December 21st, 2012 marks the end-date of a
5125-year-long cycle of the Mayan calendar. Whether you believe in a positive
spiritual transformation or the end of the world, various astronomical
alignments and numerological formulae have been proposed pertaining to this
date. Although, none have been accepted by mainstream scholarship... and why?
Because we keep it underground yo!
Friends, fam and foes! Santa Babylon goes out in style for the all-city crew with some of the illest music on the planet. Babylon will burn this holiday seazon, so keep
them trigga-fingers locked with the home team. We got guns.
Santa Babylon presents:
LUNAR KINGDOM An old school 805 selector debuts full circle for a new
era. A veteran of his "Lunar Kingdom" renegade parties in Santa Barbara's
mountains, its only fitting to have man open up on our winter solstice.
Representing LA, ROYL also has a healthy local connection to our area. His unique style is welcomed to his Santa Babylon debut, after having effectively slayed most venues throughout our coastal paradise. Having opened for the likes of Griz, Gramatik, and Kraddy, ROYL provides something fresh for urban bass music, by keep a well-balance of bubblin' booty club, bass-heavy hip-hop, and groovy EDM
joints.
Resident Santa Babylon DJ (and bad ass artist) has ran
the party in SB for over 3 years now. His blend of southern hip-hop and
dubstep, long before EDM's new-found obsession with trap music, had made the
transition second nature for the Kansas City native. Don't expect strictly
bass-ridden dancefloor bombs, but also some serious hood shit. Check
him out on BluntBros.fm radio Wednesdays & Sundays @ 10:30AM-12:30 & 8-10PM, respectively. soundcloud.com/chadillacgreen
- - -
WABBLE
The SB native returns to Santa Babylon fresh off his
solid release single, "Falls the Sky" ft. Meliss FX. Wabble has
supplanted himself in LA the last year or two, steadily climbing the beatport
charts and setting himself up for a massive 2013. Should the world end, you
will find yourself skanking out to the freshest bass music this side of the
American Riviera.
Just finished up my first proper mix… On that MC-to-DJ ting. Some cool down vibes via sub-bass pressure reverberating your mental; sans the midrange wobbles. Any trigger happy LFO tunes in my mid-levels are replaced by ace vocals. Blends of easy ‘purple’ vibes, deep half-step rollers and neo 2-step grime riddims, all laced up with 140 vocalists; be they rappers or singers. I decided to call this “Post-Grime” for multiple reasons. But before that, let me start of by saying this label isn't a label, just the title of the mix. It's simply a term to describe something; a pattern. So don't take it as a re-label fashion at all, it's just art, yo. Although these styles crossover into different classifications... for all intensive purpose, "post-grime" is really just "grime" music... please understand this foremost.
Now, my motive for the post-grime statement: First, the obvious derivation coming from the recent influx of a “post-genre” branding which has been heavily used in particular reference of the 140 offshoots of UK garage; dubstep, grime, 2-step, bassline-house, UK funky, and most recent, the ominous “future garage”. In some ways, this mentality recalls the spirit of dubplate culture, which speed garage and then later 2-step, had inherited from the jungle days when they shared two-room venues. Unfortunately, the influence has gone wayward in the digital age with the decline of vinyl dubplates, but also a lack of the cultural understanding by people who simply liked the music, and saw no cultural connection or any need for a connection. A shame, but no fault of theirs. All aside, the principles of anti-traditional, forward thinking production values remained from the dubplate-era, and is further enhanced by the vast amounts of musical influences and sonic technologies interacting with one another nowadays.
“Post-Grime” also speaks to a more musically inclined definition of the same concept. As mentioned, all the 140 genres have been cross-pollinating amongst each other, and it has only accelerated of recent. Where grime has always been very vague in the definition of what constitutes “grime”, the emcee was always the deal-breaker. Not any emcee mind you, a grime MC. Put a grime artist on UK funky, dubstep, ‘purple’, and even some hip-hop or reggae… it can be labeled grime to a certain degree, and hence the crossovers begin. This idea also holds true to this mix. It’s interlaced with various different, yet related-genre styles, with constant vocal features by an array of diverse grime emcees. Think, “Post-Genre with an MC”.
Now amongst the classifications of “post-genre” branding, grime is the least likely to be considered so. These “post” labels are typically applied when its predecessor has collectively lost its way, as most music styles and cultures inevitably do. In fact, grime is probably the most healthy it’s been since its inception in the early-2000s. Of course, the same can be said for its sibling sister dubstep. But while the Croydon star child is enjoying mass success, it has completely transformed from its original production principles. Think, “Jungle to DnB without the name alteration.” If that's success to you, then we just belong to different schools of thought. ‘Niche’ aka Bassline-House, another UKG offspring of the Midlands UK, has all but fallen off. But artists brought up through the grime scene have had more chart-tunes this past year than ever before. Skepta, Tinchy and Chipmunk all had massive years, though not always putting out grime, they are indeed a legacy to be lauded and supported. The grime-bred pop-stars are best epitomized by Tinie Tempah’s global chart success, have just recently received the BET award for best international artist.
Grime’s not just in the pop charters either. Dubstep’s massive appeal on the airwaves has also helped grime artists and producers, such a the respective P-Money and True Tiger, gain exposure in the at massive festivals, raves and cubs. The rise of the Butterz label, run by Skilliam and Elijah, have given grime its vinyl back, and the imprint is building a quality discography and paving the way for more instrumental releases, which were sorely lacking in the emcee dominated mixtape-era just a couple years ago. And just last year, finally a North American, Tré Mission out of Toronto, ascended the implausible act of breaking out within the UK scene domestically. But there are reasons as to the aversion of the grime label…
I wanted to avoid a general application of “grime”; again for multiple reasons. Foremost amongst them was my audience. I’ve decided to push ‘this sound’, whatever you want to call it. And as opposed to my success in pushing dubstep for a few years now **Note: strickly as an MC//Promoter**. I’m not really aiming for those ravers either. This shit for the hip-hop heads. I’ve immersed myself in this enticing, fresh 140 BPM hotbed for over 3 years now, and have pretty much stopped listening to hip-hop. Even before my style altered, my taste already had. Hip-hop just seemed to have lost the edge it always had as I started to feel I had heard it all before in some fashion. But I never stopped loving hip-hop. That's because, as KRS-One proclaimed, “I AM HIP-HOP”. Any music I listen to applies this urban street culture I’ve always been apart of, and it always will. So instead of trying in vain to expose the grime scene to Americans, it's better to start it off fresh, for the time being. Pushing "grime" just isn’t effective, and usually loses more listeners than it gains. For some odd reason, grime is a tainted name. I think it may have something to do with the abrasive, raw production style and hardcore, violent wordplay. But I actually believe it’s because it’s marketed (usually in vain) to the EDM ravers, especially stateside. (That's why as an introductory mix, I'm attempting to appeal to new listeners by I avoiding the harder, raw, high-energy grime tunes). True, dubstep and jungle both have solid roots in hip-hop, but only to a certain level… but grime pushed those boundaries between EDM and hip-hop further than ever before. With that, EDM ravers also tend to not be hip-hop heads either… there is only so much subculture to go around in one’s life. So fuck the rave, this that street bump shit. Night crawlin’ riddims. Not to say that you can't skank out on this, cause that's what grime is too! Keeping it raw and street, while still keeping people breaking out on the dance-floor. This is the beautiful balance of grime music.
