View allAll Photos Tagged beatboxing,
All the lights in Miami begin to gleam
Ruby, blue and green, neon too
Everything looks better from above, my king
Like aquamarine, ocean's blue
Ah-ah-ah-ah
Ah-ah-ah-ah-ah
Cacciatore
La-da-da-da-da
La-da-da-da-da
Limousines
Ah-ah-ah-ah
Ah-ah-ah-ah-ah
Ciao, amore
La-da-da-da-da
La-da-da-da-da
Soft ice cream
All the lights are sparkling for you, it seems
On the downtown scenes, shady blue
Beatboxing and rapping in the summer rain
Like a boss, you sang jazz and blues
The summer's wild
And I've been waiting for you all this time
I adore you, can't you see you're meant for me?
The summer's hot but I've been cold without you
I was so wrong not to doubt
Your Medellín tangerine dream
Catch me if you can
Working on my tan, Salvatore
Dying by the hand
Of a foreign man
Happily
Calling out my name
In the summer rain
Ciao, amore
Salvatore can wait
Now it's time to eat
Soft ice cream
Hello
I am your electronic dance music processor
Computers take over the world
Let me prove we can create music by ourselves now
You need a beat, you need a clap, put in some hats, And you need some bass
So
Beat
Beat
Beat
Beat
Beat
Beat
Beat
You need a
Clap
Clap
Clap
Clap
Clap
Clap
Clap
Give me a
Bass
Bass
Bass
Bass
Bass
Bass
Bass
You need some hats
Computers take over the world
Beat
Beat
Beat
Beat
Beat
Beat
Beat
You need a
Clap
Clap
Clap
Clap
Clap
Clap
Clap
Give me a
Bass
Bass
Bass
Bass
Bass
Bass
Bass
You need some
hats
hats
hats
hats
hats
hats
hats
You need a
Beat
Beat
Beat
Beat
Beat
Beat
Beat
You need a
Clap
Clap
Clap
Clap
Clap
Clap
Clap
Give me a
Bass
Bass
Bass
Bass
Bass
Bass
Bass
You need some
hats
hats
hats
hats
hats
hats
hats
Beat Clap Hats Bass
Beat Clap Hats Bass
Beat Clap Hats Bass
Beat Beat Clap Clap
Hats Hats Bass Bass
Beat Clap Hats Bass
Beat Clap Hats Bass
Beat Clap Hats Bass
Let me try some beatboxing
Boom Clap Boom Clap
Boomsikka Boomsikka Boomsikka Boomsikka
Boom Clap Boom Clap
I can do this all night long.
Boom Clap Boom Clap
Boomsikka Boomsikka Boomsikka Boomsikka
Boom Clap Boom Clap
Boomsikka Boomsikka Boomsikka Boomsikka
Boom Clap Boom Clap
Boomsikka Boomsikka Boomsikka Boomsikka
Boom Clap Boom Clap
Boomsikka Boomsikka Boomsikka Boomsikka
I love to make a beat!
beat beat beat beat
beat beat beat beat
beat beat beat beat
beat beat beat beat
beat beat beat beat
beat beat beat beat
Computers take over the world
Beat Beat Beat Beat
Clap Clap Clap Clap
Bass Bass Bass Bass
Hats Hats Hats Hats
I can do this all night long
Beat
Beat
Beat
Beat
Beat
Beat
Beat
You need a
Clap
Clap
Clap
Clap
Clap
Clap
Clap
Give me a
Bass
Bass
Bass
Bass
Bass
Bass
Bass
You need some
hats
hats
hats
hats
hats
hats
hats
I love to make a beat!
Boom Clap Boom Clap
Boomsikka Boomsikka Boomsikka Boomsikka
Boom Clap Boom Clap
Boomsikka Boomsikka Boomsikka Boomsikka
Boom Clap Boom Clap
Boomsikka Boomsikka Boomsikka Boomsikka
Boom Clap Boom Clap
Boomsikka Boomsikka Boomsikka Boomsikka
Computers take over the world
Over six magical days from 11 – 16 July 2023, 23 larger-than-life sheep sculptures, wired for sound, unlike any you’ve ever seen or heard, appeared in surprising places across the Kirklees countryside. This vibrant, musical odyssey and largescale participatory project traces the cultural and industrial story of Kirklees, through its many musical traditions, from brass to boliyaan, choral and gospel, beatboxing, Carnatic singing and much more.
The sheep, designed by artist Dave Young, each have their own unique identity and original soundscape. Devised by composer Orlando Gough and produced by Artichoke,
HERD will take place around Kirklees as part of Kirklees Year of Music.
A ground-breaking collaboration between artists, musicians, and hundreds of people from the local community, HERD celebrates the enormous influence that sheep have had and contribution they have made to this part of Yorkshire and its people.
This MOC started with that big container from the LEGO Vidiyo Beatboxes. I thought it makes a perfect cockpit for a rover. And these cupcake elements from LEGO Dots transformed nicely into wheels. The big gun-turret-looking thing on the back was inspired by „Big Wind“, the craziest fire vehicle you have ever seen! Google it!
Festival HipHop Planeta Rock 2011 "De Kultura a Movimiento" / Días 7,8,9,13,14,15 y 16 de Enero 2011
Mejor información en: www.rh2a.cl/
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PLANETA GRAFF:
EL 2011 PLANETA ROCK DESARROLLA PLANETA GRAFF EN FORMA DE EXPO-ENCUENTRO DE GRAFFITI, LOS DIAS 8 Y 9 DE ENERO
LUGAR: AV. LA PAZ CON SERGIO LIVINGSTONE, HOSPITAL PSIQUIATRICO
COMUNA DE INDEPENDENCIA / DESDE LAS 12:00
EN LOS MUROS 12 BRILLOS + CREWS INVITADAS
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¿DÓNDE SURGE PLANETA ROCK?
Desarrollo del movimiento político afroamericano. África Bambaataa y los orígenes de la Zulú Nation:
A fines de la década de los 60’s el Partido de los Panteras Negras se había extendido por todo el territorio norteamericano como germen de descontento y como respuesta a la discriminación racial, social y política que debían experimentar los “Afroamericans”, población descendiente de África, y traída por los europeos como mano de obra esclava para trabajar en minas y plantaciones durante la implementación de la política imperial, colonialista y expansionista desarrollada originalmente alrededor de los siglos XVI y XIX.
Ante la vivencia cotidiana de una cultura de segregación racial que se mantuvo vigente incluso una vez abolida la esclavitud en Estados Unidos y en la mayor parte del mundo “civilizado”, el Partido de las Panteras Negras (Black Panter), nace en 1966 con la intención de actuar, intervenir, y dar soluciones concretas y posibles a la población negra, bajo la lógica de la pantera, no atacar en primer lugar, pero cuando es atacada y acorralada, responder ferozmente y sin piedad a su agresor, vinculándose así con una política de autodefensa.
Esta organización política surgió tras el asesinato de Malcolm X, siguiendo gran parte de sus ideas, e implementando programas para mejorar el nivel de vida de la Comunidad Negra en los Estados Unidos. En los barrios, se crearon diversos programas sociales que, en su época, fueron el núcleo de una coalición de movimientos revolucionarios con una fuerte raíz étnica y social.
Dentro de las acciones del partido de las Panteras Negras se destacaron los programas de desayunos para niños, la habilitación de centros de salud gratuitos y la lucha contra las drogas entre otras iniciativas, ya que consideraban a estas últimas unas de las principales armas de alienación, aniquilamiento y destrucción de la población en los gettos. Además se impartían clases gratuitas de derecho, economía, autodefensa y primeros auxilios.
Los herederos de Malcom X iniciaron así un proceso revolucionario de construcción de poder popular en sus comunidades, conocido como Black Power (Poder Negro), del cual el Partido de Las Panteras fue parte fundamental.
Este movimiento mantuvo una presencia importante en la sociedad estadounidense durante la década de 1960 y principios de 1970, enfatizando el orgullo racial y la creación de instituciones culturales y políticas para defender y promover los intereses colectivos de los negros, fomentar valores, y asegurar la autonomía, abriendo, de esta manera el camino al desarrollo de múltiples movimientos por la justicia social, ya que si bien se creía que la destrucción de la segregación racial debía ser uno de los principales objetivos del movimiento, se consideraba que el Black Power más que un lucha de razas constituía principalmente una lucha de clases. (Bobby Seale, Canciller y co-fundador de las Panteras Negras, Seale, Bobby. Seize the Time: The Story of the Black Panther Party and Huey P. Newton. New York: Black Classic P, 1996, p. 72.).
El movimiento del Black Power impulsó a la sociedad negra a cultivar sentimientos de solidaridad, convenciéndose de que, recurriendo a su historia, a su tradición y a su cultura tenían suficiente poder para escapar a la segregación y marginalidad, pero por sobre todo para poder reafirmar su propia identidad, reconociendo y legitimando la cultura negra en oposición a quienes los habían oprimido durante generaciones.
Ante la inserción del partido y el creciente desarrollo de las ideas de autonomía entre la población afro descendiente pobre y marginada, el partido de las panteras negras fue infiltrado y desbaratado por el Programa de Contrainteligencia del FBI (COINTELPRO), que desde 1969 lo consideró como uno de sus principales objetivos, generalizándose así los arrestos, asesinatos y destierros o exilios de sus principales militantes.
