Showing posts with label atlanta. Show all posts
Showing posts with label atlanta. Show all posts

Point Out The Bounce!


When accentuating the positive equals accentuating some triflingness - that which really is what most folks like to call - there's a strong case in the Bounce culture.


I recently checked out Big Freedia's show at The EARL, and man, I had no clue what I decided to cover. Her joint "Ass Everywhere" is a proclamation, let her live performances tell it. Big booty broads on stage, in the audience (then on stage) - surprisingly without a machismo in sight.


While most stripper-ready music brings out as many guys as gals because of the gals, Big Freedia and the Bounce culture brought forth a type of subculture counter-intuitive to misogynous music. And doubting it has everything to do with its popularity in the LGBT community, it felt pretty darn good to see women flaunting what they have without feeling like they were being undressed by the eyes of patriarchy.

So there are more photos and a full recap of this crazy show on Frank151. Go there to see what I saw!

A Guinea Pig + Rhode Island + A Guitar = Ellis Ashbrook

Bands with a sense of musical maturity and ambiguous mystery create some of the most stimulating, unwinding tunes. There's nothing like having the right soundtrack when trying to chill, whether it's early Saturday morning or after 5 Monday evening.

Ellis Ashbrook has that kind of sound. This New York band of four is coming to Smith's Olde Bar in Atlanta on the 7th bringing their prog-rock, jazz and funk with them. Come to the Midtown bar to unwind because we all know how the case of the Monday's can be!

Until then, check out this interview they did for the blog. They talk about their name - which could easily confuse folks who are equally confused with the GROUP Travis Porter - and their latest project Meridia.

How did you guys get together and form Ellis Ashbrook?

The guitarist John and drummer Alex started playing together as kids. Bassist Jonathan joined up around the beginning of college and Natalie, keys and vocalist, at the end of college. Several other members have come and gone over the years, but the 4 of us have been living and playing together in NYC the last 4 years.

Where did that name come from?

Ellis was a Guinea Pig, Ashbrook is a street in Rhode Island. Can you dig it?

I sense a maturity with this group, when it comes to your sound. Like, chill or folk rock of some sort. Am I at least on the right track? How would you describe your music?

We wear many hats. For instance, on our latest album Meridia you will hear down tempo jazz, progressive organ-driven funk, Tool-esque riff rock, saxophone, strings, 20 guitars at once and a lizard tongue bass.

Where do your musical influences come from? Do you guys all come from the same background musically?

Yes and no. Natalie grew up on classical music and basically sans contemporary pop-culture save Elton John, Xanadu, Sheena Easton and Whitney Houston. We also have a strong 60’s and 70’s classic rock, prog-rock, and funk foundation mixed with the rock music of the early 90’s. Lately, there’s been more of a jazz and electronic influence, but we are constantly exposing our ears to new sounds and vibrations so our musical palate can grow and expand in unforeseen directions.



If "sometimes it's unassuming, unalarming" then why not watch? I guess I'm asking what's really going on in "No Please Don't Watch."

“No Please, Don’t Watch” is about the beautiful, confident dualities that make people tick.

Does Meridia sound like this, lyrically? What else does this album's lyrical content contain?

The lyrical content of all our songs is based in sensation, observation, meditation and consecration. We encourage positivity, yet we embrace the dark depths of everyone’s life experience.

How long did it take to create this album? What was making this project like?

Jerry Garcia said recording an album is like building a ship in a glass bottle, playing live is like sailing the ocean. Long before we were anywhere near a microphone we perfected song structures, lyrics, melodies and grooves so we could layer parts freely for days. Our motto became lay it all down then start building it up piece by piece.

What has touring been like so far? What do you guys look forward to the most (other than performing) when you come to Atlanta?

Haha off the previous question, touring is like building the proverbial ark. You can’t be prepared, you create a flow and you go. We love local record stores and I am hoping Criminal Records is still around when we get there. Great food and vintage clothing are always a must too. Seeing the different worlds growing in each city is the best really, Brooklyn has its own flavor and we love it but there are so many wonderful meccas we have stumbled upon on tour. It’s refreshing.

Balkans Set to Bomb Awesomeness at CMJ 2011

Atlanta is running things at CMJ this year!

