#Absurdist Rap Style

[taxideermy]

Galvanize (Buster’s Verse)

When I was Knee High to a Fuckin’ Brassed-Junkie My Literacy Teacher Voiced Some Concerns he had about Me He Said “Sure, the little tike’s smart, but from what I can See- Give ‘em about Ten years; They’ll be burnt-out, running naked through the Trees Hands in the air Screaming their fool-head-off all like ‘MATH HOMEWORK BEEECH!’”

Mooning about Sixteen Cops, Outrunin’ their Souped-Up Chargers Flashing a bunch of the Elderly as I cut across their Back-Yards I Get tackled and I shriek and I slip the Cuffs And then I get a fistful of Five-Oh in Fisticuffs Take that Tumblr; How’s that for Female-Presenting Nipples? And Take that Shit Mr. D- this Knuckle Sandwich and All them Fucked Up Participles!

Every day I look at myself in the mirror and I slam my Fist into It Every time I get into the shower I call myself a God-damned Exorcist “Dad, dad, please- Can’t you just chill, You Bastard Narcissist? Father, Pops, Daddy- Please why should I have to beg you to Cease and Desist? Can’t you just live your own fucking life instead of hijacking my Desiccated Corpse Too? You Deranged Ventriloquist; ya ain’t even Dead Yet so You need to Fucking Shoo!”

I’m losing my mind trying to outrun what I am if I can I guess I am what I am and what I am is my Old Man

I haven’t even seen him in years so I sit on the shitter and I make it a whole Bit “You absolute meth-addled drunkard pile of shit I shouldn’t have ever had to claw you out of my skin You shouldn’t have ever made me one of your sins Yet every day that part of you grows back twice as Thick Choking me out with Glass and Hash and making me the Lunatic Because of You My Whole Life’s Folie-A-Deux As in Boo-Fuckin’-Hoo, Goddamn, Deja-Vu That Bastard’s Fucking Voodoo!”

I’m drowning in your Mason Jars and Mountain-Dew Smoke Boats Passing Electricity Through my DNA and Molecularly Bonding our Sown Oats I can feel you Galvanize the frayed edges of the last of my Nerves Taking me to Ride the Lightning In your Lap until it Transfers Electricity running through me and re-wiring my Reserves Turning my brain straight into Burnt-Maple Raspberry Preserves

Whatever part of me that ever did Burn Clean You smoked off the top of a Spoon by the time I was a Teen I have to say; There’s no one out there quite like You, Dad Except the Me that you dressed in your own Plaid, Dad You can’t even Stand to look at me, huh, Dad You Fucking Has-Been Knockoff of Breaking Bad

You pat my Head with your Calloused Hands and then Dig into my Brain You Gave me Plain Bammage, Damn Deranged-Rammage and then You Flushed me down the Drain Goddamnit Told me shit like “You’re so smart kiddo, life will be so easy for you” And then turned around in the same breath and Unscrew a Couple more Screws Like Goddamn dad I know you’ve Lost your whole Sack of Marbles too But there’s only so much one kid can Fucking Do What was I supposed to do, Dad, except Become You? Looked straight up to You, More than I could ever Get Into That’s right, Now I am You; The Least you Can Do Is Fucking Look at me when I Talk To You!

I’m just fucking like him, you know, my Dear Old Dad I’m sure you’re all so tired of hearing about why I’m Stark Raving Mad I cannot even say Two Words without slipping in his Fucking Puke Can’t Stumble Without looking over my shoulder and catching sight of his Spook I knew I’d never amount to anything and I think he meant for that Switcheroo We’re both Cursed to bite off a lot more than either of us could ever hope to Chew He sold both of our souls to snatch the Devil’s Stash and we’re both Way Overdue

I won’t presume to Misconstrue the worst part of the Shitshow-

He was ‘smart’ too, you know? Before he Fried his Omelet like the Your Brain on Drugs Cameo What even is ‘smart’ though? With so many Disadvantaged Youth like the Ballad of Buster’s Spawn-Van Gogh How can we even pretend to quantify the intellectual capacity of any kid sitting on the Trap-House spin-dry Between two half-cracked out passers-by getting sky-high and practically forcing the kid to pull a Shanghai?

…You know, I think I just ran out of my Give-A-Fuck Budget I’m sick of how Society refuses to Discuss It Then they wonder why I just throw my pen down and say Fuck It. Dear Dad; I’ve got a few words for ya so before you take a Hit Load a piece of this in your Crack-Pipe and Suck It.

#Bad Poetry #Absurdist Rant #Absurdist Rap Style

[tenofthebest]

2022

1. Buck 65 - King of Drums

The world's foremost archivist of drum breaks spent the past few years painstakingly compiling his favorite beats into this joyous collection of throwback raps, celebrating the birth of hip-hop and having a lot of fun along the way.

2. The Beths - Expert In A Dying Field

A practically perfect slice of guitar-driven indie pop from a New Zealand 4-piece who prove that sometimes originality is overrated.

3. MJ Lenderman - Boat Songs

It's OK to steal from your heroes (in this case Pavement, The Band, Neil Young) if you can do it as well as Asheville's MJ Lenderman does on this ragged alt-country delight. 

4. Phoenix - Alpha Zulu

A slice of Parisian pop perfection recorded in the Louvre. What they lack in substance they more than make up for in style. 

5. Pusha T - It's Almost Dry

Virginia's finest perfected his street rap style on what instantly became recognized as rap album of the year.

6. Ethan Iverson - Every Note Is True

The ex-Bad Plus pianist delivers with his first album on the famed Blue Note label. Joined by legendary drummer Jack DeJohnnette, and bass player Larry Grenadier, Iverson serves up a masterclass in economical melodic innovation.

7. Julian Lage - Room With A View

The leading jazz guitarist of his generation teams up with major influence Bill Frisell for a triumphant outing that sees both players weaving intricate lines around each other. 

8. Charli XCX - Crash

One of Britain's greatest modern pop practitioners returned with a collection so strong and varied that it sounds like a greatest hits compilation. 

