#rod mcgaha

[sinceileftyoublog]

Brittany Howard Album Review: What Now

(Island)

BY JORDAN MAINZER

The title of Brittany Howard's second solo album is a question we've all likely asked, many times, perhaps to nobody in particular. It's evocative of a state of exasperation after, or perhaps even during, an overwhelming event, shared or personal. For Howard, she found herself asking, "What now?" a lot during the pandemic, a time period after which she had received heaps of critical acclaim for her debut album Jaime but also recently moved from New Mexico to Nashville after a divorce. As such, the songs on What Now are inspired by the desire to not simply live in the moment during chaos, but to make moments for herself. It starts with "Earth Sign", a song Howard wrote to manifest a partner. "Out there, there's a love waiting for me," she sings, her vocals layered, over piano, bowls, and Nate Smith's jazzy drum pitter-patter, sounding as far away as ever. As the song builds into a sort of stadium soul, upbeat and burbling, Howard ascends, shouting, "It's nearly there!" In real life, she did find love after writing the song, after all. And on the album, she similarly constructs a world for each song, ones that show how much she can soar when not beholden to a singular sound.

Co-produced with Shawn Everett and using all analog instrumentation, What Now nonetheless at times sounds otherworldly and cosmic, with instrumentation to match Howard's pained falsetto. She determinedly weaves through and along with the instrumentation, reaching out to grab whatever life has in store for her. On the title track, her vocals follow her buzz-saw riffs as she sings, "You're fucking up my energy / I told the truth, so set me free," channeling her passion into chugging funk and ready to take on whatever comes her way, continuing, "If you want someone to hate, blame it on me." Howard wished for "Red Flags", meanwhile, to purposefully sound cold, a foreboding warning to herself and her tendency to ignore the predictable nadirs of relationships. It succeeds greatly in intent of vibe, with Brad Allen Williams' off-kilter tremolo guitar chords flailing atop Smith's skittering drums. When Howard screams "Don't let it die" later in the song, you can hear her desperation, so badly wanting something bad to be good.

In fact, some of What Now's most successful songs come from Howard seemingly at war with herself. She slaps bass on "Patience" alongside former Alabama Shakes bandmate Zac Cockrell, creating a funk rhythm slow-burning enough to emulate her agonizing desire for a relationship to move faster. She repeats, "All we need is a little patience, girl," but the third time through, cuts off the statement, as if to make you wait for everything to come to fruition along with her. Even more stunning is jazz/hip-hop hybrid "Samson", a classic "Should I stay or should I go?" song that features a rolling drum beat and reflective-sounding trumpet from Rod McGaha. Towards the end of the song, Howard seems to be leaning towards leaving, heartbreakingly alone in the mix when she sings, "It's getting harder not to disappoint you." Her sentiment introduces an outro of meandering and circular trumpet and guitar, a sonic interpretation of her state of mind.

Howard may never stop wondering what's around the corner, but she knows better than to speculate. "I am having the time of my life," she sings on fried funk jam "Another Day". It's why much of What Now, even when subdued, sounds so immediate. Four-on-the-floor banger "Prove It To You", bolstered by an incredible band performance highlighted by Smith's propulsive beat and Lloyd Buchanan's stabbing keys, lays it all out at the club like Howard does in relationships: "I've never been any good at falling in love / I fall so hard I never get up," she sings. And on the surface, it may seem odd for What Now to close with the realist and depressive "Every Color In Blue", but Howard's inclusion of a song where the impending rain is "all out of rainbows" makes the moments when feelings are high all the more monumental. And when the songs ends, you want to press play on the album again, to experience her highs and lows with her for another round.

[blackkudos]

Max Roach

Maxwell Lemuel "Max" Roach (January 10, 1924 – August 16, 2007) was an American jazz percussionist, drummer, and composer.

A pioneer of bebop, Roach went on to work in many other styles of music, and is generally considered alongside the most important drummers in history. He worked with many famous jazz musicians, including Coleman Hawkins, Dizzy Gillespie, Charlie Parker, Miles Davis, Duke Ellington, Thelonious Monk, Charles Mingus, Billy Eckstine, Stan Getz, Sonny Rollins, Eric Dolphy and Booker Little. He was inducted into the Down Beat Hall of Fame in 1980 and the Modern Drummer Hall of Fame in 1992.