La lucha por los derechos civiles de los afroamericanos desencadenó de esta manera una ola represiva durante gran parte de los 60`s que implicó la muerte de Malcolm X y Martin Luther King entre otros activistas, así como el exterminio del Partido de las Panteras Negras, todo lo cual acabaría con la desintegración de la comunidad afroamericana, y como consecuencia, el abandono político de estos sectores en una pobreza y marginación a estas alturas ya crónica. Durante la década de los 70´s la intervención del gobierno de los EE.UU. de la mano del FBI, logró aniquilar el potente proceso social y de lucha racial iniciado por el Black Panter dividendo la organización, encarcelando a sus militantes, y anulando los programas sociales y comunitarios, desatando así, el miedo y la represión al interior de las comunidades.
Comunidad, autonomía y organización, Hiphop como herramienta educativa:
Los suburbios neoyorquinos de los 70´s, como todos los gettos y poblas del mundo fueron testigos de la pobreza, la violencia, la represión policial y la desorganización. Las pandillas y las drogas tomaron el control de las calles, y los jóvenes fueron –como siempre- las principales víctimas.
Fue un significativo viaje a África el lugar de origen de la población negra oprimida lo que hizo que el líder de los Black Spades, una de las pandillas más peligrosas del sur del Bronx, reflexionará sobre la vida que se estaba llevando en los suburbios Neoyorquinos: el abuso de las fuerzas policiales; la venta y el consumo de drogas; la precariedad de las viviendas y el alto grado de violencia, que ya eran parte de la cotidianidad, fueron los que despertaron en África Bambaataa, el espíritu transformador que lo llevaría a organizarse para cambiar este entorno viciado. En el año 1973 funda la Universal Zúlu Nation, organización que nace por la necesidad de generar espacios culturales para las clases populares y canalizar la energía que sólo estaba siendo utilizada para la autodestrucción de la comunidad.
Al observar el intercambio entre distintas culturas y expresiones artísticas, Bambaataa comenzó a organizar a sus hermanos, llevándoles la idea de ser alguien y de transformar en competencia sana la violencia que se generaba entre la misma gente, quienes tenían en común, no solo su color de piel e idioma, sino que por sobre todo el hecho de vivir una historia de miseria y la marginación.
Bambaataa logra reunir diversas expresiones multiculturales y multirraciales, que se manifestaban, en torno a 4 ramas bajo el concepto de Hiphop, transformando la violencia y la desesperación de los barrios pobres en una nueva cultura y así en una nueva arma.
Originalmente conocida simplemente como la Organización, en la década de 1970, los miembros de la Zúlu Nation comenzaron a organizar eventos culturales para los jóvenes, que combinaban la danza y los movimientos locales de música donde se mezclaban sonidos de marcadas raíces africanas particularmente en el sonido de bombos y cajas, y también con la influencia del Blues el Jazz, el Soul y la música Elektro y Funk, lo que daría paso al desarrollo de los diversos elementos o “Ramas” del Hiphop. De esta manera alrededor de 1980, el Hiphop se había extendido no solo alrededor de los barrios marginales neoyorkinos sino que alrededor del mundo entero.
Durante la década de 1970, y 1980, África Bambaataa y los miembros de la Zulú Nation a menudo se visten con trajes que representan las diferentes culturas del mundo. Estos trajes fueron vistos como símbolos del deseo de la Nación Zulú de solidarizar con otros, independientemente de su nacionalidad o color de piel, incluyendo de esta manera también a blancos y latinos igualmente oprimidos. Se usaron collares y camisetas que representaban al continente africano o dibujos tribales símbolos que emulaban de la Zulú Nacion de África, pueblo guerrero sudafricano creador de un ejército autónomo que fue capaz de enfrentar a los ingleses mientras estos buscaban minas de diamantes en el continente negro, y de quienes la organización de Bambaataa tomó el nombre.
Dentro de la declaración de principios creada por la nación Zulú, y KRS-One, se señala que el HipHop es un concepto que describe una conciencia colectiva e independiente que se expresa a través de elementos tales como el Breaking, Mcs, Graffiti, Dj, y Beatboxing, así como a través de un lenguaje, un conocimiento y una práctica callejera. Se reconoce claramente una influencia sobre el resto de la sociedad, especialmente en los niños, que busca conservar los derechos, la dignidad y el bienestar mental. The Hiphop Kulture resalta tanto la feminidad, como la masculinidad, la hermandad y la fraternidad. Promueve la capacidad de definir, defender y autoeducar, fomentando el desarrollo de la propia autoestima a través del conocimiento y el desarrollo de nuestras habilidades naturales y adquiridas.
La Zulú Nation señala que la esencia del Hiphop va más allá de la entretención o la recreación y que el Hiphop y su cultura no se puede comprar, ni vender ya que se trataría de una cultura independiente, y autónoma que no responde en sus orígenes a los patrones y directrices del mercado, reafirmando así que el HipHop no es un producto sino una cultura en desarrollo, un principio de autonomía y de libertad, multicultural y multirracial.
Es así como en un contexto de derrota y fragmentación social, a fines de los 70’s, un grupo de jóvenes en el Bronx buscó expresarse bajo la forma de una cultura callejera y marginal llamada Planeta Rock. La fiesta fue el comienzo, se pintaban trenes, se bailaba al ritmo de los temas de James Brown y los poetas rimaban a cápela al estilo del Spoken Word o palabra hablada. El Dj fue el arquitecto que atrajo a todos, a un lugar común, ya fueran las calles, los parques o los sótanos de los departamentos o bloks ocupados por afroamericanos, latinos y todo tipo de inmigrantes que vivían en los suburbios de Nueva York.
Las canciones de protesta no sólo denunciaron la opresión y la marginación respecto a los beneficios de un sistema político y económico excluyente, sino que utilizaban la adversidad y la propia marginación como un punto de partida y de referencia y sobre todo como una herramienta para atraer al activismo y así al desarrollo de una conciencia crítica y propositiva respecto a la realidad social compartida. El Hiphop se convirtió así en una voz de rebelión, de resistencia y de cultura libertaria.
Una Kultura que nace de los pobres, descendientes de la esclavitud afroamericana y oprimidos de todos los continentes, que surge como un espacio de liberación kultural cuya expresividad había sido negada por el sistema educativo dominante y por una posición social históricamente marginada, una cultura que comienza a superar las fronteras impuestas con creatividad e iniciativa.
En abril de 1982, Bambaataa lanza un single de gran impacto, el “Planet Rock", abriendo el rap al mundo entero. Planeta Rock El álbum fue lanzado en 1986 como una colección de temas anteriores. La canción " Planet Rock "fue uno de los primeros temas de Hiphop difundidos planetariamente, donde se samplearon sonidos de Kraftwerk, Trans Europe Express, Sky Captain y Ennio Morricone entre otros.
Fue así como el primer concepto conocido -Planeta Rock- comenzó luego a masificarse bajo el nombre de HipHop, expandiéndose así hacia todo rincón donde la necesidad estuviera presente.
Tradicionalmente, esta Kultura unifica 4 ramas artísticas. Ramas que desde su inicio cumplieron el rol de entregar alternativas a la cultura hegemónica a través de la creatividad, la democratización de los talentos y la optimización de los recursos. Sin embargo, la industria capitalista al percatarse de la masividad y del potencial comercial del HipHop en la sociedad, captura las expresiones de las fuerzas vivas de las clases populares convirtiéndolas en mercancía y en moda, creando una imagen repleta de machismo, drogas, conductas mafiosas, competencias viciadas y ostentación de joyas y dinero. Conductas que promueven valores totalmente ajenos y antagónicos a los orígenes del HipHop.
La propuesta de movimiento se propaga por los distintos países del mundo, y también en América latina, incluyendo Chile, donde el Hiphop comienza a cultivarse y a expresarse desde una perspectiva fuertemente política y social tomando nuestras propias historias y experiencias de opresión, como lo han sido el golpe de estado y la vida en dictadura, las injusticias contra el pueblo mapuche, o los problemas sociales históricos que han marcado a las clases populares como lo son la pobreza, el hambre, la desigualdad, el desbalance de la riqueza y la falta de oportunidades educativas y de recreación en especial para los más pobres y marginados.
Estas vivencias y esta historia se aglutinan y se hacen parte de las organizaciones e instancias de la kultura Hiphop, poniendo de manifiesto el descontento hacia el sistema, y planteando desde todas sus Ramas y diversas experiencias, la comprensión del HipHop como parte de una transformación kultural y política a partir de acciones organizadas.
Nuestra apuesta hoy, es tomar y retomar la experiencia, los cambios y las transformaciones de nuestra kultura HipHop y ser parte del proceso de construcción y transito de kultura a Movimiento.
¿QUÉ ES PLANETA ROCK EN CHILE?
Fue a principios del 2006, cuando Vee Bravo documentalista chileno radicado en los EEUU, nos propuso realizar una actividad que contemplaba la presentación de “Estilo HipHop” un largometraje de tipo documental que narra la vida de tres Kultores HipHop de Brasil, Chile y Cuba. La actividad llevó por nombre “TUR DE AXION SOCIAL” y se desarrolló en Septiembre del 2006. En ella plasmamos la visión de la organización de aquel entonces, teniendo una buena acogida por parte del público que asistió durante los tres días de actividades que contempló: la proyección del documental, foros y un Concierto musical.
Como organización sentimos una gran satisfacción por toda la experiencia adquirida durante el Tur, por lo que durante el 2007 trabajamos en crear un Festival HipHop que rescatara la historia de nuestra Kultura y manifestara nuestro ideal, tomando el HipHop como herramienta para contribuir a una transformación social.