But it’s not just that behind my “Post-Grime” concept. You see, similar to jungle music before it, grime isolates itself to its central hub, London. It cannot realistically be accessed by an outsider… you almost have to be brought in by the existing establishment; the controllers. So essentially, I will begin to expose this music stateside --not just through DJ sets, but through original productions, vocals (without British accents), andevents. But with my status, I will never be accepted amongst the meaningful, core artists in the grime scene. Upholding this LDN isolation, I truly believe this to be one of grime’s biggest detractors, and has unfortunately limited a music that had so much potential on the outset. So “Post-Grime” attempts to avoid the grime label, while still remaining true to the culture, even if in an oppositional way. If they want to close themselves off to outsiders, then I’d rather not call my style “grime” in return.I’ve come to believe this will help break the sound transnationally, as listeners here will inevitably trace back to the UK original sound. Also, as I try to introduce this new style to all my hip-hop heads, many of which just do not get down with dubstep or other EDM --myself often included-- a vague, temporary label will help facilitate its own forward progression, with no strings attached.
Expect much more of this sound… cause I’m going all in. Currently working on some tunes with a few producers in South Cali. I wanted to use this mix as the kick-off for my stateside “post-grime” push. Mixes will get a bit hard and more "grimy", but I wanna ease it on ya, get me? All I ask of you, the listener, is keep an open-ear and an open mind. Even though it’s quite a divergent and unaccustomed sound… I just know you’ll feel it.So let this mix introduce you to my wonderful world of “Post-Grime”, cause this is just the beginning. P.E.A.C.E.
---
*If your vibezing off this, and want to know more about grime, check out rebel-elite's intel, here.
**The Post-Grime mix has been taken down on my SoundCloud and replaced with Post-Grime:DEUX. However, here is a download link to the original concept mix.
Summer has finally arrived! In SB, you can still count on the A.M. June-gloom rolling in, almost as dependable as the afternoon sun that's sure to creep out. But this particular grey morning I was pleasantly surprised to get a bit of light and color through my speakers. My top-rated local DJ amongst the 805’s relatively small pool, Toro 43 (formerly Bless the Sinner), just put out his first release which he’s giving to all of us. Even though I was surprised just now to come across it, I really wasn’t taken aback to realize man had already put it out lastmonth. Toro 43 aka Danny Mesa, is a straight talking, unpretentious Santa Barbara native and old-school 805 selecta. So as a humble individual --which speaks to an authentic character-- it also makes him the last person to be pushing his music so heavily on other people. Luckily, his music speaks for him. In a relatively small town, generic dubstep is everywhere, complete with with over-the-top LFO bass wobbles in a scene where a preference for dance-floor familiarity has overtaken a drive for anti-traditional innovation. This is expected in a smaller peripheral-city, but in my experiences Toro 43 always kept an eclectic, unparalleled selection, while rocking heavy dance floors with his mixing and live-act sets of bass-weighted pressure.
His sound selections had always appealed to me, whether it be glitch, grime, DnB or electro influences behind the vaguely labeled “dubstep” overtone which people often attach to a lot of bass DJ's various styles these days. On that personal level, it was probably because Mesa was the first to embrace the “purple” sound which I was heavily into at the time in came out. That was the sound Joker and Kulture displayed on MAH's Generation Bass in late 2008, just before I met the man that is Toro 43. For some reason, I’ve come across a lot of heads that seem intent of describing the comparisons and contrasts with dubstep and its various off-sprung sub-genres. I guess I could understand that, but it would be difficult for me to describe, or rather 'not-ascribe', a difference between the overarching label dubstep entails at large, and another one of the many sub-genre titles. But with "purple", specifically the pioneering work of Joker, I always considered it in many ways to be more grime when I first fell in love with sound. So I never felt a need to differentiate it from dubstep, as it was never apparent to. Even though in the many ways it retained some character of the London star-child at its base, the Bristol-lead purple sound was always separate to me. Which was then followed up by Ginz, Gemmy, Guido and Starkey becoming strong sound pushers of the purple movement.
Anyone unaware of a difference, these are just my words but I believe they sum it up well: The concept of “purple” comes from the heavy synth-laded production work, labeled such to purposefully differentiate it from dubstep. The color term is because the synths are rich, 'colorful' textures. Personally, I refer to it as "purple" not "purple dubstep" as some rightly can. Besides the obvious dubstep traits, and those additional grime attributes, I also associated it with Wonky; (think Scotland’s Hudson Mohawke and Rustie). With purple, you can hear the color in it. Whereas dubstep in it’s original (now muddled) concept, was classed in a dark, black-voided spatial ethos. Purple was meant to counter that idea, and create synthetic light in the extended space created by the patterns of production that dubstep was spearheading at the time. Now as I’ve said, it can legitimately be called dubstep as well, but it should be noted, this is not a conflicting juxtaposition either. These days, the cross-pollination of 140 genres is undeniable, and probably the most diverse and exciting in the current EDM environment. As an original regional pusher of the sound via his productions and live/mixed sets, Toro 43’s art bleeds with diversity and excitement. But until more recent, the latter had been his trademark: DJ mixing and live sets. But Toro’s high standard and quality-over-quantity mentality toward his own productions have finally seemed to reach equilibrium.
