Check it out! @rizzystaydizzy caught up with Logan and Jordan from the internationally known band Katchafire from New Zealand after their stop at The Catalyst in downtown Santa Cruz on 4.16.17. Not only did I get to meet Katchafire but I caught up with the one and only Rebel Souljahz & Eli-Mac after their stop at The Catalyst in downtown Santa Cruz on 4.11.17.
Everyone is so scared to make them. Mistakes, I mean. As students in class, we never raise our hands unless we are sure we have the right answer; even then, upon answering we search the faces of our teachers, our classmates for affirmation that we are correct when we speak. The common consensus stands that errors are bad, and so we refrain from making them.
Our pursuit of perfection is a lie that we know well. We have all heard that we are “only human,” and should therefore not expect perfect precision in our endeavors. The very phraseology of this expression attests to the observed inevitability of mistakes. As it applies to others, and when it is posed as a solely theoretical concept, this idiom is easily accepted and generally upheld. But as it applies to ourselves, we cannot accept that to be human is to be imperfect. We curse ourselves under our breath, flush red with embarrassment when we blunder, rush to immediately correct the wrong that we have committed the moment we discover it. It is another one of those very human paradoxes to know that mistakes are inevitable and yet to seek to eradicate them.
As new deejays, we have a definite fear of mistakes (we can each attest to the onset of heart-palpitations at the mere mention of our first air-check). But there is a case to be made for the benefits of errors. Because of their ubiquity, we find nothing more comforting than the presence of mistakes; they remind us that we are all human, validating our hopes of societal acceptance. Each mistake is a genuine moment of happenstance. In seizing these moments, we make art, enrich our lives, and we evolve. In no other medium is the positive power of the mistake more prevalent than that of the live performance – in our case – live radio.
Miles Davis put it best: “when you hit a wrong note, it’s the next things that make it good or bad.” This statement is remarkable for two reasons. One: a jazz god is admitting that he has experience with mistakes. Two: he does not denounce said mistakes. When listeners conjure up the image of a jazz musician, they see him from atop a pedestal. The term “virtuoso” has fallaciously become associated with flawlessness, much to the detriment of musicians and listeners alike. Although practicing with the intention of achieving perfection is key to virtuosity, true virtuosos come to a point where they realize that mistakes cannot be avoided, and thus must be willingly incorporated into their art. Doing so creates a strength of character and confidence as a musician, and adds a fresh dimension of vivacity to an artist’s music, as unforeseen musical possibilities present themselves. In being able to adapt to a mistake, one conquers the negative connotation associated with error and can then be more free to focus on expression, thereby allowed to make a truer piece of art. If “the emotional reaction is all that matters” as John Coltrane contends, is not an artist then making his work more meaningful by freeing up his attention to focus on the emotional content of his work, as opposed to the aesthetic appeal that many would associate with “perfect” music? Mistakes take on a new meaning when they are seen as an opportunity to create. An incomplete song can finish itself in unpredictable ways, a live performance can take listeners and performers alike down an unexpected path and lead all those present to a wonderful and unanticipated end.
On the surface, many would assume that the appeal of virtuosic genres such as jazz – or any art-form requiring honed technical skills – would lie said art-form’s faultlessness. Upon closer analysis, quite the opposite is true: we appreciate immensely technical works of art due to the expenditure of energy it takes to make them so near-flawless. Think: would the symmetrical tessellations of the Blue Mosque be so awe-inspiring if not for the knowledge of all the effort the stone mason must have put into his work? When we gaze at the designs, we don’t just see a beautiful motif; we see years of perspiration, careful attention to detail – all that which went into developing expertise. It seems it is only within the context of our errors that we measure our successes. We find work to be exemplary based off the degree to which a work’s creation is steeped in mistakes. Perseverance is beautiful, not perfection.
That being said, we learn best from mistakes. However, in school, we are rarely ever afforded the time to make mistakes. We realize their happening to our dismay, and then must learn new material. Our brain “alerts us in less than a second of an impending mistake so we don’t make it again.” We police ourselves with much greater efficacy than any instructor ever could, but we need time, repetition, and feedback from our instructors so as to take advantage of our brain’s self-correction system. To be better learners, we must first acknowledge that learning requires error. Furthermore, we must undo the emotional scarring associated with mistakes, so as to allow for better correction of them. When a student “feels stupid” after making a mistake, she generally tries to hide it, to deny its existence; a shortcoming that is enforced from above by the teacher, who does not wish to dwell on mistakes (as their student’s errors might reflect their own inadequacies). Despite the discovery of their students mistakes, teachers immediately move onward with course material, generally with an ambivalence toward poor scores. To the unconcerned teacher, mistakes represent laziness or lack of intelligence on behalf of the student; a sentiment which is inevitably absorbed into the psyche of students, leading to a negative feedback loop regarding mistakes and lack of improvement.
