Sunday, March 27, 2011

Muscial band Das Racist lights up Fitzgerald's









The lights are low tonight.  If it wasn’t for the neon’s above the drums, guitars, and turn tables, it would be a pitch black night at the legendary spot known as Fitzgerald’s.  Oh, and please believe: the neon’s are on for a reason.  In about 15 minutes, the room will thunder with screams, and roar with applause for the hip hop sensation known as “Das Racist.”  This New York and California bred clan are sweeping the underground scene like a musical plague, and burying the competition.  And from the energy generated by the massive crowd packed in Fitzgerald’s, it’s safe to say that Himanshu Suri, Victor Vazquez, and Ashok Kondabolu know a little something about burying the competition.  As the band rolls onto the stage, wearing masks and all, the crowd goes hysterical.  And sanity isn’t restored until the end of the night.  Performing smash underground singles such as the sample driven, “You Oughta Know” which brilliantly reworks the Billy Joel classic, “Movin’ Out” and their comical hit, “Combination Pizza Hut and Taco Bell,” which sees the trio paying a twisted tribute to the fast food restaurant over a pinging electric guitar.  And the crowd eats it up.  Digesting every one of their rhymes and regurgitating them right back to stage.  As the crew wraps up their set, fans attempt to rush back stage with them, in an almost, rock star fashion.  Across the room, their “Das Racist” t-shirts are flying off of the table just as quickly.  The phenom is surreal.  As they leave the venue, one can’t help but be reminded of the lyrics of their track, “Rainbow in the dark.”  They're making a sound even when no ones around.

Friday, March 18, 2011

Artist Spotlight: Kd and the Self Made Boss Movement







The scene is melodic.  There’s music all around.  And there he sits.  The man who vows to single-handedly save hip hop music from the brink of destruction.  What’s even more astounding is that this man is not even 18 yet.  Yet, there he sits, with the arduous task sitting square on his shoulders.  A full time student by day, an underground musician by night.  And on this night, Sophia Tone sits down with the young warrior as he spins his thoughts on the music industry, family, success, and the ever challenging battle of being a citizen of Houston, Texas.      

Sophia Tone:  How’s it going?
Kd:  I’m good.  Just staying on my grind.


Sophia Tone:  Working hard huh?
Kd:  Working hard.


Sophia Tone:  So which part of Houston are you from?
Kd:  The north side.  I’ve moved around the city a lot, but the north is where I call home.


Sophia Tone: What motivated you to start making music?
Kd:  Well, I’m a fan of not just hip hop music, but the culture itself.  The Deejaying, the graffiti, everything.  I started out listening to people like Eric B., Rakim and LL Cool J, who brought the swag to the hardcore elements of the culture.  They knew how to catch the ears of the homies and the hearts of the ladies.  The music they made is timeless and represents the kind of music I bring to the table.


Sophia Tone:  What makes you different from every other artist on the Houston Hip hop scene?
Kd: My style.  I make it a point to present something to the music that no one else is doing.  Everything from beat selection to song structure.  I bring power to the music that you’re not going to see anywhere else.  I’m self-made, not industry-made.


Sophia Tone:  Do you listen to any non-hip hop artists?
Kd:  Right now, I’m feeling La Roux.  The “In For The Kill” [DJ Scream Remix] is incredible.  That’s the kind of music that I’m going to bring to the table, that legendary music.


Sophia Tone:  What does it mean to be a “Self Made Boss”?
Kd:  It’s a state of mind.  It’s a philosophy.  A way of thinking that inspires a man or woman to be themselves and proud.  Proud of where they came from.  Proud of where they’re going.  That’s what the Self Made Boss movement is all about.  It’s more than a movement, its family.


Sophia Tone:   What difficulties do you face as an artist in Houston?
Kd:  Stereotypes.  Every artist from the south does battle with this daily.  Police stereotypes, radio stereotyping, city stereotyping.  But it’s all good, because we embrace the haters and critics.


Sophia Tone:  So what does Kd have in store for the world in the coming years?
Kd:  I’m working on my new single now.  It’s called “Boss Status.”  It’s going to address exactly what it means to be a “Self Made Boss.”  It’s produced by J.J., a Houston based beat maker.  I’m going to expand my plateau by studying business at either U.T. or Alabama University.  We’re making big moves.


Sophia Tone:  Where can hip hop fans reach you?
Kd: All over the web.  YouTube at kdishine, Twitter @SMBBworld, of course, Facebook at Kd Self Made Boss, and e-mail @ Kdboss15@yahoo.com.

Monday, March 7, 2011

Birthday Boy.

                                                        
                                                         Happy Birthday Mr. Carr

Saturday, February 12, 2011

Artist Spotlight: Enoch




“It’s for the love of the music, man.”  The words flowed smoothly down the Prairie Street block as the self-proclaimed “Musical Raconteur,” Enoch, took a pause from his saxophone set to describe his motivation for playing his horn.  He’s in Houston now, last week he was in Austin, by this time next week he’ll be in New Orleans.  For the past 50 years, the Houston native has dedicated his life to expressing himself through music.  The traveling musician carries his saxophone like an inseparable limb, attached not to his body, but to his soul.  Growing up in the city during the civil rights years, Enoch witnessed a profound shift in not only the structure of Houston, but the culture as well.  As the city moved from a segregated town into the multi-racial powerhouse that exists today, the change has been well noted and reflected in Enoch’s music.  “I used to play for different crowds, so I played a different style,” says Enoch.  “Now music demands more speed and less control…like Democrats and Republicans…” he says with a chuckle.  If there is one thing that is distinctly profound in Enoch’s sound, it’s the unusually fluid of how he adjusts from high to low pitch sounds, still managing to stay on beat.  He begins to draw a crowd of on lookers who have also been transfixed by his unusual sound.  But he continues to play without care of the crowd encircling him.  It’s just another day at the office for the talented veteran.  Then suddenly he stops, and as if feeling that the mission is complete, the message has been delivered, the hearts have been touched, he walks away.  On to another town, the legend continues…