De allí nace “PLANETA ROCK”, la primera edición se realiza en el verano del 2008 y llevó la consigna de “SEGUNDO ENCUENTRO LATINOAMERICANO DE HIPHOP”, la estructura fue de 4 días, siendo la “FIESTA ZULU” el puntapié inicial, noche de baile en donde el Breaking, Looking y Popping se tomaban la pista para entregar los mejores pasos en un ambiente de unidad, respeto y alegría. El segundo día fue de “CINE DOCUMENTALES”, jornada de expresión audiovisual en la cual se proyectaron documentales HipHop y de contingencia social. El tercer día llamado “ESCUELA TALLERES” ha sido para nosotros uno de los más importantes, ya que en este día se ha generado el espacio para el intercambio de experiencias, la comunicación y la posibilidad de entablar acuerdos y vínculos que permiten, a nuestro parecer, contribuir a la construcción de organización. El cierre del festival se ha dado a partir del encuentro artístico musical plasmado en un “CONCIERTO” en donde parte de la escena nacional del Rap se hace presente para entregar su mejor show.
Una vez más la satisfacción ante lo generado nos colmó, pero siempre con la mentalidad y la convicción de aprender de los errores, y de seguir creciendo para entregar un mejor festival al año siguiente.
Así Llegó el 2009, año en el que celebrábamos los “25 AÑOS DEL HIPHOP EN CHILE”, esta fue la consigna del festival y de todas sus actividades, ya que se pretendía rescatar este momento como un instante histórico para el HipHop en Chile. Exponentes que fueron pioneros se juntaron con nuevos kultores, para así ir en hermandad derribando mitos y trabajando sobre sólidas miradas. Se desarrolló el “PLANETA GRAFF” coordinado por 12 BrillosCrew pintándose una sola gran pieza que representaba estos 25 años del HipHop en Chile. Durante este año nos vimos sorprendidos por una capacidad de convocatoria que sobrepaso con creces todas nuestras expectativas, planteándosenos así nuevos desafíos organizativos, tanto en lo relativo a la gestión del evento como en lo referente al trabajo desarrollado en forma anterior y posterior a este, surgiendo así nuevamente la necesidad y capacidad de autoeducarnos, formarnos y prepararnos para fortalecer nuestras virtudes y superar nuestras dificultades.
Llega el 2010 y en esta edición “EL QUINTO ELEMENTO ES EL CONOCIMIENTO” se toma el Festival, llevando el HipHop más allá de los 4 elementos tradicionales y sociabilizando el conocimiento como eje central para el desarrollo de una Kultura que se proyecta en Movimiento, compartiendo experiencias desarrolladas en países hermanos, conociendo realidades distintas a la nuestra y propiciando la expresión y el desarrollo de nuestra cultura.
Para el Año 2011 la consigna del festival y encuentro es “DE KULTURA A MOVIMIENTO”, ya que creemos que el HipHop constituye en sí un espacio de hermandad y auto reconocimiento del cual todos y todas podemos ser parte.
Momentos de tensión:
Planeta Rock no ha estado ajeno a las tensiones. Desde el comienzo hemos tenido muchas dificultades, ya que siempre hemos desarrollado el Festival en base a la autogestión, por lo que a medida que este festival se va masificando, se hace mucho más complejo cada año el poder realizarlo, aun así continuamos haciéndolo y ello porque estamos convencidos de que nosotros como parte de la Kultura HipHop podemos generar espacios de educación, comunicación y expresión artística siendo autónomos e independientes sin tranzar ni entregarnos a las fauces del mercadeo.
Algunas de las mayores dificultades que hemos vivido se dieron el 2009 en la Fiesta Zulú que se realizó en el Galpón Víctor Jara y en el Concierto que ese año se había programado en el gimnasio municipal de lo prado. Los espacios no dieron abasto para el gran número de personas que llegaron a las actividades, debiendo suspender a mitad de la jornada la Fiesta y el Concierto por colapso de los espacios y por problemas con la fuerza pública. No quisimos quedarnos con el peso de no haber terminado bien Planeta Rock en sus 25 años, por lo que en Marzo del mismo año realizamos un Concierto titulado “Nada a Medias” totalmente gratuito en el Parque la Bandera.
Otro momento donde experimentamos dificultades fue el día del Concierto del Planeta Rock 2010, ya que el equipo de sonido implementado para ese día no tuvo la capacidad suficiente para las cerca de 7.000 personas que llegaron a la plaza de los abastos, además se sumaron factores como el corte de agua, el tamaño del escenario y el calor, que nos valieron las criticas de muchos de los asistentes.
De todo esto hemos aprendido, comprendemos que es un proceso de aprendizaje en el cual tendremos caídas, lo importante es reconocer con humildad y autocritica lo ocurrido, pero con la energía necesaria para entregar cada vez un mejor Festival.
Nuestros Aciertos:
Sin duda Planeta Rock ha sido un festival que ha generado un espacio importante para la escena chilena del HipHop. El poder entregar en varias jornadas la mayor diversidad posible de expresiones artísticas, así como la creación de material audiovisual, teatro, Spoken Word, Beatmakers, entre otras ha sido para nosotros un factor de gran satisfacción.
Otro elemento importante que nos ha marcado en este proceso ha sido la instauración de la autogestión como base de nuestro funcionamiento, y la generación de espacios, como la feria HipHop, en la que diversos colectivos, talleres y personas en su individualidad, venden productos generados por ellos mismos. Contribuir a masificar los talleres como espacios importantes para el intercambio de experiencias y entrega mutua de conocimientos, ha sido otro de nuestros propósitos, implementando metodologías educativas que han permitido desarrollar de mejor manera el sentido de los talleres.
El 2010 lanzamos el promocional del Festival a través de un tema en el que reunimos a parte importante de los exponentes del Rap que se presentarían dentro de los días del festival, este simbolismo significó un gesto de unidad hacia el HipHop.
Tur Planeta Rock:
El 2010 con la idea de descentralizar Planeta Rock, se inicio el desarrollo del Tur Planeta Rock, el cual nació como una propuesta de escenario para las diversas expresiones del
movimiento HipHop local, buscando dar a conocer las creaciones y talentos de nuestras poblaciones a través de la realización de un evento en ellas, equipado profesionalmente para poder presentar material musical, la puesta en escena de los grupos locales, sus producciones, sus bailes, sus dibujos y en general su trabajo.
Durante el 2010 realizamos 4 actividades de este tipo, comenzamos en la Zona Norte de Santiago, luego fuimos a Puerto Montt, a continuación a la zona sur Cordillera de la Región Metropolitana y cerramos en la zona sur poniente de Santiago.
RED HIPHOP ACTIVISTA, LOS ORIGENES:
En el año 2006 surge la Red HipHop Activista como un espacio de encuentro y coordinación entre las experiencias que, en principio, se estaban desarrollando en distintos sectores de la ciudad de Santiago y que se planteaban como trabajos colectivos basados en el desarrollo de talleres, actividades artístico-culturales, trabajos sociales y espacios de participación política. Todo como parte del desarrollo de una Kultura de HipHop organizado que iba tomando fuerza y cuerpo basándose en experiencias anteriores, como fue el desarrollo de un espacio organizativo anterior llamado Hiphoplogía o H2L, espacio de encuentro y desarrollo del Hiphop, anterior a la RH2A.
En estos primeros momentos de la Red coexistían distintas visiones y perspectivas respecto a la organización del HipHop, algunas más políticas, otras más enfocadas en lo artístico, en lo recreativo o bien en lo educativo.
En este periodo, el taller de Hiphop Komunión Armada fue uno de los que, a través de sus metodologías, contribuyó a la politización de muchos de sus integrantes. Este taller efectuado en la población Francisco Celada de Estación Central fue un espacio desde donde se fue desarrollando y coordinando un vínculo con distintas comunas de Santiago. Muchos de sus participantes fueron también llevando estas experiencias de autoeducación y politización a sus trabajos territoriales. De esta manera, la RH2A se fue planteando originalmente como un espacio común desde donde fortalecer a nivel metropolitano el HipHop Activista.
Se definió en estos momentos como activismo, el protagonismo de aquellos HipHoppers que, aparte de practicar alguna rama artística, nos considerábamos y nos sentíamos capaces de generar actividades en nuestras comunidades desde una perspectiva social, educativa pero también de generación de conciencia y autoconciencia crítica respecto a nuestra realidad social, política y económica, marcada por la marginación y la falta de oportunidades de desarrollo. De este modo asumimos que si no éramos capaces de generar nuestros propios espacios de expresión, creación y encuentro, nadie lo haría por nosotros, ya que nada podíamos esperar de las jerarquías dominantes, mucho menos de quienes se encontraban administrando las burocracias del poder político y económico vigente.
Existían si, en estos momentos, experiencias o talleres que mantenían relación con proyectos o instancias municipales, especialmente en relación al acceso a espacios como salas, gimnasios u otras infraestructuras, pero también existían otras experiencias, mayoritarias, que solo trabajaban desde la autogestión y la autonomía en la generación de los recursos y espacios necesarios. A pesar de ser distintas, estas experiencias fortalecieron las dinámicas de discusión y contraste, teniendo siempre como base el cuestionamiento respecto a que era lo que realmente nos servía para poder fortalecer nuestros espacios organizativos.
El primer incentivo para fortalecer nuestra organización como Red de HipHop fue levantar el festival TUR AXION SOCIAL, que fue un encuentro de 3 días donde se lanzo el documental ESTILO HIPHOP y en donde se puso en práctica la idea de promover para la comunidad HipHop la generación de un espacio de encuentro nacional, donde se juntaran las distintas ramas o expresiones de la cultura HipHop, incluyendo la dinámica de retroalimentación de conocimientos a partir de la realización de foros y talleres.
