The band consists of:

Saam Hagshenas (vox, guitar, keys)

Jon Marks – (rhythm {drums, drum programming}, vox, keys)

Pete Dougherty – (keys, synths)

Check ‘em out on their website www.heychamp.com

Jazzanova- Of All the Things (2008)

“the world is changing/getting smaller everyday/easy to get someplace/but hard to get away…”

You may know the German production team Jazzanova or you might not. But you should.

Jazzanova is a 6 man team based in Berlin. Some of the guys are musicians, some are programmers, some are DJs, one is a master recording engineer. I’ll let one of the guys explain in detail.

“Stefan and Roskow are more or less responsible for programming our tracks. They work also on their own projects or for others, but they mostly work on Jazzanova projects. And there’s Axel who does all the mix-downs. He records all the artists for Sonar Kollektiv. Claas, Alex and me are concentrate on our work for Sonar Kollektiv, our record label. Claas takes care of all the contract things and all that. There are always teams of two who work on a Jazzanova track, so it’s one of the programmers or engineers and one of us, one of the DJs. This team works on a track from the beginning to the end. And once it is done, they come to the other members of Jazzanova and all of us listen to it and we join with ideas and criticism and all that. But more or less a Jazzanova tune is done by two, one of the DJs and one of the guys who are on the computer and programming. Axel is responsible for the sound. He has a perfect ear, so he is for good for all sounds…”

-Jurgen von Knoblauch of Jazzanova

People sat up and took notice when they released their debut album In Between in 2002. Besides that, they have done a slew of remix work. Heads have deemed In Between a classic. For my money, this album is the far and away winner.

While In Between is mostly built on sonic collages and makes extensive use of sampling, OATT is almost exclusively organic. Amy Winehouse’s  breakthrough album Back To Black (produced by Mark Ronson and Salaam Remi) sent hordes of producers to the lab to record dusty drums and acoustic basses to try to replicate the 60’s feel of Back To Black. Most of them failed. While they got the sounds right, they failed to write any interesting material. Perhaps the most egregious example of this was ex-Tony Toni Tone frontman Raphael Saadiq’s terrible album The Way I See It. Ray painstakingly re-created the sound of Hitsville but instead of writing some great songs, he chose to simply re-arrange already existing 60’s songs and hoped no one would notice. Ray’s album was a prime example of what I called “musical theatre on wax”. There are tons of bands out there who dress up in 60’s/70’s gear, rip off old records, and think theyre doing something ground-breaking. They aint.

On this album, Jazzanova touches on the sound of the mid-60’s without falling into the fetishization trap.  They avoid this by writing absolutely stellar and original songs and producing them like new records instead of old ones. That is how you keep real music going w/out being retro.

Luckily, they venture out of the 60’s on roughly half of the album. Unlike the last album, each cut features a vocal. The choices are inspired.

With most albums by beat driven artists, even the fans don’t pay much attention to what is being said and what messages are being communicated by the artist. Folks tend to focus on the production and not much else. As long as the vocal is in the right key, its all good.

The overlying theme of this album is self-reckoning. Each cuts details this in different scenarios. Mediations on heartbreak, maturity, love, racism and isolation set the tone. Expressed though a selection of mostly male vocalists, the lyrics are haunting and deeply personal-making this a moody album. Each vocalist contributes their own lyrics making kudos due all around. I have been spending quality time with this album for the last few days, and certain songs are resonating very deeply with me.

Jazzanova musician Stefan Leisering matches these emotional poems with outstandingly sensitive musical compositions that support the intent of the lyrics without outshining them with garish production tricks. He gives each song the music it needs to flourish. His music is deeply soulful and elegant.

Fat Freddy’s Drop lead singer Dallas Tamaira aka Joe Dukie turns in a deep piece on self-reflection entitled What Do You Want? British vocalist Ben Westbeech accurately illustrates the sorrow of foreseeing the end of a romance on the melancholy second single I Can See.

Indie Renaissance man Phonte gets both sides of his talent showcased on two cuts. On the album opener Look What You’re Doing To Me, Phonte sings about the deeper side of loving someone. On So Far From Home, Tay’s rhymes let us into the other side of traveling the world with your music. Most rappers present worldwide touring as a non stop party. Tay talks about the loneliness and the subtle racism that some Europeans exhibit toward Black people when we’ve been taught to believe its all good for Black musicians in Europe. Its a very ballsy move on Tay’s part to use his guest spot on a Europeans group’s album to talk about this.

So Far From Home is clever musically because of the sample used. Jazzanova samples their own song, Let Me Show Ya, for the basis of So Far From Home. Not only is Let Me Show Ya their own song, but its also a song from this same album. Nice.

The clever musical references dont stop there. Jazzanova recruits sensual soul master and native Detroiter Leon Ware to remake his own 1981 underground seduction classic Rockin’ You Eternally. To further tip the hat, they have fellow Detroit crooner Dwele to provide backing vocals. Even better, its almost identical to the original musically. Somehow, it still seems like a fresh take on the song.

