Ice Cube recently toured in Australia, and while he was in The Land of Wonder he treated lucky fans to the very first screening of the trailer of the upcoming N.W.A. biopic, Straight Outta Compton.
Straight Outta Compton hits theaters August 14, 2015.
Showing posts with label Australia. Show all posts
Showing posts with label Australia. Show all posts
Wednesday, December 31, 2014
N.W.A. | Straight Outta Compton | Movie Trailer
Ice Cube recently toured in Australia, and while he was in The Land of Wonder he treated lucky fans to the very first screening of the trailer of the upcoming N.W.A. biopic, Straight Outta Compton.
Straight Outta Compton hits theaters August 14, 2015.
Sunday, June 8, 2014
Sango | 206
While being on tour in Australia, Sango has his mind set home as he lashes out a brand new track titled after his home area code "206," Interestingly enough, the song is an interesting flip on the second half of Drake's two-part single "0 to 100/The Catch Up" which renders James Blake's "Digital Lion" off of his sophomore album Overgrown. Co-produced by Pomo.
Sample: James Blake - Digital Lion/ Drake - The Catch Up
Monday, June 2, 2014
The Cinematographer Project: Christopher Middlebrook
Kicking off with the late, great Lewis Marnell, Christopher Middlebrook's section from The Cinematographer Project brings the gnar! It's a who's who of Australia's finest including Alex Campbell, Nick Boserio, and heavy enders.
Shon Roka (pronounced Shaun Roca) the DJ also known as Shaun Ortega was born on the west-side of Chicago. He started gaining fame as a bboy in 1991 and later became a member of a well known crew called the BRICKHEADZ. He would perform for such artist and events such as The Roots, KRS One, Immortal Technique, Dougie Fresh, Common, Rhymefest, Cypress Hill, Pharoah Monch, Nas, Diddy, Mariah Carey, Taste of Chicago, Lollapolooza, Looptopia, B96 Summer Bash just to name a few. The BRICKHEADZ also won many breakin' competition nationally and internationally. While Shon Roka was being active as a bboy he was working on his craft of being a DJ.
DJing for w/ Nike, Jordan, Under Armour, Adidas, Vans, Uprise (Chicago) Skateshop for numerous in-stores, sporting events, galleries and corporate outings. Also Shon Roka is a resident DJ post Covid in Chicago at McGee's, Tantrum, Imbibe and Harbee's. While being a DJ, he has been teaching music production and the Art of Skateboarding through Maggie Daley's After School Matters. Also known as Gallery 37.
For more information contact via email.
Thursday, May 22, 2014
Dear Forbes |This Is Why Iggy Azalea Doesn't 'Run' Hip-Hop
Dear Forbes: This Is Why Iggy Azalea Doesn't 'Run' Hip-Hop
By:Olivia Cole/Huffington
The Internet is currently on fire following a piece on Forbes that was initially titled "Hip Hop Is Run By A White, Blonde, Australian Woman" but was changed after the backlash forced Forbes to realize what an absurd claim they were making. The new title is "Hip Hop's Unlikely New Star: A White, Blonde, Australian Woman."
I'm annoyed for multiple reasons. Let's discuss them, shall we?
First off, I wouldn't go to an Iggy Azalea concert if it were happening on my front porch. While I understand (somewhat confusedly) that she does have something of a fan base, anyone who has any love for hip-hop is currently decrying the notion that this woman "runs" hip-hop. Or anything at all, really. But that's why the article title was changed, right? Because it (as the update reads) "did not accurately reflect the content of the piece." Nor does it affect, um, reality. So yeah, good choice, Forbes. But you're not off the hook.
Let's get into the article. Here is the author's reasoning for what he calls Iggy Azalea's "notable" "rise to prominence":
"Making a name for yourself as a woman and hip hop is laudable enough, forget the fact that she is a white, blonde, Australian woman. In a genre dominated almost exclusively by African American men she sticks out like a statuesque thumb."
Yes, making a name for yourself in hip-hop as a woman is laudable. But lauding Iggy Azalea here is ludicrous. The author seems not to understand the fact that it is precisely because Iggy Azalea is white and blonde that she has "made a name for herself" in hip-hop. White privilege has successfully floated her to the top of a genre where black women have fought for decades to be represented: her presence (and success) in hip-hop isn't a shining beacon for feminism, but for the power of whiteness and what it can accomplish.
The author goes on to say:
"While this is all happening very quickly for her in America, she has actually been honing her craft for a decade now, first rapping at the age of 14. In the ten years since, she has seen and been through all the trials and tribulations of the industry."