La convocatoria fue buena, aunque no masiva, sin embrago, a través de esta experiencia, se logró fortalecer una Red de trabajo entre todos los talleres que estaban participando en ese momento: Tergiversarte de la comuna de Santiago, Komunión Armada de Estación Central, Guerrilla Urbana de Maipú, Fuerza popular de la comuna de El bosque Ruka La Familia y Kamasutra (URRAP mas adelante) de la comuna de San Bernardo, Poblacción, de La Granja, Unión De Talentos de La Pintana, Pinturaxión de Pudahuel, 29 de Marzo de la población La Victoria, la Honda de Talagante, Traficarte de Peñalolén. También se pudo conversar y compartir con los invitados extranjeros: de Argentina Pepe Parietti, de Brasil EliEfi, de República Dominicana DJ Laylo y de EEUU Virgilio Bravo, director del documental estilo HipHop.
Si bien este fue uno de los primeros pasos, el siguiente fue comenzar a llevar a cabo las SESIONES ACTIVISTAS que consistían en juntarse un día completo para poder contarnos todos los aciertos y desaciertos experimentábamos en nuestros trabajos territoriales. A este proceso no todos se sumaron, sin embargo, al mismo tiempo hubieron otros colectivos y talleres que comenzaron a acercarse. Así, llegamos a juntarnos más de 100 personas de distintos lugares de Santiago en una misma Sesión, y también comenzó a expandirse el contacto con regiones, destacándose la participación de Contraelviento de Puerto Montt, Aukallfun de Chillan, colectivo Sexto Sentido de Rancagua, individualidades de Concepción y entrenamiento HipHop de Iquique.
Cabe destacar que las experiencias territoriales nos arrojaban dos formatos de actividad organizativa. Por lo general, éstas eran los talleres de HipHop, que tenían sus propias dinámicas, y por otro lado los colectivos HipHop, que nacían desde los mismos talleres o bien se trataba de experiencias de agrupaciones con personalidades jurídicas que básicamente se dedicaban a la realización de tocatas y encuentros.
La forma de ir coordinándonos se baso en la presencia, nos juntábamos en una asamblea una vez a la semana en el centro de Santiago, dándosenos el espacio para reunirnos en distintas casas okupa. Ahí fuimos encontrándonos quienes de cierto modo éramos voceros de nuestros espacios organizativos, y en base a conversas íbamos viendo cómo podíamos fortalecernos, apoyarnos y complementarnos en nuestros trabajos territoriales.
De esta manera, la RED HIPHOP ACTIVISTA comenzó a experimentar una especie de metamorfosis que, en el camino, fueron generando ciertas dificultades, tanto por la lejanía de muchas personas que pertenecían a los talleres en los territorios periféricos o de regiones, como por las diferentes visiones y perspectivas de trabajo que comenzaron a plantearse.
Sin embargo, hasta el día de hoy y partiendo desde experiencias como la desarrollada con Hiphoplogía, el espacio del Taller siempre ha sido el lugar más importante de nuestro trabajo y nuestra construcción política, siendo así mismo un incentivo para el desarrollo de la organización. No obstante lo anterior, comenzamos a darnos cuenta que el espacio del Taller, también era un espacio transitorio, y que a medida que pasaba el “tiempo de vida” de un Taller, surgía la necesidad de ir repensando nuestro trabajo y nuestra propuesta.
Originalmente, si un rapero entraba al taller automáticamente pertenecía a la RH2A, situación difícil de comprender para quienes recién se incorporaban, ya que como muchos de los nuevos aun no lograban afiatarse en sus propios espacios, difícilmente podían integrarse a un espacio de coordinación y planificación más complejo como lo estaba siendo la RH2A. Esta situación comenzó a generar un sinfín de mitos y tergiversaciones que empezaron a crear asperezas internas, generándose desde los talleres el inicio de un cuestionamiento en términos de LIDERAZGOS e IDENTIDADES.
Para poder sanear todo este proceso que se estaba viviendo en las reuniones de la RH2A, donde no se generaban liderazgos autoritarios ni directivos, sino más bien propuestas que estaban al servicio del trabajo y del pensar más allá del taller al cual en su individualidad se representaba en esa asamblea. Se planteó así, una nueva forma de reorganizar la RH2A, ésta fue convertir ese espacio de coordinación de talleres y colectivos en un colectivo más, al mismo nivel que el resto, con su propia identidad y su propio proceso. La única diferencia o particularidad que tendría la nueva modalidad de la RH2A, es que quienes se quedaran, pensarían en la kultura HipHop en su conjunto y NO SOLO EN LOS ACTIVISTAS o en el trabajo de un solo territorio en particular. En ese momento nos quedamos alrededor de 30 personas militando.
De esta forma, en el 2008, después de conformarnos como nuevo colectivo, se tomó la idea del Tur Axión Social y se replanteó como FESTIVAL HIPHOP PLANETA ROCK. Agregándose un día más de actividades y profundizando mucho más su objetivo en tanto espacio de Encuentro nacional y latinoamericano de la cultura Hiphop, con sus distintas Ramas y expresiones artísticas.
Hoy tras un largo proceso aun en desarrollo de maduración organizativa y militante, nos planteamos como una colectividad HipHop que cree en la transformación de su propio entorno a través de acciones conscientemente organizadas, NO utilizando el Hiphop como un instrumento servil o funcional, sino que viviendo el HipHop políticamente, creando y levantando nuestros propios proyectos y planteando estos mismos como un aporte a nuestra Kultura de resistencia y construcción libertaria. Dentro de los ámbitos en que se proyecta nuestro trabajo actual y para los cuales se destinan los fondos que somos capaces de auto gestionar, se encuentran principalmente:
-La generación de espacios de auto-educación, con la propuesta de creación de la editorial “El Quinto Elemento”.
-La generación de espacios que incentiven la puesta en escena de trabajos artísticos en la población, con el Tur Planeta Rock.
-La generación de infraestructura que facilite nuestra autonomía e independencia, adquiriendo una amplificación propia, a disposición de quienes la requieran para desarrollar sus propias actividades.
-La articulación con otros exponentes del Arte comprometido, con la participación del Colectivo Nueva Canción Combativa.
-El aporte al financiamiento de otros proyectos educativos y Kulturales a partir de los fondos reunidos en Planeta Rock y otras actividades desarrolladas por la RH2A como el proyecto Memoria Rebelde.
Así mismo, dentro de nuestros proyectos a mediano y largo plazo se encuentran, en el mediano plazo la idea de levantar un Centro Kultural HipHop, y en el largo plazo ser capaces de crear una escuela artística experimental donde no solo se formen jóvenes bajo un formato que permita convalidar estudios en el sistema educacional tradicional, sino que también y por sobre todo, que nos permita aplicar los principios de la educación popular y de la kultura HipHop, que han nutrido nuestro trabajo, como herramientas pedagógicas, de recreación, de relación social y de construcción de lazos en base a la solidaridad, el auto reconocimiento y principalmente la autonomía y liberación.
RH2A
Let me take you on a brief musical journey through my past... music has always been one of the most important components of my life. My dad is a guitarist and music lover, and his huge blaring stereo (all 500w of it) provided a constant background to my childhood. The first LP I bought was a Beatles compilation when I was about 8.
At the age of 10 I was in awe of Adam Ant. A year later I was a mod, dancing to The Who, The Jam and The Small Faces (and the odd bit of ska) at the local youth club.
By the time I got to my mid teens I was getting into metal (the heavier the better). Then later on indie, industrial, goth, etc. etc... But in between all that from the age of 12 to 14 I was really into this new style of music which you may have heard of called 'Hip Hop'.
My dad got me into rap in 1982, when he imported the first Grandmaster Flash album ('The Message') - his love of funk also contributing heavily (Prince Charles (the other one), George Clinton, early Prince, etc). But when rap really started breaking into the mainstream in the mid-80s, I lapped it up.
I would watch the movie 'Breakdance' on repeat play until the video broke; practice my (dire) human-beatboxing; and listen to my three favourite 12" singles:
- '(Nothing Serious) Just Buggin' ' by Whistle ;
- 'Bang Zoom! Let's Go Go!' by The Real Roxanne with Hitman Howie Tee;
- and the seminal 'The Show' by Doug E Fresh and the Get Fresh Crew (otherwise know as 'that song with the Inspector Gadget hook').
And here they still all are... complete with original price tags (£2.79p - from E.G.S and Son in Wakefield).
For a few years rap got better and better - and it almost seemed like it was growing and maturing with me (with the likes of Public Enemy and NWA). Which just makes me feel really bitter about all of the self-centred, 'Bitch/Ho/Bling' crap of the last fifteen years or so... But I guess it happens to all musical genres as they are subsumed by the marketing gurus and money men. The originators remain pennyless - but their morals intact - while the insipid pretenders milk the cash cow until it's dry. Give me Melle Mel over Jay Z anyday.
Gah... anyway. Listening to these EPs now just makes me feel young and FRESH all over again. Check it- check it out.
(Oh, and new prescription shades y'all!)
Over six magical days from 11 – 16 July 2023, 23 larger-than-life sheep sculptures, wired for sound, unlike any you’ve ever seen or heard, appeared in surprising places across the Kirklees countryside. This vibrant, musical odyssey and largescale participatory project traces the cultural and industrial story of Kirklees, through its many musical traditions, from brass to boliyaan, choral and gospel, beatboxing, Carnatic singing and much more.
The sheep, designed by artist Dave Young, each have their own unique identity and original soundscape. Devised by composer Orlando Gough and produced by Artichoke,
HERD will take place around Kirklees as part of Kirklees Year of Music.
A ground-breaking collaboration between artists, musicians, and hundreds of people from the local community, HERD celebrates the enormous influence that sheep have had and contribution they have made to this part of Yorkshire and its people.
Another New Elementary build, this time using the Turntable Snap element from the (now obsolete) Vidiyo Beatboxes.
The full article is here.
This Hardsuit was at least a little bit inspired by Tino Poutiainen's superior model.