Although most students and teachers intuit the logic behind the necessity of mistakes (let us recall the ubiquitous use of “we are only human”) and science corroborates this understanding, the sentiment we carry regarding mistakes is just that: sentiment. We feel shame, we don’t think it. Being corrected for our mistakes feels like a personal attack, as though our intelligence is being insulted. However, regardless of how painful it may be at first, we must swallow our pride in order to learn. Not only do we have to be aware of our mistakes, but we have to be specific about them. “Knowing that answer #3 is wrong doesn’t mean much. Knowing that they didn’t understand mitosis gives them a mandate for getting better.” Knowing that you got something wrong is just the first step; learning how to fix your specific mistakes must follow their identification in order to improve. In letting students know that mistakes are fixable, that learning is a process, one makes success more feasible. We all stand a little straighter knowing that we are capable of success in the face of our inevitable blunders.
As deejays in training, it is important for us to take these last few paragraphs into account. Dead air, flubbing on a PSA or underwriting, clipping, playing the wrong track/entering the wrong track into Spinitron; a whole host of mistakes await us, or have already been committed. And in the live setting that we are throwing ourselves into, it is important that we understand both the inevitability and the power of our mistakes. There is a certain invincibility we have gained in the past few weeks on our mentors’ shows. There was only so much preparation we were allowed. Truthfully, nothing could prepare us in full for our first time on air. However, despite our sweaty palms and racing hearts, we got through our mistakes. Our mentors corrected us when we misstepped, and our breathing eventually slowed as we learned to embrace our mistakes so as to proceed on to becoming better deejays.
Here’s a secret: people listen to us because we mess up. If our listeners wanted perfection and predictability they would listen to Spotify or Pandora. Sixty-three percent of drivers still use traditional AM/FM stations as their main audio source. Why? In a sense, because we are all lonely. Humans crave other humans. It’s why we go to the mall even while we have Amazon at our fingertips. It’s why we go to parties. And it’s why we listen to radio. When a listener hears a deejay on air, they don’t hear a voice, they hear a person. Listeners are not drawn in by perfect enunciation and flawless segues. They are drawn in by a deejay’s humanity. And what is the cornerstone of our humanity? What makes us “only human”? You betcha. Mistakes. And if not overtly mistakes, the possibility of them proves to be enticing enough to both the deejays and the listeners.
As listeners, we love to feel included, as though the deejay is speaking right to us. Although faceless and known only by a pseudonym, radio deejays hold our attention by talking to us conversationally. Errors are abound: twisted tongues, flubbed lines, bad jokes, lost references, nervous laughs, careless sighs. These are inglorious signs of our humanity. This vulnerability is what draws listeners in and keeps them there. From a blunder comes the knowledge that the person on the other side of the transmitter is actually a person. You might be tempted to laugh out loud at their mistakes, and as you do so, you might find it easier to laugh at yourself. To accept their flaws, to see that their mistakes do not bring about the end of the world, – and by extension that yours will not do the same – is a blessing that no algorithm could ever bestow.
Computers make no mistakes. Computer scientists contend that “if you get a wrong answer, it is because you fed in wrong data or set up wrong parameters or calculations.” While this infallibility is comforting, it is not engaging. Computers make no mistakes, but as a result are confined by a strict set of limitations. Because of mankind’s ability to err, we can learn, expand our abilities; mix it up, so to speak. Although an algorithm can predict musical trends with great accuracy, it cannot guess what will make listeners happy. There is no code that provides that level of context; the parameters are not wide enough to accommodate something as abstract as happiness. But deejays can intuit the impact of their actions, and therefore successfully communicate with an audience, giving them the connection they actually desire. Listeners are not tuning in so as to experience an appropriate or logically sequenced playlist. They are listening for songs that make them feel connected, excited.