9. Gilla Band - Most Normal

Ireland's most innovative and influential band dished out an unrelenting, uncompromising third album that pushed their already abrasive sound into new dimensions of noisy physicality. 

10. Charlotte Adigéry & Bolis Pupul - Topical Dancer

Co-produced and co-written by the Soulwax brothers, this Belgian duo deliver absurdist takes on the culture wars over funky electro. 

[intoxicatingimmediacy]

There Existed an Addiction to Blood by clipping.

1. Intro 2. Nothing is Safe 3. He Dead (feat. Ed Balloon) 4. Haunting (interlude) 5. La Mala Ordina (with The Rita) (feat. Elcamino & Benny The Butcher) 6. Club Down (with Sarah Bernat) 7. Prophecy (interlude) 8. Run for Your Life (feat. La Chat) 9. The Show 10. Possession (interlude) 11. All in Your Head (feat. Counterfeit Madison & Robyn Hood) 12. Blood of the Fang 13. Story 7 14. Attunement (with Pedestrian Deposit) 15. Piano Burning

The science-fiction visionary Octavia Butler once declared that “there is nothing new under the sun, but there are new suns.” The aphorism could apply to any art form where the basic contours are fixed, but the appetite for innovation remains infinite. Enter Clipping, flash fiction genre masters in a hip-hop world firmly rooted in memoir. If first person confessionals historically reign, the mid-city Los Angeles trio of rapper Daveed Diggs and producers William Hutson and Jonathan Snipes have spent the last half-decade terraforming their own patch of soil, replete with conceptual labyrinths and industrial chaos. They have conjured a mutant emanation of the future, built at odd angles atop the hallowed foundation of the past.

Their third album for Sub Pop, There Existed an Addiction to Blood, finds them interpreting another rap splinter sect through their singular lens. This is clipping’s transmutation of horrorcore, a purposefully absurdist and creatively significant sub-genre that flourished in the mid-90s. If some of its most notable pioneers included Brotha Lynch Hung and Gravediggaz, it also encompasses seminal works from the Geto Boys, Bone Thugs-N-Harmony, and the near-entirety of classic Memphis cassette tape rap.

The most subversive and experimental rap has often presented itself as an “alternative” to conventional sounds, but Clipping respectfully warp them into new constellations. There Existed an Addiction to Blood absorbs the hyper-violent horror tropes of the Murder Dog era, but re-imagines them in a new light: still darkly-tinted and somber, but in a weirder and more vivid hue. If traditional horrorcore was akin to Blacula, the hugely popular blaxploitation flick from the early 70s, Clipping’s latest is analogous to Ganja & Hess, the blood-sipping 1973 cult classic regarded as an unsung landmark of black independent cinema, whose score the band samples on “Blood of the Fang.”

From the opening “Intro,” Clipping summon an unsettling eeriness. Diggs sounds like he’s rapping through a drive-thru speaker about the bottom falling out, bodies hitting the floor, and recurrent ghosts. You hear ambient noises, footsteps and shovels. The hairs on your arms stick up like bayonets. You can practically see the knife’s edge, sharp and luminous.

Each song contains its own premise and conceptual bent. There is “Nothing is Safe,” a reversal of Assault on Precinct 13, where the band create their own version of a John Carpenter-inspired rap beat and the cops are the ones raiding a trap house. Diggs sketches the narrative from the perspective of the victims, full of lurid and visceral details and intricate wordplay. The windows are boarded and sealed, the product simmers on the stove, the bodies sleep fitfully in shifts. Then law enforcement arrives and the bullets start to fly.

“He Dead” turns police officers into werewolves while Diggs flips Kendrick Lamar’s “Riggamortis” into something gravely literal.“All In Your Head” finds Clipping re-contextualizing the pimp talk of Suga Free and Too $hort into a metaphor for an Exorcist-style possession. The album contains interludes featuring hissing recordings of demonic invasions and guest appearances from Griselda Gang’s Benny the Butcher and Hypnotize Minds horror queen La Chat. Other tracks feature contributions from noise music legends The Rita and Pedestrian Deposit. It all ends with “Piano Burning,” a performance of a piece written by the avant-garde composer Annea Lockwood. Yes, it is the sound of a piano burning.

In the hands of the less imaginative or less virtuosic, it could come off as overwrought or pretentious. Instead, Clipping annex new terrain for a sub-genre often left for dead. In its own way, one could compare what they’ve accomplished to Tarantino’s post-modern reworkings of critically overlooked but creatively fertile blaxploitation, horror and spaghetti western cinema.

Everything fits neatly into the broader scope of the band’s career, which has seen them expand from insular experimentalists into globally recognized artists. Since the release of their first album in 2013, Diggs has won a Tony and a Grammy, as well as co-written and starred in 2018’s critically hailed Blindspotting, while Snipes and Hutson have scored numerous films and television shows.

Clipping’s last album, the 2016 afro-futurist dystopian space opus Splendor & Misery was recently named one of Pitchfork’s Best Industrial Albums of All-Time. Commissioned for an episode of “This American Life,” their 2017 single “The Deep” became the inspiration for a novel of the same name, written by Rivers Solomon and published by Saga Press. But it’s their latest masterwork that embodies what the band had been building towards — a work that finds them without peer. This is experimental hip-hop built to bang in a post-apocalyptic club bursting with radiation. It’s horror-core that soaks up past blood and replants it into a different organism, undead but dangerously alive. It is a new sun, blindingly bright and built to burn your retinas. releases October 18, 2019

#clipping. #clipping #jonathan snipes #bill hutson #daveed diggs #goosebumps

[berlysbandcamp]

In the horror genre, sequels are perfunctory. As the insufferable film bro Randy explains in Scream 2, “There are certain rules that one must abide by in order to create a successful sequel. Number one: the body count is always bigger. Number two: the death scenes are always much more elaborate—more blood, more gore. Carnage candy. And number three: never, ever, under any circumstances, assume the killer is dead.” Last Halloween, Los Angeles experimental rap mainstays Clipping ended their three-year silence with the horrorcore-inspired album There Existed an Addiction to Blood. This October, rapper Daveed Diggs, and producers Jonathan Snipes and William Hutson return with an even higher body count, more elaborate kills, and monsters that just won’t stay dead.