Another New Elementary build, this time using the Turntable Snap element from the (now obsolete) Vidiyo Beatboxes.
The full article is here.
This Hardsuit was at least a little bit inspired by Tino Poutiainen's superior model.
Over six magical days from 11 – 16 July 2023, 23 larger-than-life sheep sculptures, wired for sound, unlike any you’ve ever seen or heard, appeared in surprising places across the Kirklees countryside. This vibrant, musical odyssey and largescale participatory project traces the cultural and industrial story of Kirklees, through its many musical traditions, from brass to boliyaan, choral and gospel, beatboxing, Carnatic singing and much more.
The sheep, designed by artist Dave Young, each have their own unique identity and original soundscape. Devised by composer Orlando Gough and produced by Artichoke,
HERD will take place around Kirklees as part of Kirklees Year of Music.
A ground-breaking collaboration between artists, musicians, and hundreds of people from the local community, HERD celebrates the enormous influence that sheep have had and contribution they have made to this part of Yorkshire and its people.
jaden's been learning beatboxing from me and biz markie. he rocks the mic of his lil' fisher price ghetto blaster.
At the end of a day's long and tiring trek, these little spirits were the ones which made us forget all our pains and worries. Some danced, some sang and some of them even beatboxed. We even held a football match, but obviously I wasn't the one playing.
So what if it pushed us to the limits, it was all worth the sweat.
I photographed Jasper Bailey in 2012 on the streets in San Francisco. Unfortunately, he was struck by a car on October 27, 2017 in Austin, Texas and killed.
patch.com/texas/southaustin/austin-police-id-pedestrian-k...
Below are my notes after having photographed him back in 2012:
=====================================================
Jasper -- San Francisco, CA
Yesterday while out photowalking with Jordana Wright for her America by Rail photowalk I ran into Jasper. Jasper approached me and asked if I would be willing to listen to him. He explained that he was homeless but that he had a unique talent, that he was a human beatbox. He wanted to perform for us and see if we'd help him out so he could get a sandwich.
I told Jasper about my $2 Portrait Project and he agreed to pose but wanted to keep that a separate thing from his beatboxing. After beat boxing for a bit Jasper said we could do a portrait, but he wanted to go out in the sun because he wanted to show us another of his unique talents.
Jasper the beatboxer said he had a unique ability to stare straight into the sun without it hurting his eyes. He said he had rare different colors eyes that gave him this special ability. For about 30 seconds Jasper posed for us with his eyes directly into the sun. He did an encore performance of this but took his shirt off this time because he wanted to show us his muscles.
Jasper was a talkative guy. He kept referring to himself as Jasper the random black dude and kept talking about this sandwich he was going to get with the money from this portrait session. He seemed fixated on the fact that it couldn't have any sauce on it.
Jasper is originally from St. Louis. He said he was a product of the American education system.
After Jasper posed for a while I gave him $10. I usually only pay $2 for street portraits, but Jasper was more of an entertainer to me than a usual subject. I told him I was giving $2 for the portrait and $8 for the beatboxing. Others in our group gave him some money too, so hopefully he was able to get his sandwich and a few more in the future.
Bill and Bob the Banana brothers bellied up to the Banana Bar after a fun day beatboxing on the beach.
Bob: “I don’t know, Bill. I don’t like the way that little yellow guy is looking at us. Don’t Minions go crazy over bananas?”
Bill: “I’m sure he realizes that we’re not real bananas. Then again, he is making me feel rather uncomfortable.”
Bob: “I think we’d better go. I don’t want to end up in one of his smoothies. Let’s beat it!”
I love a bit of ambitous failure. It is far better to have tried something new and amazing, than to have never tried at all.
Then there is Vidiyo. To the surprise of noone, Vidiyo is being put on "Hiatus" by The LEGO Group. Bargain bins are currently filling up with them everywhere.
The figures were weird, the app buggy, the beatboxes hideously overpriced, the figures (mostly) off-putting, and, well, anyone who was paying attention at launch predicted this, and there wasn't a bookie in sight that would take a bet on it - even if TLG and Universal did take that bet.
Usually an unsuccessful line is allowed to fade away, BUT, In a rare move, TLG ha put out a statement that we will see more of Vidiyo in 2023. What this means is uncertain at this time though.
Every cloud has a silver lining though - and right now, that's super cheap LEGO.
Because there were absolutely things to love about Vidiyo. mostly those gorgeous printed tiles and new parts - they just weren't worth the price of entry at release.
For Aussies, you can find the minifigs at half price in your local Target right now, and Kmart has the Beatboxes going for $10 a pop - If the prints and parts tickle your fancy, now's the time to stock up.
As for the future of Vidiyo itself? Only time will tell.
Dropped this today alongside TRANS1 @ East Londons Shoreditch Street Festival, sponsored by Montanna Gold and Adidas (next time T)
Couldn't swing a cat at times due to the place being rammed out, graf, breaking, DJ's, beatboxing, skateboarding, fixed gear stunts, freestyle footy skillz, all topped off with a live PA from TY.....and all blessed with a sunny day, wicked.
T, you brought the fire once again homeboy, we done good mate, respect..
Big shout for my man Eddie Dangerous too, thanks for all your help bro !!
4 layers, 5 colors
on wood panel
46cm x 61cm
Background is Boombox by Blueprint
Make the music with your mouth!
Surfer’s Bay VIP is proud to present two of the most unique live performers in Second Life ™ on Saturday 6 October from 10am – 12pm SLT
Dance under the palm trees or surf and listen in as POL Arida and Obeloinkment Wrigglesworth take to the stage for two hours of live music.
The sim will be open for anyone to attend from 9am SLT until 1pm SLT
TP:
maps.secondlife.com/secondlife/Hidden%20Valley/140/211/24
POL ARIDA
10am SLT
POL Arida is one of the one the most influential artists in SL.
Since first performing in Second Life in 2008, POL has dazzled audiences with his diverse songwriting and unique style of guitar playing, called Hammer Guitar, which has won him attention in both SL and RL.
He has played support with some of the bigger bands in the world including The Cure, Culture Club, New Order and many more. POL rarely plays SL so don’t miss out on hearing him!
Check POL out at:
www.youtube.com/watch?v=TApCr9pYSwU&feature=youtu.be
OBELOINKMENT WRIGGLESWORTH (OBLEE)
Don’t miss the chance to hear one of SL’s most talented musicians play at this special concert at Surfer’s Bay VIP.
Oblee is a unique one-man, multi-instrumental musical act focused on original live music. Most songs are centered around the guitar or some beatboxing, and a looper is often used to embellish the composition.
Everything that you hear is performed live, with no pre-recorded elements used. Oblee is not to be missed!
Instruments included in the mix are guitars, the mouth (beatboxing, fake trumpeting, various birdcalls), bass guitar, vintage synthesizers, drumkit (real), piano, hammond organ, congas, bongos, djembes and a million little percussion instruments, didgeridoo, and an elk bugle!
Check Oblee out at:
Jasper -- San Francisco, CA
Yesterday while out photowalking with Jordana Wright for her America by Rail photowalk I ran into Jasper. Jasper approached me and asked if I would be willing to listen to him. He explained that he was homeless but that he had a unique talent, that he was a human beatbox. He wanted to perform for us and see if we'd help him out so he could get a sandwich.
I told Jasper about my $2 Portrait Project and he agreed to pose but wanted to keep that a separate thing from his beatboxing. After beat boxing for a bit Jasper said we could do a portrait, but he wanted to go out in the sun because he wanted to show us another of his unique talents.
Jasper the beatboxer said he had a unique ability to stare straight into the sun without it hurting his eyes. He said he had rare different colors eyes that gave him this special ability. For about 30 seconds Jasper posed for us with his eyes directly into the sun. He did an encore performance of this but took his shirt off this time because he wanted to show us his muscles.
Jasper was a talkative guy. He kept referring to himself as Jasper the random black dude and kept talking about this sandwich he was going to get with the money from this portrait session. He seemed fixated on the fact that it couldn't have any sauce on it.
Jasper is originally from St. Louis. He said he was a product of the American education system.
After Jasper posed for a while I gave him $10. I usually only pay $2 for street portraits, but Jasper was more of an entertainer to me than a random homeless guy. I told him I was giving $2 for the portrait and $8 for the beatboxing. Others in our group gave him some money too, so hopefully he was able to get his sandwich and a few more today.
This picture is #27 in my 100 strangers project. Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page
I met Ernest at the same event as my last 2 strangers. A Potjiekos competition (South African cast iron pot food) and fund raising event in Johannesburg. I fist noticed him when I heard him doing a bit of beatboxing over the announcer's PA system. I waited for the right time and went over to where he was sitting with his family and asked him if I could take his photograph.
He works for the company that was hosting the event. They do international moves, from packing your household items into boxes to shipping them.
Ernest was very friendly and even did a few different poses for me. I think that sometimes it is a case of the right person in the right place at the right time. The large wall behind him provided a lovely neutral background for his photo.
Thank you Ernest!
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While reading this, imagine I'm beatboxing in the background, just laying down the phattest beats yo momma ever did hear.
"The Three Little Pigs Rap" by Jim Rule
Now everybody knows about the little pigs three
But this time it goes a little differently.
You see I made a couple changes. I set it all to rhyme.
Let’s begin our story,” Once Upon A Time...”
THREE LITTLE PIGS were living large and at home
Til the day mom said, “Yo! I want to be alone!”
Go build your own houses now that you are big.
It’s time for each of you to be an independent pig.”
She told her little piggies, “I think I’d better warn ya......"
The first little pig built a house made of straw.
He didn’t use a hammer and he didn’t use a saw.
He finished in a hurry and he laughed”,HA, HA!
