prolly not what you think it is.

what are you picturing?

The video below is at dance try-outs for the upcoming video from Dude N' Em for their song 'Watch My Feet'. I can't stop and watch it right now, but you should. In the words of Clinton Sparks.. get familiar! lol

Después de que oigan esta canción, sobrará decir que ahora hacen parte de uno de los sellos discográficos mas exitosos de Alemania, siendo así, un grupo que genera gran expectativa a la hora de sacar un nuevo material discográfico.

Los apartes de la letra de la canción, a los que ya están acostumbrados, se los quedo debiendo, ya que fue imposible conseguirlos.

The one & only DJ Craze is back on his grind (not that he ever stopped grinding) and put together this ill, eclectic mix that features genres of music that span from Hipster Rap, House, Baltimore Club, Chicago Juke, Miami Bass & Freestyle - all with his trademark scratching & juggling skills tied in. Tracklisting & DL link after the jump-off.

mediafie link

Finalmente saiu minha primeira colaboração com a nova e classuda ELEELA. Ainda não sabe? A revista, clássico da adolescência onanista dos caras na faixa dos 30, foi totalmente remodelada. Fotos incríveis, projeto gráfico lindão, textos de qualidade e, claro, belas mulheres. Na matéria, falo sobre a cena juke aqui de Chicago, que mistura hip-hop, música eletrônica e passos de dança quentíssimos. O juke está em evidência aqui agora e eu e a Jana fomos conferir um baile em fevereiro. São delas as fotos que acompanham este post e a matéria da revista.

O André Maleronka, truta nosso e pau pra toda obra (ah, garoto) do site da revista, colocou no ar uma versão desta matéria, com uma bela seleção de vídeos. Como a revista já chegou às bancas, estou colocando o texto e algumas fotos aqui. Mas visite ela no contexto original, pra ver os vídeos que o Maleronka selecionou. E, claro, compre a revista. Você já tem a desculpa perfeita pra apresentar à patroa.

* * *

Por Dentro do Baile... juke?!

Batidão, bailes lotados, “dança do sexo”... Não, esta não é outra matéria sobre funk carioca. Veja como, com bons djs, muita polêmica e animação sem fim, Chicago gerou uma das noites mais quentes do planeta.

Por Mateus Potumati

Fotos Janaina Felix

É noite de quinta no gélido mês de fevereiro em Chicago. A julgar pela paisagem, a cidade parece o último lugar do mundo para uma noitada. A neve que cobre tudo e ainda insiste em cair é um aviso claro à sensatez: fique em casa. Ignorando a voz da prudência, porém, um barulhento grupo de insensatos se aglomera à porta do Underground, casa noturna badalada na Illinois Avenue. As insistentes rajadas de gelo são um teste para a fé, mas eles nem pensam em desanimar. Afinal, hoje é noite de juke, a balada mais inflamável da noite de Chicago. Em instantes eles colocarão fogo no lugar, com movimentos de causar inveja a qualquer baile funk do Rio.

Surgido nas ruas do sul negro da cidade nos anos 80, o juke (ou juking) foi a resposta local à breakdance nova-iorquina. Ao contrário do break, a ação no juke tradicional se concentra nos pés e nos quadris, em movimentos incrivelmente acelerados. Durante o verão, festas imensas de rua trazem djs e disputas entre crews, como no break. Com o passar dos anos, porém, o juke saiu do gueto e começou a ganhar os clubes de downtown. Ali, se desenvolveu uma versão ultrassexualizada da dança, que virou mania entre jovens da região. Logo que entramos no Underground, isso fica claro. Quando o duo de djs Flosstradamus, maior nome da cena, manda suas primeiras batidas – uma mistura fina de ringtone rap, house e remixes indie-rock – a pista já bomba com casais, trios e trenzinhos animadíssimos.