From hiphop like Senor Kaos to the rock n' roll ATL has grown to love, like the Balkans, this city is heading to NY with a strong Southern force.

Yesterday, much buzz surrounded Balkans with their set last night at the Lefse showcase. Folks can check out their next set Friday at the Kanine Records showcase. From what I hear, this could get as wild as some Ohio exotic farm owners (ok, maybe the Zanesville sheriffs?) as these guys are as much sensibly punk as they are charmingly pop as they are amusingly fun.

Speaking of wild times, I remember covering the Balkans when they released one of my favorite ATL-made songs this year "Edita V." We talked about how they got together (*slash* the high school story) and where did their name come from (which means "absolutely nothing whatsoever"), though this band means everything to ATL!

Click the link below to read on!

Balkans celebrate long-awaited 7" single release at Star Bar - Atlanta Local Music | Examiner.com


2011 A3C Festival Photos and Recap



I had the pleasure of doing double duty for A3C this year - holding it down for A3C (of course) and Frank151 Atlanta Backwoods. From many trips to Subway for an Anytober footlong to wacky odes to Trail Mix, I was pretty exhausted by the 3rd day of A3C-ing. Maybe I should save these anecdotes for the actual recap...


From meeting the female emcee of 9th Wonder's Jamla crew to witnessing Big Daddy Kane and Skoob Lover do their trademark dance, the twinkles in my eye never really left throughout all of A3C. Just about every performance I saw at A3C reminded me to never sleep on a hiphop festival merely because it is indeed a hiphop festival.

Not everyone (at least in Atlanta) got that memo. Although the headlining acts get bigger and bigger (mind you, this year's included Freeway, Random Axe, Big KRIT, Dead Prez, Big Daddy Kane), the city's consumption of A3C seems to stay the same, if not grow weaker. It felt like there was less enthusiasm and appreciation of the hiphop fuel A3C had, not to mention the other events tending to the needs of Atlanta's socialites conflicting with A3C's impact. Yeah, the Atlanta City Council awarded A3C with a proclamation for their hard work and diverse cultural programming, but the city itself seemed to yawn it off. 7 years later, and a proclamation by the Atlanta City Council, and they still have to compete with other people in bringing the biggest hiphop names to Atlanta on the first weekend of October? Come on, son!

Aside from all that, A3C continued to accomplished what most big events in Atlanta don't do - break wall(s). Usually people go to an event indirectly masked as certain people: press/media, up-and-coming artist, complete and total fan, socialite (can be V.I.P or groupie, but that's another blog post) and the performing act. Whereas most events, especially "Black Hollywood" events, keep things neatly organized to the point where everything seems fenced to machine-like actions and interactions, A3C doesn't do that at all. Instead, A3C will have you forget that you, the performing act, shouldn't act hysterical over another performing act. Or you, the press guy, shouldn't be so star-struck when a headliner is ready for pictures and questions in the media room. However, when hiphop is being hiphop - familial in all its cultural ways - wear as many masks as you can without being the festival creep.

The biggest highlights of A3C this year came from the most respected names in the entire hiphop community, as many of those cats were there. From Jarobi making a surprise appearance for Eternia's tribute to ATCQ's "Excursions" to a massive amount of white people obligingly yell "I'm down for running up on them crackers in they city hall" to MURS finally unleashing emotionally-deep material unto his fans to 9th Wonder and Dee-1 sit outside of downtown Atlanta's New Era store trade knowledge back and forth like the teachers they are, I don't know what else to actually say about A3C except the twinkle in my eye - you know, that twinkle that's similar to a life-opening experience, that twinkle - never left.

The twinkle didn't even leave when I did this ridiculous interview with the Ying Yang Twins!!! Check out Where My 40 Acres while you're at it too because those cats stayed on it.





I cannot escape without proper props to these blogs too! You must check out:


BombOnEm
Write and Groove
Miss L's
Rhythmic Images
Natasha Williams Photography
Trill Talk Radio
iAm Classic Hip Hop


Artists you must check out because they killed it at A3C:


Jon Connor
Marz Lovejoy
Nikki Lynette (crazy how underrated she really is)
Boog Brown (read Nikki Lynette)
Skewby
Phil Ade
Nikkiya
The 5IVE
XV (again, read Nikki Lynette)
Gods'Illa
Reks
Skyzoo
and really, go to A3C's website and look up all the other artist profiles because there're too many to name!