The EP is a 6 track digital giveaway entitled “Lavanda Summa”. The kick off track of the same title, Spanish for “Lavender”, alludes to the purple frequencies forthcoming on the release. Sure to sonics, the opening track is a synth-lead propulsion with colorful overtones. The unimaginative could call it ‘daytime dubstep’, a perfect choice for a relaxing beach day in the summer. The next track "Licorce" comes on, if not decidedly darker, certainly deeper. That summer's day falls toward sunset, a “lick-a-spliff-off” moment when you’re content knowing the nights vibes are just around the way. On comes a tingeing swath of an electrified, guttural sub-bass reminiscent of the glitch-inspired type I’ve been hearing from Do-Lab affiliated artists in Cali; but maintaining a purple/dubstep continuity, which leads into cross-pollinated blend to his work which just generally can’t be classed in full. After so many inspirational sounds coming out around the globe, the boundaries between genres have become so porous they've almost become worthless. The third track, "Baby Food" gets even darker yet, more akin to a traditional dark stasis-inducing pressure of Croydon-esk dubstep, which Toro then releases in waves of sharp, ragged basslines upon the drop.
Moving on into the only remix on the EP was the producer’s rendition of the Bassline-House’s massive hit, “Heartbroken” produced by T2. The northern “niche” music of the midlands UK never really caught on stateside, probably derailed by the advent of the similar, domestic Fidget-House scene. As a consequence, Toro’s use of the now-classic vocal by Jodie on the original feature, creates a fresh reception for a lot of the west-coasters I’ve shown it to... as a good remix should. The remaining tracks onset the summer’s darkening evening sky. What separates the “Lavanda Summa” from a 'traditional' purple productions (for lack of a better word in a hyper-evolving forward-driven scene) is the electro-infused production values it retains, while still being inherently of a “purple-dubstep” quality. That shouldn’t say it’s what separated Toro’s release from the UK-originated style, what it did however reveal to me is the similarities of the massive and diverse sound that has become "electro" (which I'm honestly not very familiar). Nonetheless, the EP seeps with a static electricity, epitomized by closing track titled “Square Meal”, which simotenously builds-up and relieves a constant pulsating tension, giving the EP its dark, dance-floor mover. And just as the EP comes to a close, it seems the summer’s night has arrived... but now so has Toro 43.
His first release is long coming, and it surely lives up to the work Toro has put in over years. When I caught up with him earlier this spring, he relayed to me even bigger things on the horizon. The South and Central Americas EDM scene has been blowing up the last decade, inspiring a taste for electronic-latin-funk around the world. Toro 43 has ventured into bass-heavy experimental Cumbia sounding production work, as well as familiarization with the rapidly expanding Moombahton sound. I’ve yet to hear any of it, but if it’s anything like Dutty Artz’ NYC Tropical sound I favor so much, it would seem Toro 43’s productions are tailored for me. But it’s not… it's simply just good music with an innovative approach. Behind the creative-artist of Toro 43, lies the intellect of Danny Mesa. A conversation with the producer will reveal a pure love for music, while being able to convey in substance exactly what he it means to him. But true to his work, he usually prefers to let the music speak for him. So download the EP for FREE off www.toro43.com, with cover art any Santa Barbarian will adore. (Mesa is also a graphic designer). Grab some of his ill mixes while you’re at it. And be sure to keep up to date with all his sounds via Toro 43's SoundCloud. This year man is sure to be making major moves throughout 2011. And in the meantime, Happy Solstice... now let’s bring on the Lavanda Summa. P.E.A.C.E.
Hypes been abuzz in the fashion world for 2011. No, it’s not Kate Middleton or her hot sister. Urban fashion icons Akomplice have once again teamed up with the musical curators of our grimy, urban environments. Akomplice prides itself on the creative inspiration that drives its clothing line. In their words, the apparel they create attempts a “positive impact, provoke thought, and communicate about issues.” As we all know, hip-hop has been the cultural movement most evocative of these ideals. So when a classic, innovative, and conscious hip-hop apparel company collaborates with a representative artist… it’s a mad ting. Keeping in line with images and thoughts conveyed in their art, the aritst’s AK collaborate with no doubt share these forward thinking traits. Detail is another crucial aspect of Akomplice that I've admired for a while. Their tendency to use simplicity in some instances actually comes across as being a component to an overall complexity toward the meaning they are trying to convey. Get me? No worries.
Last time I linked up with AK on the interwebz was when they teamed up with Hiergolyphics on the wicked Varisty Hoodie (stillavailable online). Check out that piece covering the release reception, here. This time, the peeps at AK linked with DOOM. Formerly MF Doom, the rapper has been an underground legend for years. His easily distinguishable, kicked-back flow and ace lyrical content has blessed DOOM with a loyal following and mass appeal without any major label assistance. Even more impressive than his personal work is his other collaborative works. In addition to Akomplice, DOOM has collaborated with Danger Mouse as well as Wu-Tang; notably producing tracks for Ghostface, as well as Think Differently's compilation which featured DOOM and RZA on the experimental “Biochemical Equation”. Pushing it further forward on the left-field urban tip, DOOM, a former British ex-pat collaborated with Dabyre, which included offical remixes from FlyLo and Kode9. Massive respect to DOOM on that one, as the LA beat scene and the stateside dubstep were still relatively nascent at the time.
So as it is... a collaboration between DOOM and Akomplice is simply something to anticipate. But what exactly are we waiting for? That’s just it… no one knows, that's part the hype. The project remains a mystery as the fruits of this gauranteed-sick collab are sealed inside a wood box, with the DOOM and AK logos branded beautifully on the exterior. Don’t have a crow bar to pry it open? That’s cool, Akomplice got you covered with an engraved one matching the box's complimentary artwork. So you want to wait to find out what’s inside?? Well since that’s no fun, this purchase will only be available for 1 day on their online store. But hurry up, cause the clock is ticking and you don’t want to be without this. Whatever “this” may turn out to be. Done know!
Additionally, the item will be available at the AK’s storefront location in partnership with your Fuzion, on State Street, Santa Barbara. AK just hosted their summer release party, with some sick threads from their new collection. Patrick McCarney and the AK team blessed Santa Barbara with some ILL hip-hop with some ILL hip-hop acts throughout the night, imported from AK's former HQ in Colorado. Fuzion also brought back KC badman, and SB resident Chadillac, always kickin' the flavor in your ear. Following some high energy performances, an after-party at Tonic featuring a fashion show with some hot models modeling this summer’s hottest apparel. Be sure to cruise through Fuzion every first Thursday and check out some amazing art, clothing and music with some awesome people. The new Fuzion x AK partnership is sure to elevate both companies stature in this 805 coastal paradise. My bwoy X-seed was the first in-line for the event, and always lookin' out for their supporters, the crew HOOKED him up with madd gear. So get down there July 7th and party proper with the AK and Fuzion boys. And don’t forget to pre-order your mystery DOOM x AK piece TODAY. Check it... the clock is ticking!