A partir de agora, só há duas regras: a) ninguém é de ninguém; e b) não vale dançar sozinho. Basta entrar na muvuca para sentir as mãos da garota logo atrás, ou a bunda da garota logo à frente. Em duplas ou sozinhas, elas sobem nos balcões ou nos sofás e provocam os rapazes, com passos que desafiam o sentido do verbo insinuar. Embaixo, uma delas se reveza entre rebolar na virilha de dois garotos. Num pilar mais afastado, um casal se diverte em coreografias pervertidas. A temperatura sobe mais ainda com os gritos de guerra de Hollywood Holt, MC convidado e outra estrela da cena juke. De cima do pequeno platô onde ele se espreme entre as pickups do Flosstradamus, entoa gritos de guerra sem parar, comandando um grupo de garotas do south side que acompanha o duo em todas as festas. Chicago é uma das cidades com maior número de mulheres solteiras nos EUA – elas superam eles em impressionantes 100 mil corpos, segundo uma pesquisa da revista National Geographic. Esta noite, elas parecem ter vindo todas ao mesmo lugar.

E eles adoram aparecer, especialmente quando revelamos para onde é a matéria: “Oh, Brazil? You’re sooo hot!” Tudo acontece com naturalidade, sem excessos ou mal-entendidos. Essa, afinal, é apenas a forma de dançar de uma geração que viu tudo muito cedo e que, por isso, se entrega à sexualidade sem crises de consciência. É uma platéia harmônica em sua esquizofrenia, que mistura tipos engravatados e patricinhas a garotos andróginos com adereços multicoloridos e garotas vestidas para o século XXIII. O som segue na mesma linha: a radiofônica “Crank Dat (Soulja Boy)” é quebrada, desacelerada e remixada com guitarras indie. Daft Punk e Dizzee Rascal formam mashups com batidas da cena, como Kid Sister e Cool Kids. É como se o descolado Milo Garage de repente fosse possuído pelo espírito putanheiro do Love Story.

Como em toda boa sacanagem, ainda, a consagração definitiva da cena juke de Chicago veio depois do escândalo. Nos últimos anos, a mania extrapolou os inferninhos e invadiu os tradicionais bailes escolares norte-americanos – aqueles que todo mundo cansou de ver em filmes como A Garota de Rosa Shocking. Pais e diretores de escola ficaram indignados. A imprensa adorou. Se, por um lado, os jornais tentam discutir as implicações morais da “dança do sexo”, a MTV e revistas como Spin e URB elegeram a cena como grande promessa de renovação da música eletrônica americana. Sentindo a onda, a Samsung criou uma linha de celulares especiais em homenagem ao estilo. A dança se difundiu tanto entre os adolescentes que, a partir de 2005, um patrulhamento ostensivo tenta bani-la das escolas. Ingressos para os bailes trazem avisos específicos, proibindo “dançar com as costas viradas para o par” e fazer movimentos “sexualmente explícitos”. Boa parte dos alunos é obrigada a assinar documentos nos quais aceitam normas de dança: “Os pés devem ficar no chão. As mãos não podem tocar o solo. É proibido curvar o corpo contra as paredes. As danças devem ser executadas apenas em posição ereta.” Grupos de alunos protestaram, justificando que essa é “apenas nossa forma de dançar” e defendendo que, ao contrário do que possa parecer, a dança não tem necessariamente um sentido sexual. Em declaração ao jornal Chicago Sun-Times, um representante dos alunos se perguntou, “será que eles não foram jovens um dia?”

É inegável, aqui, a semelhança com outro escândalo famoso, que tomou os EUA nos anos 1950 e teve em Elvis seu maior catalisador. Como os pioneiros do rock and roll, as estrelas do juke levaram um estilo de dança dos negros para o coração da América branca. Confrontados com o rebolado de Elvis ou com a porra-louquice de Jerry Lee Lewis, pais e autoridades perseguiram o gênero como se ele fosse o presságio da vinda do Anticristo. Para completar, os tempos de hoje vivem um renascimento conservador que remonta àquele período pré-anos 60. Se o juke de Chicago dificilmente alcançará as proporções do rock and roll, uma coisa pelo menos é certa: enquanto tentam controlar o inevitável, a molecada só espera a próxima festa. E eles são cada vez mais.