The Germans continue their musical world tour by having 70’s Brazilian disco/funk/jazz trio Azymuth team up with fellow Brazilian vocalist Pedro Martins for one of the album’s shining moments. The result is a gorgeous, slinky slice of Brazilian jazz entitled Gafiera.

One of my favorite female vocalists, Bembe Segue, steps out of her comfort zone to contribute the only female vocal on the album. Singing over a straight ahead jazz arrangement, her song Morning Scapes lends some air to the heaviness elsewhere on the album.

Detroit is well represented on the album as Motor City bassist/vocalist Paul Randolph lends his soulful vocals and lyrics to 3 songs.  Besides the aforementioned first single Let Me Show Ya and Lucky Girl, he takes the lead on the album’s masterstroke. The closing cut is a jazzy reading of Morrissey’s scathing Dial A Cliche. Randolph’s vocal on top of the subdued arrangement lend the song a new poignancy. The most famous line of the song “Grow up, be a man, and shut your mealy mouth” packs an emotional wallop.

To summarize, this is one of the best albums I’ve heard recently. It may even be my Album of the Year for 2009. If you don’t have this album, get it right damn now. It is a work of genius.

My man Primus Luta is a scientist of music. Literally.

He gets under the hood and looks at the mechanics of how music w0rks. After he breaks it all down, he puts it back together in the form of some pretty dope shit.

Some time ago, he asked me to lay a bass part for this song. Unfortunately, due to situations we were going through with Windimoto, I didnt finish my part as promptly as I liked (I dont jerk people around if I say Im gonna do somn…..mostly).

When he sent me the track, it was pretty bare bones….so I figured there was a method to the madness…and that shit was harder to play than you think it would be…

When he sent me an early mix months later, I was blown away to hear myself in the middle of a jazz-fusion smoker…

I was sworn to secrecy…until now.

Luta is finally ready to release the Heads project to the world. Of course, there is a concept to all of this shit. I’ll let Luta explain it himself in the links below, but I will say this, Luta’s version of Come Clean is related to the 90’s hip-hop classic of the same name.

The musicians on the song are:

Drums, Keyboards, Programming and Additional Percussions by Primus Luta
Bass by Scorpeze
Guitars by Takuma Kanaiwa
Saxophones by Tomchess
Percussions by Zach and Claudia

First, check the song (and his remix using our parts) below:

Now, dig Luta break it all the way down here (it’s pretty interesting):

http://comeclean.avanturb.com/

Peace,

Scorp

Phonte (formerly of Little Brother) and Nicolay, better known as The Foreign Exchange, have officially started their own label called +FE Music.

The first release is the album by vocalist YahZarah entitled The Ballad of Purple St. James on May 4th.

Treat yourself to the first single, Why Dontcha Call Me No More.

Written by Phonte, YahZarah, and Nicolay and produced by The Foreign Exchange (Nicolay and Phonte), it aint what you’re used to…but its dope all the same…the song is a slightly humorous take on the conflicting feelings you have for an ex-lover that aint no damn good.

Get the single…….FO DE FREE! at +FE Music’s website here:

http://www.theforeignexchangemusic.com/2010/03/why-dontcha-call-me-no-more.php

Thank me in moments in time further ahead than the present.

Peace,

Scorp.

My friends,

I know that it is difficult to wade through a sea of neverending wackness to find the good shit…ESPECIALLY in hip-hop…

But I will offer my assistance…

As we all know, its hard to get people’s attention long enough to listen to your music…and sometimes talented artists have to settle for just letting their work float in the universe and hoping that someone somewhere will hear it and connect.

tREBLEFREE is a hip-hop producer (not beatmaker) born and raised in my hometown of Detroit, MI where he still resides. What sets this man apart from his contemporaries is his musicality, attention to detail, his inventiveness, and subtle yet wicked sense of humor…

His songs are soulful and packed to the teeth with a funky sense of rhythm and emphasis on groove rather than just making whatever sonic dressing fit the drums. Rather than just the stoic “ba-boom-boom-bap” boring rhythms that other hip-hop producers give you, tREB’s music has actual movement rather than just accompaniment…

DVS Jackson is nowhere near your average emcee. A product of Chicago–years ago you could have found him buggin out in the house clubs just as soon as rippin flows in a cypher. DVS attacks you with vocal dynamics, wordplay, zany humor, intricate flows, and just straight up bizarre imagery that leaves your head spinning. After you’ve absorbed all of that, you realize that there was a solid concept hidden underneath it all. He is the aural equivalent of a Magic Eye image.

The unorthodox artistic approach of both men created an inevitable partnership.

Taking on the personas of the scathingly sarcastic Muppet critics Waldorf & Statler, tREB and DVS have decided on a unique presentation of their work together…

They will release 5 Waldorf & Statler EPs (they call it a “cinquilogy”), with one to be released each quarter. The 2nd EP has just dropped.

Get thee ass to their Bandcamp page and download BOTH existing Waldorf & Statler EPs…….FO DE FREE!

http://waldorfandstatler.bandcamp.com/

Listen to it (yes, the whole thang, if you want!) below:

Do not let this thang pass you by….Don’t let GOOD art go unnoticed…

Thank me at a moment in time that will occur in the future.

