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  1. Saturday March 25 Must Stash Hat Torque Hound Road waves The Corktown 175 Yonge st Hammertown, On $10 https://m.facebook.com/events/1071032186375312?ref=m_notif&notif_t=like
  2. I thought this was pretty hilarious.. no offence to Twiddle fans! Reported from NYC Freaks: 1) The band hasn't done much of anything, but they get talked about constantly by very vocal minority. 2) If you actually hear what the band has to say and process it, it's hard for an intelligent music fan with good taste to not be at least a little revolted. 3) Just like Trump says something sensible every once in a while, I'm sure Twiddle drops a decent jam here and there. 4) But most important, check out Twiddle's band bios and rewrite them in the first person. From http://twiddlemusic.com/members/ Mihali Trump-Lead Vocals, Guitar I'm a guitar player’s guitar player. My extraordinary capability to shred is accompanied by my mesmerizing vocals. From the electric to the acoustic, to my solo looping madness, my jamming is evolving constantly. Literally, I play guitar every single day. Ryan Trump- Keys, Organ, Synth, Vocals From clean organ tones to keyboard funk, my tickling of the ivories is on par with the greatest masters. My playing style mirrors Herbie Hancock, John Medeski, & Bernie Worrell, all while writing music that shares my own dynamic musical personality. Do you believe in Aliens? One more note, if Twiddle is Trump, the Disco Biscuits are most definitely Ted Cruz. Phish would be Obama. Umphrey's is Hillary (the heir apparent but still tragically flawed and inspires so much venomous hate from people who don't like her). Moe is Jill Stein (does everything right but will never been a major factor). JRAD is Bernie Sanders (we believe in it and get behind it 100 percent even though we know the premise to too flawed to achieve mass popular success).
  3. NuFunk Concerts, Activate and Make it Funky Present Saturday, Sept 27th, 2014 9:00 PM Doors The Lost Art of HipHop featuring DJ Grandmaster Flash & Afrika Bambaataa with special guests Soul Motivators & more The Phoenix Concert Theatre – 410 Sherbourne Street Toronto, ON M4X 1K2 Tickets available at Soundscapes, Play De Record & Shanti Baba Online Tickets / Facebook A rare pairing of founding fathers of Hip-Hop: Grandmaster Flash and Afrika Bambaataa at Toronto’s Phoenix Concert Theatre…. The Lost Art of Hip Hop explores the development years of Hip-Hop that including art, dancing, toasting, boasting and above all DJying. Grand Master Flash is the first DJ who put the genre on the map and was the first to discover that the turntable could also be used as an instrument is co-headling with Afrika Bambaataa, a NYC Gang leader turned Djying, Breakdancing and Graffiti into cultural movement in the late 70s and who also coined the phrase “HipHop” to the New York Times, borrowing a lyric from the Sugar Hill gang song Rapper’s Delight. You won’t want to miss being a part of this legendary show on Saturday September 27th, 2014 at the Phoenix Concert Theatre Brought to you by NuFunk Concerts, Activate, Make it Funky Collective, Toronto Breaks, The Manifesto & Exclaim Magazine. The event will receive promotional support from The Manifesto that celebrates its 8th Annual Manifesto Festival of Community and Culture between September 17-21. $2 from each ticket sold for this event will be donated to Manifesto and will support their year round arts and education programming. Grandmaster Flash www.grandmasterflash.com There are lots of stories about the birth of jazz and the beginning of rock n’ roll, but hip-hop has founding fathers: one of them is DJ Grandmaster Flash. In the early 70’s Joseph Saddler was living in the South Bronx and studying electrical engineering. However, Saddler, a native of the Bronx, had a much deeper passion for music; he had been experimenting with his father’s vinyl since he was an toddler. His knowledge of audio equipment led him to an idea that would revolutionize the way he Played music: the turntable would become his instrument. The career of DJ Grandmaster Flash began in the Bronx with neighborhood block parties that essentially were the start of what would become a global phenomenon — the dawn of a musical genre. He was the first DJ to physically lay his hands on the vinyl and manipulate it in a backward, forward or counterclockwise motion, when most DJs simply handled the record by the edges, put down the tone arm, and let it play. Those DJs let the tone arm guide their music, but Flash marked up the body of the vinyl with crayon, fluorescent pen, and grease pencil—and those markings became his compass He invented the Quick Mix Theory, which included techniques such as the double-back, back-door, back-spin, and phasing. This allowed a DJ to make music by touching the record and gauging its revolutions to make his own beat and his own music. Flash’s template grew to include cuttin’, which, in turn, spawned scratching, transforming, the Clock Theory and the like. He laid the groundwork for everything a DJ can do with a record today, other than just letting it play. What we call a DJ today is a role that Flash invented. By the end of the 70s, Flash had started another trend that became a hallmark around the world: emcees followed flash to the various parts and parties to rap/emcee over his beats. Before long, he started his own group, Grandmaster Flash and the Furious Five. Their reputation grew up around the way the group traded off and blended their lyrics with Flash’s unrivaled skills as a DJ and his acrobatic performances—spinning and cutting vinyl with his fingers, toes, elbows, and any object at hand. Grandmaster Flash and the Furious Five went Platinum with their single, “The Message.” Meanwhile, the single “The Adventures of Grandmaster Flash on the Wheels of Steel” introduced DJing to a larger listening audience than it had ever known before; it became the first DJ composition to be recorded by a DJ. The group’s fame continued to grow with “Superappin,” “Freedom,” “Larry’s Dance Theme,” and “You Know What Time It Is.” Punk and new wave fans were introduced to Flash through Blondie, who immortalized him in her hit, “Rapture.” The rock n’ roll hall of fame