Tuesday, January 11, 2011

Strangers In The Street

       

        Ever since I was young I’ve been an avid observer of details.  Some say it’s a gift and a curse.  When my uncle used to drive us to the mall, while everyone else would be focused on the latest fashion trends, I’d silently focus on the social interactions between people passing by.  For whatever reason, the art of communication has always fascinated me.  Over the years, I’ve watched it build grand standing relationships that endure all the tests of time, and with its misuse, I’ve watched it tear down even the greatest of men and women.  Over the past few months I spent a lot of time in Houston’s inner city.  Before class, I’d sit on the same bench on Congress Street and Main and just people watch.  And every day I’d see the same trend of by passers:  College students crossing the street, businessmen (and women) in sophisticated suits, and of course the vast legion of homeless people.
        
       The students, ambitious and anxious about their studies, levied all of their attention on their education (or lack there of), in hopes of one day getting a job (that they’ll likely eventually come to hate).  Freshman with heavy backpacks, and pen holders.  Pretty girls in sorority shirts, cadets running up the hills.  Each of them a subgroup of a greater circle of ambiguity.  None realizing how close they are to falling into one of the other 2 groups.  

       The homeless, who ironically impressed me the most, had a grand story to tell:  Pain and hopelessness.  Many of them staggered aimlessly down the street, damn near void of life, searching for, as Jimi Hendrix put it, “Some kind of relief.”  These people were impressive to me because they represented the most visible images of real life.  In a society where nearly everyone wears a mask, covering up the pain, depression and sadness that from time to time we all feel, these people were the most vivid images of honesty one could imagine.  If death and pain were near, these poor souls wore its mask like a badge of honor.  The beautiful agony.  To this day, they are the realest people I’ve ever met.

       The businessmen, or “suits” as one of my classmates called them, were obviously the most skillful of the bunch.  If anyone was sure to dismiss the existence of the others, it was this group.  Ironically, this group impressed me the least.  Perhaps because they were strangely familiar to me.  Like a scene out of the film, “Wall Street” these guys, “fit the mold.”  They were as to be expected, the most intelligent.  They sped down the street swirling Marlboro cigarette smoke from the side of their mouth, digesting the Wall Street Journal, and the Chronicle, looking for the next big shift in the market, oblivious to the treasures all around them.

       What astounded me the most was the lack of humanity between each of these groups.  Each of these groups passed each other every day, not knowing, or caring that the others even existed.  And none of them could see how diverse and beautiful they made each other.  They each allotted the others as unmentionable objects in their linear world, not even worth taking time to assess, much less diagnose why they were there.  A sad spectacle of the larger society that we as a people have become well adapted to: every shark for themselves.  We’ve slowly become a culture focused only on the rise of individual gains.  This “me” centered way of thinking has infiltrated nearly every facet of life from the economy, to our music, right down to religion.  Bruce Lee once held his finger up to the moon and said, “Don’t concentrate on the finger or you will miss all that heavenly glory.”  His wisdom couldn’t be more needed today.

Written By Ryan Carr

Tuesday, January 4, 2011

The Fall of A City Cat: The Red Cat Jazz Cafe





Low tempered lights pouring down and engulfing passion red chairs.  Bar tenders who with nothing more than a slight head nod knew your favorite drink the moment you took your seat.  Musical geniuses from as far as Tennessee blowing the saxophone strong enough to sweep away any bad day.  On a cold night last year, they all said goodnight forever.  No curtain call, no grand finale, no white flag signifying the end.  Just lights out for the Red Cat that stood on Congress and Main Street.
2010 marked the end of a grand monument in the city of Houston that stood strongly for years.  The Red Cat Jazz Café was a cultural legend that stood amongst city giants.  Its influx of jazz music, fine wine, and renaissance art gave it a powerful image of something surreal, almost too good for the city street it stood on.  On any given night you could walk in and get lost in the atmosphere, losing sense of the stress and frustration that stood outside its doors.  I first stumbled across the beautiful neon red cat as I stepped off of the train with a few friends on Main on a Wednesday evening.  On our way to a familiar Thai restaurant nearby, I felt intrigued and drawn to the cat that seemed to be staring back at me, almost like a siren drawing in her victim.  I said, “Hey let’s try that place.”  After a small debate, the rest was history.  We stepped into a world of artistic glory, smoke and perfume filling our nostrils as we stepped through the doors.  The bar tender looking at us completely nonchalant, not smiling, not frowning, but altogether engaging.  I took a look at the stage which stood about 10 feet from the entrance, and saw Reggie’s New Jazz Movement commanding the audience, which included men and women dressed like they were going to Cinderella’s Ball after they left.  Little did I know, the show was right there in front of me.  Not wanting to feel out of place, I sat right near the front.  My classmates hesitated, but soon followed suit.  I ordered a glass of Absolute Vodka and married the moment.  We all did.  This was our new spot.  We would come in every Wednesday and sit in the same spot and order the same drinks.  I felt like Humphrey Bogart in Casablanca.  The Red Cat had even influenced my style of dress.  I began wearing sports coats around the city, a reflection of the culture that was now a part of me.
Today you won’t find any remnants of the historical café.  The building has been completely stripped, and the Red Cat removed.  A vanishing history from the heart of the city.  But for those who were blessed enough to be there during its golden era, The Red Cat Jazz Café will forever remain the legend of Congress Street.
-Sophia Tone