Peace,

Scorp.

http://www.billboard.biz/bbbiz/content_display/industry/e3i56ed42b9a46f8554e2671afccecca01b

Updated: UMG To Launch U.S. Pricing Test
March 18, 2010

By Ed Christman, N.Y.

The Universal Music Group could rewrite U.S. music pricing when it tests a new frontline pricing structure, which is designed to get single CDs in stores at $10, or below.

Beginning in the second quarter and continuing through most of the year, the company’s Velocity program will test lower CD prices. Single CDs will have the suggested list prices of $10, $9, $8, $7 and $6.

To accommodate the lower pricing, UMG labels also plan to step up deluxe versions of albums that can sell at higher prices for the more devout music fans and collectors. UMG is also banking that the lower price points will at the least be offset by increasing CD sales volume.

Most new releases will carry the new price points, although there will be the occasional exception, UMG sources say. At deadline, it was unclear exactly when the program would begin, because Universal Music Group still hadn’t relayed that information to accounts.

“We think will really bring new life into the physical format,” Universal Music Group Distribution president/CEO Jim Urie said.

25% profit margin

Retailers should respond well to the new price points. But the level of their acceptance will likely depend on the profit margins that the new UMG wholesale prices afford. According to sources, the new pricing structure will carry a 25% profit margin, which means that $10 list CDs will wholesale for $7.50; $9 for $6.75, $8 for $6, and so on.

Consequently, retailers who buy from wholesalers will likely be less enthusiastic about the move.

Newbury Comics CEO Mike Dreese gives the initiative “two thumbs up.” But he adds that the industry still needs the other major labels and independents to make similar pricing moves for overall CD sales in order to be positively impacted.

“We are happy to see that a major music vendor has made a decision to lower his price substantially, because it’s what the customer wants today if we are going to see a viable CD business,” Trans World Entertainment CEO Bob Higgins said.

Reaction from industry

On March 16, executives at the other majors were nervous about the UMG move, calling around to accounts for information on the move. Privately, some appeared annoyed by the move. “Why does Universal feel the need to get below $10?” a senior distribution executive at a competing major asked.

Yet merchants have long clamored that lower pricing will prolong the life of the CD, which is down 15.4% so far this year. Album sales were down 18.2% last year, and 19.7% in 2008, when CD sales totaled 360.6 million, as opposed to the 706.3 million units CDs scanned in 2000.

In response to declining sales, the majors and indies have responded by lowering catalog pricing across the board — either formally, like Sony Music Entertainment’s Accel program does (Billboard, Sept. 5), or through promotional vehicles like UMG’s XL promotion — to bring wholesale cost price down to the $7-$8 range. Frontline pricing, however, still remains a mixed bag, with UMG main wholesale price point at $10.35; Sony at $10.50, EMI at $12.04 and the Warner Music Group at $12.05.

Between all the retail circulars touting hit titles at $9.99, and iTunes selling albums at that same price point, it became conventional wisdom among merchants that $10 is the magic price point that will induce consumers to buy more CDs.

The new UMG pricing structure for CDs won’t impact its digital pricing; the company plans to keep its current pricing for digital.

Pricing programs

UMG was the first major to address declining sales when it initiated Jumpstart pricing in September 2003, which put frontline pricing at $10.35. But the other majors condemned that move and refused to lower prices until years later.

As CD sales continued its decline, merchants began renewed requests for the labels to respond yet again beyond the catalog pricing moves, JumpStart and Accel. In the last few months, Trans World Entertainment began testing the $9.99 price point in over 100 stores, while Wal-Mart has been telling the majors to release shorter albums at lower prices more frequently.

The Trans World test — in which most independents and every major except for the Warner Music Group participated — produced units sales increase of more than 100%, according to label executives who participated in the tests. The Trans World test helped sell the new pricing model to the Universal labels, sources say.

On the reluctance by other majors to so far address the $10 retail price point issue, one source says, “The definition of idiocy is doing the same thing over and over and expecting a different result. Things are not going to get better for CD sales unless the price point is addressed. One thing that the Trans World test shows for sure, $10 will drive sales and traffic.”

Sunday, I posted ?uestlove’s argument that Beyonce is the next MJ. Needless to say, myself and MANY others disagreed. If you are just joining us you can read ?uesto’s full argument on my previous blog here:

http://windimoto.com/scorpeze-blog/?p=456

Good people, I want to be brief but the fact is to comprehend MJ is a huge undertaking. Though Mr. Thompson had some interesting points, his claim is poorly thought out and completely without merit.

First off, let me say that there are certain facts about Mrs. Beyonce Giselle Knowles-Carter than cannot be disputed.

A) She is talented.
B) She can sing.
C) She can dance.
D) She has star quality.
E) She is a beautiful woman.

That being said, there are definitely parallels between Mrs. Knowles and Michael Joseph Jackson:

A) They both have been entertainers since they were children
B) They are both driven to be the best in their field
C) They have reaped great success in the entertainment industry
D) They are both Virgos–thus hard workers and shy people that come alive on stage
E) They both came from groups that they inevitably outgrew
F) They both-because of growing up in the entertainment industry-have somewhat stunted social development
G) They have overbearing fathers who guided their careers.
H) They both bammas
I) They Black

…and that’s where the comparisons stop.