Roach also led his own groups, notably a pioneering quintet co-led with trumpeter Clifford Brown and the percussion ensemble M'Boom, and made numerous musical statements relating to the Civil Rights Movement.

Biography

Early life and career

Roach was born in the Township of Newland, Pasquotank County, North Carolina, which borders the southern edge of the Great Dismal Swamp, to Alphonse and Cressie Roach. Many confuse this with Newland Town in Avery County. Although Roach's birth certificate lists his date of birth as January 10, 1924, Roach has been quoted by Phil Schaap as having stated that his family believed he was born on January 8, 1925. Roach's family moved to the Bedford-Stuyvesant neighborhood of Brooklyn, New York when he was 4 years old. He grew up in a musical home, his mother being a gospel singer. He started to play bugle in parade orchestras at a young age. At the age of 10, he was already playing drums in some gospel bands. In 1942, as an 18-year-old fresh out of Boys High School, he was called to fill in for Sonny Greer with the Duke Ellington Orchestra when they were performing at the Paramount Theater.

In 1942, Roach started to go out in the jazz clubs of the 52nd Street and at 78th Street & Broadway for Georgie Jay's Taproom (playing with schoolmate Cecil Payne). His first professional recording took place in December 1943, supporting Coleman Hawkins.

He was one of the first drummers (along with Clarke) to play in the bebop style, and performed in bands led by Dizzy Gillespie, Charlie Parker, Thelonious Monk, Coleman Hawkins, Bud Powell, and Miles Davis. Roach played on many of Parker's most important records, including the Savoy November 1945 session, a turning point in recorded jazz. The drummer's early brush work with Powell's trio, especially at fast tempos, has been highly praised.

1950s

Roach studied classical percussion at the Manhattan School of Music from 1950 to 1953, working toward a Bachelor of Music degree (the School awarded him an Honorary Doctorate in 1990).

In 1952, Roach co-founded Debut Records with bassist Charles Mingus. This label released a record of a May 15, 1953 concert, billed as 'the greatest concert ever', which came to be known as Jazz at Massey Hall, featuring Parker, Gillespie, Powell, Mingus and Roach. Also released on this label was the groundbreaking bass-and-drum free improvisation, Percussion Discussion.

In 1954, Roach and trumpeter Clifford Brown formed a quintet that also featured tenor saxophonist Harold Land, pianist Richie Powell (brother of Bud Powell), and bassist George Morrow, though Land left the following year and Sonny Rollins soon replaced him. The group was a prime example of the hard bop style also played by Art Blakey and Horace Silver. This group was to be short-lived; Brown and Powell were killed in a car accident on the Pennsylvania Turnpike in June 1956. The first album Roach recorded after their deaths was Max Roach + 4. After Brown and Powell's deaths, Roach continued leading a similarly configured group, with Kenny Dorham (and later the short-lived Booker Little) on trumpet, George Coleman on tenor and pianist Ray Bryant. Roach expanded the standard form of hard-bop using 3/4 waltz rhythms and modality in 1957 with his album Jazz in 3/4 time. During this period, Roach recorded a series of other albums for the EmArcy label featuring the brothers Stanley and Tommy Turrentine.

In 1955, he was the drummer for vocalist Dinah Washington at several live appearances and recordings. Appearing at the Newport Jazz Festival with her in 1958 which was filmed and the 1954 live studio audience recording of Dinah Jams, considered to be one of the best and most overlooked vocal jazz albums of its genre.

1960s-1970s

In 1960 he composed and recorded the album We Insist!, subtitled Max Roach's Freedom Now Suite, with vocals by his then-wife Abbey Lincoln and lyrics by Oscar Brown Jr., after being invited to contribute to commemorations of the hundredth anniversary of Abraham Lincoln's Emancipation Proclamation. In 1962, he recorded the album Money Jungle, a collaboration with Mingus and Duke Ellington. This is generally regarded as one of the very finest trio albums ever made.

During the 1970s, Roach formed a musical organization—"M'Boom"—a percussion orchestra. Each member of this unit composed for it and performed on many percussion instruments. Personnel included Fred King, Joe Chambers, Warren Smith, Freddie Waits, Roy Brooks, Omar Clay, Ray Mantilla, Francisco Mora, and Eli Fountain.

