sacred Harp isn't the "soprano" part, because many of those who sing it [including me] are guys, and can't sing in that range. It's called the "treble" part.
(3) The shape-note tradition wasn't developed in opposition to "better music"; the so-called "better music" movement of the nineteenth century arose in opposition to that earlier style. It borrowed from the European classical tradition, but it wasn't Bach, which is actually closer to a shape-note "fuging tune" than the mainstream church hymns that came out of the "better music" movement. And "sweet gospel music" came even later.
(4) And if you think that fuging tunes are "easy to sing rounds"--their complexity puts most of what church choirs sing to shame.
David L. Carlton, Nashville, TN
Indy Week • 302 E. Pettigrew St., Suite 300, Durham, NC 27701 • phone 919-286-1972 • fax 919-286-4274
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