When Berry Gordy stood before the world at MJ’s memorial and finally said out loud what the world already knew but for numerous reasons could not bring itself to freely admit–that Michael Jackson is the greatest entertainer to ever live–NO ONE could offer an argument to the contrary…because there is no argument to the contrary.

There is a point when you are no longer great, but legendary…where you are no longer legendary, but an icon…where you are no longer an icon but the Gold Standard by which all others are measured…MJ reached that level….

MJ didnt just “change the game”, he obliterated the old game and put a new one in its place.

This may sound like hyperbole, but the facts speak for themselves.

No one has sold as many records as MJ. Period. But record sales are only a piece of this pie. Yes, Thriller had a lot of serendipity going for it, but the pieces had been put into place a long time before that…

At the age of FIVE YEARS OLD, MJ was already on a level that he relieved his older brother Jermaine of his lead singer position in the Jackson 5. Grown men refused to play on a bill with him. He was a seasoned enough entertainer that his competition in talent shows swore that he was not a child, but an adult midget (true story). A child had professional adult entertainers shook. Bear in mind, this was the 60’s, where you couldnt lipsynch, use auto-tune, or prerecorded tracks. If you didnt have the goods, you were forced to leave the stage, cute kid or not. The Jackson 5 won EVERY talent show they entered.

Another true story. At the age of THREE YEARS OLD, MJ sang Climb Ev’ry Mountain in school one day. His teacher wept.

Etta James told this story to MJ biographer J. Randy Taraborelli. She said that one night on a tour stop in the Midwest, she noticed a little boy hanging around her dressing room before showtime. She was trying to prepare for the show and the kid was distracting her. She marched up to the kid and told him to get lost. The kid scrambled away. Later, after her set, the boy appeared at her dressing room door. She asked him “What do you want, kid?” The boy replied, “Miss James, my father told me to come and apologize for bothering you earlier. I didn’t meant to, its just that you’re so good. I just want to know how you do it…” Etta had a change of heart and invited the boy in for some pointers. She remembers (in a self-congratulatory way) thinking to herself after the boy had gone, “One day, that boy is going to be the best…because he wants to learn from the best…”.

Mind you, this is going on before Motown ever knew The Jackson 5 existed. The rest, as they say, is history.

There are artists that we enjoy, and then there are artists that we FEEL. They give us pause. They make us consider things. They make us sit up and pay attention, and what they do and say stays with us long after the show is over or the record stops.

I’ve always said that you can divide entertainers into 2 categories: Artists and Acts.

Acts wants your attention and praise. They use whatever talent they may have to gain your favor. It doesnt matter to them how they do it. You pay them and clap for them and they are satisfied.

Artists also wants your attention and praise, but the difference is that an artist feels duty bound to share their gifts. They perform in service of the audience. They feel compelled to connect with their audience, to give a voice to whatever you in the audience may be thinking or feeling. At other times, an artist has something to say that they feel everyone should hear. An artist has purpose and integrity.

Michael Jackson felt duty bound to right the wrongs of the world. He wanted people to stop hurting each other and start loving each other more. It was this message of love that was the foundation of his music and performances until his last day on Earth.

Michael Jackson is an artist. At the age of 18, he pleaded with us to come together in songs like Show You The Way To Go, Living Together, Dreamer, and Strength of One Man. He continued on with a constant message.
-Man of War
-Can You Feel It
-We Are The World
-Earth Song
-They Dont Care About Us
-Beat It
-Heal The World
-Bless His Soul
-Man In The Mirror
-Keep The Faith
-On The Line (which was the theme song to the only film that I know of about the Million Man March)

if you wanna talk empowerment, he said:
“Lift your head up high and scream out to the world
I know I am someone, so let the truth unfurl
No one can hurt you now cause you know its true
Yes, I believe in me, so you believe in you
Help me sang it
Sing to the world, sing it out loud”

He wrote that when he was 21.

Lots of people write inspirational songs, mattafact there’s a whole sub-genre of music dedicated to just that, but when MJ sang people listened…people in all corners of the globe.

While it may seem that Im just retreading old shit…I remind you that we are talking about someone who is being talked about as the “next” one of this caliber, so I think its important to realize what caliber we taumbout here….

We taumbout a cat who inspired the world to stop and not only realize the plight of Africa, but help…you had kids sending in allowances, and Mr. Joe Six Pack writing a check for famine relief….These days that type of widescale philanthropy is commonplace…

We’re taumbout a cat that made grown men cry during and after his life (I’ve seen it). A person who has little children demanding that their parents buy them his music AFTER his death.

MJ changed the way Black men approached singing. How many baritones are there in R&B these days? These days a little white kid is just as likely to start singing in an R&B style than forming a rock band because of MJ.

MJ wrote songs that are part of the permanent fiber of global culture.

MJ made Fred Astaire bow down.