In order to draw an audience, a deejay must first be enthusiastic about their work. Despite our ardor, if the proper provisions are not taken deejaying can become monotonous and lead to boredom, which compromises the broadcast as a whole. Maintaining energy is key to maintaining an audience. Hence another silver-lining of mistakes: they keep us interesting. A study conducted by students at Emory supports the hypothesis that “‘the brain finds unexpected pleasures more rewarding than expected ones.’” To see a football player fumble with the ball only to make a spectacular recovery is certainly more entertaining than to see him complete the expected outcome (i.e. to catch the ball). The same applies to radio artists. Both listeners and the deejays themselves find the broadcast enriched by the presence of mistakes. When things go wrong, it is a test of a deejay’s adaptability and prowess to correct their untimely error in a timely manner. The first spike of the adrenaline rush initiated by fear of failure soon fades to the warm glow of self congratulation and perseverance. At no other point will a deejay feel more accomplished than when she has just avoided crisis.
The triumph associated with this moment is dynamic. In the event of dead air, audience members lean in, groping through the static for the voice of the deejay on the other side, anxiously awaiting the reformation of the connection they fear to be lost. But after a brief pause, a bit of “dead air” they are exultant, or in the least relieved at the recommencement of the program. At no other point will they appreciate the voice of the deejay or the power of the songs they play than after a moment of fearing they won’t get to hear them.
Although the FCC does not tolerate the occurrence of mistakes, it makes provisions for them in the event that they occur (disclaimers read after accidental use of profanity, etc). The existence of said provisions attests to the FCC’s uneasy acceptance of the fact that radio deejays are human. The irony that a large bureaucratic organization so removed from the actual production of radio art (being consumed with its regulation) so readily accepts one of the most intimate truths of human production while the individuals that produce the art remain adverse to it is bewildering. It seems in all contexts except those that apply to our own actions, we can forgive mistakes, even celebrate them. As our current adversity to mistakes still stands, we make our jobs more difficult for ourselves by fearing the inevitable, and at times may handicap ourselves from fear of failure. But this failure is temporary. Mistakes do not define our work, but rather force it and us to grow.
The very nature of radio is imperfect. The range of our transmitter fluctuates. The vinyl and CD’s we play music from are prone to scratching and skipping. Equipment must be calibrated, re-calibrated, and tested to ensure that it works. We stutter. Our hands slip. We misspeak. If art is an accurate reflection of our humanity, than our mistakes are but a genuine facet of our capabilities. We have been taught by prior experience (in school and other social settings) that mistakes are the bane of our existence. But what if they are the crux? Although we have the illusion of control over the airwaves given to us by the impressive presence of the soundboard, there are still variables beyond our control within our medium. And I would argue that those are some of the most exciting elements of radio. To harness the power of the unexpected, and thereby pass it on to others through our artform, we deejays come as close to invincible as any humans can be – but we are forever far from flawless.
Many students here at UCSC live either on campus or within the city of Santa Cruz. Catching the City Metro, riding a bike, or simply walking out of their dorms and straight to class is the most commuting that the average student has to do. I however am not one of those students. I live near San Jose and have to commute on Highway 17 to get to class every day. Unfortunately, over the last few days a landslide has been backing up traffic on the already normally congested roadway. This has made commuting more difficult, and in some cases, made reaching or leaving Santa Cruz close to impossible.
The landslide happened last Tuesday on the 7th. It occurred just before Scotts Valley going northbound, completely blocked the highway on that side. This forced officials to close the highway last Tuesday. By Wednesday they had diverted traffic into one of the southbound lanes and making Highway 17 a two-way street around the area of the landslide. Then a bad situation got much worse when two constructions workers were run over by a dump truck on Thursday, injuring one (Stephen Whittier, 34) and killing the other (Bobby Gill, 54). This caused construction to halt for the rest of Thursday so that the accident could be investigated by Cal-OSHA. It was not clear if the dump truck driver had his back-up warning alarms on during the accident, so no arrests or citations have been made yet.
However, to make matters worse the continued heavy rains all of last week ended up causing the hillsides to become even more unstable. As a preemptive measure Highway 17 and all the alternate routes in and out of the city were closed completely Friday. Caltrans crews, CHP officials, and personnel from the California Division of Occupational Safety monitored the landslide all day, with them deciding that the area was safe for drivers early Saturday morning. A week after the initial landslide the highway is still restricted to one lane access both directions and not much debris from the landslide has been cleared out. It is not clear when officials will be finished.
This is not the first obstruction to befall Highway 17 this year. On January 9th, a landslide knocked down a telephone pole into the two northbound lanes, shutting off access going northbound. Later, on January 27th a bank robbery in Los Gatos ended up closing the highway as police searched for the suspects from 11AM all the way into the night. With rain forecasted to return on Thursday we can only hope that this won’t cause more landslides to happen. Otherwise commuting to school will become less of a drive and more like some kind of crusade against nature.