I don't even feel like posting really, but I found this day to be quite poignant and so I couldn't resist. When I woke this morning, I fully expected the onslaught of hype on the interwebz regarding the death of Osama bin Laden. Even before I learned any details of his death, I felt acts of celebration, conspiracy, and pure ponderance would immediately come forth. Sure enough, they did. Though it became quite annoying, I very much understand the significance of this event, no matter however symbolic it may have been. Knowing the transformative power they hold, I've tried to gauge the effects of social networks over the past year. Today, it was my lens to view the fallout following the death of the America's public-enemy #1. I've learned to curtail my political statements over the last few years, but observing the diversity of viewpoints was just as entertaining as participating. Amongst the conspiracy statements, the lack of photos topped the list with complete disregard for any sensitivities of the gruesome images and their repercussions, especially when issues of national security are invovled.
I watched a daytime host talk about how she wanted her child to watch today's events so she understand the significance. Do we really need a viral image of a man with his head blown off, especially when the glamourous photos of Prince William's wedding still in circulation?? Also amongst the hype was burying him at sea. Beside eliminating the manifestation of a shrine by his followers, the government chose to respect the religious process. This may seem so outlandish for such an evil person, so perhaps you personally may not respect such things, likely being a completely secularized and consumerist individual much like myself. But it was not out of respect for OBL, but more critically, the growing 2 billion Muslims the world over do care... Bin Laden may not have shown us any respect in his fueled hatred, but does that mean we should respond with equal hatred? In a time when America's image in the Middle-East has been heavily tarnished, the government's handling of the incident had to be carefully accessed from all respects. And the rapid burial? Muslim law dictates it must be buried in 1 day... so, c'est vie, mon amis. I hope the forthcoming information allays these suspicions... but I haven't seen it all myself, either. Honestly, my position on conspiracies, not that I don't believe governments are capable of mad shady shit, but rather, I'm more into cover-ups that serve the open, usually stated interests of their sources. In an interview I saw today, the legendary Immortal Technique said, "I myself, *laughs*, don't like to get into conspiracy, so I just say that, while I can't come here and say to people, 'oh I know exactly what happened', then I know that the govenrment's version [based on these gov't fallacies] is definitely not true." --This well-put statement encapsulates my outlook very well. I've gotten the opportunity to witness Tech grow positively, as both a revlutionary artist and individual. They are clearly one in the same for him. He's a true inspiration. Check that interview, here.
(Revelers take to the streets outside the White House).
But enough on that, that's just my 2-cents. As I've said, I'd prefer to avoid the of geo-politics on this (note: I'm also quite passionate about it). When I was watching the celbratory remarks in the day's media, I was a bit disheartened. Not to suggest people shouldn't feel as they do, I mean, who's to say how another should feel? This abstractness is especially true on such complex issues the world offers us today. But alongside the vast displays of celebration, I found some very refreshing commentary as well, such as a friend Lydia who said simply and beautifully, "I don't celebrate the death of anyone. Fuck. That." Considering that 70,000 people die in a day this remark was blatantly regarding Bin Laden which solidified a few things for me. First, the bare significance of this event, as well as the power of social media, and finally the normally odd celebration of someone's death. Then there were the more poetic remarks, my particular favorite being an MLK Jr. quote which I saw numerous times today, which apparently was made up and circulated as the civil rights leader's words. Like I said, 'the power of social media'.
"I mourn the loss of thousands of precious lives, but I will not rejoice in the death of one, not even an enemy. Returning hate for hate multiplies hate, adding deeper darkness to a night already devoid of stars. Darkness cannot drive out darkness: only light can do that. Hate cannot drive out hate: only love can do that." -- Unknown, Martin Luther King, Jr Impersonator"
This is how I felt today. And I was nowhere near expecting it. People that know me, know my passion for all the circumstances involved in global events, Islam, and politics. Instead of lighting a fire within, surprisingly, I was immediately saddened instead. These celebrations of the ultimate demise of such a maniacal and sinister person, who sowed so much unnecessary carnage and misery... brought nothing but emptiness to me. But as I think about it, is Osama bin Laden really any worse than the some of the people we lock up around the world? Although the powers that be block all UN resoultuions banning capital punishment under international law, only 53 countries still practice the death penalty, with 95 having abolished it all together. Aside from any statisitcs, it was simply a human emotion that clocked me. Following these few inspirational words amongst this 'negetive-celebration' throughout the day was inspiring. Feeling this energy I do what I always do: Blast some tunes.
Immediately coming to mind was my favorite D&B tune by Shapeshifter. I was put onto the New Zeleand group by a good friend of mine who caught their live sets while visiting down-under. Tripping on acid, my boy told me of the group's singer and his soulful voice of a demi-god. Shapeshifter is predominately a live band and as such, their recordings are akin to that of a typical band. The end-product creates a genuine, live atmosphere in their music in an era where computer-based studio music is the standard. The video here is actually not Shapeshifter, but a cover by Portuguese group Afro-Reggae. I chose this because today demonstrated our need to come together, irrelevant of cultural belonging, language barriers, or national borders. We can only bring change to the world for the better if we can step in unison. Afro-Reggae's version is a perfect reminder of a universal message which can transcend time and space through music. The lyrics are translated in the video, so please give them a read. Also, I've put up the original Shapeshifter version below as well. Today was an emotional day for many people, but we must examine ourselves following this symbolic event, to find a way forward. If we can work toward this, hopefully we will never again have to celebrate the death of any human being with such zeal. P.E.A.C.E.