Even MJ’s hero, the notoriously egocentric genius and architect of modern Black music, James Brown insisted that even though MJ had learned from him that MJ was an original.

To this day, people are still trying to discover what made MJ tick.

MJ survived a scandal that would have obliterated anyone else’s career-TWICE. After 8 years of creative silence, then man announced that he was back and instantly sold out the same arena 50 times over.

This is the man we are talking about here. This is the entertainer we are talking about. This is the artist we are talking about.

And who is Questo proclaiming to be his rightful successor?

Beyonce.

Beyonce?

For all the talent, charisma, success, and work ethic that Beyonce has, let’s be really damn real.

She aint fuckin with MJ.

She may be one of the many entertainers in the mold of MJ, but the “NEXT” MJ?

How so? Because there are some similarities in their careers? That aint enough…

Let take the visual out of the equation.

let’s sit MJ’s catalogue next to Beyonce’s….that’s not even fair…

What is the criteria? Beyonce’s songwriting? Aight, let’s look at that….

on persistent suitors:
MJ – “She comes to the door/crying at my feet/Guilt shines in her eyes/as she slowly sinks in deep/You know our love couldnt last forever/persuade your way/but you aint clever/ I close the door and I say never….”

Yonce – “So what/you bought a pair a shoes/what now I guess you think I owe you/you dont have to call as much as you do/Id give em back to be through with you/so what/my mama likes you…”

on self-empowerment:
MJ – “And when you think of trust/Does it lead you home?/To a place/that you only dream of/When you’re all alone/And you can go by feel/’Stead of circumstance/But the power’s in believing/So give yourself a chance…”

Yonce – “the shoes on my feet/I bought it/the clothes I’m wearing/I bought it/the rock Im rockin/I bought it/cuz I depend on me/if I want it/the watch Im wearin/I bought it/the house I live in/I bought it/the car Im drivin/I bought it/cuz I depend on me…”

on a broken heart:
MJ – “and it doesnt seems to matter/and it doesnt seems right/cuz the will has brought no fortune/still I cry alone at night/dont you judge of my composure/cuz Im bothered everyday/and she didnt leave a letter/she just up and ran away…”

Yonce – “Now that it’s over/Stop calling me/Come pick up your clothes/Ain’t no need to front like you’re still with me/All your homies know/Even your very best friend/Tried to warn me on the low/It took me some time/But now I am strong…”

I think we can see that we’re not dealing with the same caliber of songwriter…Also let me point out, that songwriting and producing actual music is one of the things that MJ was known for (if the word “Quincy” enters your mind, go see my “In Memoriam Part 1″ blog, then rejoin us here). it is common knowledge now that if you want a track on a Yonce album you are REQUIRED to give her a writing AND production credit–whether she did any work or not. Tsk Tsk, mayne. Okay, we know that she’s written lyrics before. Schmoove. But sometimes she doesnt when the credits say otherwise. See If I Was A Boy.

But Beyonce aint twisted knob the first, or arranged a string session, or worked out chords with musicians. Mike has. Kenny Gamble told CBS in 1977 that Mike and his broze didnt need a babysitter in the studio anymore.

Vocally? *looks at the camera*. I’ve only heard B sing ONE song with any kind of believable emotion (the latter song quoted above). Yonce fans, feel free to point me in the direction of any other song by her that moves you emotionally (please say Get Me Bodied). Meanwhile, Mike made HIMSELF cry every time he sang She’s Out Of My Life. EVERY time. Its one thing to sing well, its another thing to make people feel…

Videos? Mike damn near invented the video. I challenge you to make it all the way through this:

Like I was saying…what other criteria are we judging on, Mr. Thompson?

Record sales? Popularity? The scales are not coming anywhere close to balancing with those factors on the table…MJ’s weakest selling album ran 10 million out the gate with little promotion and one video.

Dancing? Again, Fred Astaire, James Brown, and every kid that dances professionally now cites MJ as an inspiration. He created his own dance vocabulary, his moves are studied. Even K-Fed said that the greatest moment in his life was dancing for MJ. Beyonce’s choreographer left her tour to audition for This Is It. Not for a job, to audition. Yes, MJ learned from the best but in the end when you bust certain moves people know automatically who you are mimicking. Yes, Yonce had her Single Ladies moment and everyone wanted to learn the steps but the same thing happened with the Achy Breaky Heart, The Macarena, and MC Hammer’s Chinese Typewriter. Do the Single Ladies dance 10 years from now at a party if you want. People are still doing Thriller–27 years later. Let someone accurately dance like MJ and a crowd gathers…

Is Beyonce the biggest pop star in the world right now? Yes. has she been successful for a while now? Yes. But she’s hardly alone in wearing that distinction.

Lastly, let’s talk about influence. MJ has inspired millions of people to better themselves, care about others, be ecologically responsible (long before it was hip to be “green”…BTW, MJ was a vegetarian back when fast food still tasted good), be the best they can be, follow their dreams, and take pride in being different. He has personally mentored actors, athletes, emcees, choreographers, filmmakers, authors, activists, singers, musicians, entrepreneurs, doctors, etc…both young and old.