You can visit the United States Geological Survey website for more information about landslide preparedness. Stay safe out there!
This blog post was written by KZSC volunteer Thea Miller.
Some people say that the dawn of the digital era is synonymous with the end of traditional radio. The rise of Internet radio stations would have made the original ones become obsolete. Their emergence, at the beginning of the 90’s, have been compelling : in 2007, Olga Kharif wrote in ‘’The Last Days of Internet Radio ? ‘’ that the number of online radio listeners was more substantial than the combination of satellite radio, high-definition radio, podcasts, and cellphone-based radio: it was representing more than 57 million weekly listeners in the United States. It is estimated that this number is now more than 176 million. Why is web radio such a great success? What does that change for the listeners and for the artists? What does that mean about our culture?
The term ‘’Internet radio’’ designates all media that can be accessed instantly by anyone, everywhere in the world, as long as an Internet connection can be reached. For the most part, web radios are using streaming, podcasts, and playlists. But these technologies do not only make them possible to be autonomous from broadcast waves – it also makes possible more independent in regards to time for listeners, record labels for artists, as well as the rules, money, and space for broadcasters (or, here, webcasters). One more time, the Internet is claimed to be the prophet of liberty.
Web radios were permitted by the creation of MP3 music files in 1992, that gave birth to a revolution of downloading and music file sharing started by Napster. From one day to an other, people did not need to buy cassettes and CDs anymore: they could find the song they wanted to play for free, simply using their computer. Plus, if you could acquire those files, you could also share them very easily. This was certainly one of the greatest inventions of all time, and people saw this as a real revolution. Webcasting requires much less material than broadcasting – a computer, a downloading software and a good Internet connection are everything you need. Which means that you do not need a lot of money, you don’t have to become popular to survive, you do not have to sell your soul to the devil; playing commercial music that would attract an audience that is not necessarily interested in your initial artistic identity.
Indeed, online radio also represents a way to escape from the music industry and the rules that it had established. In the early 1900’s, the market was almost exclusively controlled by six major record labels. In the 50’s, they were only three. But the Internet opened an access to every music that was created and shared on the web, without any filter – at first.
However, this new ability of downloading and sharing music files for free became very controversial: artists and record labels were seeing it as stealing their property. After years of debates, Bill Clinton signed the Digital Millenium Copyright Act in 1998: like AM/FM radios, web radio stations would have to pay royalties for the music that they would find online, and for the music that they would share. The price would vary according to the popularity of the artist.
This might be, or might be not, a reason why many online radios started to play obscure small rock music bands: to avoid paying royalties. But it is for sure that one of the reason of the great popularity of this new technology is that it was offering new artistic alternatives to traditional corporate and standardized radio, for people who would not share the common tastes or who would like some variety: it became easy to create your own website to share very specific music that might not be played by local radio stations, and to attract an audience that would be curious about special interests. This way, DJs could corner new markets, and individuals are now able to choose to listen to a specific genre he wants to listen to, or to a mix of different kind of musics, or to artists that are unsigned by labels… In fact, it plainly changed the culture and consumption models.
Playlists have become the favorite way of listening to music. Why ?
First, because most of the principal radio stations are extremely conservative. A Wall Street Journal article revealed that ‘’the top 10 songs in 2013 were played twice as much as the leading songs in 2003. […] The reason for this increasing repetition comes down to data, which suggests that replaying top songs keep listener engaged.’’ This sad assertion is based on the observation that the majority of the listeners do not want to listen to unfamiliar music. This way, playing more experimental genres would mean taking the risk of seeing the audience shrinking and, of course, of loosing money. The New-York radio programmer Ebro Darden testifies: ‘’Taking risks is not rewarded, so we have to be more careful than ever before’’.
But what about the people who are curious about being surprised by new talents ?
That is where Spotify, Pandora, and all those on-line music recommendation services have been clever. They are using downloading technology to provide millions of streaming music protected by Digital Right Management Act. Their method is largely criticized, because the royalties that they pay to artists are ridiculous (between $0.0006 and $0.0084 each time that a song is played, before the label takes its part). But there is something even more vital than money that these services can provide to new artists – it is exposure. Today, being exposed is the only way to access popularity if you can not afford a powerful record label. And popularity leads to ticket sales, album sales, and Internet streams.