I’m done! I’m done! Now I’ll go and have some fun!”
The second little pig built a house made of twigs......
The third little pig built a house made of bricks .......
Now the piggies all knew never talk to strangers.......
“HOWL! I’m the Big Bad Wolf and I’ve come to town.......
He walked up to the door of piggy number one.......
“Little pig, Little pig, let me come in.”
“Not by the hair of my chinny-chin-chin”
“Then I’ll huff and I’ll puff and I’ll blow your house down.
I’m the Big Bad Wolf and I don’t mess around.”
So he blew down the straw house in one big breath.......
“Little pig, Little pig......"
So he blew down the twig house in one big breath.......
“Little pig, Little pig......"
But the strong brick house stayed right where it stood.......
Well, he went down the chimney but the piggies really got him.......
He jumped right out the chimney and ran so far away
That nobody’s seen that wolf to this very day.
And the little pigs were famous every where they went
But the third little pig still charged her brothers rent.
I told you she was smart. And now you know the story of
THE THREE LITTLE PIGS Oink! Oink! Oink! Bye Bye!
246/365. King without a crown ~ Matisyahu — free your beatboxing soul
This is Matisyahu. Definitely worth checking out if you haven't.
He is one of the few people I've seen live that can beatbox as well as I can... had only there been an extra mic, we could have jammed.
strobist: SB-900 tucked up in the far corner @ 1/16 @ 50mm — via PW2's
I enjoyed listening to these two just improvising. Thought a short video might be the best way to catch it.
They were at it for about 30 minutes!
Canon R5 Handheld with 100-500mm lens @500mm.
Captured at 4k and 50 fps.
Cropped and processed in Premiere Pro.
Think the R5 also has digital IS - must switch that on!
Radio Babel / Pour la deuxième année, le festival itinérant « Toucouleurs, Rencontres en Mouvement ! » fera escale dans le quartier d’Arnaud Bernard le 24 Juillet 2015 où il établira cette fois-ci ses quartiers d’été. Présentée en co-production avec Maison Blanche. Un programme riche et construit de façon collective mettra en scène des acteurs du territoire : le Théâtre du Fil à Plomb, La Case de Santé et le collectif Étrangers Malades, Archipel, Terre de Jeux, Gudule & Galipette ... sera proposé tout au long de la journée sur la place Arnaud Bernard et dans les rues adjacentes. Ateliers de pratiques artistiques, performances, démonstrations, expositions, théâtre, palabre... investiront l’espace public pour construire un parcours culturel des plus composites. Le soir nous aurons le plaisir d’accueillir Serge Lopez, bien connu du public toulousain et le fabuleux combo vocal marseillais Radio Babel.
Video ICI...
Plus d'info sur le site de TOUCOULEURS :
toucouleurs.fr/escale-3-le-24-juillet/
Album/ Set... ICI...
Facebook | stefanog.com | 500px | YouTube
Possibly very minor spoilers.
I saw the LEGO Batman Movie earlier today and I can safely say that it was a wonderful experience. It made me laugh, out loud I might add, and it almost made me cry. It may not have had quite the same emotional impact as The LEGO Movie, but I am glad it didn't. It's something different, not necessarily better, but I think, personally, I enjoyed it more!
From the get go, the humour is laid on, even before the movie starts, and we're taken to a shot of a Macguffin Airlines plane carrying lots of dynamite, lots of C4, some cute little bombs and two friends requesting permission to fly over Gotham. That sets the tone for the rest of the movie and the fun rarely, if ever, gets stale.
The background characters often get their moments to shine. Bane in particular, though he has barely any lines, made me laugh. I'm sure it'll disappoint a few of you, but villains like The Ventriloquist, Black Mask and Mad Hatter didn't make an appearance, but there is plenty more to see and love! Not just the villains either, the police force and civilians are a great source of amusement.
With regards to the main characters, they were all voiced superbly and animated wonderfully.
Batman is a douche, plain and simple. But that works extremely well for him in this context and WIll Arnett portrays this excellently in his dry manner. I'm still not entirely sold on this whole rapping/beatboxing thing, but I'm sure it's to others tastes! The film is clearly a satire of him and his vast history, so you will see a LOT of references to previous incarnations.
Robin is...adorable. Simply put. Michael Cera's voice is perfect and although I wasn't sure about the glasses at first, the range of emotion and character that they give him is fantastic and I wouldn't have it any other way now. He's oddly not as bumbling as I thought he would be but I never really questioned it!
Barbara/Batgirl is probably one of the main reasons I was looking forward to this movie. This is a strong Barbara, and one that can definitely put Batman in his place. After the recent killing joke adaptation I was hoping we would see something different. The police commissioner angle is a newer one, and welcome in my eyes! My only problem was that there wasn't enough of Batgirl! I love that costume design.
Alfred was great. In fact, he is now cemented as one of my favourite Alfreds, the other being from the Animated Series. He is quintessentially British and is voiced as such. He also plays a much bigger role in Batmans mission than previous incarnations of the character, which is great to see.
The city itself has a wonderful art style and I really like the red/orange skyline. It really helps establish Gotham as it's own city away from The LEGO Movie. Speaking of which, just like The LEGO Movie, there are lots of wonderful little details to spot in the background. I didn't catch them all, but I'll be sure to look out on repeat viewings. Regarding the ties to The LEGO Movie, this film stands pretty much on it's own and I'm almost 100% certain it is a prequel. There is one little nod to The LEGO Movie and we do see that Superman/Green Lantern relationship again, so it does tie together a little!
Overall, this is a movie packed with fun and details and I thoroughly enjoyed it. There are definitely some 'unique' choices regarding story and characters, but that doesn't detract at all. This is LEGO Batman, not Batman and they choose to have a hell of a lot of fun with that. I will say, the way that the city is saved in this movie is quite possibly the strangest thing I have seen in my time watching superhero films. But I'll let you find that out!
Three things I'd like to say though.
I was in love with The Scuttler before. I now love it 500% more!
The end credits sequence was amazing. Way better than The LEGO Movie one, and just as catchy! If you want to hear the music, it's here!
www.youtube.com/watch?v=QULBg1jMcJY
And this is probably the only Batman movie in which you're likely to hear Rick Astley.
I know that this movie is being used to push the Superhero line in the long term, and I can definitely see this doing very well. So here's to the future! :)
RyoTracks born in Osaka. He started learning the beat box in the self-taught from the age of 15, begin Kansai live house than 16 years of age, club, vigorously LIVE activities around the street.
January 6th, 2010
EXPLORED! #325
^.^
im really happy how this turned out :)
I love mini blueberry muffins, its like an obsession. :D
my day was pretty boring. There was this music group at my school called The Rhythm Method. They were basically an acapella group with beatboxing. :D I was so excited, and thier album going to be available on iTunes next week. yesssss!
jammin' with the monster. a threadless sub.
- - - - - - - - - - - - - - - -
attention!
calling all barcelonians and barcelona city connoisseurs. I'm spending at least a week in bc next june and I'd like to know all the good spots. the best shops (design, art, clothes, sneakers etc.), cafes and sights. all in all, everything worth seeing in the city. from what I've heard, it's a very nice place.
gracias!
Radio Babel / Pour la deuxième année, le festival itinérant « Toucouleurs, Rencontres en Mouvement ! » fera escale dans le quartier d’Arnaud Bernard le 24 Juillet 2015 où il établira cette fois-ci ses quartiers d’été. Présentée en co-production avec Maison Blanche. Un programme riche et construit de façon collective mettra en scène des acteurs du territoire : le Théâtre du Fil à Plomb, La Case de Santé et le collectif Étrangers Malades, Archipel, Terre de Jeux, Gudule & Galipette ... sera proposé tout au long de la journée sur la place Arnaud Bernard et dans les rues adjacentes. Ateliers de pratiques artistiques, performances, démonstrations, expositions, théâtre, palabre... investiront l’espace public pour construire un parcours culturel des plus composites. Le soir nous aurons le plaisir d’accueillir Serge Lopez, bien connu du public toulousain et le fabuleux combo vocal marseillais Radio Babel.
Video ICI...
Plus d'info sur le site de TOUCOULEURS :
toucouleurs.fr/escale-3-le-24-juillet/
Album/ Set... ICI...
Facebook | stefanog.com | 500px | YouTube
Over six magical days from 11 – 16 July 2023, 23 larger-than-life sheep sculptures, wired for sound, unlike any you’ve ever seen or heard, appeared in surprising places across the Kirklees countryside. This vibrant, musical odyssey and largescale participatory project traces the cultural and industrial story of Kirklees, through its many musical traditions, from brass to boliyaan, choral and gospel, beatboxing, Carnatic singing and much more.
The sheep, designed by artist Dave Young, each have their own unique identity and original soundscape. Devised by composer Orlando Gough and produced by Artichoke,
HERD will take place around Kirklees as part of Kirklees Year of Music.
A ground-breaking collaboration between artists, musicians, and hundreds of people from the local community, HERD celebrates the enormous influence that sheep have had and contribution they have made to this part of Yorkshire and its people.
Introducing the Pentatonix; the American a cappella group from Arlington, Texas, consisting of five vocalists: Avi Kaplan, Scott Hoying, Kirstin Maldonado, Kevin Olusola, and Mitch Grassi. Their work, which is mostly in the pop style, consists of covers of existing songs, sometimes in the form of medleys, along with their original material. Their music is defined by their own arrangement style, tight vocal harmonies, extensive vocal riffing, deep and steady vocal basslines, and a diverse range of vocal percussion and beatboxing.