What is Yonce’s influence? Inspiring insecure women to shake their asses half naked in a room full of strangers? Who is she inspiring and what is she inspiring them to do? To wear as little clothing as possible? Throwing your man out of the house? Emotionally blackmailing him to marry you? (the less I say about Yonce’s relationship, the better) To writhe around on the floor and spread your legs? To drive around in the Pussy Wagon???

Warning: Opinion ahead.

I absolutely fucking cringe when I hear someone suggest that Yonce is a role model that young women should be emulating. In the last decade, she has gone from suggestive to risque to desperate. What would happen if she put her legs, ass, and titties away? Would we be still be having this conversation about her artistic merit? Sweet Lawd, WHEN will women learn the difference btwn taking ownership of their sexuality and exploiting themselves?

A large part of Yonce’s appeal is that she makes records out of women’s sillier fantasies.

-Kitty Kat: I’ll withhold pussy from you if you dont give me the amount of attention I want
-Irreplaceable: I’ll kick you out the crib and you wont have a word to say about it. Oh yeah, Im going to further provoke you by inviting another dude over here in the middle of a hostile situation
-Freakum Dress: Im feeling insecure about my relationship, so instead of talking to my man…Im going to the club in the sluttiest clothes I can find…that’ll teach his ass
-Single Ladies: if you dont propose to me, Im going to go out to the club make a spectacle of myself

This is some real mature shit here *sarcasm*. the list goes on…ladies, you can follow this advice if you want to and see how far it gets you…Sadly, alot of girls and grown women think that they can pull this type of shit off because they saw Beyonce do it in a video. Trust me, I’ve seen it…

What they fail to realize is that Beyonce can make up fantasies about what its like to deal with men because she’s Beyonce. She’s spent the majority of her life on stage or under the watchful eye of her dad. If there’s one parallel btwn Yonce and MJ that stands out, you can bet your ass that the lack of a social life is one of the most prevalent. Solange can get pregnant at 17, but there was no FUCKING way Matt and Tina would have let Yonce get that far out of their eyesight for that to happen…

Just for comparison, here’s some MJ fantasies: He goes around fighting evil, protecting the world, and saving people from getting hurt…oh yeah, he turned into a zombie once…

Aint no way that Yonce, in her current incarnation, should be held up as an example…You can say what you want abt MJ and his various controversies, but when have you seen him advocating acting a motherfuckin fool?

Lemme wrap this shit up, B.

Beyonce is successful performer. Lots of people love her. MJ is a global cultural institution. A musical genius. One of the greatest vocalists of our time. One of the best dancers in history. An innovator in the field of music. A trailblazer that changed how the music industry works. A humanitarian. An inspiration. A hero. He left the world and broke the damn internet…

He is simply, the greatest entertainer ever to live. (c) Berry Gordy

Beyonce got a long way to go before she can event think about climbing that mountain.

Aint no next. There was only one.

Sorry, Ahmir.

http://www.twitlonger.com/show/gcs4e

ok @RezanWhoi here is my beyonce is the new MJ argument.

thriller breaking open has more to do with the LONG overdue accolades america has FINALLY given black artists after 80 years of injustice.

threatening to shut mtv down if they don’t play billie jean has MORE to do with the inequity social problems of america than it did billie jean being a brilliant song.

billie jean IS a brilliant song.

but the TIMING of its release had a WHOLE hell of alot to do with what was going on at the time.

imagine if they gave “super freak” love on mtv when they were supposed to.—you gonna tell me the song that sampled “super freak” could build an empire—but not the song that gave birth to it?

“super freak” was a victim of coming a year too early. when the invisible “no blacks allowed” sign was disguised as a “we play what our audience calls for” game.

that said yes of course. the luck and timing of thriller could NOT have happened to a better person and im HAPPY that i was alive at the time. mike worked hard to get to where he was and this is by far NOT an anti MJ post.

(for those coming late to the party–@RezanWho does NOT agree with me that beyonce is the heir to the MJ throne)

mean what more can i say?

she’s well on her way at a quicker and later pace than the unspoken.

this is year 10 for her at THIS level.

it took MJ 13 years before he became GOD status.

noone is EVER disputing MJ being the STANDARD.

noone.

im pro mj til cows come home.

but you CANNOT dispute the fact that being “the first” kinda trumps everything.

i dont even consider Thriller an album more than i do consider it a 45 minute social experiment.

in other words if we LIVED in a world in which there was a FAIR LEVEL playing field in which RACE was NOT a factor in how art was received and promoted at radio:

in english?

–if there was a fair level playing field

-the idea of “watering down” music so that “america” (white people) can easily digest the music would not even be a factor in the creative process (and for those scratching heads that is the NUMBER ONE priority with songwriters and producers—the “popness” and accessibility of a song to someone who needs sugar before the medicine going down….—cause if that were NOT the case then P FUNK woulda had number one hit after number one hit in their 70’s heyday.

-pop radio, news outlets, and the like would accept all artists in their formats.