Visions of Bodies Being Burned contains sixteen more scary stories disguised as rap songs, incorporating as much influence from Ernest Dickerson, Clive Barker, and Shirley Jackson as it does from Three 6 Mafia, Bone Thugs-N-Harmony, and Brotha Lynch Hung. Clipping are never critical of their cultural references. Their angular, shattered interpretations of existing musical styles are always deferential, driven by fandom for the object of study rather than disdain for it. Clipping reimagine horrorcore—the purposely absurdist hip-hop subgenre that flourished in the 1990s—the way Jordan Peele does horror cinema: by twisting beloved tropes to make explicit their own radical politics of monstrosity, fear, and the uncanny.

Each track pairs a different expression of horror with one of Clipping’s signature metamorphic takes on a hip-hop subgenre. “Eaten Alive” pays tribute to the Tobe Hooper film of the same name, aping the swampy drag of No Limit and their ilk over a jagged jazz-rap instrumental featuring Tortoise guitar genius Jeff Parker, and experimental LA drummer Ted Byrnes. “Enlacing” posits Lovecraftian cosmic terror as the result of a psychedelic drift into nothingness, played as a smeary, cloud rap haze. “Pain Everyday” uses real EVP recordings—said to be the voices of restless spirits—atop a cinematic, Venetian Snares-like breakcore collage, as a call-to-arms for the ghosts of lynching victims to haunt the white descendants of their murderers. And “Check the Lock” is a spiritual sequel to Seagram’s classic track “Sleepin in My Nikes,” describing a drug kingpin’s paranoid descent into madness.

Visions of Bodies Being Burned slaps even more often than its predecessor, although perhaps the only club it will do so in will be the burnt-out, radiation-poisoned rave of some science fiction dystopia. Their new album finds Clipping building upon the language of their already-revolutionary music, while still making the trunk rattle on dilapidated hearses and demon-possessed Plymouth Furys. Never, ever, under any circumstances, assume the killer is dead.

#horrorcore #horror hip-hop #rap #hip-hop #alternative

[ifuckinglovestvincent]

Pitchfork: St. Vincent On Her Directing Debut, The Birthday Party

Annie Clark on the set of her short film ‘The Birthday Party.’ Photo courtesy of Magnet Releasing.

By Ryan Dombal 23 January 2017

Annie Clark is aware of the perils of dilettantism. Her cracked art rock is anything but—even at its most uncaged, the music she makes as St. Vincent is in-control, adroit, world-class. When we speak over the phone on a recent afternoon, though, she mostly doesn’t talk about her music. She talks about directing and co-writing a short film, The Birthday Party, which is part of a new female-driven horror anthology feature called XX. “I know what you mean,” Clark says after I express some trepidation about artists working outside of their best-known medium. “It’s like when your friend shows you a picture and says, ‘I’m drawing now!’ and it’s something that might look really good if a 10-year-old drew it—but they’re 30.” But in Clark’s case, there’s no need to worry. The Birthday Party is not only competent, but funny, strange, and visually rich. It stays true to the unique mix of black humor and heart that marks some of her best songs. The short stars the effortlessly relatable Melanie Lynskey (Heavenly Creatures, “Togetherness”) as a disheveled housewife named Mary who simply wants to give her anxious 8-year-old daughter a fun birthday to remember. Which happens. But not exactly as Mary planned. Because as she’s preparing for her guests to arrive, she finds her husband slumped over in his office chair, dead. Even so, the show must go on. What follows involves a rapping panda bear, a kid in a toilet costume, and a fair amount of Weekend at Bernie’s-style, lugging-a-corpse-around shenanigans. Based on actual events that happened to one of Clark’s friends, she says The Birthday Party is about “the idea of waking up with a body in the house and having to make—in a second—a big decision to protect your children.” XX debuted at Sundance last night (January 22) and will open in theaters and on-demand February 17. Pitchfork: This film depicts an 8-year-old’s birthday party that goes very wrong. Do you remember how you celebrated your own eighth birthday? St. Vincent: Oh my god, yes. When I turned 8, we had the party at a putt-putt golf course that also had an arcade. So me, my mom, my sister, my step-dad, and my best friend Doug were on the highway to the party and we were behind a truck that had a bright pink sofa on it. All of a sudden, the sofa fell out of the back of the truck. My mom put on the brakes, swerved to miss it, jackknifed, and hit the guardrail on the left side of the street—we spun around across three lanes of Texas traffic to the shoulder of the road. Luckily, no one was hurt, and we weren’t hit. But we were all in a state of shock. My mother is a very obsessive picture taker, so in her state of shock, she got out and started taking pictures of the car—I don’t know if it was to document the experience or for insurance purposes. But as she was taking the pictures, she stepped into an ant pile and was stung by a thousand fire ants and went into anaphylactic shock. She fainted and almost died on the shoulder of the road in Mesquite, Texas. She went to the hospital and was OK. No one was hurt. So, I guess we proceeded to go play putt-putt. Did that experience have an influence on this film? Well, I have therapy tomorrow so I could have unpacked that then, but you helped me unpack it just now! I read that you are afraid of horror films to the point of avoidance. Were there any scary movies that made a strong impression on you as a kid? I remember seeing Full Metal Jacket when I was 6, and I will always have the image of Vincent D’Onofrio getting beaten with bars of soap and then subsequently blowing up his brains in the bathroom. But I can’t deal with violence of any kind. I don’t like to watch it. My mind will go obsessive and I won’t be able to stop think about these horrible things. But I do like dark absurdity—give me “Louie” any day. The Birthday Party is meant to be a black comedy.