1980s-1990s

In the early 1980s, Roach began presenting entire concerts solo, proving that this multi-percussion instrument could fulfill the demands of solo performance and be entirely satisfying to an audience. He created memorable compositions in these solo concerts; a solo record was released by Baystate, a Japanese label. One of these solo concerts is available on video, which also includes a filming of a recording date for "Chattahoochee Red", featuring his working quartet, Odean Pope, Cecil Bridgewater and Calvin Hill.

Roach embarked on a series of duet recordings. Departing from the style of presentation he was best known for, most of the music on these recordings is free improvisation, created with the avant-garde musicians Cecil Taylor, Anthony Braxton, Archie Shepp, and Abdullah Ibrahim. Roach created duets with other performers: a recorded duet with the oration by Martin Luther King, "I Have a Dream"; a duet with video artist Kit Fitzgerald, who improvised video imagery while Roach spontaneously created the music; a duet with his lifelong friend and associate Gillespie; a duet concert recording with Mal Waldron.

Roach wrote music for theater, such as plays written by Sam Shepard, presented at La Mama E.T.C. in New York City.

Roach found new contexts for presentation, creating unique musical ensembles. One of these groups was "The Double Quartet". It featured his regular performing quartet, with personnel as above, except Tyrone Brown replaced Hill; this quartet joined "The Uptown String Quartet", led by his daughter Maxine Roach, featuring Diane Monroe, Lesa Terry and Eileen Folson.

Another ensemble was the "So What Brass Quintet", a group comprising five brass instrumentalists and Roach, no chordal instrument, no bass player. Much of the performance consisted of drums and horn duets. The ensemble consisted of two trumpets, trombone, French horn and tuba. Musicians included Cecil Bridgewater, Frank Gordon, Eddie Henderson, Rod McGaha, Steve Turre, Delfeayo Marsalis, Robert Stewart, Tony Underwood, Marshall Sealy, Mark Taylor and Dennis Jeter.

Roach presented his music with orchestras and gospel choruses. He performed a concerto with the Boston Symphony Orchestra. He wrote for and performed with the Walter White gospel choir and the John Motley Singers. Roach performed with dancers: the Alvin Ailey American Dance Theater, the Dianne McIntyre Dance Company, the Bill T. Jones/Arnie Zane Dance Company.

Roach surprised his fans by performing in a hip hop concert, featuring the artist-rapper Fab Five Freddy and the New York Break Dancers. He expressed the insight that there was a strong kinship between the outpouring of expression of these young black artists and the art he had pursued all his life.

Not content to expand on the musical territory he had already become known for, Roach spent the decades of the 1980s and 1990s continually finding new forms of musical expression and presentation. Though he ventured into new territory during a lifetime of innovation, he kept his contact with his musical point of origin. He performed with the Beijing Trio, with pianist Jon Jang and erhu player Jeibing Chen. His last recording, Friendship, was with trumpeter Clark Terry, the two long-standing friends in duet and quartet. Roach's last performance was at the 50th anniversary celebration of the original Massey Hall concert, in Toronto, where he performed solo on the hi-hat.

In 1994, Roach also appeared on Rush drummer Neil Peart's Burning For Buddy performing "The Drum Also Waltzes", Part 1 and 2 on Volume 1 of the Volume 2 series during the 1994 All-Star recording sessions.

Death

Max Roach died in the early morning of August 16, 2007, in Manhattan. He was survived by five children: sons Daryl and Raoul, and daughters Maxine, Ayo and Dara. Over 1,900 people attended his funeral at Riverside Church in Manhattan, New York City, on August 24, 2007. Max Roach was interred at the Woodlawn Cemetery, The Bronx, New York City.

In a funeral tribute to Roach, then-Lieutenant Governor of New York David Paterson compared the musician's courage to that of Paul Robeson, Harriet Tubman and Malcolm X, saying that "No one ever wrote a bad thing about Max Roach's music or his aura until 1960, when he and Charlie Mingus protested the practices of the Newport Jazz Festival."