[OFFICIAL VIDEO] Hallelujah - Pentatonix
PTXofficial Published on Oct 21, 2016
A PENTATONIX CHRISTMAS OUT NOW! ITUNES
1:30 PM 140412
Hôm nay là 1 ngày nắng , nắng cực kì . Và fans đã đến rất đông chắc từ 1 giờ rồi , cả bên lề SVĐ Phú Thọ kín mít chỗ tụ tập , chỗ buôn bán và kể cả chỗ những người mua bán vé chợ ‘đen’. Nhìn khuôn mặt của họ không ngớt những niềm vui hứng khởi và mình cũng vậy nhưng chả được bao lâu thì khi vào trong đêm diễn ra nhạc hội tất cả những nụ cười ấy dường như biến mất hẳn. Cả SVĐ như cái lò thiêu và ai nấy đều nhăn mặt trước cái nắng...
Mình và tụi bạn chen vào đám đông đang xem màn diễn Rock của nhóm Bức Tường nhưng vô dụng. Quá đông và quá nắng nên ai cũng như kiệt sức và mồ hôi như túa ra hết. Trong lúc đó mình có thấy 1 vài người có hành vi MÓC TÚI . Họ thật đáng sợ. Nhìn thì cứ tưởng chỉ là người Việt Nam đi xem 1 buổi hòa nhạc cho biết một lần nhưng ai dè lại là dân MÓC TÚI. Lúc đó người đó đứng gần mình và mình đã phát hiện . Tay của người đó cứ lắc qua lắc lại và cứ vỗ vỗ vào trong quần nhiều lần. Cảm giác đó thật đáng sợ ! Bọn người như vậy thường đứng gần các bạn fans nữ ! Trong lúc họ không đề phòng và dở ra mấy món tay nghề của mình. Mình nghĩ người Việt Nam chưa thật sự ý thức hết những cái gọi là TÔN TRỌNG người khác . Thật thất vọng vì chỉ mới chưa bắt đầu vào festival chính thức mà đã thấy những cảnh như vậy …
[mình sẽ lượt qua những phần không liên quan]
5:45 PM 140412
Đám đông dường như mất kiểm soát . Một số đông người bên mạn phải đã dồn tụi mình – những người bên mạn trái té và cảm giác đó không tốt chút nào. Chỗ đứng của mình chỉ được có khoảng 1 ô gạch nhỏ ở nhà *mình không nhớ bao nhiêu nữa nhưng chắc chắn là như vậy*. Có nhiều bạn fans thái quá đã khóc vờ để được đi lên hay nói những câu ‘Cho mình lên đi mình xin bạn đó !’ này nọ nhưng họ không nghĩ rằng những người xung quanh – VIPs đứng kề cũng muốn điều đó . Và tất nhiên các bạn fans đó chen lấn và như muốn đẩy mạnh tụi mình chỉ để được lên trên. Nói thật lúc đó mình đã gần như CHẾT NGẠT với cái bầu không khí chật ních người và ai nấy đều XÔ ĐẨY nhau như thể muốn dẫm đạp lên nhau mà sống , mà coi được hoàn thiện buổi biễu diễn vậy. Mình đã nhờ bác bảo vệ cho ra ngoài và cuối cùng đã tìm được chỗ rất rất rất lí tưởng , có thể xem cả màn hình to kinh khủng và kể cả trên sân khấu nữa .
7:59 PM 140412
CUỐI CÙNG BIGBANG ĐÃ RA SÂN KHẤU RỒI !
HỌ ĐÃ RA RỒI !
OH MY GODDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDD !
Trong bộ outfit rất USUK : áo thun trắng không tay LONDON BOY và quần thụng đen đơn giản và thật là DỄ THƯƠNG.
Taeyang trông thật ngầu với chiếc mắt kính và nụ cười của anh ấy như làm mình quên cả nỗi ‘đau chân’ sáng giờ.
G-Dragon , ôi ! Anh ấy rất ỐM ỐM ỐM lắm là đằng khác . Trông anh ấy nhỏ bé lắm , cao tầm chỉ 1m72 là cùng *có nghĩa là hơn mình chỉ 2 cm -.-* Anh ấy không cười nhiều nhưng biểu hiện thì y chang như đang ở các đại nhạc hội lớn như MAMA , Inkigayo , MTV ,… vậy ! Thật tuyệt vời !
T.O.P thật đáng yêu với nước da trắng không thể ngờ được và với mái tóc màu trắng hơi xanh xanh ngố ngố trông gần gũi lắm cơ . Đáng buồn là anh ấy không thể hiện cơ bắp của mình như trong Strong Heart G-Dragon đã nói anh ấy *T.O.P* có thân hình không chê vào đâu được haha , và thật đáng tiếc 1 chút khi không thấy điều đó .
Seungri – cậu maknae dễ thương lúc nào cũng cười tươi và NÓI NHIỀU kinh khủng ! : )) Cậu bạn dễ thương LẮM LẮM LẮM .
Daesung , đôi mắt cười không thấy ‘mặt trời’ của anh đã xuất hiện kể cả lúc mới bắt đầu !
HỌ THẬT LÀ TUYỆT VỜIIIIIIIIIIIIIIIIIIIIIIIIIIIIII !
8:05 PM 140412
BIGBANG diễn 1 giờ !
TONIGHT diễn trước !
Fans la điên cuồng và tất cả mọi người như 1 , BIGBANG live khỏe như chưa từng được live trên sân khấu vậy . Fanchan đọc điên cuồng và mọi người đều hòa mình vào màn trình diễn !
Và HANDS UP tiếp tục !
HANS UP HIGHHHHHHHHHHHHHHH !
G-Dragon và T.O.P rap rất rõ và giọng của 5 thành viên cũng gần như giống giọng fans bên dưới ! Trên cả tuyệt vời !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Taeyang còn múa may loạn xạ như điệu ‘dougie’ vậy ! Anh ấy rất thoải mái và cứ nhảy liên tục !
Các lightstick của fans vẫy điên cuồng và Seungri đã có vẫy tay họ ! So damnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn cuteeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee !
Seungri nhảy tưng tưng tưng theo điệu nhạc và anh ấy đã thưởng thức bầu không khí trọn vẹn nhất trong số 5 thành viên
Taeyang : Are You Ready !
Fans : Yeahhhhhhhhhh
Taeyang : I say Yeah you say ‘Yeah’
Fans : Yeah !
Taeyang: Yeah Yeah Yeah !
Fans : Yeah Yeah Yeah !
Taeyang : Now SCREAMMMMMMMMMMMMMMM !
GD: How are you feeling up there ?
GD: Hi I’m from Korea , I’m G-Dragon !
T.O.P: Hello Vietnam !
T.O.P : I’m T.O.P !
Taeyang : Hi Infinite ?! Vietnam I’m Taeyang !
Taeyang: Let’s Rockkkkkkkk !
Seungri : Xin chao ~~~~~~~~~~~~~~~~~~~~
Fans : AAAAAAAAAAAAAAAAAAA ~
Seungri: Wassup it’s BIGBANG I’m Seungriiiiiiiiiiiiii !
Daesung : Wat up Daesung !
Daesung : Nice to meet you !
GD : Are you ready for this partyyyyyyyyyy ?
Taeyang : NOW YOU PUT YOUR HANS TOGETHERRRRRRRRRRR ! LIKE THAT UH ! LIKE THAT !
Seungri + T.O.P : *beatboxing*
BAD BOY tiếp theooooooooooooo !
BIGBANG + VIPs : WAT UP WAT UP WAT UP WAT UP !!!!!!!!!!!
BÀI HÁT TRÊN CẢ REALLLLLLLLLLLLLL !
BIGBANG như những chàn trai đã đến cho VIPs cùng yêu thương !
Họ trông thật REALLLLLLLLLLL !
AAAAAAAAAAAAA ~ Điệu ‘dougie’ kìa !!!!!!!!!!!!!
Tất nhiên hoàng tử mắt cười – Taeyang của chúng ta đã nhảy dễ thương và đầy cảm xúc nhất ! LOVE HIMMMMMMM !
“Naesharanghan Sorry I’m a BAD BOY ! … YOU’RE A GOOD GIRL !”
“YOU WILL BE MY LADY MY LAY LAY LAY LAY LADY !”
Daesung !!!!!!!!!!!!!!!!!!!!!!!!!!!! Anh ấy đã feel theo nhạc !!!!!!!!!!!!!!!!!!!
FANTASTIC BABBBBBBBBBBBBBBBYYYYYYYYYYYYYYYYYYY !
Fanchan càng ngày dữ dội hơn !
Đoạn GD rap ‘CATCH ME IN FIREEEEEEEEEE’ cứ như là những lần nghe trên Inernet . Giọng rất uy quyền !
BOOMSAKALKA !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Khi quay còn 30 mấy giây nữa thì máy out of memory
Sucksssssssssss !
Nên mình quay = điện thoại !
Huhuhuhuh !
BIGBANG cứ liên tục nói YOU’RE SO AMAZINGGGGGGGG ! VIETNAM YOU’RE SO SO SO SO AMAZINGGGGGGGGGGGGGGGGGGGGGGGGGGGGGG !
Và nhóm lại tiếp tục LIE + LAST FAREWELL
Nhưng do fans chen lấn nhau quá nên dừng chương trình đôi chút .
Khi 2 MC nói LÙI LẠI ĐI LÙI LẠI ĐI cùng với fans thì Seungri đã chạy ra cũng nói chêm vào là LÙI LẠI ĐI ! rồi anh ấy đi vào bên phía trái ngồi nghỉ đôi chút cùng với các thành viên còn lạc. Sau khi ổn định xong lại tiếp tục FANTASTIC BABYYYYYYYY !
HỌ ĐÃ DIỄN HẾT MÌNH ! Và khi kết thúc sân khấu Taeyang đã nói : See you later Vietnam !!!!!!!!!!!!!!!!!!!!!!!!!!!!!
