Ugandan Hip-Hop: New Silas Video (Produced by Magee McIlvaine – Nomadic Wax)
July 30, 2009 | Leave a Comment
In 2009, Ugandan-based emcee Silas aka Babaluku of the legendary Bataka Squad Crew went on a fundraising trip to the US. His goals- to raise sufficient funds and support for his Bavubuka Foundation, a grassroots organization and growing movement on the streets of Kampala. Bavubuka, meaning youth in the Lugandan language, are currently a demographic powerhouse with more than 78% of the Ugandan population under the age of 24. The Bavubuka Foundation was started to support these young people, who must find their way within the sea of corruption, poverty, and instability that is the Ugandan reality. Hip hop has proven to be a powerful tool to empower and educate a resilient young Ugandan generation.
Nomadic Massive Review – By Magee McIlvaine
July 30, 2009 | Leave a Comment
An international hip hop head since…well…before it was cool- I have always been drawn to music that mirrors my own personal experience. Growing up between hectic Dar Es Salaam (Tanzania), gritty Nairobi (Kenya), sleepy Lusaka (Zambia), and the capitol of the Western world- Washington DC- I have always been drawn to the urban sounds the reflect my own nomadic upbringing. But in those days, living in another country did not make it any easier to get away from American hip hop or American Hip Hop-imitation music. Naturally, American hip hop dominated my case-logic (remember those days?), as it did everywhere else (Obvious highlight: Fugees- The Score). When I stumbled onto French super group Saian Supa Crew, the tables began to turn. Saian Supa Crew was the first hip hop crew to solidify my interest and appreciation for hip hop’s various and always unique manifestations through around the world. It was a slippery slope. Instead of going to grad school or ‘growing up,’ I find myself completely and helplessly immersed in the world of international hip hop music and activism. Who woulda known?
Mos Def Review – by Mikal Amin Lee
July 27, 2009 | Leave a Comment
Mos Definite might be one of the most enigmatic figures in hip hop. As one of the members of Black Star (with Talib Kweli) and then as a solo artist, Def was considered at the vanguard of a new movement of independent artists carrying on a tradition of lyricism, soul music, and just plain fun (remember him as the third generation native tonguer on Big Brotha Beat?). As we turned to the new millennium however, the Renaissance man that is Dante Smith branched out further with his pursuits; acting, singing and quickly becoming a rising celebrity/personality beyond the world of independent hip hop music.
That isn’t to say, he had stopped producing music, but subsequent albums “The New Danger” and “True Magic” left many hardcore Def fans wanting, and by all accounts the artist himself in a hip hop limbo, not fully embraced by the mainstream and in some regards disconnected from his core audience.
“The Ecstatic” is somewhat a return to form for Pretty Flaco as sonically and conceptually this feels like a more natural follow to “The New Danger” and by extension a fusion of both that album and his seminal classic, “Black on Both Sides”.
Production from the late great Dilla, Oh No, Neptunes, Madlib, Georgia Anne Muldrow, and the Mighty Mos himself are really the meat behind this project. Whether it’s the vibes on “Twilite SpeedBall” or Madlib’s Beat Konducting the swami like “Auditorium” (with Slick Rick showing his ageless story telling skills….the man has solidified himself as an institution in hip hop) Mos has a haunting, driving soundtrack that is pretty steady throughout. He teams up with Kweli on the track “History” that is such a teaser, you’re reminded of the synergy those two had as Black Star over JD’s Motown era sample. Other stand out tracks such as Embassy, Quiet Dog Bite Hard, and Workers Comp all give you just a little taste of the Mos Def we remember, street smart, world wise, and charisma spilling all over the beat. As a whole, The Ecstatic is a solid album and in some regards similar to Common’s “BE” in that it finds an artist coming almost full circle to his origins while still grounded in their present creative permutation. If you’re wanting “Black on…” part two, stop reading. If you are cringing at the thought of Mos moving further into the experimental realms , take a deep breath. This album is neither, rather its a new beginning, and a pretty good start at that.
by Mikal Amin Lee