also recognized Flash with an honor no one else in hip hop has received: Grandmaster Flash and the Furious Five became the first hip hop group ever inducted into the Rock and Roll Hall of Fame in 2007. Flash is the first DJ to ever receive that honor. By the time the 90s rolled around, Flash was hand picked by Chris Rock to spend five years as the music director for his groundbreaking HBO series, The Chris Rock Show. More recently, Flash has played for audiences as large as the Super Bowl and as elite as Queen Elizabeth II of Great Britain. On top of his induction to the Rock and Roll Hall of Fame, Flash has been the recipient of many awards, including VH1 Hip Hop Honors; The Icon Award from BET in honor of his contribution to hip hop as a DJ; The Lifetime Achievement Award from the RIAA; and Bill Gates’ Vanguard Award. Although Flash has been in the business for many years, he shows no sign of slowing down: this year he has released a new album, and he will began his descent from the analog vinyl world of DJing to enter the digital world of DJing. His DJ application of choice is “Traktor Scratch” by Native Instruments. Grandmaster Flash’s memoirs, The Adventures of Grandmaster Flash – My Life My Beats was released in bookstores worldwide. The book is penned by David Ritz, author of both Marvin Gaye’s and Ray Charles’ biographies. In this extraordinary book, Grandmaster Flash sets down his musical history, sharing for the first time his personal and difficult life story—along with no small amount of wisdom and experience. The Smithsonian Museum of American History in honor of Black History Month has opened its exhibit RECOGNIZE! Hip Hop and Contemporary Portraiture that Grandmaster Flash along with other hip hop artist such as LL Cool J, Erykah Badu and Common will be featured. Afrika Bambaataa – The Ahmen Ra of Universal Hip Hop Culture Named by LIFE Magazine as one of the MOST IMPORTANT Americans of the 20th Century, Afrika Bambaataa is a Musical visionary, DJ extraordinaire,living legend and founder of the Zulu Nation. Bam, as he’s affectionately known, has done more for the culture and music of hip-hop, funk and electro than most could dream of. In fact, he’s even the person responsible for coiningthe term “Hip Hop” in reference to the movement. The man behind Hip Hop/Electro Funk classic ‘Planet Rock’ over the years has co-produced and performed with the likes of James Brown, George Clinton, Fortknox Five, Leftfield, Uberzone and Tribe Called Quest among many others. Bam’s futuristic soundscapes became a major influence in the development of not only hip-hop, but have been instrumental in laying the foundation for Breaks, Electro, Freestyle, Techno and House music as well. “Planet Rock” has become arguably the most sampled song in music history, having been remixed and sampled by the likes of Paul Oakenfold, Westbam, George Acosta, LL Cool J and countless others. Bam’s track “Renegades of Funk” was also famously covered by Rage Against The Machine. Still extremely active, Bam continues to record, tour and educate, maintaining his status as a living legend and forefather of the art. In 2006,Bam was honored for his incredible achievements by VH1 at the annual ‘Hip Hip Honors’ show. In 2007, he was nominated for induction into the Rock & Roll Hall of Fame. In 2012 Bam accepted an appointment at Cornell University where he will speak to classes, meet with students, community groups and perform the music he helped create and expand.
  4. Embrace in association with NuFunk.ca presents Tuesday, September 16th, 2014 moe. The Virgin Mobile Mod Club Link Over a journey spanning nearly a quarter-century, moe. has let their knack for dynamic, democratic improvisation influence nearly every facet of the band's existence. In concert, they stretch the boundaries of their source material into intricate, set-long suites where distinct songs seamlessly segue into one another in exhilarating fashion. In the studio, their eclectic, wide-ranging sensibilities manifest in playful, varied albums that spotlight both their fluid musicianship and their incisive, hook-laden songwriting. moe.'s new album No Guts, No Glory finds moe. at their most inventive and resilient. The album's eleven songs (fourteen on the deluxe digital and double vinyl editions) took a winding path into existence. "These songs were written with an acoustic album in mind," says guitarist and vocalist Chuck Garvey. When that original intention fell victim to logistical hurdles, Garvey says, "we ended up making a whole different thing." That "different thing" turned out to be a vibrant collaboration with longtime moe. ally Dave Aron. Aron has distinguished himself over the past twenty years as a go-to hip-hop engineer and producer, facilitating albums by Snoop Dogg, Tupac Shakur, Dr. Dre, and many others. "But he's also worked with Prince and U2," moe. drummer Vinnie Amico explains. "Hip-hop is where he carved his niche, but he's got an ear for rock." The acoustic foundation of No Guts, No Glory adds a buoyancy and richness to the album's songs and performances, which are put across with an energetic, spontaneous feel true to moe.'s well-earned reputation as as a thrilling live band. "Dave basically wanted to emulate a show," says percussionist Jim Loughlin. "He was focused on the vibe." Acoustic instrumentation, from mandolin to vibes, is woven into the album's multi-textured fabric, enhancing songs as diverse as the expansive psychedelia of "Silver Sun," the churning, rootsy "Annihilation Blues," and the languid, loungey "Same Old Story." "Looking back," reflects guitarist and vocalist Al Schnier, "the thing I was most surprised about was just how easy this record was to make. After all the initial setbacks, once we got down to it, everything just seemed to take shape, and it came out great. I doubt that it would come out that way without Dave on board." "Basically," concludes bassist and vocalist Rob Derhak, "everything we started out to do turned into completely something else. An album that was supposed to be an acoustic based album recorded in a barn turned into a hard rock album recorded in Connecticut with a hip-hop producer. Go figure. Typical moe."
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