Personal life

Two children, son Daryl Keith Roach and daughter Maxine Roach, were born from Roach's first marriage with Mildred Roach in 1949. In 1958 he met singer Barbara Jai (Johnson) and fathered another son, Raoul Jordu. He continued to play as a freelance while studying composition at the Manhattan School of Music. He graduated in 1952. During the period 1961–1970, Roach was married to the singer Abbey Lincoln, who had performed on several of Roach's albums. In 1971, twin daughters, Ayodele Nieyela and Dara Rashida, were born to Roach and his third wife, Janus Adams Roach. He had four grandchildren: Kyle Maxwell Roach, Kadar Elijah Roach, Maxe Samiko Hinds, and Skye Sophia Sheffield. Long involved in jazz education, in 1972 he was recruited to the faculty of the University of Massachusetts Amherst by Chancellor Randolph Bromery. In the early 2000s, Roach became less active from the onset of hydrocephalus-related complications.

From the 1970s through the mid-1990s Roach taught at the University of Massachusetts Amherst.

Style

Roach used traditional grip in his early activity but switched exclusively to matched grip as his career progressed.

Roach's most significant innovations came in the 1940s, when he and jazz drummer Kenny Clarke devised a new concept of musical time. By playing the beat-by-beat pulse of standard 4/4 time on the "ride" cymbal instead of on the thudding bass drum, Roach and Clarke developed a flexible, flowing rhythmic pattern that allowed soloists to play freely. The new approach also left space for the drummer to insert dramatic accents on the snare drum, "crash" cymbal and other components of the trap set.

By matching his rhythmic attack with a tune's melody, Roach brought a newfound subtlety of expression to his instrument. He often shifted the dynamic emphasis from one part of his drum kit to another within a single phrase, creating a sense of tonal color and rhythmic surprise. The idea was to shatter musical conventions and take full advantage of the drummer's unique position. "In no other society", Roach once observed, "do they have one person play with all four limbs."

While that approach is common today, when Clarke and Roach introduced the new style in the 1940s it was a revolutionary musical advance. "When Max Roach's first records with Charlie Parker were released by Savoy in 1945", jazz historian Burt Korall wrote in the Oxford Companion to Jazz, "drummers experienced awe and puzzlement and even fear." One of those awed drummers, Stan Levey, summed up Roach's importance: "I came to realize that, because of him, drumming no longer was just time, it was music."

In 1966, with his album Drums Unlimited (which includes several tracks that are entirely drum solos) he demonstrated that drums can be a solo instrument able to play theme, variations, rhythmically cohesive phrases. He described his approach to music as "the creation of organized sound." The track "The drum also waltzes" was often quoted by John Bonham in his Moby Dick drum solo and revisited by other drummers like Neil Peart and Steve Smith. Bill Bruford performed a cover on the album Flags (1985).

Honors

Roach was given a MacArthur Foundation "genius" grant in 1988, cited as a Commander of the Order of Arts and Letters in France (1989), twice awarded the French Grand Prix du Disque, elected to the International Percussive Art Society's Hall of Fame and the Downbeat Magazine Hall of Fame, awarded Harvard Jazz Master, celebrated by Aaron Davis Hall, given eight honorary doctorate degrees, including degrees awarded by Medgar Evers College, CUNY, the University of Bologna, Italy and Columbia University. While spending the later years of his life at the Mill Basin Sunrise assisted living home, in Brooklyn, Max was honored with a proclamation honoring his musical achievements by Brooklyn borough president Marty Markowitz.

In 1986 the London borough of Lambeth named a park in Brixton after him. Roach was able to officially open it when he visited the UK that year invited by the Greater London Council, when he performed at a concert in March at the Royal Albert Hall together with Ghanaian master drummer Ghanaba and others.

Roach was inducted into the North Carolina Music Hall of Fame in 2009.

Discography

Compilations

Alone Together: The Best of the Mercury Years (Verve, 1954–60 [1995])

As co–leader

With Clifford Brown

1954: Best Coast Jazz (Emarcy)

1954: Clifford Brown All Stars (Emarcy, [released 1956])

1954: Jam Session (EmArcy, 1954) – with Maynard Ferguson and Clark Terry

1954 : Brown and Roach Incorporated (EmArcy)

1954 : Daahoud (Mainstream) – released 1973

1955 : Clifford Brown with Strings (EmArcy)

1954–55 : Clifford Brown and Max Roach (EmArcy)

1955 : Study in Brown (EmArcy)

1954 : More Study in Brown

1956 : Clifford Brown and Max Roach at Basin Street (EmArcy)

1979 : Live at the Bee Hive (Columbia)

With M'Boom

1973 : Re: Percussion (Strata-East)

1979 : M'Boom (Columbia)

1984 : Collage (Soul Note)

1992 : Live at S.O.B.'s New York (Blue Moon)

Wikipedia

[itsworn]

Exciting Competition at the Lucas Oil, NHRA 2018 Winternationals!