An other reason of the rise of web radio at the expense of traditional radio is that, contrary to territorial radio, it made the consumers confronted to their own personal choices. Instead of listening some music imposed by a DJ, they had to think about what genre, what band, what song, they want to listen at this exact moment, at this exact place. And if you do not want to have to take any decision, you can just select a web radio that you know is playing music that you like. This is a possible thing to do with traditional radio, but you have to find the specific DJ, playing on the specific local radio, and after you found it, you would only be able to listen to his music for one to three hours – during the time of his show. And you would have to adapt to his schedule. An other way to discover new music can be to browse in the gigantic discovery source that the Internet is representing : MySpace, Soundcloud, YouTube, Tumblr, Mixcloud… We are spoiled for choice. But having too much choice can be discouraging for some of us.
Today, with the reign of Pandora and Spotify, the best playlist that you could ever imagine can appear in a fraction of second, just by selecting an artist that you like. If you want to discover new songs, these services propose you a panel of tracks that perfectly fit your tastes. Those « On-demand services » do not even require you to demand anything anymore — they are anticipating your desires. That can even be disturbing – sometimes it feels like our Internet radio better knows our own tastes then ourselves.
Last week, I was doing some shopping in a vintage store. I thought that the music that the shop was playing was amazing. They were playing only songs from my favorite albums of my favorite bands. During one hour, I could have sung by heart every lyric of each song. Before leaving, I asked a staff member who created the playlist (I absolutely wanted to meet him/her – he could become my best friend, that was for sure). The seller answered me that the playlist was made by Pandora. I left the store, without knowing if the idea that I just met my ideal musical algorithm instead of my musical soul mate was something I should be excited about. Then, I realized that, in contrast to my Spotify radios recommendations, the playlist that I was just listening to was not made for me. It was representative of a community of people who have the exact same musical taste as mine.
A lot of people blame web radios that are using algorithms because « it is so impersonal ». I don’t think it is. It is probably because it is so personal that it can be disturbing. I love listening playlists that are created by people, podcasted or broadcasted. But they will hardly fit my artistic personality the way algorithms do.
However, it should not be a reason to erase territorial radios from our listening habits. In fact, it is even a very good reason to keep listening to them.
Exactly two weeks ago, Donald Trump was elected to be the new President of the United States of America. Billions of people from all around the world threw up their hands in horror, wondering how such an unbearable thing did happen. The most surprised were the American people themselves. One question came to our mind : how is it possible that I did not realize how much Trump supporters I am sharing my own country with ? How was I so certain that the majority of my fellow citizens was approximately sharing my representation of life ?
That is how we began to hear about « filter bubbles ». The day after elections, Mark Zuckerberg was accused to have a great responsibility in Trump’s victory. Facebook, Twitter, Instagram, LinkedIn, Snapchat are representing a great part of our social life, and for most of the users, they are the place where to access to all other media. But the articles we are reading on social networks do not appear by accident, and that is why it is so controversial. Using a very similar algorithm as the one that Spotify is using to offer a playlist designed to measure, Facebook is selecting the pieces of information in which the user might be interested. Which is actually comfortable: we do not have to research news to stay informed – they are coming to us, through our « News Feed ». It is very satisfying. But it is also very blinding.
Indeed, the idea that the individuals do not bother to choose the way they want to receive their informations is problematic. Because, apart from the fact that, this way, we are giving to social networks the opportunity to manipulate our opinions, we are above all disconnecting ourselves from the reality that is unfolding before our eyes. Facebook’s News Feed algorithm is collecting data about links that we read, posts that we share, comments that we like. Taking account of these pieces of information, it will, then, propose you to read articles that will please you, so you want to like, share, consume more news. Facebook’s purpose is not to depict a realistic representation of what is happening in the world, but to make us feel comfortable with your Facebook environment. But Facebook is not the only one to blame — it only makes the process, that we would make by ourselves anyway, easier. Who never deleted a social network « friend » because he was making statements that sounded improper to you? Each fascist, insulting, disgusting message is perceived as an aggression. And nobody likes feeling attacked in its opinions.
Yet it appears to be very wholesome, to say the least. First, because facing different opinions is challenging ours, and, by this way, either reinforces them or makes them evolve. Plus, because confronting them make us realize that they exist. And the only way to fight ideas that sound wrong to us is to localize them and take stock of how powerful they are.
Even though the issues are not proportional, social networks’ game of filters operates in the same way as big streaming radios do. Snubbing musical genres that we are not familiar with, leads us to focus only on what we know and are sure to like. It means closing doors to new potential areas of interest.