So I got the oppurtunity to record my 2nd mix today. Still a proto-mix get learned on this tip. Check the 1st one, here. Recently, I've been entranced with those fringe, shifting boundries between commerical, mainstream urban music and the indepdenent, underground realm; the latter of which I'd always been a fervent endorser. Having ridden the wave of dubstep for a few years now, the observable success of the genres standing in popular culture has been incredible, primarily because it ascended on it's own. The impact of dubstep has hit the the charts heavily in the UK and now steadily seeping in to the US market (Google trends: Skrillex v. Skream). The list of massive bass acts at Coachella was daunting. The multi-day festival is as one of America's largest, and most influential; still regarded as an all-popular music platform. Now, aside from the phenomenal success being enjoyed by these dubstep heroes (or foes if you like), dubstep is not generally DJ'd in the club-oriented, popular fashion. It's either dropped to close out electro sets, or other various styles/speeds of pop music, or rather, it's played with horribly-produced remixes that are selected and championed because of the sample choice of the original. However negative I view this trend, the general public, (generally listening on desktop speakers as well), eat it up. As consequence, average up-and-comers find an easy route to popularity virally via YouTube and blogosphere outlets... and the cycle continues. The other tacit delivery of club-oriented dubstep, is the traditional form of straight bangers and anthemic raters for the bro childrens. This hardcore style is what I'm avoiding as I'm already a participant in that scene, and looking to promote other aspects of UK urban bass music from which dubstep derives and provide to it people who are normally put off by dubstep. Now, with enough danceable 140 bas tunes in the top 100s, I'm inclined to try a different style. It's actually surprising different, since it revolves around very popular tunes. I think coming from an underground background enables for it, Fruther, being an emcee; my obvious trend toward vocal oriented bass music, which typically chart over instrumental product. Talk dubstep's prominence all day, but the transgression of grime emcees becoming pop-stars has been equally impressive. Despite the degradation of those artists' original fan-base, they quickly embrace swaths of followers in the commerical atmosphere.
My recipie: I sought to combine all the previously mentioned types of popular music belonging to, or influenced by dubstep and grime's rise into the spotlight. I used other types of top tunes and half-step bass charters (predominately from the UK charts). I also used remixes; however my remixes are by well-respected, ace producers in the scene. When I used a popular wobble track, I found more harmonie in the overall tone of the set by excluding many of the heavier dubstep drops. This sound idiotic I know, but some of those tunes are very well structured, until the mid-range wobble drops and destroys any subtle beauty. Intertwined with the other types of Bass-Pop tracks I've employed, it creates a darker appraoch to club music, yet maintaining a very familiar Pop-appeal throughout. Whether or not this is something people would be interested is beyond me, but this being only the 2nd mix I've done, my technical ability probably overshadows my track selection and execution. Anyways, understanding this concept, I hope you'll enoy the selections regardless of my nascent abilities. I'm just an emcee, yo! Also, Kate Middleton and Prince William finally got hitched eariler today, becoming the Duke and Duchess of Cambridge, which happens to be the former stomping grounds where I discovered the wonderful world of dubstep and grime. I wanted to give my sonic congratulations, and as these are predominately UK-Pop tunes currently hitting the charts, I felt it was appropriate. Please enjoy the selection as well as your weekend.
Earlier this year, the UK network MTVBase aired a special about the UK’s best emcees of 2010, which was determined through a panel-points system. It was widely publicized and developed into quite an event, and rightly so, considering the UK's urban talent pool is finally being recognized globally. Twitter and blogs went abuzz with all-out rejections of certain people, as well as new suggestive lists written up. Of the new entries, there were expectedly a few constants. Ghetts, Kano and Dot Rotten fans appeared on forums with severe expletives as to why they should have been put on. Ghetts even took it further releasing a music video dissing the panel and the selected. But another name also surfaced with regularity: Durrty Goodz. The difference with him, however, was a lack of ludacracy on those same forums regarding his omission. It wasn’t surprising; in fact, it's almost become expected.
Doogz has been the most underrated artist since grime had artists of recognition to begin with. Personally, I’ve never understood this. One factor may be his rapid-style which may lose listeners; yet I find it to be one of the most punctuating and clear dialects within British grime. Maybe it’s his refusal to sacrifice his musical style for money, having rejected numerous label deals. Perhaps it’s his output consistency, which is relatively minimal in the hungry-for-moar mentality of grime fans. This would seem to be the best hypothesis, however no one can really knock Doogz' work ethic. That’s because when his releases are put forth, it’s a fucking mad ting. The quality-over-quantity discussion runs ramped over the waves, and Goodz is the primary example of the former. Whatever the reason, it has become standard practice to deny Durrty Goodz the due recognition. But every time ‘a season, man comes out of seclusion to shake up the scene and silence all critics. It’s these moments of musical reverence as to why I maintain that Goodz is the most underrated of artists, the best MC alive on the planet, and maybe single most talented rapper since Tupac. There I said it. Now let me give a run down on why this is the case.
First, if you haven’t read my initial review on Goodz back in early 2009, check it here. As a stated then, Goodz uses banging dubstep and grime tracks to bestow himself to listeners. Though whereas many grime emcees use pop or house beats to gain favor, Goodz does it on the flip-side using ace producers of grimey, bass-heavy, dark-sythed tracks. This has allowed the rapper to stay true to himself, while bulding a dedicated following, primarily asserting himself as a grime artist. Meanwhile his counter-parts tend to be percieved as selling out toward commercial ends. His speed, clarity, and variance define him as an undisputable top-rated lyricist in the trade, sans national borders. What makes a good emcee overall, and especially in the grime scene, is all brought out in Durrty Goodz.
WAR: In recent years grime has moved away from the battle antics that made it so popular to the public eye, as it illuminated the skills of unheard British talent. Wiley’s infamous Eskidance event was one of the single most popular showcases of grime talent. Wiley steady built his reputation clashing, and annihilating emcees on his own platform. That is, until Goodz came along to become the only emcee to clash Wiley and win outright. The years after that, war dubs toward the emcee became more difficult as he regressed off the radar. Even then, if put to the test man will clash and beat anyone. Props.
VERSATILITY: Doogz has demonstrated his versatility time and time again. He has said he considers all of the urban music genres to be hip-hop, in its original sense. And like so, he released his album last year to critical acclaim. KRS-1 vocal samples litter the album, which features appearances from Steve Marley, Caron Wheeler, and Goodz brother Crazy Titich. Goodz also released it as a free giveaway online. The album’s depth solidified Doogz as not only a grime emcee, but a lyricist all his own. Prior to that, his Axiom EP had him riding DnB tempos with ease, as well as the legendary “Switching Songs II”, which had him changing his delivery and style over classic garage riddims. The follow up release “Ultrasound” was equally versatile featuring tracks of 4/4 electro (mocking the scensters), R&B, grime and dubstep.