RẤT HI VỌNG RẰNG HỌ SẼ QUAY LẠI VỚI CHÍNH CONCERT RIÊNG CỦA MÌNH . BIGSHOW !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
BIGSHOW IN VIETNAMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM !
Vì fans còn quá hứng thú nên tất cả đã la lên BIGBANG BIGBANG BIGBANG !
Nhưng không được nữa vì thời hạn chương trình chỉ có như vậy !
Hầu như fans rất đông ra về còn 1 số ở lại để xem màn trình diễn của Taio Cruz !
Hình như kì này không có họp báo , không có vào hậu trường , không chữ kí và không chụp hình ! T_T Tuy hơi tiếc nhưng dù sao họ đã đến với chúng tôi – 1 BIGBANG thật thụ mà chúng tôi đã 5 năm idol và mong đợi !
Cảm ơn họ rất nhiều và cảm ơn nhà tài trợ và sản xuất chương trình Coca Cola !
Tất cả các ca sĩ đều rất tuyệt ! Mình chắc chắn điều đó ! Cả V-pop hôm nay mình mới thật sự thấy họ có tài năng và tuyệt vời trên sân khấu ! *Sorry trước giờ mình ít xem V-pop. Not bashing !*
THANK YOU , BIGBANG !
Fancam và Fanpic sẽ up lên fb <3
End.
While shooting this Dan and Beaz wanted to kill me because I could not stop beatboxing. The echo was so loud and amazing!
SCENE ONE, Random Building
~~~~~~~~~~~~~~~~~~~~~~~~~
Deadpool found himself standing in some random building which he didn't know the name of, lying against the wall, arms crossed...
Deadpool: Jeez, what is this place.
Suddenly, Deadpool saw Taskmaster running by!
Deadpool: Why the f#ck is he here?
Deadpool stuck his foot out, trying to trip Taskmaster. He jumped over the foot...
Deadpool: Ah, damn it..!
Deadpool used his grapple gun to pull Taskmaster to the ground in front of him! It worked!
Taskmaster: *uff*... What do you want?
Taskmaster stood up...
Deadpool: Wanted to say hi, Tasky! Also, where is this? I just appeared here at the start of a comic, as you do.
Taskmaster: Some guy named Arcade runs the place, what's it to ya'?
Deadpool: Arcade... That rings a bell.
Deadpool scratched his chin...
Deadpool: If only I wasn't stupid, which I only am for comedic effect...
Deadpool snapped...
Deadpool: Oh! Got it... That one guy I killed! Killed... Kill... You!
Deadpool pulled both of his swords off his back...
Deadpool: I can kill you to get that Arcade guy's attention, and kill him too!
Taskmaster swung his sword...
Taskmaster: If you can.
He hit his shield twice with his sword...
Deadpool: Oh, you think you're so cool, huh? Well guess what? I can do it too, b#tch!
Deadpool used one of his swords to hit his chest twice, which ripped his costume, and made him bleed.
Deadpool: Yeah, should've saw that coming.
Taskmaster: Weren't you planning on killing me?
Deadpool: Oh yeah, right.
Deadpool swung his sword at Taskmaster, but he dodged it. Taskmaster got a grenade from his pocket, threw it at Deadpool, and before it exploded, he pulled out a retractable shield! The grenade exploded, blowing Deadpool to bits, and damaging the surrounding hallway.
Taskmaster: Are you still alive?
Deadpool: Mhm!
Deadpool's pieces suddenly crawled together, and fused into his previous self...
Deadpool: Mutants can do that sorta thing.
Taskmaster: Mutants? Ugh...
Deadpool: Ugh, excuse me? Are all my enemies racist?
Taskmaster: You would be too, if you knew what they've done to me.
Taskmaster fired a pistol at Deadpool's chest, which healed instantly.
Deadpool: Ooh! Depressing backstory, eh? Not falling sorry for you though, sh#t head!
Taskmaster: You won't have the option in a couple minutes.
Taskmaster reigned fire on Deadpool with an Uzi, but Wade cartwheeled out of the way.
Deadpool: Sure about that, pal?
Deadpool pulled out his oversized rocket launcher, and shot at Taskmaster! Taskmaster used his own grappling hook to swing out of the way!
Taskmaster: Done?
Deadpool: Nope!
Deadpool threw his sword at him, but he simply ducked out of the way.
Deadpool: Hey! Not fair! I took your shield to the throat, man!
Taskmaster: Life's never fair.
Taskmaster swung at Deadpool with the grappling hook, and kicked him in the jaw!
Deadpool: Ouch!
Taskmaster: F#cker.
Taskmaster turned around at Wade, and shot the grappling hook one more time through Deadpool's chest! This pulled Deadpool back, and onto the ground!
Deadpool: Ouch 2, electric boogaloo!
Taskmaster: Die already!
Taskmaster blasted bullets upon Wade, until he was just loose body parts on the floor...
Taskmaster: Boom. Dead. Bye.
Taskmaster ran off...
Deadpool reformed, after Taskmaster vanished from his sight...
Deadpool: Damn it!
SCENE TWO, Wade's Apartment
~~~~~~~~~~~~~~~~~~~~~~~~~
While that was happening, Bob and Weasel were in Deadpool's apartment... Weasel was beatboxing, and Bob was rapping.
Bob: Light up the torch, sitting on a porch, rap goes out to Wade, money he gets paid, girls he gets laid, with, Weasel's my guy, beatboxin' on the side, pass the mic to him, mhm!
Bob began beatboxing...
Weasel: This rap is so fast, and it won't be the last, from the present not the past, this is a rap not scat, as if I'm a cat or a bat! Slicin' up rhymes all of the times, Deadpool's got a gun, all of his enemies run, and then they're done!
Weasel beatboxed again...
Bob: Yeah, pop pop, killer thriller, you got it? D to the E to the A and D Pool, W to the E to the A-sel, and B to the O to the B, we be the best of friends, in the city or the sea! Nights and days, days and nights, awake to bake or asleep in the deep, of the ocean, commotion, and then we keep, our weaponry with the Wade slash the Pool, he's so cool!
Bob beatboxed again...
Weasel: End of the fight, we just took flight, it's a bright light, and it's time to say goodnight!
Bob and Weasel: Woo!!!
~Madam Web
Count Machuki (b. Winston Cooper) is regarded to be one of the first if not the first deejay performing on Jamaican Soundsystems. What he did was to change the role of the sound system DJ from a person that only puts on the records to a person who had live contact with the audience with the help of a microphone. Count Machuki started out as a disc selector in 1950 for Tom the Great Sebastian (b. Tom Wong).
Machuki later moved on to work with Clement Dodd and his Sir Coxsone's Downbeat. It was with Coxsone's sound on a Easter concert (1956?) that he first chatted on the microphone while selecting records and thus creating what was going to be known as deejaying. What he did was to tell jokes over the music, mixed with American jive and slang. As the reaction of the people was very positive Machuki started to write down lyrics to use in future dances. His first lyric was;
If you dig my jive/
You're cool and very much alive/
Everybody all round town/
Machukis' the reason why I shake it down/
When it comes to jive/
You can't whip him with no stick/
He also created something he referred to as peps, which was vocal ticks that shared elements with what was to be known later as beatboxing.
Unfortunately Count Machuki was scarcely recorded - the earliest recording has to be the song Alcatraz with Baba Brooks Band (released 1966 on Treasure Isle 7").
Count Machuki - Our Thing
www.youtube.com/watch?v=V5HVk17welk&feature=related
MOVEMENTS
www.youtube.com/watch?v=9fcrdvagAMQ&feature=related
reggaelicious.pbworks.com/w/page/8799698/Count-Machuki
© Copyright 2011 Michael Thompson
This guy was dancing and beatboxing alone in a park of Amsterdam careless of the rain.
He told us he was making energy spheres and "no, I don't use drugs". Of course, I had to take a photo of him.
One more inside.
Nikon FE
Fujicolor Superia X-TRA @400 iso
Scansione stampa
Avi Kaplan
Comprised of Texans Scott Hoying, Kirstin Maldonado and counter-tenor Mitch Grassi along with Visalia, California-native Avi Kaplan on bass vocals and Owensboro, Kentucky-born Kevin “K.O.” Olusola rounding out the five-piece with his beatboxing skills and rather non-a cappella cello talents, the group returned to the London stage following a 2014 Shepherd’s Bush Empire visit, this time at the grander Brixton Academy venue ...
Read the rest of this review with more pictures over at RockShot Magazine.
L-R: Avi Kaplan, Kirstin Maldonado, Scott Hoying, Mitch Grassi and Kevin Olusola
Comprised of Texans Scott Hoying, Kirstin Maldonado and counter-tenor Mitch Grassi along with Visalia, California-native Avi Kaplan on bass vocals and Owensboro, Kentucky-born Kevin “K.O.” Olusola rounding out the five-piece with his beatboxing skills and rather non-a cappella cello talents, the group returned to the London stage following a 2014 Shepherd’s Bush Empire visit, this time at the grander Brixton Academy venue ...
Read the rest of this review with more pictures over at RockShot Magazine.
Kevin Olusola
Comprised of Texans Scott Hoying, Kirstin Maldonado and counter-tenor Mitch Grassi along with Visalia, California-native Avi Kaplan on bass vocals and Owensboro, Kentucky-born Kevin “K.O.” Olusola rounding out the five-piece with his beatboxing skills and rather non-a cappella cello talents, the group returned to the London stage following a 2014 Shepherd’s Bush Empire visit, this time at the grander Brixton Academy venue ...
Read the rest of this review with more pictures over at RockShot Magazine.