Melanie Lynskey as Mary in “The Birthday Party” What were some of your artistic inspirations going into this film? When I was working with Emily Batson, the costume designer, on the robe that Mary wears, we found this one that was torn at the shoulder. Emily said, “Oh, we can get that sewn up before we shoot.” But I was like, “No, no, no. That’s Leonard Cohen. That’s perfect. That’s going in there.” And the neighbor’s hair is an homage to Wim Wenders’ Paris, Texas—it’s almost perfect but not quite. And I took a lot of visual inspiration from a magazine of beautiful but absurdist photographs called Toilet Paper, including a shot that is the the absolute Magna Carta of the whole movie, which is someone’s feet sticking out from under a rug in an otherwise perfectly stylized room. You just go: Yep, that’s what life feels like a lot of the time. Speaking of toilets, where did you get the toilet costume one of the kids wears at the end of the film? They were all custom made. You also wore a toilet costume during a performance last summer, was it the same one? Yeah. And during that performance, you played a gorgeous new ballad with the memorable line, “You’re the only motherfucker in the city who can stand me.” Will that song be on your upcoming album? Yeah. I think that song will definitely be released. You recently worked on a Rolling Stones cover with Kendrick Lamar collaborators Sounwave and Terrace Martin. Have you done anything with them for your new album too? Um… I… OK, I’m trying to figure out the things I can say without getting angry emails from management, like, “What are you doing?!” Yeah, there are… um… I don’t think I can say anything. I’m sorry! I’m so excited about it, though. I’ve never been more excited about anything. Now you’re just teasing. No, I know, I’m sorry! I don’t mean it like that. One more non-music question: Do you feel like you’ll direct again? I would love to.

[Source: Pitchfork]

#st vincent #annie clark #pitchfork #xx anthology #the birthday party #melanie lynskey

[automaticpostinfluencer]

The 5 Best Things From The Late Late Show’s First 5 Years

It’s been five years since James Corden followed in the footsteps of famous Jimmys Kimmel and Fallon and began to make his mark on American late-night television.

On March 23, 2015, the British actor, comedian and presenter made his debut as the new host of CBS’ The Late Late Show, replacing outgoing host Craig Ferguson, who’d departed the show the prior December after nearly ten years. And almost immediately, he began to make his mark. He added a house band back into the mix, led by absurdist musician-comedian Reggie Watts. He leaned less heavily on the traditional opening monologue. In keeping with the tradition of British chat shows like The Graham Norton Show, he opted to have all his guests on stage at once for a livelier conversation, rather than the American tradition of one-on-one conversations held back-to-back. Rather than have his guests join him from offstage in the wings, they entered from behind the audience, making their way through the crowd to get to the host. And then there are the bits.

Oh, the bits.

Relying on Corden’s considerable strengths as a comedic actor and singer, the show quickly began introducing recurring bits involving his guests. Easily digestible and often hilarious, they were tailor-made for YouTube virality and quickly became the show’s calling card. In honor of five years of The Late Late Show with Corden at the helm, these are the five segments that put the show on the map.

Role Call: Introduced with his very first guest–the beloved Tom Hanks–this recurring segment finds the celeb in question acting out snippets of their illustrious careers alongside Corden and some very hilarious costume quick-changes. Since earning Hanks’ cosign on the segment (in a clip that’s been viewed over 24 million times on YouTube), Corden’s been joined by Hollywood heavyweights like Arnold Schwarzenegger, Tom Cruise, Matt Damon and Julia Roberts for subsequent installments. 

Crosswalk the Musical: Considering American audiences had just been introduced to Corden in the film adaptation of Into the Woods before he began hosting The Late Late Show, it was no surprise that several of his most successful and enduring segments have leaned heavily on his musicality. In this hilarious bit, he and and his guests hold a flash mob-style performance of songs from musicals in the middle of a crosswalk on L.A.’s busy Beverly Blvd. just outside his studio as commuters look on in disbelief and amusement, waiting for the light to change. Beginning in April of his first year with Grease, he’s since been joined by the casts of Frozen, Aladdin and Beauty and the Beast for increasingly intricate and hilarious performances and even taken the show on the road, joining the cast of The Greatest Showman in NYC and mounting two separate productions in London.

Spill Your Guts or Fill Your Guts: The rules are simple in this hilarious segment: Corden and his guests for the evening are posed a series of personal and potentially embarrassing or controversial questions and they either must answer or ingest the disgusting food placed before them. It’s never not funny to see which questions are too much for guests like Justin Bieber, the Jonas Brothers and nearly every member of the Kardashian-Jenner family at one point of another. Watching guest host Harry Styles and his ex Kendall Jenner face-off in the segment back in December was, perhaps, its pinnacle. 

Drop the Mic: This segment, which features Corden and a guest squaring off against one another in a scripted rap battle, became so popular that it became its own series on TBS back in 2017, hosted by Method Man and Hailey Bieber. But it’s remained a staple of Corden’s show as well, allowing stars like Helen Mirren, Usain Bolt and Jeff Goldblum to flex their surprising flows. 

Carpool Karaoke: Of course, this list wouldn’t be complete without this recurring bit, undoubtedly the crown jewel in Corden’s arsenal of viral segments. Beginning with Mariah Carey back when the show began, so many of our favorite pop stars have ridden shotgun with the late-night host, joining him on his commute throughout Los Angeles (or abroad) while belting out a few of their favorite tunes. And while Corden accurately credits Mimi for being brave enough to be the first to join him, giving the bit the A-list co-sign it needed to become the fan-favorite it is today, we remain partial to Adele‘s killer 2016 appearance, complete with her masterful MC skills via Nicki Minaj‘s “Monster” verse.

Here’s to many more years to come, James!

The Late Late Show with James Corden airs weeknights at 12:37 a.m. on CBS.

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#Lifestyle

[229greenkill]

On Saturday, February 29 at 8 PM, host Ed Smyth presents Fringe Variety Hour featuring  the geek comedy of Ed , with his special guests , the comic genius, Gilles & Mikail, musical guest, Marc Delgado, with a special comic performance of Jerry Dymond of “Quite Unhelpful Lists.” 10 dollars at the door or tickets may be reserved on this page.  Seating is limited to 45.  BYOB and unique snacks and soft drinks are available at Ozubar.