DEPTH: Goodz' music runs deep. His musical references substantiate this, having the anthemic tune “Give Me The Music” arranged with a single corus, put at the end. Blackdown revealed in his column that this was an homage to Stevie Wonder, demonstrating Goodz’ perspective of musical history in the youth-built grime scene, whom often seem to disregard those transcendental, street-expressive experiences of the past. “Switching Songs Pt. II” showed a methodical equilibrium between Goodz’ ‘versailty-as-concept’ and the song as a variable, interdependent canvas. Dot Rotten’s hidden production “Real Talk” runs deep emotionally as well. The incarceration of Goodz and his brother is one of grime’s most tragic tales. Goodz was put on trial alongside his half-brother, Crazy Titch for murder. Doogz was to be acquitted while his brother, a rising star within the nascent grime scene, was given a life sentence.
As a result to his tribulations, Goodz has grown into a true artist creative a substantial message to his listeners. While a lot of his counter-parts relish in negative street portrayals of bare hype, Goodz calls for an end to this negativity, which underlie the real talk and imagery his music evokes. True to form, Doogz again gets deep into creative procedure with “Jail Tales”, in which he draws comparisons of the music industry and it’s glorifications of illicit lifestyles and imprisonment, to those of his own honest reflections of jail and it’s repercussions. His BBC video freestyle is a must watch. Though his singing isn’t his status marker, his conceptualization and delivery is top-notch with metaphors and similes sublime.
Now Goodz is back. And when it seems he can no longer elevate his status, he drops a fucking bomb on the entire grime scene with hype in excess. Seemlessly integrating all the previously covered qualities of Goodz, recently he has remarkably showcased them all in one tune. In an impromptu session, Goodz had put it out there on Twitter he wanted to come into Sama’ show. Sama was actually not planning on going live that night, but with Goodz being quite the rarity, appropriate accommodations were arranged. But listeners tuning in to ear some live bars from Goodz wouldn’t get such. In promotion of his upcoming release, “Overall”, due out in early May, he came through with a few teasers tracks from the album. Included was his just released single “Oi, What You Looking At?”, which featured a well produced, if bizarre, video set in a futuristic, hobbesiean environment with Goodz at the top of the food chain. The tune that shook the Kiss studios, however, and stirring far bigger waves was “Battle Hype”. The entire interview can be played, below.
Those characteristics of depth, conceptuality, versatility, and war with a fervent lyricism, become apparent in this massive 11+ minute sonic-event. First kick it off, he bigs up “all the artists featuring”, saying they are critical to the grime scene. Then all hell ensues. Riding a simple Silencer riddim which harkens back to the old days of battle sets, Goodz’ intro set’s up a battle amongst grime’s elite; an epic battle featuring Skepta, Ghetts, Wiley, Dizzee Rascal, Kano, D Double E and Crazy Titch. At first the radio quality diminished the sound, but it wasn’t quite clear who was spitting. Then I realized it was actually Goodz. All the featured artists were Goodz. He was impersonating the emcees, used their staple flows and vocal tones to recreate a conceptual battle with the scene’s top talent; including Goodz paring himself. Matching various artists up with one another, Goodz incredibly executes these artists with accuracy. His versatility changes command with each series of bars exchanged. Then Crazy Titch to close it out?! Maaddd ting.
The beautiful aspect of Battle Hype is that he wasn’t directly aiming at these artists. He even reiterated with Sama that he was giving a nod of respect to these artists. Even so, 'he was sending' came the rebuttals… the ambiguity is fascinating. Following Ghetts’ “Who’s On The Panel” release just one day after the MTVBase special, Ghetts made a sly marketing move by releasing a tune w/ video the very next day. Likewise, Goodz knows the time is right for grime, and causing a stir like this with an indirect, passive-aggressive, but no less damaging manner, was simply genius. Further, it’s well known no one wants to directly send for Goodz. So even if someone did respond back, they would still have an uphill battle, and with Goodz off radar being an actual artist, as opposed to tweeting 24/7, there is little to take charge with him personally.
The fact he utilized so many emcees in his tune, while being a sort of relative-outsider within the top ranks (but no doubt still within them), he’s enabled himself to puppeteer a massive par without being clearly able to retaliate effectively, while by design also building massive internet hype for his forthcoming album. Genius. Seems Durrty Goodz once again is on point to elevate his stature as a music artist. It may seem a bit overzealous to suggest he’s the best rapper since Tupac, but that’s simply because he’s also the most underrated… so you just done know. So make sure you cop the new album "Overall" in May; guaranteed to be a certified banger. P.E.A.C.E.
Durrty Goodz Interview + Battle Hyper Debut on Logan Sama (Radio)
**Proto-Practice Mix**
So I’ve finally gotten around to recording my practice mix. I recently acquired CDJs and thought it was time to throw some tunes together. No, unlike half the male populace between the ages of 16-26, I’m not trying to promote myself as a “DJ”. Mind you, these are the same people espousing the “every one’s a rapper” doctorine of the early 2000s. Now it’s on them. But unlike a lyricist, technology has leveled the playing field within the required skill set. There is no longer a breaking-point between those who have an ear for music, dance floor fluidity and so forth, and those who would never develop technical or beat-match skills, and the subsequent dance-kinetics involved, if they didn’t have a visual on their computer showing them how and where to do so. That said, even though advances in music technology have enabled a massive influx of people attempting the DJ thing, they can still rock a dance-floor, simply because of that technology (and also because ravers/club-goers typically couldn't give a fuck). So I’m not trying to knock the techs or the DJ. Keep doing it, I love the fact more people can now have more access to music, and sharing it. What I'm saying is, the past notion and prestige that a the “DJ” label once had, should be erased from our culture hence forth. It’s just not special anymore. So if your one of these mans, please stop putting yourself on a pedestal cause this ain’t 1997, and most you have no actual talent; your Serato developers did... but by all means, keep pushing and power to you. And actual DJs, try and lighten up on the tech-savy newer entrants... you can't change the inevitability of human advancement. Using enhanced technology in divergent, original ways is a step forward, as opposed to just bitching.
