View allAll Photos Tagged krsone
28th May 2019 - One of the half dozen ecxeptionally poor shots i managed to get of Hip Hop legend KRS One before his wife objected to me taking pis despite me being there to cover the event for a very well known local media company... Fuming to say the least!! Tonights other lesson is a crop sensor camera does not like high iso's, really low light and a photographer that shakes like a shitting dog....
My latest ukiyo-e stencil graff. I'm getting more adventurous. Records pictured:
-It takes a nation of millions to hold us back- Public Enemy
-Follow the leader- Eric B and Rakim
-By all means necessary- Boogie Down Productions
All three of these records came out in 1988. I didn't include any Run DMC simply because "tougher than leather" doesn't have that iconic of a cover.
Wow, rap was actually good once.
My good friend TEWSR is selling prints of this KRS ONE drawings he did. He is always on some next level concept. For details, check his FLICKR post: CLICK HERE
Charcoal and graphite on paper 22x16.
This image is better viewed: HERE
Beautiful graffiti found near Carleton University in Ottawa. Obviously inspired by a song by KRS One and Marley Marl:
(I come back)
Every year I get newer
I'm the dust on the moon
I'm the trash in the sewer
Let's go
(I come back)
Every year I get brighter
If you thinking Hip Hop is alive hold up your lighter
Let's go
(I come back)
Every year I'm expanding
Talking to developers
About this city we planning, c'mon!
(I come back)
Through any endeavor
This is Hip Hop
We gone last forever
Hip means to know
It's a form of intelligence
To be hip is to be up-date and relevant
Hop is a form of movement
You can't just observe a hop
You got to hop up and do it
Hip and Hop is more than music
Hip is the knowledge
Hop is the movement
Hip and Hop is intelligent movement
Or relevant movement
We selling the music
So write this down on your black books and journals
Hip-Hop culture is eternal
Run and tell all your friends
An ancient civilization has been born again
It's a fact
(I come back)
Every year I'm the strongest
KRS-ONE, Marley Marl
Yup we last the longest
Let's go
(I come back)
Cause I'm not in the physical
I create myself man I live in the spiritual
(I come back) through the cycles of life
If you been here once you gone be here twice
So I tell you
(I come back)
Cause you must learn too
Hip Hop culture is eternal
Hip Hop (Shan!)
Her Infinite Power
Helping Oppressed People
We are unique and unequaled
Hip Hop
Holy Integrated People
Having Omnipresent Power
The watchman's in the tower of
Hip Hop
Hydrogen Iodine Phosphorus
Hydrogen Oxygen Phosphorus
That's called
Hip Hop
The response of cosmic consciousness
To our condition as
Hip Hop
We gotta think about the children we bringing up
When Hip and Hop means intelligence springing up
We singing what?
Sickness, hatred, ignorance and poverty
Or health, love, awareness and wealth
Follow me
(I come back)
Every year I get newer
I'm the dust on the moon
I'm the trash in the sewer
That's right
(I come back)
Every year I get brighter
If you think Hip Hop is alive hold up your lighter
Let's go
(I come back)
Every year I'm expanding
Talking to developers
About this city we planning, uhuh!
(I come back)
Through any endeavor
This Hip-Hop
We gone last forever
We will be here forever
We will still be here forever
Get what I'm saying
Forever
Marley!
(I come back)
(Every year I get newer)
That's That
That's That
*Repeat*
Much love for KRS-One.
Wall's real, shadow's real, the letters however are applied with various PS blending modes. There are 3 layers of letters (over and under the wall) in order to build it up a little. The wall has an unsharp mask applied.
Just for fun. Should be doing client work...
Explore! #230 (11/21)
Should've been paying attention.
#prey #preys #preysups #graffiti #style #draw #drawing #painting #sketchbook #theassignmet #10 #krsone #thebridgeisover #guns #suite #70s #color #pencil #spraypaint #ironlak #too #experienced #beg #borrow #steal #friday #fun #upstyle #thankscousin #collage
#TheEthiopians #gunman #prey #preys #preysups #graffiti #style #draw #drawing #painting #sketchbook #theassignmet #10 #krsone #thebridgeisover #guns #suite #70s #color #pencil #spraypaint #ironlak #too #experienced #beg #borro
Simple. My favorite rapper. Along with him though I love Run DMC, Melle Mel, Q-Tip, Phife Dawg and Lupe Fiasco. His likeness here is as close to what I was seeing as I could get it. Feel free to turn this into a stencil if you want.