Check out my Frank151/A3C blog team coverage of A3C, including interviews with MURS, tabi Bonney, The ReMINDers, Eternia, Nikki Lynette, Ultrabeast, The 5IVE, Boog Brown, and more!

Also, my YouTube page has some great concert footage, including MURS' new joint "Remember to Forget" and Freeway's classic "What We Do"

And since you made it this far down the blog, and hopefully read all these words I've typed, check out this video I got of Ski Beatz with his band The Sensei's and Phil Ade getting it on the spot!





SIDEBAR!!!

I often tussle with the belonging and the arrangement of different generations in hiphop. Where do I fit in? Is there even a post-hiphop generation? Did I really need to be alive to be part of the hiphop generation, or is there a nonchronological presence in hiphop that overrides the whole "we started it"/"we, the old heads" mantra? How much does age really matter?

After A3C, not even through the exploration of technological advances in the culture's preservation, I've found out that age is nothing but a number - as long as the community elders (the old heads) continue to build with the youngsters, and vice-versa. Face it, while vinyl will never die in hiphop, the younger generation will forever need to teach veteran DJs how to work the vinyl-to-USB transformation to the max. An old head will always have to teach young breakers proper and well-respected freezes.

A3C was a perfect example of all of that! From seeing breakers of all ages battle to hearing 9th Wonder and Dee-1 give advice to aspiring artists to watching a group like Dead Prez shout out a group like The ReMINDers as "family," the opportunity to dead my on-the-fence grappling of the Hiphop/Post-Hiphop generation(s) was there and ended it.

Big K.R.I.T is Performing at A3C 2011 (Retro Interview)

I am super excited for this year's A3C Festival in Atlanta! From Big Daddy Kane to Big K.R.I.T, it seems like all kinds of hiphop is coming down for the three-day festival.

In light of this year's coverage, here's an interview with Big K.R.I.T for AOL back in the "sometimes free doesn't mean you won't get paid" freelance days with their City's Best site. We went on and on about what he does when he's in town, but in this excerpt we talk about the day he got signed to Def Jam:
In such a short amount of time, we've heard your music go across the board. What's your ultimate goal as a musician?

Make music that people can relate to, something for all walks of life. I feel like as an artist, I'm supposed to paint all these pictures. So, I stay true to myself and do the right music and be original.

What was it like meeting Sha Money XL and the day you signed to Def Jam?

It was dope! Sha Money is a down-to-earth person. He has a respect for where I come from -- from nothing to a million-dollar signing -- it's like a homie kind of aspect. I ended up calling my father in the elevator like, "Pops, this is real!" It's Def Jam, the mecca of Hip-Hop, and to be from the Dirty South it was like we did it!
 Check out the rest of the interview on AOL City's Best.

Speaking of "best," best of luck to Big K.R.I.T on winning his first BET Hip Hop Award this year. Although not many people credit BET for serious award ceremonies, there's nothing like having a physical symbol of appreciation (because YouTube and Bandcamp hits can only mean so much). In other words, you can't really place Internet buzz on your mantle or trophy case. Good luck Big K.R.I.T!

My Blogging Efforts for Troy Davis on Frank151

All posts associated with Troy Davis bear thoughts that build tears. The fact that a Black man was executed for something that he might've done should let everyone know that this justice system is flawed. This isn't the blog to speak directly on those matters, unless musically-related.
This has been my connection to the case professionally, and please believe I worked it to the bone! On Frank151, I helped spread the word about the real-time eblast and mixtape campaign for Troy Davis' clemency. Though clemency wasn't granted, the effort - and definitely Troy Davis - will not go unnoticed.

Listen below to the countless number of political and hiphop icons who tried to help Troy Davis. You can check out my scoop on the matter, which covers up until Wednesday evening, by clicking on the link below the bandcamp player.


Thurzday of U-N-I Interview with Frank151

While covering the Atlanta Indie Festival, I got to see one of my favorite now former group U-N-I member Thurzday perform. Of course, after his set he sat down with me to talk about his favorite Atlanta artists, his new album - which is out today, go cop L.A. Riot - and then I got to let out some lame yet witty U-N-I/you and I jokes. He was cool about it, as well as cool about talking about leaving the group.