Really? All the trials and tribulations of the industry? All of them? Black female rappers encounter a unique struggle in their journey to success in an industry bent on attacking (and exploiting) black female sexuality, not to mention the complex dichotomy of battling male rappers on their misogynist lyrics while also being pressured to support the genre of hip-hop as a whole. The experience of black women in hip-hop is nearly analogous to life outside of hip-hop: black women being asked to choose between supporting black men in the struggle against racism and supporting their own struggle against misogyny (and misogynoir.) Has Iggy Azalea had to make these choices? No. Rather, she is flippant about the subject of race, spitting this lyric in her song D.R.U.G.S:
"Tire marks, tire marks, finish line with the fire marks
When it really starts I'm a runaway slave... master
Shitting on the past gotta spit it like a pastor"
"Shitting on the past," huh? Bye Iggy.
In the end, the idea that Iggy Azalea's fame is "unlikely" is equally absurd. Of course it's likely. A woman who represents every patriarchal and white supremacist ideal of beauty -- tall, slim, undoubtedly white-featured, blonde -- finding success in an industry that champions these qualities is entirely unsurprising, especially in a genre that is, as the author says, "dominated almost exclusively by African-American men." Iggy Azalea is not a success story I wish to celebrate. To me, she isn't a success story at all: she is a novelty, a tiresome example of white female privilege and the delight white culture finds in white people appropriating any and everything.
Lastly, I would ask Hugh McIntyre if he has heard of FM Supreme. Awkwafina. Dominique Young Unique. Rapsody. Jean Grae. 3d Na'Tee. Women of color in hip-hop who are making a name for themselves against all odds. They run hip-hop. Next time you're feeling all gushy about women in hip-hop... maybe write about them.
Follow Olivia Cole on Twitter: www.twitter.com/RantingOwl
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The Internet is currently on fire following a piece on Forbes that was initially titled "Hip Hop Is Run By A White, Blonde, Australian Woman" but was changed after the backlash forced Forbes to realize what an absurd claim they were making. The new title is "Hip Hop's Unlikely New Star: A White, Blonde, Australian Woman."
I'm annoyed for multiple reasons. Let's discuss them, shall we?
First off, I wouldn't go to an Iggy Azalea concert if it were happening on my front porch. While I understand (somewhat confusedly) that she does have something of a fan base, anyone who has any love for hip-hop is currently decrying the notion that this woman "runs" hip-hop. Or anything at all, really. But that's why the article title was changed, right? Because it (as the update reads) "did not accurately reflect the content of the piece." Nor does it affect, um, reality. So yeah, good choice, Forbes. But you're not off the hook.
Let's get into the article. Here is the author's reasoning for what he calls Iggy Azalea's "notable" "rise to prominence":
"Making a name for yourself as a woman and hip hop is laudable enough, forget the fact that she is a white, blonde, Australian woman. In a genre dominated almost exclusively by African American men she sticks out like a statuesque thumb."
Yes, making a name for yourself in hip-hop as a woman is laudable. But lauding Iggy Azalea here is ludicrous. The author seems not to understand the fact that it is precisely because Iggy Azalea is white and blonde that she has "made a name for herself" in hip-hop. White privilege has successfully floated her to the top of a genre where black women have fought for decades to be represented: her presence (and success) in hip-hop isn't a shining beacon for feminism, but for the power of whiteness and what it can accomplish.
The author goes on to say:
"While this is all happening very quickly for her in America, she has actually been honing her craft for a decade now, first rapping at the age of 14. In the ten years since, she has seen and been through all the trials and tribulations of the industry."
Really? All the trials and tribulations of the industry? All of them? Black female rappers encounter a unique struggle in their journey to success in an industry bent on attacking (and exploiting) black female sexuality, not to mention the complex dichotomy of battling male rappers on their misogynist lyrics while also being pressured to support the genre of hip-hop as a whole. The experience of black women in hip-hop is nearly analogous to life outside of hip-hop: black women being asked to choose between supporting black men in the struggle against racism and supporting their own struggle against misogyny (and misogynoir.) Has Iggy Azalea had to make these choices? No. Rather, she is flippant about the subject of race, spitting this lyric in her song D.R.U.G.S:
"Tire marks, tire marks, finish line with the fire marks
When it really starts I'm a runaway slave... master
Shitting on the past gotta spit it like a pastor"
"Shitting on the past," huh? Bye Iggy.
