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I recommend you vote Democrat I'm Independent to balance out the branches at the federal level. Trump doesn't need a blank check.

Labels: bauhaus , cramps , electric wizard , flesheaters , goblin , halloween , happy fangs , marilyn manson , mudhoney , nick cave , rocky horror , roky erickson , savage republic , shaggs , siouxsie , sonic youth. You love the new Foo Fighters do you? No you don't. And if you do, then you either have absolutely no taste and no life, or so deeply consumed the Flavor Aid yes it was Flavor Aid at Jonestown NOT Kool-Aid that you cannot see the damage all those years under the corporate thumb has done to you.

Get out while you still can. I invited a top local commercial rock DJ to come on my show a few years back, under an assumed name, to play the music they would love to play during their day job but cannot.

I think they were being honest. Poor bastard. He took me up on both, knowing that he would have a chance to take his professionally-honed radio chops and push it to the edge on a non-com. Dung is the number one reason I found myself hungry for a radio career. Dung Boy was much too classy for that crap. You are dearly missed, Dung Baby. Dung was hosting the weekly "Sunday Night Idiot Show" there on this particular night. He featured a Dung sound-a-like contest that evening, and I jumped at the chance to show him my Dung-ness.

I don't play The Eagles on my show. I do feature a Velvet Underground set two covers and Lou solo , newish Boss Hog and Qui, a harrowing tale from Spiderman, and more Bongwater than you can gurgle.

Or is it gargle? Ooh, I'm also gearing up for my 8th annual Annual Annual in November. Which year will I cover? Tune in and find out. I'm also considering a Ty Segall special. This guy releases something new every time I sneeze. Anyway, this one is for all you classic rockers who need to go back to school. Check out the audio-only clip of mic breaks from a classic Sunday Night Idiot show below. Labels: black sabbath , bob marley , Boss Hog , horton heat , husker du , jimmy dale gilmore , johnny dyani , lee perry , masada , melvins , qui , velvet underground.

Subscribe to my show, via Sometimes when I'm hosting my show in the studio it actually feels like you are right there with me. I feel like I'm talking directly to you! I see you on the couch across from the console, watching me watching you, and I get excited to share my music with you, right then, right there. That's how it felt on Monday night. These two tracks, back-to-back show you me current mood: kinetic and frenetic.

I've got a lot of energy to shed and share. Throughout the night it's a mix of old and new, punk, funk and junk. You know, just as always. And only two cover tunes this week! I was considering hosting a power trio special, but I want to take a few more weeks to prepare.

Stay tuned. I'm also reminded that November is coming, which means my 8th annual Annual Annual is right around the corner. Which year should I focus on this time around. If you want to see my previous Annual Annual shows take a look here.

Scroll down that page and find the links you seek. In the meantime I'm just going to relax and picture you on the couch in front of the console doing lovely and nasty things to yourself as I play DJ. Labels: betty davis , brown sabbath , edward sharpe , emmylou harris , gil scott-heron , junior brown , king tuff , negativland , nick cave , oh sees , parliament , swervedriver , ty segall , urge overkill , waits.

Subscribe to my show, via How old were you when you fell in love with music? Do you remember your first love? Who was it? The Beatles? Led Zeppelin? Patsy Cline? Who spoke to you? What did they say? Why did it resonate so deeply? I was hooked from the first grunt. I couldn't get enough of the imagery and the riffs. I joined the KISS Army , dressed as either Gene Simmons or Paul Stanley for consecutive Halloween's, and overjoyed when I found a discarded copy of Destroyer laying on the street, still in playable condition playable for a ten year old, anyway.

They are the first band that I wanted to know everything about. We are all Americans. Some of us are Americans that are coincidentally black. Is it not this self image of blackness that keeps the person from crawling out of their rut? We need a new standard for blackness that draws men forward. Copyright - ThyBlackMan. Your name:. Your email address:. Send post to email address, comma separated for multiple emails. Thursday, January 13, News Feed Comments. Music Misc. December 31, at pm.