Here is an excerpt of the interview. Check out Frank151 for the full article!

So where are you at? Let's talk about this new project.

It definitely pulls inspiration from the '92 riots, and also basically I'm at a burn-and-rebuild stage right now. Left the group, and I had to almost re-brand myself so that people know I'm a force. I burnt down the old image, and it's me re-establishing myself. I'm also putting out quality over quantity, so this thing I put out really represents where my mind is at and all the people that are pushing me right now. It's not a historical project, it just touches on a lot of life situations and, well, real shit.

Ok, so you said you left the group. So does that mean no more U-N-I?

We'll see.

I mean, you and I - as far as I'm concerned - seem ok, as long as you keep doing dope stuff, but U-N-I is ka-put?

Ha! As of right now, we're not doing the group thing anymore. I'm just really attached to doing my solo work. The sounds that I am making are really big, and I'm really digging the music I've created and the producers created lately. I definitely appreciate where U-N-I got me and all the accolades we've received, but right now it's time for me to do me.

Well, I'm glad you appreciate where I've gotten you. Ok, I'm done with the lame U-N-I jokes! With performing, how were you digging the Atlanta atmosphere?

My boy DJ Z reached out to me wanting me to come and rock. He's been supporting all the records I've released so far, so I really wanted to help support that movement. I brought my DJ Ro Blvd. to join me, and I'm glad to be out here.

A Photo Recap of Atlanta Indie Festival

I had the privilege of covering Greedmont Park's annual Atlanta Indie Festival for Frank151, and I took hella photos. I am so proud of the results - like the ones when I covered the Soul Train Awards - that I want to share all of them!

Check out the full recap of the event on Frank151 Atlanta Backwoods League.




Featured in this slideshow is:

J*Davey
Project Pat
Rahbi
CyHi da PrynceGrip Plyaz
Karima Harrison from Noot d' Noot
Tuki and Go Dreamer from Hollyweerd
Thurzday from U-N-I
and much, much more!

Sidenote, plus a bonus photo, I went to the Arts Beats & Lyrics show the night before as the purveyor of awesome that I am, and got recruited to take a photo in front of a person's work because of my KeepItClassic.com "I Grew Up On Hiphop" shirt. Lo and behold, it was for a friend of mine! Check out all of her Rhythmic Images pictures by clicking on her picture of me!

Jeffrey Butzer Talks Toy Piano Album and Show at Drunken Unicorn

While developing a relationship with many Atlanta musicians through Examiner and AOL, I receive tons of emails with the city's best hidden gems. Jeffrey Bützer is a multi-instrumentalist notorious for blessing my inbox and leaving behind pieces reflective of Atlanta's greatest current musicianship.
Under many band names - West End Hotel, Midwives, The Compartmentalizationalists, and The Bicycle Eaters - Bützer is one man of many genres and a wide variety of compositions in his holster. His last release with Claire Lodge called Past Wanstead Flats exemplified his ability to make life - however long the album may seem - aurally feel like a movie (click the title to see the story I wrote about it for AOL to see what I mean). Bützer is showing no signs of slowing down, with a few more releases coming soon this year. Although cinema is his major influence, he is so much more than a guy who can make a mean film score. I spoke with him about his new solo release, an untitled box set with compositions from a toy piano unofficially called "the Toy Pop Box," and just a general idea of what's been up with the composer.

Instead of asking this question generically, I’ll give it a little twist. What words best describe your sound?

For the bulk of my music I would say, minimal, French, cinematic, I hope.

I would like to talk about this album you are working on, the toy piano project.

I actually have three things coming out back to back to back. In short, the first is a soundtrack I made last year. It will be a three-inch CD through Lona Records. Then a seven-inch is coming with my full band The Bicycle Eaters, and then the Toy Pop album will be part of a boxed set, both via AcidsoXX Records.

So how is the toy piano project going to sound? How is this gonna be different from the last album you did w/ Claire?

I play guitar with Claire, accordion piano and things with bicycle eaters, but the Toy Pop Box is closer to my solo albums. It is a mini album, so I'm going for a more minimal sound. 

Do you play toy piano, and how long have you played it?