Thus, if web radio is an efficient way to « balance the audience desire to discover new music while belonging to a tribe » (one of the subjects of the Music 4.5 Smart Radio seminar 2012), tuning to traditional radio stations that are offering a wide variety of musical programs, with educational goals, stays the best way for individuals to open their horizons and to emerge from their cultural cocoon. The Internet can be the greatest opportunity to open our minds, but the reality is that we are often reproducing social and cultural patterns that we are experiencing in the society we are evaluating in. A more human and less maths-based approach to music seems essential for our ears to remain alert, and, by this way, to have a better understanding of the different cultures that are interacting in the world.
by DJ Choking Hazard, recent Intro to Radio graduate! You may be able to catch her on the airwaves next quarter, bringing contemporary psychedelic rock to the Great 88! Visit the Facebook page for a taste of what’s to come.
Warm Brew is quintessentially West Coast – the two are synonymous. Their lyrics, though, are anonymous. (you’ll never hear ‘em copy! Top Notch Baby! Never coming less, sky’s the limit, you gots to believe up in… the Brew!) Their songs are riddled with personal experiences, never boasting of falsified encounters, and mainly speaking of their growth amid the sea spray of the Pacific and the concrete edges of the greater surrounding L.A. county. Since their first EP in 2010 – Natural Spirit – they’ve purely embodied their humble, Ghetto Beach Boyz roots. Native to beautiful Santa Monica and Venice, CA, the trio consists of Manu Li (pronounced Manu “Lee” not Manu “L-eye!”), Serk Spliff(ton), and Ray Wright. Manu and Ray grew up together and met in middle school, I believe, the two later linking up with Serk in high school. Shout out SaMoHi, rivals of my alma mater El Segundo High. While Manu was contemplating a future in politics, Ray and Serk were respectively leading their football and soccer clubs to famed victory, Serk himself winning a state championship and Ray earning himself a spot on the Toreros football lineup (Univ. of San Diego).
This temporary split halted the trio’s progression, but upon Ray’s decision to return home they decided to channel all their energy and talent into sculpting a greater sound and presence in Los Angeles. Early on as a group they frequented backyard shows and house parties, wrecking shop and turning the hell up as per usual. Put that on hold…
As a historian, I’ll be taking you through their discography, beginning with Natural Spirit. N.P (July, 2010), featuring the George Benson-Breezy track “Doin’ It Right”, is riddled with terrific samples, scratches, and lyrics that solidified the group’s recognition in the area. This project included Wright’s good friend, Espy, who produced and handled the keys on various tracks. Espy, your production is legit man, bravo. Give it a listen on: www.espy.bandcamp.com/album/natural-spirit As they put it, the album is, “Fun. It’s hard hitting, it’s devastating, it’s mind blowing, and it’s what we make. Straight hip hop, but always fresh and new. Ain’t no half steppin’ on this record.” Word to Big Daddy Kane, they weren’t bluffing. It smacks! My favorite tracks are: “I Know I Got It”, “Natural Spirit”, “Nineteen”, and an instrumental track that finishes off the album… “Now, Los Angeles”. Moving onward, the Brew’s sophomore release was Warm Brew the EP (June, 2011) in which the group diversified their portfolio and explored the realms of contemporary alternative hip hop, but nonetheless had to spring it allll the way back to Southernplayalisticadillacmuzik & Outkast’s famous “Crumblin’ Erb”, a 420 favorite, on their track “Boilin’ Bud (Dungeon Family Tribute)”. Peep “Tommy Pickles” as well. Here’s the album: www.espy.bandcamp.com/album/warm-brew-ep.
In 2012 Warm Brew released a couple more albums: Kottabos (May, 2012) & Sippin All Day Last Night (December, 2012). Kottabos features a new array of producers including Al B Smoov (current DJ and extensive producer), DeUno, DJ Dahi, the TeQnitionZ, Danny Dee. The group maintains their lyrical fluidity, while experimenting further with tracks like “Get It,” to get that booty shaking, “Creep” where Serk and Ray get CrazySexyandCool to the classic “Creep” track by TLC, and a smooth track “DGPG” which the Brew wrecks on, inspired by The Alchemist’s “Tick Tock” ft. Nas & Prodigy. They get together with South Carolina natives OxyMoron on “SC 2 SC”, in which both groups with similar stories flow off one another tremendously. Check it out: http://warmbrew.bandcamp.com/album/kottabos.