KRS ONE: Brooklyn to the Bronx introduces the life and teachings of the legendary emcee, KRS ONE. On the road to becoming a Hip Hop pioneer, KRS ONE tells the story of his life as a young man living homeless on the streets of Brooklyn, sleeping in parks, the subway, all the while visualizing his path to becoming an emcee. Eventually landing in the Bronx, he begins to find his voice in rhyme battles inside New York’s shelter system and on the street. Told in his own words both on and off the stage, KRS ONE: Brooklyn to the Bronx tells the first chapter of Hip Hop’s master teacher and true philosopher.
“Open your mental, don’t be afraid to dream.” The Teacha Blastmaster KRS ONE
World Premiere
SXSW Film Festival 2013, USA
Official Selection
Chicago International Movies and Music Festival 2013, USA
Jecheon International Film and Music Festival 2013, Korea
Oakland Underground Film Festival 2013, USA
more information please visit the website
Redman said no need to re-roll
and passed me to De La Soul
De La Soul took a hit and kept hittin
now they're buggin cause they passed me to Bill Clinton
Bill Clinton said I'll smoke but I won't inhale
I'll only hit it twice
he got slapped by Greg Nice
This man is 83 years old! He was singing, dancing, rapping, scatting, and playing the hell out of the sax!
For over six decades, saxophone master James Moody has serenaded lovers with his signature song Moody's Mood for Love an improvisation on the chord progressions of I'm in the Mood for Love.
Born in Savannah, Georgia on March 26, 1925, and raised in Newark, New Jersey, James Moody took up the alto sax, a gift from his uncle, at the age of 16. Within a few years he fell under the spell of the deeper more full-bodied tenor saxophone after hearing Buddy Tate and Don Byas perform with the Count Basie Band at the Adams Theater in Newark, New Jersey.
Music is more than a livelihood to Moody, so much so that portions of Sweet and Lovely, dedicated to his wife, Linda, figured prominently in the saxophonist's wedding ceremony on April 3, 1989. As well as being on the album, Gillespie was best man at the wedding for his longtime friend. The bride and groom walked down the aisle to Gillespie's solo on Con Alma then everyone exited the church to the vamp on Melancholy Baby. As their first act of marriage Linda and James Moody took communion accompanied by the groom's recording of Sweet and Lovely. In 1990, Moody and Gillespie received a Grammy Award Nomination for their rendition of Gillespie's Get the Booty, which showcases scatting at its best. Moody returns the soprano sax to his woodwind arsenal on Honey, his nickname for his wife, Linda, and Moody's last recording for (RCA/NOVUS).
On March 26th, 1995 Moody got the surprise of his life with a birthday party in New York. It was an evening of historical significance for Jazz with many guest stars and Bill Cosby as the emcee. It can be heard on Telarc's recording, Moody's Party-- James Moody's 70th, Birthday Celebration, Live at the Blue Note.
Moody's last recording for Warner Bros is Moody Plays Mancini which showcases Moody on all of his horns and flute. A tribute to the American icon Henry Mancini.
Whether Moody is playing the soprano, alto, tenor, or flute, he does so with deep resonance and wit. Moody has a healthy respect for tradition, but takes great delight in discovering new musical paths, which makes him one of the most consistently expressive and enduring figures in modern jazz today. To quote Peter Watrous of the New York Times, "As a musical explorer, performer, collaborator and composer he has made an indelible contribution to the rise of American music as the dominant musical force of the twentieth century." James Moody plays on Keilwerth saxophones exclusively.
Source: www.jamesmoody.com/
Lincoln Park Music Festival
Newark, NJ
Chestnut started his musical career at the age of six, playing piano at Mount Calvary Baptist Church in hometown. By age nine, he was studying classical music at Peabody Institute. In 1985, Chestnut earned a degree in jazz composition and arranging from Boston's renowned Berklee College of Music.[2] While at Berklee, Chestnut was awarded the Eubie Blake Fellowship (1982), the Quincy Jones Scholarship (1983), and the Oscar Peterson Scholarship (1984).
Chestnut toured as pianist for Jon Hendricks, 1986-88; Terrence Blanchard, 1988-90; Donald Harrison, 1988-90; Wynton Marsalis, 1991; and the Betty Carter Trio, 1991-93. His association with Carter, which began in '91, significantly affected his outlook and approach to music, confirming his already iconoclastic instincts. Carter advised him to "take chances" and "play things I've never heard," Chestnut says.