I saw this clip last week and I thought it might've been too raunchy for the blog...but I think it can spark some good convo. Watch the clip first:

Now that you've seen that "dancing" with your own eyes...what is your perception of the girl? Is she just having fun? At the end she seems to have maybe thought it was going to far and stopped. Umm....i personally think it went to far about 3 seconds into the clip.

When I go out, I usually see one or two girls get down...really get down...and I can't help but to assume certain things about them. I def wouldn't date a go-go dancer (or stripper)...nor would I expect anything more than physical attention from one...so why date a girl who's not employed as a go-go dancer but does the same things?

Isn't the point of getting down like this to simulate sex? Is it then wrong for a guy to want sex from you if you dance with him as if you guys are naked on his rotating bed with ceiling mirror and 800 thread count sheets?

Thank you Flosstradamus, Pase Rock (even though I almost took you out when I slipped down the stairs)....& Kid Sister....

Photos:

http://www.everyoneisfamous.com/pizza/122707/1.html

video from a set @ Fabric

Chicago mixmasters Flosstradamus bring the party to Abbey Pub for a night of hip-hop, house, electro and indie rock remixes, along with Spank Rock's DJ/producer, Pase Rock.

Flosstradamus are back, this time with Pase Rock for a post-Christmas holiday party! Buy your tickets right here for only $3! I hope to see all of you out!

Cost: $3

http://www.flosstradamus.com

http://www.myspace.com/thepaserock

http://www.myspace.com/kidsister

FLOSSTRADAMUS @ Sonotheque - January 12, 2008

Definitely be @ this show....

Doors open 9pm
$3 PBR's
$7 cover

FLOSSTRADAMUS:

2 DJs, 3 turntables, and lots of people getting buck on the dancefloor. Forget what you think you know about spinning records. In 2005, DJs no longer need be characterized by n arrow labels like "hip hop," ghetto tech," or "house." Jocks can sweep across all of those genres, mash them up together, and create something wholly new--something that can't be easily pigeonholed.

Take it from Flosstradamus, the newly formed but already dynamic DJ duo comprised of Josh Young (J2K) and Curt Cameruci (Autobot). Like the emerging generation of post-millennium dancefloor crashers of the same ilk (see: Major Taylor, locally, and Diplo and Low Budget of Hollertronix nationally), Flosstradamus are more interested in getting the crowd moving--and grinding and sweating and bumping and shaking--than impressing any music elitists in the audience. They cut through genres indiscriminately, likely to play during any given half-hour: Le Tigre's "Deceptacon," Killer Mike's "My Chrome" and the Cure's "Lovesong"--perhaps sequentially, if you're lucky.

With two men, a three-turntable setup, and an impressive catalogue of sounds (Young and Cameruci use programs called Serato and Final Scratch, respectively, which allows them to transfer all of their vinyl--at least 20 crates' worth--to MP3s and treat them as records on the turntables).

The video above was created to advertise the Samsung Juke handset which launched in October on the Verizon Wireless network.  I am studying every move in anticipation of my next dance competition with the co-workers.  Bring it people.  It's all fun and games until someone breaks an ankle. 

The Samsung Juke is Verizon's answer to a music-enabled phone at an affordable price.  The phone is currently available online in 3 colors for $79.99 on a 2-year contract (compared to the $399.00 with 2-year contract for the iPhone).  The Juke comes with 2GB of storage (compared to the 8GB of capacity with the iPhone) and a 1.3 mega-pixel camera that works well even in low light (unlike the iPhone).  The Juke swivels 180 degrees to open and reveal a key pad.

I dig the swivel and the lower price but I can't imagine texting to the degree that I do successfully on that miniature key pad.

Along with the Juke, Verizon released the BlackBerry Pearl, LG Venus and LG Voyager. See below from left to right starting with the Juke).

Thank you TO for passing this video along.  My dance moves thank you.