Rich says:. As the s came to a close, rap and hip hop only increased in popularity and criticism. Republican and Democratic politicians and many black leaders blamed hip hop music such as gangsta rap for the socioeconomic plague that showered black communities across America. They accused the genre of promoting violence such as drug use, teenage pregnancy, unemployment, gang violence, and high school dropouts.

However, many black rappers — notably Ice-T and Sister Souljah — contend that they are being unfairly singled out because they believe rap music gives people of all races and genders an outlet for their societal neglect, anger and pain, and even happiness.

Analysis of these arguments will include rap songs produced and released between the years and In recent years, controversy over rap music and its gangsta culture has been the forefront of the American media. Critics are quick to place blame on rap for a seeming trend in youth violence, but they are missing the way rap culture has defined artists today and their promotional messages such as black expression.

Old school rap lyrical content definitely began as a form of black expressionism of the violence and aggression faced by the black community in socioeconomic situation of the s to s.

Argument 1 — Social Prejudice and Opportunity: Black rappers expressed their feelings against the seemingly present racism and social prejudice of the s with the use of offensive and violent language such as profanity and racial slurs in their songs. His tone is very violent because he feels motivated to speak the truth on behalf of the black community. Retaliation against the white community was just one of many foundations for decade defining rap music.

Is was an outlet for Public Enemy and Schoolly D to voice their views with racial slurs through hard language and profanity. Stereotyping is a form of social prejudice that society used to categorize blacks and whites as dangerous and friendly when it came to activity of drug dealing. Schoolly D is implicitly accused of being a drug dealer by the way a white person looks at him.

Illegal use of drugs such as cocaine was very common in the 80s and it formed the image that the only way black men raised in the poor neighbourhoods got by was drug dealing. Ice Cube was enraged by the stereotypes police officers accuse young black men of and mentions selling off narcotics as their go to reason to looking like commonly dressed gang members in their controversial song.

This view is what N. Too damn powerful. These artists used their music to communicate a message about their emotional and pivotal understanding of the difference in opportunity between races. The L. Integral to the skepticism of the story of the L. Riots were the lyricisms of prominent hip hop figures such as N. Click here to sign up. Download Free PDF. Sherman Fleming. A short summary of this paper.

Download Download PDF. Translate PDF. Why do questions regarding Black authenticity continue to haunt? Why does the state of African-Americans, and its relation to racism, continue to reside in a media dilemma that rises to the surface only when a politics of crisis occurs? Why despite attempts, on the part of Africanists, African-American theorists, analysts, politicians, even visual artists, writers and musicians, to craft a paradigm that defines African Americans as investing in manifold systems of political agendas and ideological yearnings, is there still an insistence to encode the Black Diaspora as possessing one voice, one sound only to be judged by the color of our skin?

I will draw examples from modern technologies that impact the human body as well as from a range of visual sources, including comic books and 20th century modernist works to performance in order to conceive how looking and remembrance impact the ways we imagine Black bodies. To embody this idea I will focus on the identity erasure of Prince and the physical transmutation of Michael Jackson into, respectively, a man without a name and a so-called non- black man, that continues to challenge our preconceptions about race, memory, time and representation of the Black performative body.

By enjoining the public to appreciate their reconstructed identities, Prince and Mr. Jackson reinvigorated a media speculation that has tracked them for much of their careers. For these two entertainers, the ability to possess fluid identities is crucial for a worldwide consumption of their brand and music.

Interestingly, as diverse as these two performers are, their beginnings are quite similar. Both Prince and Michael Jackson were born in in middle America, Minneapolis and Gary, to be exact, in a region of the United States commonly referred to as The Rust Belt, a region that comprises closed steel mills and defunct auto factories. This was the time when boundaries of social, political and institutional racism and sexism were being challenged if not outright torn down.

In , Prince, while waging a legal battle with Warner Bros. This symbol created a curious conundrum. How does one exist without a name? In , Michael Jackson, on the other hand, began making physical changes, resulting in an appearance that in no way resembled his former self. Indeed, his physical transformation has fomented speculation by the media that has spanned some 20 years but has also brought into focus critical concerns regarding his physical appearance and his mental state.

Ironically, Mr.