About the “Fringe Variety Hour” 

Ed Smyth

Jerry Dymond

Fringe Variet Hour Poster

Gilles & Mikail

Marc Delgado

Greenkill, presents  “Fringe Variety Hour” every month through 2020. These shows will highlight 90 minutes of the oddly funny and the strangely wonderful for comedy, song, and live performance by fringe entertainers throughout the greater Hudson Valley. 

The premiere show on February 29, at 8 pm, will serve up the poignant, touching, and original song, stories, and poems of Marc Delgado; the metaphysically unfit duo of wordshpritzer Mikhail Horowitz and guitarist Gilles Malkine; Ed Smyth’s geek comedy and odd characters; and index cards ‘o’ plenty of Quite Unhelpful Lists by Jerry Dymond. 

Marc Delgado writes songs, stories and poems about characters trying to make sense of The American Landscape. His last record “High in a Neon Dive” is a spiraling tour through the seedy motels and dive bars of The Central Valley in California where Delgado grew up. His new record “Wildwood Road” is due out this summer. 

The comic duo of Horowitz and Malkine have been performing together in the Hudson Valley and beyond since 1989. They perpetrate increasingly unlawful acts of political satire and recycle literary classics, adapting them to rap, blues, bop, doo-wop, hip-hop, high-tech hillbilly, and other, even scruffier musical idioms. They also spoof or pay backhanded homage to various subgenres of American roots music. Among the folks they have opened for and/or shared bills or collaborated with are Kinky Friedman, Peter Schickele (aka P.D.Q. Bach), Ed Sanders (The Fugs), David Amram, Robert Bly, and the duo of Jay Ungar and Molly Mason. 

Ed Smyth serves up an absurdist and silly string of brain-twisty topics and characters as diverse as single cell balloon animals, Moe Bot the Comedy Robot, Bronco Brad the Crooning Cowboy, Uncle Funk-O-Licious the retired white wannabe rapper, Wally the Happy Talking Neutrino, a fresh dairy products sea shanty, Oog Son of Ahg the entertainer from 30,000 BC, and more. Ed produces and headlines his own feature show “Geek Comedy Hour” in coffeehouses, performance spaces, art venues and similar throughout the Northeast, as well as currently producing “MicroFringe” and “Fringe Variety Hour”.s 

Jerry “What the What” Dymond has honed his unique comedic style by crafting dozens of index card lists of quite unhelpful tips, such as “Cheesy Pick Up Lines”, “10 Reasons Why A Handgun Can Be Better Than A Woman”, and “You’re A Senior When…”. Jerry performs throughout the Capital District. 

Greenkill’s “Fringe Variety Hour” will run consecutive months throughout 2020, typically as the last Saturday of each month, and will feature a blend of regular performers such as Ed Smyth, and three to four special musician and performer guests. 

About Green Kill

Green Kill is a multi-use performance space dedicated to a diverse and growing creative community. Green Kill’s mission is to create artistic opportunities through peer to peer organization of talented and dedicated visual, performing and literary artists.

Find out how you can support green kill here: https://greenkill.org/2019/07/12/please-support-green-kill/

Green Kill is a handicapped accessible exhibition performance Space located at 229 Greenkill Avenue, Kingston, New York, 12401, [email protected], open Tuesday to Saturday from 3  pm to 9 pm, with a selection of events on Sundays. Green Kill is closed on national holidays. The phone number is 1(347)689-2323. For the event schedule please visit http://greenkill.org/events. Exhibition viewing hours are Tuesday-Saturday, 3-5 PM or you may make a special appointment by contacting [email protected] or phoning 347-689-2323.

Fringe Variety Hour, February 29 On Saturday, February 29 at 8 PM, host Ed Smyth presents Fringe Variety Hour featuring  the geek comedy of Ed , with his special guests , the comic genius, …

[thesinglesjukebox]

DOJA CAT FT. RICO NASTY - TIA TAMERA

[6.38]

The most pressing question of our time: which Sister Sister theme is the best?

Danilo Bortoli: As far as joke tracks go, nothing beats a line like "bitch, I'm a cow" while, also, interpolating a Kelis reference. Surprisingly, "Tia Tamera" is more song than joke and even more playful than "Mooo!" -- even when it is comparing boobs to, say, the twins from Twitches -- mainly because its title is merely a subplot for the real action happening: this is a self-congratulatory victory lap, made absurd by its aesthetics, but it never gets consumed by it. And because it is so absurdist, it comes off as strangely wholesome -- even, again, when it attempts to rhyme "Sia" with "diarrhea." Amazing. [8]

Nortey Dowuona: Doja builds a maelstrom around Rico while Tia and Tamera patiently build the sets on The Real with their magic. [9]

Alfred Soto: I hear an awesome, vulgar track at its roots, but its plod does the rhymes no favors -- I don't wanna hear about Sia, thank you. [5]

Joshua Minsoo Kim: I kept listening to this in my car, and the dings sound just like the noise that accompanies any warning lights. This connection made "Tia Tamera" even more thrilling for me because of the milliseconds of panic that ensued. Doja Cat's right at home with this more aggressive style of rapping, and it has the added benefit of making Rico Nasty seem less gimmicky. They go well together: Sister, Sister proves an apt point of reference. [6]

David Moore: I suppose this counts as restraint for Doja Cat, being merely silly when she can do better both comedically ("MOOOO!") and filthily (everything?) so my judgment mostly comes down to how's Rico Nasty (pretty good) and would this have been better as an Instagram video? (Yes.) [6]

Jacob Sujin Kuppermann: "Tia Tamera" pulverizes the concept of subtlety with every beat, letting its paired co-stars immerse you in an endless stream of 90s references and sex jokes. Rico comes out ahead -- the collaboration's winning atmosphere lets her mellow her high-energy style slightly, allowing for her charm to shine through even more. [7]

Iris Xie: This song is the definition of "weird flex, but okay." Everything about this -- song and video -- mashes rigidly self-aware references to 2010s meme culture and nostalgia for '90s and early '00s Black American pop culture. After a while, "Tia Tamera" just sounds like a series of Wikipedia articles I read in a fever rush of nostalgia, and the chorus sounds more like a joke than a banger. In the course of working on this blurb, I have also googled and discovered things about Tia and Tamera Mowry that I seriously do not want to remember, so, props? [3]