(once again for late comers, mtv refused to play the billie jean video because “black music” was not their forte. —”we are a rock channel”—sony threatened to take all videos off the air if mtv did not play it. it went from being a token move to singlehandedly allowing us to FINALLY play in some long overdue reindeer games.)

so again.

MJ is more a social experiment in my eyes.

who just so happened to make some kick ass music.

so yes. his music WAS magic. but my point is SOMEONE was gonna break the bank code in 1982.

it was due time

coulda been grandmaster flash

coulda been debarge.

coulda been lionel

coulda been prince.

someone was gonna pull the king arthur move.

mj was the victor.

NOW THAT SAID LETS START MY campaign.

if you are to pick the ONE figure in music today that is taking that baton:

mofos is looking everywhere.

ursh?
justin 1.0?
breezy?

name em.

who is MJ’s heir?!?!?!

sorry.

the fact that she had to overcome SERIOUS obstacles to get to even being considered really brings the point home!

and since its the age of irony in which tiger is a pimp. the top rapper in 2010 is a white chick from cali

why not B?

when you make songs that enter the lexicon of america’s everyday talk then…*shrug*? is she not a contender?

when you surpass making “a club song” or a “banger” and it winds up becoming “a friggin lifestyle. is she not a contender?

—im sorry there is some vitamin “!!!!!!!!!!!!!!!” injected into “crazy in love” ?whenever that shit comes on in the club.—i cant quite describes what it is when a song becomes a lifestyle instead of just a song….

–remember when “g thing” came out in 92 and made white people finally feel like niggas? (gheah!—-and yall reading this dont even front like yall didnt get your vicarious “beyotch!” on during the chronic era—

THAT is the power of “Crazy in love”. a song that made non model, regular, round the way, non black, overweight, uptight, not easy on the eyes, and whatever else category that is meant to be the physical opposite of however beyonce looked in the video….that song made women feel sexy.

—and it was HARD enough to make dudes wanna rhyme over that shit.

when a song can singlehandedly give someone a re-do (you do remember back when her first obstacle was overcoming being the next scrutinized diana ross to the remaining post survivor DC members as florence ballard era right?—she was supposed to be done then right?

crazy wiped our memory clean like that flashy thing in men in black.—

need i go on? she has surpassed the grammy quota. her videos are studied, copied, parodied, and other “ieds”. she’s her own empire. she writes her own material. newsworthy.

i mean you might have a personal “she stole my lunch money” thing going on–
and its kinda hard for me being a stan to someone you know—but the evidence is there. she appeals to all races. all lifestyle creeds from the kiddest of the kid. to the churchest of the church. s. straights. huxtable men and naborcof creeps. housewives and hoes.—i mean she has EVER demographic on LOCK.

she can ACTUALLY SING.
and dances with the best of them
face is a regular on most fashion mags
sells out stadiums
wins countless grammies
makes anthems
got bank
is her own industry

(still counts for something right?)

Y’all digest this and I’ll be back to rap abt this…*still laughing*

In my travels, I have met many a creative person. Some very talented, so marginally so. As we discussed in the last blog, talent is only a small piece of the pie when it comes to getting over in entertainment. This is nothing new, it has always been that way.

Have you ever wondered why some people get over with little or no talent?

It’s simple. They put in work.

I’ve known so many REALLY talented mofos that havent done much with their careers.

Why?

Because they still believe in the Cinderella theory…and it goes a lil’ somn like diiiiis:

“Somebody is gonna hear me sing/rap/play, and they’ll sign me up, put my record out and once people hear it, I’ll be a star!!!!….”

*facepalm*

Lemme let you in on somn….it has NEVER worked that way…you cant even blame it on the collapse of the industry as the reason why this doesn’t work.

You ever hear the story of the tortoise and the hare? It seems the more talented folks are, the more they are like the hare.

These type of people like to perform, but they don’t like doing legwork. They wont do any research, they wont make any phone calls, etc…Sure, they record and they will have GOOGOBS of material stockpiled (which you can hear ALL of whenever you like–just say the word). But they’re just waiting on their Berry Gordy/Tommy Mottola/Clive Davis to come along and find out they exist. Someday their prince will come. Yeah, right.

I will say this, though. The industry has been selling this dream for awhile. When they decide to push certain artists, they may think its best give them a Cinderella story for public consumption.

“Lexie Dawson used to write songs in her dorm room between classes and perform them at little coffee houses around campus. Her performances became popular enough to gain the attention of Sony Records. By the end of the week, she was singing for then president Tommy Mottola. “It has all happened so fast!”, says Lexie….”

The above passage is fictional but typical of the kind of whimsical crap the labels sometimes sell the press and the public. A happenstance signing does happen every once in a while. LL Cool J is a good example. Ad-Rock of the Beastie Boys was rifling through a box of submitted tapes in Rick Rubin’s dorm room. He came across one tape and told Rick that he had to hear this right away. However, it is a rare occurrence and the labels make shit like this up to project a certain image of both the artist and the label for the benefit of both. Also, the public just likes a good story.

There’s a saying that goes “it takes years to become an overnight sensation.” That’s one of the truest things I’ve ever heard. Usually those Cinderella stories you hear have a history of hard work and grinding behind them.