As for my mix here, I was getting to a point where listening to music was less enjoyable, knowing full well I had the ability to manipulate it to my own ends. I chose to get CDJs for their practicality over vinyl in regards to accessibility, and foremost so I could bypass the use of a computer, learning to beat-match solely on sound. Further, being a dubstep emcee I often watch these “DJs” --most actual, some fabricated-- rinse out the latest bro-step bangers, I'd become wayward with genre. Being above all else a fan of the genre before any sort of participant, I was quickly disheartened and put-off by the “robots fucking dinosaours” noise, which had so massively mutated the scene since I had left England in 2008. So this particular mix holds true to myself as dubstep emcee, as it is a grime-step mix. There are plenty of bangers, with a softer touch toward the end. The underlying theme being an obvious grime/artist centric aspect. Now I’m not saying I wouldn’t accept a booking as a DJ, but it’s mainly to show all these other bitches that making a simple mix ain’t that hard, and many people should stop fronting like your on some next level magical shit; the typical DJing thing. Cause it ain’t no moar… real talk. Props to the real selectas still, a shame it's become so sordid. Don't think these words are in any way geared towards you. If I did play a live set, it would be to emcee over my own selections, cause as I said, the brostep just ain’t pleasurable for me as it is for those robots. Emceeing over my own selections would be a step DJs should note: If your going to try and penetrate this day in age, you need to develop originality and unique ability in your sets. Otherwise, it just come down to marketing which, it seems, the less artistic and less musical people seems to thrive at. So best get to innovating. For my particular role, this day in age I view emcees still keep it analog while all the DJs gone digital, and I got something to say about that. So just enjoy the mix for what it is… good music. P.E.A.C.E.
(Yup, that's me, still on that baggy, saggy jeans tip, haha. London, 2008).
Love at first sight? Ha. Certainly not. Recently I'm feeling like the idea of true love between people is just an expressive conduit we just label as truth because it fits so well. Perhaps those vividly brilliant moments of happiness, so often haphazardly swept upon us, are a reflection of the environment and personal reception with those we shared them with at the time. As for myself, such a particular experience came from an unknown city in a foreign culture. But this phenomenon may manifest at any occurrence of a shared, elated experience. A place that blossoms a sentiment of love toward one, or even multiple individuals. I would never usually believe in love at first sight. Standard. But c'est le vie... and it's one big trip. Those who have garnered a flash of instant attraction, which was then built upon into an ensuring relationship, and eventual eternity may seem so. After all, such an extended scenario undoubtedly seems meant to be. But I'm no high, late-night cynic blogger. I have experienced love at first sight... I think.
An instant, though no less strange attraction occurred absolutely. I was never to know if I loved her. Regardless of my inconsistent feelings that will continue to shift from yesterday into tomorrow, I know there was definitely love involved. If you haven't noticed already, my personal expression of love in the present has shifted with each word scrawled in this post. I should probably stick to music where I can relay those sentiments much better. No worries, there is plenty soul-striking music in this one 'ere.
Now back to my original concept about love initiated, or even just developing, "at first sight". My ambiguous idea (as if I can think straight on this) suggests those heart-felt moments of love are more so based on the connection of 'loving life' (happiness), and allowing that to transcend into a connection with those people you're surrounded by and sharing such energy. That's quite obvious on itself. But that undeniability reels out of control when the idea of a soul-mate style love between two individuals is put in the spotlight. Could cupid really aim efficiently on a crowded, smoke-and-laser filled dance floor, in a dark labyrinth after downing a couple pints of pilsner? Really??
So then the hasty memory proceeds. Dancing to some dirty bass after being surprisingly swept off a back-alley concrete curb by what seemed like a sleek vampire in true fashion who likes to watch things burn. Super sexy in her dancing threads; black pants, on black skate shoes, on a black top. So simple. Her true physical elegance was yet to be witnessed... like goddess status-- no joke. With barely words spoken we kissed. There was no emotion at all. But my drawl toward her remained. "Who the fuck is this?", kept leaping through my head. After that night, her image would be a primary thing revolving in my mind for weeks. However, I was giving little concern to the environment I was in. A U.S. kid in a foreign country connecting in a wordless world of the illest-electronic beats on the planet, and sharing this moment with another foreign stranger carrying the attitude of a Russian bad girl in her graceful 2-step. A multiculturalist named Rozé, who was actually quite sweet when tastefully sampling life's nectar on her own terms. She owned her element and anyone that tried to step into it. Being used to plastic Cali girls in my native upbringing, this one was everything I never got to see and single-handedly changed my perception on my type of woman. Her other hand was holding a cocktail.
Without getting easily carried away with my recollection, I can't help but feel it actually derives from the particular time and space I was in... and a blessed nostalgia that continues to follow. That personal place in the world that will never be replaced and can never be brought back. That was the love I was longing for and that I found in her. That's perhaps why I feel such strong feelings for someone I met 3 years ago. I barely even knew her. I had much longer and"intense"relationships (in the traditional-contextual sense of the word) around the same time period, but Rozé had the ability to erase all of those lovely women in a heartbeat. Little did I know our last kiss that night would be one of the very few in our ever so strange relationship. Two planet's colliding but only one takes the hit. Her lukewarm reception was blatantly evident, often frustrating and mind-bending at times. Yet I was allured by it, never really knowing if I even warmed to her. But to not be requited didn't matter in the end. It was that illicit pleasure I craved for. I mean, for no one else could I imagine buying my own packs of cigarettes, which happened to be her favorite brand, just to share one with her... and I don't even smoke. Because just like a cigarette, I wanted that momentary high with complete disregard for the consequences.
All I know is those memories of that city will never be the same without her. I don't think I loved her, but then again I've contradicted that numerous times already in this story. For someone who enjoys controlling a situation, this adorable and perplexing creature was the most interesting, exciting and enticing person I've ever met... and I had absolutely no grasp. Who will come next, Jah only knows. But that city I love so much, and those people I also cared for so dearly, which created moments in time that will never be completely captured; these are all encapsulated in Rozé. So if that's what love a first sight is, then it most definitely can happen. And it ain't no long ting, trust me. Bless.
- - -
Below is a song I've been hooked on ever since I was shown it earlier this summer. Definitely my favorite joint so far this year. The rapidly rising artist, Theophilus London via Brooklyn, NY generates sounds of earlier hit genres like funk, eletro, soul and punk, melding them into progressive reusability, while maintaining that be-easy signature hip-hop vibe. Certainly not one to take your eyes off in the near future. A charming man indeed. My south-coast creepers can catch Theophilus London at HARD Summer 2010 this Saturday, August 7th in Los Angeles.
In pure rhythm with my post, his spectacular video "Humdrum Town" is about how going back to a certain place -- a country, a city, a street -- can and will be forever altered once that one you loved it with is gone. I originally got into this tune in Brooklyn coincidentally. Authentic yes, but I'd I'll prefer to take it back to the CB-1 and blast my headphones on a badboy BMX. Thinking of her it's a different city, but change is the only thing that's constant.... so ride on. P.E.A.C.E.