Ramzi Awn: Doja wastes no time getting her brand across, and it works. Tia and Tamera inspire good faith, and even Rico Nasty seems to get in on the fun. Above all else, the single features just the right level of giving a shit, and that goes a long way. [7]

[Read, comment and vote on The Singles Jukebox]

#Doja Cat #Rico Nasty #rap #hip hop #music #music review #writing

[delurkgallery]

2017 Winston-Salem RAP ROUND ROBIN

Public 

· Hosted by Speak N' Eye

   Details

WE OUT HERE II : 2017 WINSTON-SALEM RAP ROUND ROBIN ☆☆☆☆☆☆☆☆☆☆☆☆ 5$ at the Door 8 PM 6 ACTS. 6 ROUNDS. (36 SONGS) 3 STAGES. 3 TOURING ACTS. 3 LOCALS. AUDIENCE IN THE MIDDLE, NO SET UPS, NO BREAK DOWNS, NO BULLSHIT, THIS IS PURE HIP HOP, ON DISPLAY. NON STOP ACTION. THIS IS A COMMUNITY EVENT, SO PLEASE, NO JERKS, NO NARCS, LET'S HAVE FUN BUT PLEASE BE RESPECTFUL OF THE GALLERY.  TACOS BY MITCHELL AVENT! THE HELLHOLE STORE (PHILLY) ((Darko the Super & ialive)) ---------------------------------------- The dynamic duo of Darko the Super and ialive joined forces while on tour for Already Dead's family reunion in Kalamazoo, MI. Their humble beginnings took shape recording in a hotel room at the now famous, Knights Inn. Taking their name from a Das Racist lyric, the buddy comedic stylings of The Hell Hole Store range from absurdly satirical to more serious social commentary on the problems plaguing our society and humanity. No strangers to shady promoters and sketchy venues, The Hell Hole Store strive to better their predicaments as artists, yet know how to make fun of themselves and the situations they find themselves in as performers. There's both a positive worldview and pessimism developed in the chemistry of the Hell Hole Store. If one dreads existence, the other will always be there to cheer them up, as friendship is what keeps this store afloat. https://alreadydeadtapes.bandcamp.com/album/ad242-darko-the-super-apocalyptic-bastard TORITO (PHILLY) ---------------------------------------- Whether in his grungy basement studio or on the shoddy stage of a local watering hole, Torito provides a deluge of multisyllabic wit, absurdist imagery, personal musing, and societal reflection. It's a bit like observing a psychotherapy session in which the shrink foregoes the typical elevator music/Yanni/nature sounds playlist in favor of a carefully curated beat set, and the patient attempts to keep a partial grasp of reality, voices all of his thoughts in complex internal rhyme schemes, and wears a leather bull mask. VISITOR10 (PHILLY) ---------------------------------------- Visitor10 is many many things. This magick man-MC takes you on a wild ride with an occult theme set up, designed to truly Illuminate the inner love inside yourself. Happy daily birthday!   https://visitor10.bandcamp.com/ MACK PAPERS (GREENSBORO) ---------------------------------------- Mack Papers is a tried and true North Carolina MC. Hailing from Greensboro, he has been shaking things up on the DIY scene for some time now. Get schooled.  https://youtu.be/mV1fvGOrmK4 GRANT LIVESAY (WS) ---------------------------------------- Grant Livesay is a member of the Fella collective, now on a solo mission, this genius takes his chill vibes and beautiful soundscapes right to that sweet spot in your cranium. https://grantlivesay.bandcamp.com/ SPEAK N' EYE (WS) ((Emceein' Eye & Unspeakable)) ---------------------------------------- Speak N Eye are a cosmically conscious hip hop brother duo from Winston-Salem, they serve up raps on a hot plate with passionate punk rock energy and an intense high energy show. https://speakneye.bandcamp.com/

#arts in community #music at delurk #music

[ricardosousalemos]

Your Old Droog: Packs

In June of 2014, a rapper by the name of Your Old Droog uploaded an eponymous 10-track EP to Soundcloud. Intentionally mysterious, with no photos, videos, or any identifying information, it quickly generated buzz in the rap nerd blogosphere. When he “came out,” he did it in a profile in The New Yorker, and when he sold out the Studio at Webster Hall for his first-ever show, it got written up in The New York Times. 

So what powered the hype machine? It’s quite simple, really: Your Old Droog sounds a lot like Nas. At times, his fine sandpaper growl sounds similar enough to be unsettling. And before he revealed himself to The New Yorker, plenty of people were convinced that the 20-something Ukrainian immigrant from Coney Island actually was Nas. Once your brain makes the connection, it’s difficult to disassociate, even if the content of his lyrics (self-deprecating cornball humor) and favorite poetic device (punchlines laden with pop-culture references) don’t resemble anything that Nas has released in the last 20 years. But it’s ever-looming, especially for anyone intimately familiar with the Illmatic one’s oeuvre.

In the years that followed, Droog dropped a couple EPs (the rock-obsessed Kinison and The Nicest) and a collaborative project with Wiki, What Happened to Fire? But as the first collection of songs in his short career packaged and marketed as an “album,” his latest LP Packs feels like a graduation as it connects verses and beats from various collaborators to make a coherent statement. He taps comedian Anthony Jeselnik to provide radio-style interludes throughout; his dry, sardonic wit cements the generally absurdist tone of the LP. And while he’s stacked the deck with features—Heems, Danny Brown, Wiki, Edan, and Chris Crack all contribute verses—he’s never overshadowed. No one would've ever confused Your Old Droog with Nas if the bars weren’t hard.