I bought my first toy piano in 2003. I wanted a lighter sound on my first record to double some accordion and organ lines. I had heard mostly Rob Burger, of Tin Hat Trio, play them.

What other elements of your musicianship are in your album?

This mini album is for a toy boxed set. So it is mostly toy piano, toy accordion and other toy instruments. But there is some piano, guitar and other things. Unlike my recent recordings, I am playing everything on this album.

When is this album coming out?

I'm not sure about the release date. AcidsoXX is waiting on some artists to finish their albums.

What do you plan on doing next as far as making music is concerned?

I am doing a live score to Buster Keaton's film The Balloonatic at the Drunken Unicorn on May 28. The score has bits and pieces from the album - it's sort of a collage score. I also just finished a seven inch with The Bicycle Eaters, and myself and Claire Lodge have a new set of songs we are recording with The Compartmentalizationalists.

An Interview with A Fight To The Death

One thing I do with Examiner is a Get to Know Q&A with some of the Atlanta musicians who stop by Little Five Points. It usually covers their creations, upcoming projects, living in the A, and whatever I can typically fit within a 20-minute conversation. This one features an eccentric band called A Fight to the Death, and the band member really gave me a glimpse into the complications of the Atlanta indie scene and being a band in general. Here's an excerpt of it, but I suggest just go to the whole interview here:
At this rate, where do you see A Fight To The Death within the next five years?

I hope that we are able to use the geographic distance and also use the challenges and convenience in modern technology to become more of a national band, and I mean that well. I hope that that’ll allow us to play more and out of our comfort zone, and overcome the complacency that we have in Atlanta. I really hope it gets us out of Atlanta more and make us a national or at least a multiregional band. I hope our songwriting grows and becomes more bizarre and interesting, like I will not have any idea what our next record will sound like. I see us growing and crafting songs that have a greater longevity than just writing songs that we’ll be performing live as we won’t be in that setting anymore. Our focus will be a little different.

The Drunken Unicorn Chronicles: OK, Not Really (Video)

The reason why there was no post last week is that I was waiting on getting some photos and video from a show I attended this past weekend in Atlanta. After being invited to an Attention System concert when I covered them for AOL City's Best, I decided since I was doing nothing else (but watching the slickest box set of the universe, The Wire) I should take my behind to the Drunken Unicorn.

With the walls full of band stickers and other illustrations eluding to music and fantasy figures (i.e. unicorns and robots... If they count anymore), this music venue instantly reminded me of The Union back at OU in Athens. Even the sound system's booth was identical to my favorite bar on Union Street! But back to the music...

I'll just get to the point. Attention System was everything I imagined them to be live, and then some! They had a light show, lasers, fog, and all kinds of bells and whistles associated with a rock concert, even though the size of The Drunken Unicorn is a quarter of the size of a typical arena. Their music was on point, and if my battery hadn't died, I would have video footage, so just go by this visualization: you're playing laser tag during the early 00s at a small nightclub during Armageddon while a band that looks nearly 40 performs like they're 20. If that sounds like fun, you would enjoy this show.

Although I do not have video of Attention System, I do have video footage from their opener Siberia My Sweet. This band had the most distinctive, untouched, and non-faux sound I have heard coming out of the A. Siberia My Sweet is a combination of new wave, electronic, emo-darkened, acoustic indie rock, and whatever else they could create on a keyboard. These women (and the drummer guy) had everything going well for them, except enough time. The video I have is actually the weakest part of their set, although the song is great!

Local Community Radio Act PASSED!!!

It's good to see community radio don't have to go through hoops no more!

Well, at least this act is settled (unlike H.R.848 "The Performance Rights Act" I blogged about way back when)!

I check out the Prometheus Radio Project frequently, and they broke it to me that Congress has finally passed  S.592, the Local Community Radio Act. According to their press release, the House and Senate has given the FCC a mandate for thousands of new community stations nationwide.

Sounds great, right? Right!

Why? Because it's a win for the little guy, of course, but also is a win for the home team (whoever yours may be). For about ten years, since the Radio Broadcast Preservation Act, small town radio has suffered under the shrinking dial frequency thanks to big corporate radio stations wanting to minimize use of the spectrum for their own gain, claiming interference (which ended up being a claimed disproved by a Congress-mandated study in 2003).