Sippin All Day Last Night carries a similar vibe as Kottabos, another feel-good record by Warm Brew that opens up with birdies chirpin’ in “Hear Ya Say”. This album doesn’t get much recognition, and I’ve noticed that various articles on the group have overshadowed this album for one reason or another. Find it here: http://warmbrew.bandcamp.com/album/sippin-all-day-last-night. I view this album as essential to Warm Brew’s evolution. They mention how early on they were having as much fun as they could, making money, spending money, doing shows, etc. But as we see, the next album Warm Brew would release would go on to get them signed, and I find that Sippin All Day Last Night marks the group’s transition into professional work. My picks: “Hear Ya Say”, “Booze Cruise”, “World Wide International”, “Proper Amount”.
Continuing on their ride, the group released, hah, The Ride (July, 2013) their longest release to date which included an array of features from familiar friends and new faces alike – vocals from Hugh Augustine, Natia, Azizi Gibson, along with production from Al B Smoov, The Teqnitionz, DJ Dahi, Danny Dee, Joe Brown, and Lord Quest. Their track “Wanna Get High” feat. Hugh Augustine would later earn them great recognition by L.A. native Dom Kennedy (see: From the Westside with Love: II) who had been recently holding it down for L.A. on the hip hop scene along with T.D.E. pioneer Kendrick Lamar. After hours of working together, vibing off one another during studio sessions, and getting to know one another more personally, Dom would have Warm Brew sign onto his independent label OPM (Other People’s Money). Here’s The Ride: http://warmbrew.bandcamp.com/ . My personal favorites from the album: “Good Morning”, “The Ride”, “Wanna Get High”, “Word”, “Lightbulb Effect”, “We Don’t Know”, “Loungin”… heck just listen through!
The group took a bit of a break until releasing last year’s Ghetto Beach Boyz (January, 2015) under Dom’s guidance. They attribute the album’s fuller feel to his mentorship. He versed them on ways to create a body of work that, from beginning to end, holds up against, arguably, many of the hip hop albums that were up for album of the year (in which J. Cole took home the crown at the BET Hip Hop awards). That may be saying a lot, but this album solidified Warm Brew’s influence in the Los Angeles hip hop scene. They began to receive greater recognition, performing overseas in France (Paris I believe), while turning heads throughout the States. Through this all they have continually stuck to their roots, properly representing where they come from on each track. Over past albums, like Sippin, Warm Brew meddled with G Funk, a sub-genre of hip hop that was incredibly popular during the 90’s on the West Coast (Warren G, Snoop Dogg, Nate Dogg, that trio as 213, DPG, Dr. Dre, DJ Quik, Hi-C, 2nd II None, list goes on.) Their track “W$ Phonk” is purely G-Funk, from the synths, to Ray Wright’s Nate Dogg-esque crooning, to Manu Li’s playful and insightful (text your mother before others, straight up, she’s takes priority over most! It makes me chuckle, but he’s being real!) imagery. The track is golden. But personally, I prefer “We Can Do It”. The track is graciously layered, mellows you down into a distinct and smooth rhythm, and delivers humbled lyrics that reflect on the group’s journey up to this point. Perhaps “A1Day1” serves a better example of them holding it down for those who have stuck it out with them (including family, friends, a big finger to the naysayers), but “We Can Do It” is a living testament that Warm Brew has continually gotten it done, whether you’ve known it or not, and their business here is unfinished. Check out the album on Spotify, I confidently approve of each track, no half steppin’!
Their latest album Diagnosis (July, 2016) is their first album under Redbull Records. They are actually the first hip hop group on the label, so props guys! The album is on the shorter side, but it serves as a teaser for their coming works, so don’t stress out. Nevertheless, they continue to deliver the goods, teaming up with Swiff D (who has produced for Schoolboy Q), Buddy, SiR (who is on the rise himself as well), and longtime friend Hugh Augustine. Hugh Augustine is also a terrific artist, I recommend his works (see Word is Bond, Massimo Ciabatta, Hurry Up and Wait). Hugh was featured on Isaiah Rashad’s latest album, Sun’s Tirade (see: “Tity and Dolla”) which Al B Smoov also produced on (see: “Wat’s Wrong,” co-produced by Smoov). Warm Brew lets us know that they’re sticking to the path they view ahead of them: one of wide recognition, anxious and loyal fans, and further development. “Hallelujah” serves the purpose of thanking the one above for allowing the three, after years and years of hard work, struggling to make money, hopping from one job to another early on to save cash, to still be together after it all. They also pay tribute to L.A. legend Kobe Bryant [we’ll miss you Kobe :’( . Mamba forever ] who retired this past season with their track “24 Pivot”. You can listen on Spotify or on SoundCloud: https://soundcloud.com/warmbrew
With all that being said, it’s safe to say that I’ve followed the group for quite some time and am anxious to see what the future has in store for Warm Brew. They have the ultimate potential to become one of the best hip hop groups out of Los Angeles, they have some great expectations to fulfill but I believe they can exceed them all. Best of luck for the future, Warm Brew. They’ve already been acknowledged by various esteemed L.A. hip hoppers like Dom Kennedy, The Alchemist, People Under the Stairs, and members of T.D.E. The future looks bright for them, keep your eyes peeled folks.