Packs uses beats from a handful of producers—RTNC, 88-Keys, Edan, the Alchemist, and ID Labs’ E. Dan.—but the palette of sounds is relatively minimal. On the standout track “Bangladesh,” Droog and RTNC freak an ill Bansuri loop over a simple boom-bap drum beat. Most of the productions are sparse, but colored by thoughtful flourishes: Harp strings, record scratches, distorted vocals and explosions, even a Frank Zappa sample, removed from the context of his posthumous bizarro opus Civilization Phaze III. He’s riding a nostalgic sonic wave currently being surfed by NYC contemporaries Roc Marciano, Action Bronson, and Joey Bada$$, rappers doing their best to embody the spirit of New York hip-hop without getting stuck in its past. And if there’s any underlying ethos of the city’s hip-hop scene, it’s the merit-based hierarchy that rewards lyrical skill above nearly all else, whether it be sex appeal, skin color, or “gangsta” status. The beats always take a backseat to the bars.

Droog’s punchline-driven style evokes the vicious jabs wielded by Big L, were he less concerned with trapping and more into watching “Seinfeld.” He’s wholly unafraid to be corny; On “Rapman” he plays the part of “a hero with a cape and a mixtape” with a straight face, earnestly out to save the rap game from whack rappers. “Yo I’m sick of sycophants who want to make their idols proud,” he declares. “I want my hero to hear me and shit his pants.”

But much like his buddy Wiki, Droog venerates the art of rap storytelling, weaving colorful street tales of hood characters that make up his perspective of New York City. Each of the three verses on “You Can Do It! (Give Up)” tells instantly recognizable stories of people with failed dreams of stardom: The hoop dreamer, the washed up model/actress, the struggle rapper. His tone is dry but empathetic, the hook evincing a perpetual motivational struggle, the drive to succeed (“You can do it!”) competing with self-defeating loathing (“Give up!”).

And of all the characters in Droog’s raps, New York looms the largest. His rhymes are full of borough references (Funkmaster Flex night, nubuck Timberlands, bodega loosies), and while he doesn’t front as a gangster, he’s unquestionably hood; when his first EP dropped in 2014 he told Rolling Stone he paid for the studio sessions with winnings from playing cee-lo. Packs is a record by, of, and for New York City, espousing the romantic notion it will never change, no matter how much the world does.

#reviews-albums

[intoxicatingimmediacy]

Join us for a live performance by Clipping, who release their album There Existed an Addiction to Blood on 10/18 (via Sub Pop). Pre-order their CD and/or LP/LP+ on this page for entry.

The science-fiction visionary Octavia Butler once declared that “there is nothing new under the sun, but there are new suns.” The aphorism could apply to any art form where the basic contours are fixed, but the appetite for innovation remains infinite. Enter Clipping, flash fiction genre masters in a hip-hop world firmly rooted in memoir. If first person confessionals historically reign, the mid-city Los Angeles trio of rapper Daveed Diggs and producers William Hutson and Jonathan Snipes have spent the last half-decade terraforming their own patch of soil, replete with conceptual labyrinths and industrial chaos. They have conjured a mutant emanation of the future, built at odd angles atop the hallowed foundation of the past.

Their third album for Sub Pop, There Existed an Addiction to Blood, finds them interpreting another rap splinter sect through their singular lens. This is clipping’s transmutation of horrorcore, a purposefully absurdist and creatively significant sub-genre that flourished in the mid-90s. If some of its most notable pioneers included Brotha Lynch Hung and Gravediggaz, it also encompasses seminal works from the Geto Boys, Bone Thugs-N-Harmony, and Three 6 Mafia and the near-entirety of classic Memphis cassette tape rap.

The most subversive and experimental rap has often presented itself as an “alternative” to conventional sounds, but Clipping respectfully warp them into new constellations. There Existed an Addiction to Blood absorbs the hyper-violent horror tropes of the Murder Dog era, but re-imagines them in a new light: still darkly-tinted and somber, but in a weirder and more vivid hue. If traditional horrorcore was akin to Blacula, the hugely popular blaxploitation flick from the early 70s, Clipping’s latest is analogous to Ganja & Hess, the blood-sipping 1973 cult classic regarded as an unsung landmark of black independent cinema, whose score by Sam Waymon, the band samples on “Blood of the Fang” and inspired the album’s title.

From the opening ��Intro,” Clipping summon an unsettling eeriness. Diggs sounds like he’s rapping through a drive-thru speaker about the bottom falling out, bodies hitting the floor, and recurrent ghosts. You hear ambient noises, footsteps and shovels. The hairs on your arms stick up like bayonets. You can practically see the knife’s edge, sharp and luminous.

Each song contains its own premise and conceptual bent. There is “Nothing is Safe,” a reversal of Assault on Precinct 13, where the band create their own version of a John Carpenter-inspired rap beat and the cops are the ones raiding a trap house. Diggs sketches the narrative from the perspective of the victims, full of lurid and visceral details and intricate wordplay. The windows are boarded and sealed, the product simmers on the stove, the bodies sleep fitfully in shifts. Then law enforcement arrives and the bullets start to fly.

“He Dead” turns police officers into werewolves while Diggs flips Kendrick Lamar’s “Riggamortis” into something gravely literal.“All In Your Head” finds Clipping re-contextualizing the pimp talk of Suga Free and Too $hort into a metaphor for an Exorcist-style possession. The album contains interludes featuring hissing recordings of demonic invasions and guest appearances from Griselda Gang’s Benny the Butcher and Hypnotize Minds horror queen La Chat. Other tracks feature contributions from noise music legends The Rita and Pedestrian Deposit. It all ends with “Piano Burning,” a performance of a piece written by the avant-garde composer Annea Lockwood. Yes, it is the sound of a piano burning.

In the hands of the less imaginative or less virtuosic, it could come off as overwrought or pretentious. Instead, Clipping annex new terrain for a sub-genre often left for dead. In its own way, one could compare what they’ve accomplished to Tarantino’s post-modern reworkings of critically overlooked but creatively fertile blaxploitation, horror and spaghetti western cinema.

Everything fits neatly into the broader scope of the band’s career, which has seen them expand from insular experimentalists into globally recognized artists. Since the release of their first album in 2013, Diggs has won a Tony and a Grammy, as well as co-written and starred in 2018’s critically hailed Blindspotting, while Snipes and Hutson have scored numerous films and television shows.