The new bill is waiting for President Obama's signature. According to Pitchfork, it does state that approval of the FCC must be "based on the needs of the local community," and that restrictions are in place to prevent applicants from getting a low power FM license if he or she has violated section 301 of the Communication Act of 1934.

The most awesome thing about the Local Community Radio Act is that this could possibly lead to more media job creation! Your girl needs a job, and is not afraid to step into the booth as a radio jockey. The world needs Bubble Gum Pop Rap on the airwaves, right? Wouldn't that be dope! Seriously, this could create more jobs in a starving market, so journalists and folks who love the radio should rejoice as Congress has done something amazing for once!

This wouldn't be right if I didn't shout out the following local radio stations in Atlanta that I always listen to when I'm in the car or near the frequency box!!!

WRFG 89.3 - Radio Free Georgia, man oh man. It plays a little bit of everything progressive-wise, including REAL experimental music, REAL bluegrass and country, and REAL hiphop music, and also very helpful and resourceful talk shows (not the crappy sensationalizing talk shows that scare the bejeebus out of folks just to tune them in on a permanent basis). I especially like their hiphop show Beats & Lyrics, plus their late night shows... which isn't what you think at all. I promise.

WRAS 88.5 - Album 88 is a radio station based at Georgia State University in downtown Atl. The thing I like about them is that they play what's hot in the blogosphere and in the community. It's a great place to hear local bands, indie bands, and whatever other music stuff that's considered hipster. I'm no hipster, but everytime I tune in, I always have a "THAT'S MY ISH RIGHT THERE!" moment. The thing I can't stand is that it's the ONLY radio station around that plays the atypical music.

WREK 91.1 - Georgia Tech's station is a station I tune into from time to time. I caught wind of it when they had a F' Action hour, which was interesting considering it was a Sunday evening. I always find something dope on Saturday nights on the road to a show or something, as they always have some crazy Techno or Drum & Bass record going crazy. Ultimately, they always play some jazz or big band record that keeps me tuned in.

There are a couple more stations that I like, or at least keep on my dial until I buck up and change to V-103 or Hot1079 or one of the old school stations. But the classic rock station The River, alternative rock stations 99x and Project 9-6-1 do keep me occupied when absolutely nothing else is on the radio. I hope this new Local Community Radio Act forms more local stations here in the A that provide more voices to this city.

One Last A3C Post - An Interview with Brittany Bosco

Brittany Bosco on top of the speakers!

Brittany Bosco Interview at A3C by star-watson

Hidden gems, aren't they something? I totally edited this, and forget(ted) it - sorry, I wanted it to rhyme.

Anyway, after the insanity of a set, I spoke with one of the few total singers to perform at A3C, Brittany Bosco. We talk about distinguishing singers from singy-singers, her dream collaborations, and becoming friends with people she used to listen to in high school.

A3C Festival - A Recap with Some Photos

Woke up today and looked at my booklet like "what's going on at A3C today?" Nothing, because it's over!!!

After a star-studded three-day hiphop festival, I'm slapping anybody that says hiphop is dead. This event was almost like a family reunion for some, and a jaw-dropping experience for all. It's the only place where there are several generations of one community under one roof (sort-of, if we omit the fact that two of the five stages were outdoors).

So I should back up first.

This weekend long festival had five stages - two outside, three inside - with over 70 artists putting on a small yet powerful 15 minutes show a piece. From 6 pm Thursday to 3 am Sunday, people from all over the country, well at least people from "All 3 Coasts (A3C)," came together and made friends, future collaborations and even family.

I know of at least one artist that reunited with someone that raised her as a hiphop artist, Lyric Jones. After speaking with her, she said her brother DJ Raydar Ellis taught her just about everything she knew about hiphop - from what's real to what's fake, how the music is made to how the culture has evolved - and he has credentials to back him up, as he is a professor at Berklee School of Music in Boston.