Warm Brew will be in Santa Cruz tomorrow night, get tickets online at http://www.catalystclub.com/ or Ticketmaster. I’ll be there mobbing with my crew, it’s gonna get rowdy. Also, check out their music videos which they’ve been coming out with throughout the years, just look ‘em up on the Tube! www.youtube.com or go to http://warmbrewla.com/westsidechristmas/
Tune in to Beats, Rhymes & Life tonight – midnight to 1am – to hear some of my picks live on KZSC Santa Cruz, 88.1FM. Also stay tuned for an interview with Warm Brew I got scheduled. Peace!
– The Tone
Hip hop is uniquely powerful because it sits comfortably at the borderline between poetry and song. It bridges the gap between the two, and in turn contains the qualities of both song and spoken word. Unlike poems (or any other word based message), music has the upper hand of getting caught in your head for long periods of time. This is a vital tool for those trying to spread a political message–– having the power to keep words in someone’s head is just about the best way to spread a political agenda. Just think, what if on the same day, at the same time, the whole world (including all the world leaders), had the chorus to Queen Latifah’s Black on Black Love repeating in their head? What about Salt n Peppa’s feminist anthem None of Your Business? Would political decision making be affected? Similar to poetry however, rap is much more lyric based than any other musical genre. Because of it’s fast paced nature, rap is able to squeeze an immense amount of lyrical content into a short two minute song. It is not tied to traditional song structures in the same way as other music often is, and in turn, rap can really pack a punch.
With so much political power, hip hop is the perfect art form to be leading many of today’s revolutionary movements. It reclaims oppressive spaces through its loud, commanding, and aggressive nature, creating a genre of wildly popular music. Unfortunately, most artists in modern mainstream hip hop have very little interest in women’s issues. First and foremost rap addresses racism–– a critical issue for men and women both nationally and globally. Too often however, these political anthems are not intersectional. I’m sure most of us know the feeling of thinking we’ve found a great new rap song until about thirty seconds in when the artist starts describing how he’s going to force women to have sex with him. Suddenly your foot stops tapping and you’re not feeling as empowered as you were a second ago. Of course there are countless male rappers out there who don’t do this, but I think we can agree this is an all too familiar feeling for those of us who seek out rap in our day to day lives. Which is why, now more than ever, it is time for female hip hop artists to finally have their time in the limelight.
It’s interesting to note that, generally speaking, female rappers are much more likely to include political lyrics in their songs than male rappers. There are many possible reasons for this, but one of them is simply that women have to work much harder than their male peers to get the mic in the first place, so are probably more inclined to say something that really needs to be heard. Unlike what was mentioned earlier, female rappers are consistently intersectional and most songs will engage with both gender and race, rarely choosing one. One of the most common threads in hip hop by women is the idea of ownership over their own body and sexuality, two things which are often portrayed as under male control in mainstream media. There is little more refreshing to me as a woman in the United States than seeing another woman stand up, take control, get angry, and rile up a crowd all while being sexy as hell.
With all of this said, now more than ever it is time for us, as hip hop consumers, to support and nurture female rappers. They stand strong in solidarity against sexist and racist rhetoric that is too often a structure for our society. Female rappers are a triple threat: they are women, they are usually people of color, and they refuse to be silenced. They are prepared and capable to be our generation’s revolutionary leaders––if only we would open our ears and listen to what they have to say! The hip hop industry has been paving the way to produce political leaders for years, it’s now time to give these women the platform for their own voices and a fan base to support them.
So where do we begin?
For starters, tune in to Queen Beats every Tuesday night from 12-2am on KZSC, Santa Cruz. (88.1FM or kzsc.org) Next, like Queen Beats on Facebook and stay updated with what women are up to in the hip hop industry: https://www.facebook.com/QueenBeatsKZSC/
Call in! Make requests! Enjoy! We are the generation that is going to give these women their space, so let’s start now!
*artists shown in included images– top: Alphamama, bottom: Akua Naru, featured image: Soom T
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