Clipping’s last album, the 2016 afro-futurist dystopian space opus Splendor & Misery was recently named one of Pitchfork’s Best Industrial Albums of All-Time. Commissioned for an episode of “This American Life,” their 2017 single “The Deep” became the inspiration for a novel of the same name, written by Rivers Solomon and published by Saga Press. But it’s their latest masterwork that embodies what the band had been building towards — a work that finds them without peer. This is experimental hip-hop built to bang in a post-apocalyptic club bursting with radiation. It’s horror-core that soaks up past blood and replants it into a different organism, undead but dangerously alive. It is a new sun, blindingly bright and built to burn your retinas.

#clipping. #clipping #daveed diggs #bill hutson #jonathan snipes #i keep listening to Club Down and Run For Your Life and The Show on a loop i need to give the later songs more time

[nofomoartworld]

Hyperallergic: An Artist Imagines Moving Syrians to Mars

Halil Altindere, “Space Refugee” (2016), full HD-Video, color, sound, 19 minutes 59 seconds (all images courtesy of the artist and Andrew Kreps Gallery, New York and Pilot Gallery, Istanbul)

“Astronauts are inherently insane. And really noble,” states Andy Weir in his 2011 novel The Martian, in which he narrates the unlikely adventures of an astronaut striving to survive on Mars after his crew evacuates the planet without him. The feasibility of colonizing the Red Planet has born much speculation over the past few decades, with this fantasy appearing in an ample supply of works in film and literature. In Space Refugee, at Andrew Kreps gallery, the Istanbul-based artist Halil Altindere employs this semi-utopian idea to tackle the ongoing political turmoil in the Middle East, from a humorous perspective. The protagonist of Space Refugee (2016), a twenty-minute long film, is Muhammed Ahmed Faris, the first Syrian cosmonaut (the Russian version of an astronaut) to visit space, who became an avid opponent of the current Syrian President Bashar al-Assad, and is now a refugee in Istanbul. In the gallery, the video projected onto an entire wall, is accompanied by a nearby small-scale oil and acrylic painting depicting Faris with his fellow cosmonauts, “Muhammed Ahmed Faris with Friends #1,” (2016) and a five-minute long immersive virtual reality video installation of Faris floating in space, “Journey to Mars,” (2016). This VR piece invites visitors to don 3D glasses provided by the gallery and experience being in space with the cosmonaut.

What begins as the unparalleled story of Faris — a crew member on Soviet spacecraft Soyuz TM-3 during its week-long travel to the Mir space station in 1987 — proceeds toward a political and social struggle over civil rights engendered by the Syrian Civil War. Though famous as a space traveler, he faces the jarring reality of the brutal politics practiced by the Syrian government in response to the Arab Spring. Altindere’s film conveys a Felliniesque neorealist story within a documentary frame, constructing a bizarre atmosphere that benefits from the otherworldly architectural texture of the Turkish city of Cappadocia where the film is shot. From its cave houses to unique rock formations called “fairy chimneys”, the unique anatomy of this ancient city in central Anatolia offers the artist a natural film set.

Halil Altindere, “Muhammed Ahmed Faris with Friends #1” (2016) Oil on canvas, LED Framed 15 x 21 x 2 inches (photo by Dario Lasagni)

The core premise of the film’s plot is the settlement of Mars by millions of Syrians who have abandoned their homelands and sought refuge in nearing countries due to the ongoing war. Faris, who is now one of these refugees, contemplates the possibility of a better world on an empty planet devoid of the complexities of national politics. He elaborates his argument through interviews conducted with Turkish NASA employees: from the legal issues of claiming another planet, to the technical challenges of colonizing a separate world. The topics Faris discusses with the young scientists strengthen the practicability of such migration, while the footage that Altindere shot, in the style of an absurdist, sci-fi B-movie, depicts Syrian kids on expedition to scout their potential new habitat. Faris argues that the Earth is too contaminated to start anew, asserts that the reconstruction of Aleppo — Faris’s hometown and one of the most heavily damaged cities in Syria — should take place not on this world, but on Mars.

The contrast between the two differently ambitious journeys that Faris has taken in his lifetime makes him a tragic figure. Deemed a hero in his country and an ally for Russia upon going to space, Faris later becomes an opponent to and a victim of the current Syrian government known to receive strong monetary and political support from the Russian government. Depicting such a dismal shift from a space traveler to a terrestrial refugee (both roles ironically influenced by Russia) manifests the unpredictable and devastatingly harsh political and social climate around the globe these days. While Altindere delivers a poignant representation of an ongoing, mass disaster through a firsthand victim’s graphic accounts, he approaches this circumstance with optimistic humor.

Installation View of Halil Altindere, Space Refugee at Andrew Kreps Gallery (photo by Dario Lasagni)

The artist, who emerged in the ‘90s while the Turkish contemporary art scene was seeking to define itself amidst cultural and political fluctuations, has always encapsulated in his multimedia work the dichotomy between the anguish and absurdity contained in reality. In his 2015 MoMA PS1 exhibition Wonderland, he dealt with the gentrification of Romani neighborhoods in Istanbul and the discrimination Romani people face in this city, by framing these issues within an invented rap music video. Similarly, 2016’s Escape from Hell which was first shown at the Neuer Berliner Kunstverein presented a sardonic portrait of the ongoing conflict between secular and religious ideologies in Turkey. Through these works, Altindere observes the ever-present tumult in his home nation through a benevolent yet sarcastic lens, and his comically surreal tone in Space Refugee prompts better understanding of an exceptionally sensitive topic. The artist’s exquisite achievement is his ability to demonstrate the terrible cruelty and bloodshed on Earth, by illustrating the ironic contradiction between the reality of the Syrian war, and the illusory plan invented by refugees to flee their homes for Mars, the planet the god of war has granted his name to.

Halil Altindere: Space Refugee at Andrew Kreps Gallery (535 West 22 Street, Chelsea, Manhattan) continues through February 11.

  The post An Artist Imagines Moving Syrians to Mars appeared first on Hyperallergic.

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