At least every journalist, blogger, vendor, DJ, breaker, emcee, event volunteer, and patron found at least one new favorite artist out of A3C. Amidst the minor technical difficulties from the venue, like microphones cutting out, loud vents, and unlevel floors, each and every artist that I saw perform was near FLAWLESS. The only thing, which I think was weird, was that many of the performers forgot their lyrics at one point through their set. But I heard a lot of backstage action was going on, so there may have been some pre-performing distractions. Some of the artists that stood out for me, and I did not really know much of them, are:

Lyric Jones
Sha Stimuli
El Prez (I'm still singing "gone, beating my chest like King Kong!")
Coolroy, aka Lite
The Jacka
Ayomari & TiRon (the two were inseparable, and it was quite adorable)

Aside from the emcee aspect of this hiphop event, the only other element that was tended to very well was DJing. Every night, there was some sort of showcase or cnotest dedicated to DJs and producers. Nwo, there is a distinct difference between a DJ and a producer, and although I feel like the two shouldn't be merged together, A3C did a nice job of making producing a part of the hiphop culture. I won't go there and say it was wonderful or it was any good, if anything else having the DJ and production events almost back-to-back like they're the same is rather demoralizing the hiphop culture. I will say the events that unfolded - having the guy from Kane Beatz speak with other up-and-coming producers about the industry, and DJ Shiftee putting on a "DJ" workshop - were very entertaining and informative for people to know how to conform to the way of current society. If that felt like a shot, it was.

The only good news about the other elements was seeing the legendary DJ Rob Swift of the X-Ecutioners put on a show wherever he was, whether he was the DJ or the judge of other DJs. He put on a funky-fabulous set at the Red Bull Music Academy 45s Show, as well as a guest DJ set at the Unique Squared DJ contest he judged. The main reason why he was so amazing was that he only used TWO TURNTABLES!!!! DJ Shiftee had all of his little hook-ups and his laptop with the DJing software, but DJ Rob Swift had a near-identical sounding set with just two turntables and a stack of records.

The breaking tournament was late yet rushed, making the breakers not really flow like they wanted. The result was a blahzay tournament, so no need to go any further.

Overall, the event was like Jasmine Solano said "a hiphop super mall." There were some things that fit very well, some things I wish I could fit into, and some things that just weren't my taste. Fortunately, there was something for everyone! All of the interviews I did with my favorite artists were amazing because of the chill environment. There probably isn't a more welcoming place in Atlanta but A3C, too bad it's just three days.

Below are photos from my phone, because I seem to have lost my USB cord to my camera/camcorder, plus a video I caught of a dope remake to "Thriller":

Rhymefest

Jean Grae

Joe Scudda and DJ Exile

Mistah Fab

Grand Prize Winners From Last Year


If you want a full-fledge recap of what went down at the A3C festival, check out my archives and these sites for more!

Just as I did with Donwill and Emilio Rojas, I did with Sha Stimuli, J.Live and Arigato!

After Sha wrecked the Jagermeister stage with his "Unsung" and "The Smelly Cat" records, although the crowd was vibing to "Unsung" like it was a Rick Ross concert, I pull him aside for an interview, but J.Live came up and brought Arigato with him. So we all sat down and talked about being an artist at a big hiphop festival, the history of their sounds and talents, and making sure I don't stink so Sha doesn't write a song about me.


Sha Stimuli J Live Arigato Interview at A3C by star-watson
After seeing this group go postal on stage, I got a chance to chat with the Grand Prize Winners From Last Year. In this audio, we talk about their sound (and Astro Pop), why they dismantle stages, hair pieces, tours and their plan to be Winners - again.

A3C Grand Prize Winners From Last Year Impromptu Interview

Now I'm off to enjoy this hiphop and journalism panel, watch some performances, and hope the breaking tournament will start soon (because it was supposed to start 3 hours ago!)

BAD NEWS!!! Erick Sermon will NOT be performing tonight. My heart is BROKEN!!!!!!

Live Blogging from A3C Hiphop Festival - Day 3

When I heard Jasmine Solano say "this year's A3C Fest is dope because it's under one roof... It's like a hiphop super mall," she was so right!

Last night, A3C was packed full of leaders of the new school, along with some legendary DJs and underground kings and queens. Today isn't much different, just add Rhymefest, Nappy Roots, Killer Mike, Erick Sermon and Camp Lo! There's also so so much more, but you'll see as the day unfolds.

Below is a video clip of STS's performance when he did his version of Gucci Mane's "Lemonade," which is to me the dopest remake of a track.




More to come today, tonight, and in my wrap-up tomorrow!