In the end, the idea that Iggy Azalea's fame is "unlikely" is equally absurd. Of course it's likely. A woman who represents every patriarchal and white supremacist ideal of beauty -- tall, slim, undoubtedly white-featured, blonde -- finding success in an industry that champions these qualities is entirely unsurprising, especially in a genre that is, as the author says, "dominated almost exclusively by African-American men." Iggy Azalea is not a success story I wish to celebrate. To me, she isn't a success story at all: she is a novelty, a tiresome example of white female privilege and the delight white culture finds in white people appropriating any and everything.
Lastly, I would ask Hugh McIntyre if he has heard of FM Supreme. Awkwafina. Dominique Young Unique. Rapsody. Jean Grae. 3d Na'Tee. Women of color in hip-hop who are making a name for themselves against all odds. They run hip-hop. Next time you're feeling all gushy about women in hip-hop... maybe write about them.
Follow Olivia Cole on Twitter: www.twitter.com/RantingOwl
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Friday, May 2, 2014
Sizzla | Got What It Takes
The new album 'Born A King' sees legendary Jamaican artist Sizzla at the breathtaking peak of his musical and lyrical abilities, balancing traditional roots reggae, dancehall, hiphop and global beats with all-out futuristic sounds and production. Focusing 100% of his energy on positive, uplifting and conscious lyrics, Sizzla combines his unique melodic sense and vocal delivery with some of the toughest production ever featured amongst his extensive catalogue. Australian heavyweight reggae and hip-hop producer Mista Savona (Muti Music) has pulled out all the stops, combining his flair for sampling, composition and the full utilization of a ten piece studio band to deliver a scorching 15 track selection that is easily one of the strongest albums of Sizzla’s career.
To give some background on this project, whilst on tour in Australia we met Mista Savona, a Melbourne based producer who had just returned from Jamaica with a bag of new riddims and an almost-completed album with legendary reggae artist Sizzla. We listened to the tunes and loved the fresh new sounds and very positive feel of the album, with its uplifting messages and inspired vocal performances. Muti Music has been releasing a series of Remix EP's as we lead up to the album's May 2014 release, featuring producers at the leading edge of dance music globally. These have been receiving rave reviews across the Blogosphere, play on BBC, XFM, Sirius and numerous other internet and FM stations, as well as reviews in high profile magazines like DJMAG.
Mangoseed | Brix-Tone
South London Reggae fusionists Mangoseed have released a single inspired by Brixton called ‘Brix-Tone’ which is available to download now ahead of their debut album which is released next month.
The single echoes the 1980s dub and reggae grooves that have become synonymous with the area and the video was shot on the streets of Brixton.
The track is the lead single taken from the local band’s debut album ‘BASQUIAT’ which is released on Monday 22nd May with a live launch party at The Alley Cat Bar & Club on Denmark Street in the West End.
A truly multicultural collective, Mangoseed is made up by a Trinidadian, a Jamaican, an Australian and an Irishman.
They play regularly in Brixton, have supported the likes of Alabama 3 and Manu Chao, and say their début album is inspired by the artist Jean-Michel Basquiat and his stylistic approach of art, history and culture, all of which can be found layered throughout his paintings.
To find out more check out their official website: http://www.mangoseed.co.uk/
You can download the single from iTunes and Amazon.
Monday, August 19, 2013
Australia's Rural Binge Drinking Fest: The Elmore B&S Ball
In some rural areas of Australia, people can live as far as 80 miles from their nearest neighbor. Bachelor and spinster balls, or B&S balls, started as a way for isolated men and women to get together. The Elmore B&S Ball is he largest of its kind in the state of Victoria.
Shon Roka (pronounced Shaun Roca) the DJ also known as Shaun Ortega was born on the west-side of Chicago. He started gaining fame as a bboy in 1991 and later became a member of a well known crew called the BRICKHEADZ. He would perform for such artist and events such as The Roots, KRS One, Immortal Technique, Dougie Fresh, Common, Rhymefest, Cypress Hill, Pharoah Monch, Nas, Diddy, Mariah Carey, Taste of Chicago, Lollapolooza, Looptopia, B96 Summer Bash just to name a few. The BRICKHEADZ also won many breakin' competition nationally and internationally. While Shon Roka was being active as a bboy he was working on his craft of being a DJ.
DJing for w/ Nike, Jordan, Under Armour, Adidas, Vans, Uprise (Chicago) Skateshop for numerous in-stores, sporting events, galleries and corporate outings. Also Shon Roka is a resident DJ post Covid in Chicago at McGee's, Tantrum, Imbibe and Harbee's. While being a DJ, he has been teaching music production and the Art of Skateboarding through Maggie Daley's After School Matters. Also known as Gallery 37.
For more information contact via email.
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