In 1993, at the age of 30, Chestnut signed with Atlantic Records, releasing the critically-acclaimed Revelation (1993), followed by The Dark Before The Dawn (1994) (the album debuted in the sixth spot on the Billboard Jazz Charts), Earth Stories (1995) and then Cyrus Chestnut (1998). Chestnut has also performed and/or recorded with, Freddy Cole, Bette Midler, Jon Hendricks, Freddie Hubbard, Jimmy Scott, Chick Corea, Isaac Hayes, Kevin Mahogany, Dizzy Gillespie, and opera diva Kathleen Battle, most notably on the Sony Classical recording "So Many Stars". Their shared church roots resulted in such a positive chemistry between Battle and Chestnut that he then joined the star soprano on a Fall 1996 U.S. Tour. Later that same year came Blessed Quietness: A Collection of Hymns, Spirituals and Carols (1996), a reverently assembled album of traditional numbers deeply instilled with the gospel and blues Chestnut grew up listening to. In addition to appearing on the soundtrack to director Robert Altman's 1996 feature film "Kansas City", Cyrus also made his big screen debut portraying a Count Basie-inspired pianist.
In 2000, Chestnut collaborated with Vanessa L. Williams, Brian McKnight, The Manhattan Transfer and The Boys' Choir of Harlem on A Charlie Brown Christmas. In 2001, he released Soul Food featuring bassist Christian McBride, drummer Lewis Nash and special guest soloists including James Carter, Stefon Harris, Wycliffe Gordon and Marcus Printup. This acclaimed album was included in Down Beat's list of the best records of 2002 and ascended to "Top 10" on the Jazz Charts. Chestnut continually tours with his trio, playing live at jazz festivals around the world as well as clubs and concert halls. His leadership and prowess as a soloist has also led him to be a first call for the piano chair in many big bands including the Lincoln Center Jazz Orchestra, Dizzy Gillespie Big Band, and Carnegie Hall Jazz Orchestra.
In 2006, Chestnut released his first album Genuine Chestnut on TelArc Records. On it he is accompanied by his regular trio which includes Michael Hawkins, bass and Neal Smith, drums. Additional artists on board for this session include Russell Malone, guitar and Steven Kroon, percussion. Includes satisfying jazz interpretations of some well known pop numbers of the past half century, including “If,” the early ‘70s soft-rock ballad by Bread. “This song has been with me ever since the sixth grade,” Chestnut recalls. “I had to play it for my English teacher’s wedding. I’ve played it in many and various contexts. I actually played it in a Top 40 band when I was just out of school. A lot of time has passed, but then recently I just started thinking about it again.” Best of all, he plays gospel tunes with a heartfelt fervor that never descends into sentimentality. Chestnut's own "Mason Dixon Line" is one of the album's high points, a joyful bebop number that makes you hope he'll someday do a whole album of Bud Powell compositions. The album's relentless, midtempo pleasantness makes it easy to stop paying attention by about halfway through, but every time you catch yourself drifting and start listening closely again, you'll notice something else wonderful.
Source: Wikipedia
Lincoln Park Music Festival
Newark, NJ
Chestnut started his musical career at the age of six, playing piano at Mount Calvary Baptist Church in hometown. By age nine, he was studying classical music at Peabody Institute. In 1985, Chestnut earned a degree in jazz composition and arranging from Boston's renowned Berklee College of Music.[2] While at Berklee, Chestnut was awarded the Eubie Blake Fellowship (1982), the Quincy Jones Scholarship (1983), and the Oscar Peterson Scholarship (1984).
Chestnut toured as pianist for Jon Hendricks, 1986-88; Terrence Blanchard, 1988-90; Donald Harrison, 1988-90; Wynton Marsalis, 1991; and the Betty Carter Trio, 1991-93. His association with Carter, which began in '91, significantly affected his outlook and approach to music, confirming his already iconoclastic instincts. Carter advised him to "take chances" and "play things I've never heard," Chestnut says.
In 1993, at the age of 30, Chestnut signed with Atlantic Records, releasing the critically-acclaimed Revelation (1993), followed by The Dark Before The Dawn (1994) (the album debuted in the sixth spot on the Billboard Jazz Charts), Earth Stories (1995) and then Cyrus Chestnut (1998). Chestnut has also performed and/or recorded with, Freddy Cole, Bette Midler, Jon Hendricks, Freddie Hubbard, Jimmy Scott, Chick Corea, Isaac Hayes, Kevin Mahogany, Dizzy Gillespie, and opera diva Kathleen Battle, most notably on the Sony Classical recording "So Many Stars". Their shared church roots resulted in such a positive chemistry between Battle and Chestnut that he then joined the star soprano on a Fall 1996 U.S. Tour. Later that same year came Blessed Quietness: A Collection of Hymns, Spirituals and Carols (1996), a reverently assembled album of traditional numbers deeply instilled with the gospel and blues Chestnut grew up listening to. In addition to appearing on the soundtrack to director Robert Altman's 1996 feature film "Kansas City", Cyrus also made his big screen debut portraying a Count Basie-inspired pianist.