Alicia Keys had already been signed and dropped by a label before being signed to J Records.

Beyonce and her lackeys had been bussin up the shifrow for many years before scoring as Destiny’s Child.

Even The G.O.A.T., MJ, had been doing his thing since the age of 5 before being signed by Motown at the age of 11. You know the story. Wake up. Go to school. Come home. Rehearse. Go do a few shows at a nightclub. Get a few hours of sleep. Repeat.

When you ask these talented and undiscovered people why they dont have anything out yet, you will hear:

a) about the litany of things they have going on, including a couple name drops
b) a bitchfest about theyve been hated on/had bad luck (btw, they could very well be telling the truth)

and the ones you will hear the least:
c) an explanation about how music is fun but not the be all to end all

d) an admission that theyre not ready yet

usually, the folks who fit into a and b still have stars in their eyes…but are no closer to having a career then Joe Schmoe is.

Some people do have legit connects and hook-ups, but the work does not stop there….its just getting started. This is why most protegees/weed carriers fall off. Their Svengali/Crew leader/weed owner will give them the advice/cash/legitimacy to succeed, but the protegee will just sit back and wait to be called up to the Golden Mic.

A Svengali/crew leader/weed owner will want to see you take charge of your own career and put the work in to be successful. They want you to take advantage of the huge leg up you’ve been given. They want to know that they dont have to hold your hand your whole career and have the work ethic to succeed on your own.

Some Svengali (pronouced ‘zven-GAH-lee’) will pamper certain protegees and just hand them the record deal. The protegee will STILL fall off because they expect the record to sell itself based on association. Doesnt work that way.

You will see alot of ex-protegees be REALLY fucking mad at the ex-Svengali for not handing them the world on a platter. But they shouldnt be. 9 times out of 10, the Svengali had to work really hard and build their empire from the ground up. That grind gave them experience and wisdom about the industry. They would like to see their protegees build their situations as well. But that RARELY happens. The protegees usually just sit around with their lip and hand out.

As we also talked about in the last blog, the barrier for entry into the industry is all but gone. If you are smart, you will take advantage of this.

So I say to all my people who I know are talented–PUT YOUR RECORD OUT.

1 of them has listened to me, so far. You are not about to get “discovered” anytime soon. That’s just the truth. So put yourself in a better position than you were in yesterday.

You may not make a dime off of your record, but if it is good–someone WILL notice. This raises your profile. Don’t be afraid to give your music away. You may not want to give away physical copies because they cost you to produce, but you can give away links alllllll day. You never know who might be listening. Because of services like tunecore, bandcamp, etc. your album can be available ANYWHERE.Yes, it will cost you some money to do this. But it wont cost you an enormous grip. You could save yrself some money by doing an EP instead of an album (4-6 songs, please). No fucking mixtapes or a bunch of non-related singles. Give people a focused presentation that shows off some of the different facets of your artistry. Hold off on the Jordans. Slow down on going to the club. Get familiar with that Dollar menu.

Get a damn website. RIGHT NOW:
Trent Reznor already said this. I’ll say it again. Your myspace/soundclick/bandcamp/twitter/reverbnation/iLike/blog page will not substitute for a real website. You still need to have the aforementioned things just to have your cyber real estate covered, but a website is ALL yours. Unlike the social networking sites, you dont have to share the attention with anyone else. You website is ALL YOU, ALL THE TIME. This also gives you the chance to sell physical copies of your album to anyone at all should they want it.

Make your record as professional as you can:
Dont record your album in your basement and then press it as is. Get it mixed in a real studio. Get it mastered (I cannot stress enough how important this is). If the mastering isnt right, get it mastered again (had to learn this for myself).

Get a GOOD photgrapher/graphic designer:
Image counts for a lot. If your website looks like a geocities page and your album layout looks like Pen & Pixel on a bad day, you fuckin up. Find someone that will give you a visual presentation that can stand up against anything in the store. Some talented graphic artists will try to charge you a grip because they may be worth it. Some will try to stick you up just because theyre assholes. But asking around never hurts. You may find someone you can negotiate with or someone who is more interested than building their portfolio than making a bundle of cash.

Bottom line….as an artist, having your work commercially available only helps you. It increases your reach, it shows off your talent, and it shows that your serious about what you do. An artist with something to show for themselves will get taken more seriously than an artist who only exists in their own minds any day. So what if your album is only selling 3 copies a month–dont focus on that. Focus on the fact that should anyone earth be interested in you or your music–they could go to their computer, see you, learn about you, and experience your music for themselves. That’s a chance you shouldn’t pass up. The internet/computer age has made the process affordable to you, so take advantage of it…that is, if you’re serious.

Remember, I’m not saying this from a place on high. I am in the trenches with you. RIGHT NOW. I’m passing along the things I have learned/know so the process can be a little smoother for you.

If you’re an artist and you’re serious about your music, then put it out. Stop bullshittin’. Stop making excuses. Stop waiting for the Fairy Godexec to come.

Stop singing into the hairbrush. Unless that’s just your thang.

Peace,
Scorp