Verizon's Samsung U470 Juke is a hip and trendy MP3 styled device specifically designed with the younger crowd in mind. Its small and compact design, along with a spinning d-pad, makes this device this seasons must have. The Juke is slightly bigger than a pack of Wrigley's stick gum and is offered in a glossy hue of teal, red, or navy. For this review, we were provided with a mild manner navy blue version. The front face of the Juke is mirrored and surrounds the brightly colored 1.45" 262k (128x220 pixel) external display. For such a small display, the Juke's screen rendered photos and menus nicely. The Juke's main attraction, the metallic scroll wheel d-pad, worked wonderfully and made navigation a joy. When the device is closed, the Juke's music player can be activated with a quick press and hold of the wheel's select/OK key. The music player's menu will pop up in landscape mode, showing the Juke's music library and its list of music files. It should be noted that the Juke supports MP3/WMA/AAC/AAC+ but does not support any files from Apple's iTunes.

On the left side of the Juke is where both the covered headset and charging ports are found, as well as the lock/hold switch for the Juke's music player, which comes in handy when listening to tunes on the go. Jumping over to the right side, things are kept to a minimum with the phone's volume rocker. The rocker not only adjusts the volume but also quickly puts the Juke in vibrate or silence mode. Around back sits the device's speaker and VGA fixed focus camera lens. The speaker, when tested, provided reasonable sound quality during playback. (www.mobileburn.com)

Anyone who knows me knows I've been preachin' the relevance of regional dance music for years. From D.C. Go Go to Baltimore Club, Detroit Techno to Miami Bass each form had it's genesis in the city's urban core and gradually spread to a wider audience. These styles have at least some core elements of hip hop and it's always interesting to see the ways various geographic flavors gets thrown in and effect the corresponding dance styles.

In our constant search for the next hot "it", us media and marketing folks have given these styles some shine over the years, not always to the best ends-sometimes making the underground mainstream is a really bad idea-but it's good to see folks getting some recognition and (ideally) eating off their craft.

Footworkin' has been a Chicago staple since at least the late 90's and grew out of the city's fierce house and club scenes. The music is like House on meth:fast, neckbreaking stuff-and the footwork, well just check it:

Recently Samsung, in a move that kicked them up about 1 zillion notches on my "Marketers who are on their shit" list, rolled out the ad campaign for their new "Juke" phone, featuring real live jukin from Chicago's FootworKINGz:

With the commercial nod, a recent article in Rolling Stone, a theater debut at this years "Hip Hop Dance Fest" and yes folks, a movie deal in consideration, looks like Footworkin', or at least the FootworKINGz, are set to be repping the Windy city lovely for a minute. I really hope creators of these dances and musical styles have their business hats on, are smart about how much control they give away and make it a point to establish some form of ownership over their creations. I'm down for everybody groovin, but just make sure that green goes into the right hands at the end of the day.

I mean, I'm way too young for this, but I hear cats used to listen to Rock n Roll and do the Charleston in the hood. Now ain't that some other ish...

A little street dance multimedia:

A couple of years ago its was Krumping:

The southern Cali Style made famous by a big man in a clown suit and a world famous fashion photographer. There was a movie, there were guest appearances and the cats down in Compton got a little love for the work they had put in. All was good in the hood.

Then there was Turfin':

Turf (Takin Up Room on the Floor) is straight out of the BAY A-R-E-A!!!!! (sorry, if you live in the bay it's the requirement...). Made famous by, strangely, another very big man-and a gang of youngsta's from the hoods of east and west O.

While Turfin' came in full force when Hyphie music briefly took over the national airwaves, the style is a hybrid of break dancing and Cali pop locking. There's been a lot of local attention paid to the dance and some steady national buzz and hopes are high that you'll be seeing groups like the Animaniakz and the TURF Fienz on the big stage sometime soon.