In 2000, Chestnut collaborated with Vanessa L. Williams, Brian McKnight, The Manhattan Transfer and The Boys' Choir of Harlem on A Charlie Brown Christmas. In 2001, he released Soul Food featuring bassist Christian McBride, drummer Lewis Nash and special guest soloists including James Carter, Stefon Harris, Wycliffe Gordon and Marcus Printup. This acclaimed album was included in Down Beat's list of the best records of 2002 and ascended to "Top 10" on the Jazz Charts. Chestnut continually tours with his trio, playing live at jazz festivals around the world as well as clubs and concert halls. His leadership and prowess as a soloist has also led him to be a first call for the piano chair in many big bands including the Lincoln Center Jazz Orchestra, Dizzy Gillespie Big Band, and Carnegie Hall Jazz Orchestra.
In 2006, Chestnut released his first album Genuine Chestnut on TelArc Records. On it he is accompanied by his regular trio which includes Michael Hawkins, bass and Neal Smith, drums. Additional artists on board for this session include Russell Malone, guitar and Steven Kroon, percussion. Includes satisfying jazz interpretations of some well known pop numbers of the past half century, including “If,” the early ‘70s soft-rock ballad by Bread. “This song has been with me ever since the sixth grade,” Chestnut recalls. “I had to play it for my English teacher’s wedding. I’ve played it in many and various contexts. I actually played it in a Top 40 band when I was just out of school. A lot of time has passed, but then recently I just started thinking about it again.” Best of all, he plays gospel tunes with a heartfelt fervor that never descends into sentimentality. Chestnut's own "Mason Dixon Line" is one of the album's high points, a joyful bebop number that makes you hope he'll someday do a whole album of Bud Powell compositions. The album's relentless, midtempo pleasantness makes it easy to stop paying attention by about halfway through, but every time you catch yourself drifting and start listening closely again, you'll notice something else wonderful.
Source: Wikipedia
Lincoln Park Music Festival
Newark, NJ
This man is 83 years old! He was singing, dancing, rapping, scatting, and playing the hell out of the sax! :-)
**************************************************
For over six decades, saxophone master James Moody has serenaded lovers with his signature song Moody's Mood for Love an improvisation on the chord progressions of I'm in the Mood for Love.
Born in Savannah, Georgia on March 26, 1925, and raised in Newark, New Jersey, James Moody took up the alto sax, a gift from his uncle, at the age of 16. Within a few years he fell under the spell of the deeper more full-bodied tenor saxophone after hearing Buddy Tate and Don Byas perform with the Count Basie Band at the Adams Theater in Newark, New Jersey.
Music is more than a livelihood to Moody, so much so that portions of Sweet and Lovely, dedicated to his wife, Linda, figured prominently in the saxophonist's wedding ceremony on April 3, 1989. As well as being on the album, Gillespie was best man at the wedding for his longtime friend. The bride and groom walked down the aisle to Gillespie's solo on Con Alma then everyone exited the church to the vamp on Melancholy Baby. As their first act of marriage Linda and James Moody took communion accompanied by the groom's recording of Sweet and Lovely. In 1990, Moody and Gillespie received a Grammy Award Nomination for their rendition of Gillespie's Get the Booty, which showcases scatting at its best. Moody returns the soprano sax to his woodwind arsenal on Honey, his nickname for his wife, Linda, and Moody's last recording for (RCA/NOVUS).
On March 26th, 1995 Moody got the surprise of his life with a birthday party in New York. It was an evening of historical significance for Jazz with many guest stars and Bill Cosby as the emcee. It can be heard on Telarc's recording, Moody's Party-- James Moody's 70th, Birthday Celebration, Live at the Blue Note.
Moody's last recording for Warner Bros is Moody Plays Mancini which showcases Moody on all of his horns and flute. A tribute to the American icon Henry Mancini.
Whether Moody is playing the soprano, alto, tenor, or flute, he does so with deep resonance and wit. Moody has a healthy respect for tradition, but takes great delight in discovering new musical paths, which makes him one of the most consistently expressive and enduring figures in modern jazz today. To quote Peter Watrous of the New York Times, "As a musical explorer, performer, collaborator and composer he has made an indelible contribution to the rise of American music as the dominant musical force of the twentieth century." James Moody plays on Keilwerth saxophones exclusively.
Source: www.jamesmoody.com/
Lincoln Park Music Festival
Newark, NJ