Many were recently disheartened to hear about the upcoming departure of BBC Radio1's experimental bass host, Mary Anne Hobbs. Anyone who knows me personally, knows I'm a heavy fanboy of hers. Normally I'd reject with embarrassment and complete deniablity such a label. But with Mary Anne, I can't hide the truth: I absolutely adore her. I most definitely would not be in the subcultural realm I am today without her weekly guidance on global bass music. So let me tell you the story of a naive kid stranded on a far away island...
After moving to the UK, I was actually introduced to dubstep that first week in January 2008. At the time, it was quite unavoidable in Britain as opposed to the US, which was en route to materialize to the almost comparable level it is today. A friendly stranger whom I'd met dropped off a copy of Kode 9 and Spaceape's "Memories of the Future". Although I liked it for exposing me to those deep, dark, tripped-out qualities, I still think it was a bit heavy as an introduction to dubstep from an American novice. (I now rate it as one of my top bass albums ever). After coming to love those plowing, guttural basslines I still tended to treat it as strictly party music. Which was totally welcomed at the time, especially dwelling in the authenticity of urban Britain. Where a bit of acid or ketamine made even the most deep and desolate of dubstep feel like "party music.
It wasn't until August of '08 that dubstep would become entrenched in me. That same stranger whom blessed be with the sound, had by then become my best mate. He gave me a mix which he explained that I just had to check out. The normally articulate, expressive rollerblader didn't even have words for it... just left it for me listen. That mix was the now infamous "Generation Bass" on Mary Anne's show. For the those unfamiliar, in 2006, the now trademarked dubstep pioneers of today had come together on MAH's show to produce a legendary set known as "Dubstep Warz". In tandem with Mary Anne's heavy work with Barcelona's Sonar Festival, this show became one of the pivotal moments in dubstep's still burgeoning history, helping precipitate it's ignition to eventual world-wide stardom.
(Mary Anne Hobbs @ Sonar Festival Barcelona, 2010).
Anyways, for summer 2008, MAH had gathered all of the same producer-DJ's of Warrior Dubz; Mala (Digital Mystikz), Skream, Kode 9, Vex'd, Hatcha, Loefah and Distance. She asked each of the preceding to choose a special up-and-coming artist to champion. A symbolic torch passing if you will; the hype for this show was eagerly anticipated and massive recognition would surely follow. This one-off two hour event -- all alone underneath the stars with a spiff in hand-- single-handedly made me a full-throttle bass head. An eclectic line-up indeed. Joker and Kulture became and still are my favorite producers, one respectively introducing the "purple" sound to the world, as the latter rescinded into poet irrelevance; albeit with true unsung classics under belt. Not an old-school UKG head till way later, Oneman's garage overtones opened and blew my mind. Chef, although not producing at the time, went on to mix the classic Dubstep Allstars series and is still a ascending internationally. Starkey rocked Maida Vale studios, making the transcontinental trip and representing the rising US scene. Cyrus (Random Trio) closed it out creating a deep, nightmarish environment just as dubstep began moving away from those traditional qualities.
(Mary Anne Hobbs @ WMC Miami, 2010).
After that show I began tuning in weekly. I remember leaving the clubs a bit early on Wednesday nights just to come home, spark up, and post-party with MAH woman. When I was unwilling forced to come back stateside in 2009, having withdrawals and cultural re-shock, Mary Anne gave me two hours of solace. When I'd miss a show I'd feel at a loss as if missing an important doctor's appointment. She always kept everyone ahead of the game. Her gentle laugh intoxicating, her voice as soothing as the deep dubplates provided. When she ventured back to Cali, where she used to reside years earlier, her West Coast Rocks special with XLR8R demonstrated her foresight ability of sonic aesthetics by producers that broke the rules and re-energized the global movement. Exposure of LA's Low End Theory boys and SF innovators like Lazer Sword began a powerful exchange of ideas back to the origins of the UK, and infecting everywhere else along the way. It was undoubtedly taking place without Mary Anne, she simply provided her audience with a panoramic lens to view the global, subcultural movement of bass-weighted material.
When I inevitably made it to Low-End Theory, I was finally granted the opportunity to see her live. Down from SB, I was alone in LA on a Wednesday night after leaving my credit card and passport with the bar at S.M.O.G. the night before. It was a random occurrence that also happened to coincide on birthday. Finally meeting Mary Anne and induced by her gravitating personality and warm, congenial manner, only solidified my admiration for her. The set was outstanding. And when I mentioned I had come down from SB and it was my birthday, the queen granted me a sweet kiss on the cheek... best B-day gift ever.
(Mary Anne Hobbs and Hoodzpah @ Low End Theory, 2010)
Now she's moving on... as she posted a full statement on her MySpace this week:
"Last week I resigned from BBC Radio1, after an amazing multi-dimensional 14 year career. The great freedoms the BBC have given me as a broadcaster, have allowed me to help break so many confrontational artists as diverse as Slipknot and Skream, and of course, the whole genre of Dubstep in recent times. My current Experimental show is in peak condition, it’s never been stronger. And although it’s a very emotional decision to leave the show that I love so much, it’s also an optimum moment to bow out, at the very top of my game. My work for Radio1 on the Breezeblock, Rock Show, many fascinating documentaries about everything from David Bowie to Dubstep, on daytime, at festivals and award ceremonies, has been exceptionally rewarding. These have been glory days not just for me, but for all the artists who have shared my BBC platform, and of course, the listeners everywhere from Beijing to Berlin, Baltimore to Blackpool, who shared a great passion for future sound. I will continue to DJ live, work in film, and curate at Sonar festival in Barcelona. I have also accepted a new job mentoring and teaching students at the University of Sheffield’s Union Of Students radio station, TV station and the newspaper that operate out of their superb Forge Media Hub, which presents me with a really exciting new challenge. My last show on BBC Radio1 will be broadcast: September 8th>>9th … Wednesday night >> Thursday morning… 2-4am www.bbc.co.uk/radio1/maryannehobbs Thank you so much for listening." --Mary Anne Hobbs
No, thank you, Mary Anne. Your show became a staple in my life for a good spell. It will be sad not to hear that lovely, gratifying voice, but we all wish you the best in your future endeavors. You mean the world to so many people, the world over, personifying our passion for music and culture so unique and unparalleled. Can't wait to catch you back in LA for some live action! P.E.A.C.E.