TURF vs Krump:

The Charleston-Remixed

Just an ill ass B-Boy vid (Junior vs Benji):

-kwan

Anyone who knows me knows I've been preachin' the relevance of regional dance music for years. From D.C. Go Go to Baltimore Club, Detroit Techno to Miami Bass each form had it's genesis in the city's urban core and gradually spread to a wider audience. These styles have at least some core elements of hip hop and it's always interesting to see the ways various geographic flavors gets thrown in and effect the corresponding dance styles.

In our constant search for the next hot "it", us media and marketing folks have given these styles some shine over the years, not always to the best ends-sometimes making the underground mainstream is a really bad idea-but it's good to see folks getting some recognition and (ideally) eating off their craft.

Footworkin' has been a Chicago staple since at least the late 90's and grew out of the city's fierce house and club scenes. The music is like House on meth:fast, neckbreaking stuff-and the footwork, well just check it:

Recently Samsung, in a move that kicked them up about 1 zillion notches on my "Marketers who are on their shit" list, rolled out the ad campaign for their new "Juke" phone, featuring real live jukin from Chicago's FootworKINGz:

With the commercial nod, a recent article in Rolling Stone, a theater debut at this years "Hip Hop Dance Fest" and yes folks, a movie deal in consideration, looks like Footworkin', or at least the FootworKINGz, are set to be repping the Windy city lovely for a minute. I really hope creators of these dances and musical styles have their business hats on, are smart about how much control they give away and make it a point to establish some form of ownership over their creations. I'm down for everybody groovin, but just make sure that green goes into the right hands at the end of the day.

I mean, I'm way too young for this, but I hear cats used to listen to Rock n Roll and do the Charleston in the hood. Now ain't that some other ish...

A little street dance multimedia:

A couple of years ago its was Krumping:

The southern Cali Style made famous by a big man in a clown suit and a world famous fashion photographer. There was a movie, there were guest appearances and the cats down in Compton got a little love for the work they had put in. All was good in the hood.

Then there was Turfin':

Turf (Takin Up Room on the Floor) is straight out of the BAY A-R-E-A!!!!! (sorry, if you live in the bay it's the requirement...). Made famous by, strangely, another very big man-and a gang of youngsta's from the hoods of east and west O.

While Turfin' came in full force when Hyphie music briefly took over the national airwaves, the style is a hybrid of break dancing and Cali pop locking. There's been a lot of local attention paid to the dance and some steady national buzz and hopes are high that you'll be seeing groups like the Animaniakz and the TURF Fienz on the big stage sometime soon.

TURF vs Krump:

The Charleston-Remixed

Just an ill ass B-Boy vid (Junior vs Benji):

-kwan

1. Tomodachi Ijou Koibito Mima ~VIDEO~
2. My Mirai ~VIDEO~
3. Kyuukei Jikan Juppun ~VIDEO~
4. Sha la la -Ayakashi NIGHT- ~VIDEO~
5. Kajitsu
6. DIET NOW!
7. Kimi wo Omoi Nemuru Yoru wa
8. Tafuchou
9. Otoshimono
10. Fiction Tengoku
11. JOURNEY

Das Debüt Album von Uura Saeka ist zwar schön rockig gehalten, aber leider geraten die Songs von Titel zu Titel ins belanglose Mittelmaß. Der erste Track Tomodachi Ijou Koibito Mima, ist eigentlich der einzige neue Song auf dem Album, der ihren zuvor veröffentlichten Singles wie My Mirai das Wasser reichen kann. Anhörbar sind auch die beiden Titel DIET NOW! und Kimi wo Omoi Nemuru Yoru wa, die zumindest dafür sorgen, das sich ihr Debüt Album als keine komplette Enttäuschung herausstellt. Im Großen und Ganzen wird uns hier zwar sicher ein solides Album dargeboten, aber ob die schon besagten eher durchschnittlichen Songs einem auf Dauer begeistern können, wage ich doch arg zu bezweifeln. Ein Album für zwischendurch, was ich wohl nicht rauf und runter hören werde und vor allem schnell in Vergessenheit geraten wird. 6/10

Great hands-on video from James Kendrick over at jkOnTheRun. Link to his article here.