Apparently Bill Cosby is putting out a rap album called “State of Emergency”.
“Bill Cosby – a staunch critic of some rap music – is set to release a Hip-Hop album called State of Emergency, which will be a sanitized, issue-oriented CD.
Sources told AllHipHop.com that the actor, comedian and philanthropist will address issues like proper parenting, teen pregnancy, drug abuse, Black-on-Black crime and the dropout rate in America’s high schools.
In 2004, Cosby said in a speech, “Your dirty laundry gets out of school at 2:30 every day, it’s cursing and calling each other [the N-word] as they’re walking up and down the street. They think they’re hip. They can’t read. They can’t write. They’re laughing and giggling, and they’re going nowhere.”
Cosby’s album will not contain any profane language, nor will it offer any denigrating comments towards women.
State of Emergency would be the 35th album for the legendary comedian, actor, who released his first album Bill Cosby is a Very Funny Fellow in 1963.
Whether or not Cosby will work with rappers on his lyrical flow or his musical selection was not known at press time.”
Unreleased track produced by Kanye West (maybe something to do with the passing of his mother?). NahRight.com has the exclusive.
Momma Can You Hear Me:
Filed under: Uncategorized | Tags: Daedelus, Live at Low End Theory, Monome
Daedelus’ new live album has been making some noise. He incorporates the ill Monome sequencer into his live show which is kind of the focal point of the album.
Pitchfork.com gave it a 7.1. They write:
“The Low End Theory club night at the Airliner in L.A. is a perfect place for Daedelus to throw down. Hip-hop and assorted electronic performers knock elbows to an audience of urbane and avant-garde types. Daedelus himself has always trodden this line by mixing his readily parsible concept (old records with glitch laid all-up-ons) with varied production stints in the underground hip-hop community. He even places himself outside of easy identifiers by performing in Edwardian coats, tails and ascots. There’s no better way to identify yourself as a hyperbolic, rap-obsessed white man than to chill with Busdriver and Madlib while dressing like a dandy, right? But it’s the added punch of heavy breakbeats on “Press Snooze” (using the sample from “Like Clockwork Springs” off Demise) that really shy away from his duality of old-time sample-monger and poor man’s Prefuse.
Daedelus’ live show shares elements of Prefuse 73’s Preparations: this relentless stream of off-white noise, a dense heap of familiar, pleasing sounds with beguiling dance appeal. Even a Daedelus fan has to delve deep into this disc to get to points of familiarity, since none of the track names match the studio works that feature the old samples or compositions. Instead of the pristine “Something Bells” off 2004’s Of Snowdonia, we have to deal with the shark-toothed dance beats of “Now’s the Time”, with the addition of a tinkly synth line from Denies dipping in and out of coherence. Come to think of it: Lucidity is a key to Daedelus’s work, which at its low points seems like he’s planning his next move with a bit of uncertainty and at its high points can’t be forgotten without pointed effort.
Daedelus’ heaped-upon layers of samples sometimes lack the direct impact he seems to strive for. His live show is a relentless assault of sampled and constructed melodies which evolve with toe-tapping, but not body-moving, spontaneity. His timeless eccentricity, his penchant for the coats-and-tails, certainly takes listeners out of the contemporary, incestuous interplay between electronic and hip-hop music. It’s not that he can’t host a damn good party or re-examine and brilliantly re-combine his work. Daedelus just seems more at home in the herky-jerky company of clockwork, steam-powered robots whose interstella exploits have as of yet only aspired to the levels of Jules Verne and Little Nemo. If you’re an electro-romantic, you’ll feel right at home. ”
Filed under: Uncategorized | Tags: Chicago, Dan Deacon, Girl Talk, The Metro
Closing the late set (ostensibly the 11 o’clock 18+ show), Gregg Gillis gave us all a shout out: “The late show is the motherfucking late show!” With about half the audience rolling or otherwise fucked up since Dan Deacon’s tripped out (and middle of the floor) set, Girl Talk kept the energy up, playing mash-ups of mash-ups (which was essentially a remixed Night Ripper) and keeping the dancing going until early in the morning. Pitchfork was onhand for the early show, catching some great photos and capturing at least a moderate amount of the crowd’s energy.
Apparently Mission Freak has an exclusive track of the St. Elsewhere follow up. They write:
“I think we’ve got a new Gnarls Barkley track on our hands, called “Run.” Rolling Stone has already heard a few songs, so you know they’re out there somewhere…but where? You heard it here first! Give it a download and see if:
1. The whole world explodes at this track’s awesomeness.
2. The FBI kidnaps you.
3. You turn into the Cowardly Lion.
Let me know in the comments if you love it, hate it, or think it’s totally fake. Either way, I think it’s all good when Danger Mouse and Cee-Lo get together. Does that make me crazy?”
Check the track here.
“In SNOW ANGELS, David Gordon Green explores the space between youth and adulthood, offering a glimpse into the lives of his characters at that key moment in which they recognize what growing up might mean. This exploration is the touchstone of his body of work, including ALL THE REAL GIRLS and the critically acclaimed GEORGE WASHINGTON, and is poignantly portrayed in SNOW ANGELS, the story of three couples in adjacent stages of life who are linked by powerful relationships. Arthur (Michael Angarano) is in high school. He plays trombone in the marching band. He becomes friends with Lila Raybern (Olivia Thirlby), a pretty girl who is just as nerdy as Arthur and who develops a romantic interest in him. Annie (Kate Beckinsale) used to baby-sit Arthur. Today they work in the same Chinese restaurant where anyone can see how much they care about each other, even as their lives are pulling them in much different directions. As Lila’s affection for Arthur grows, so does the ardor with which she tries to express it. While he clearly enjoys the attention, Arthur must deal with the fact that his parents (Griffin Dunne and Jeannetta Arnette) are splitting up. Meanwhile, Annie’s first marriage to Glenn (Sam Rockwell) has ended. A man with a troubled past, Glenn used to drink but has since found Jesus Christ and lives with his parents. Hoping to rebuild his life by getting a job selling carpet, Glenn also tries to reconnect with Annie as he shows up to visit their very young daughter. A film for grown-ups, SNOW ANGELS is about a precise moment on a cold winter morning when Glenn and Annie’s past catches up with their future. For them, and for Arthur, nothing will ever be the same.”
His next project is the new stoner comedy from Seth Rogan called Pineapple Express. Look for more updates on this cat soon.