Exploding engines, crashes, and a new record kicked off the 2018 NHRA calendar at the Lucas Oil NHRA Winternationals at the Auto Club Raceway in Pomona, California. Early on, Funny Car legend John Force shed the body off of his Peak Auto Chevrolet Camaro, while his daughter and last year’s champion Brittany Force went along for the ride as her Top Fuel car hit both walls and rolled over. She was taken to the hospital and treated for an injured shoulder.

The 11,000hp monsters powering some of these cars, though strong, can have a tough day. This was the case for Kalitta Motorsports driver Doug Kalitta, whose Top Fuel engine erupted into a fireball in the first elimination round of competition. Despite this, he came back to nudge out Tony Schumacher for the win in Top Fuel.

World champion, Robert Hight, couldn’t quite keep up with Matt Hagan, who made a 3.823-second pass at 335.90 mph, taking the win in Funny Car. This marks Hagen’s 27th career win and second consecutive Winternationals victory.

Bo Butner looks to defend his Pro Stock title this season and did so with a win. Taking down teammate Jason Line, Butner ran a 6.549 at 209.62 mph in the final round.

A record was also broken in Pomona last weekend, when Top Fuel driver Clay Millican piloted his car to a 3.628-second pass at 322.04 mph, the quickest pass for a Top Fuel car.

Results:

Top Fuel — Doug Kalitta, 3.779 seconds, 324.28 mph def. Tony Schumacher, 4.715 seconds, 145.93 mph.

Funny Car — Matt Hagan, Dodge Charger, 3.823, 335.90 def. Robert Hight, Chevy Camaro, 3.866, 336.99.

Pro Stock — Bo Butner, Chevy Camaro, 6.549, 209.62 def. Jason Line, Camaro, 6.568, 209.59.

Top Fuel Harley — Doug Vancil, Harley, 6.333, 220.01 def. Rickey House, Harley, 10.322, 89.15.

Top Alcohol Dragster — Shawn Cowie, 5.333, 277.03 def. Garrett Bateman, 15.835, 55.97.

Top Alcohol Funny Car — Shane Westerfield, Chevy Camaro, 5.425, 269.67 def. Ulf Leanders, Camaro, 5.508, 268.33.

Competition Eliminator — Dan Fletcher, Chevy Cobalt, 8.344, 132.86 def. Clint Neff, Roadster, Foul – Red Light.

Super Stock — Kyle Rizzoli, Chevy Camaro, 9.579, 133.55 def. Adam Emmer, Olds Cutlass, 10.120, 125.89.

Stock Eliminator — Larry Gilley, Dodge Dart, 10.627, 121.27 def. Ryan Mangus, Chevy Camaro, 10.664, 122.73.

Super Comp — Gabriel Torres, Dragster, 8.922, 165.46 def. Val Torres Jr., Dragster, 8.941, 176.26.

Super Gas — Kevin McClelland, ’27-T Ford, 9.924, 149.22 def. Phil Unruh, Chevy Cobalt, 9.899, 159.29.

Top Dragster presented by RacingRVs.com — Steve Will, Dragster, 6.043, 234.13 def. Kyle Seipel, Dragster, 6.862, 197.74.

Top Sportsman presented by RacingRVs.com — Paul Mitsos, Dodge Stratus, 7.098, 191.21 def. Don Meziere, Chevy Cobalt, Foul – Red Light.

Finishing Order:

TOP FUEL:

Doug Kalitta; 2. Tony Schumacher; 3. Antron Brown; 4. Clay Millican; 5. Scott Palmer; 6. Steve Torrence; 7. Terry Haddock; 8. Terry McMillen; 9. Richie Crampton; 10. Steven Chrisman; 11. Steve Faria; 12. Mike Salinas; 13. Leah Pritchett; 14. Brittany Force.

FUNNY CAR:

Matt Hagan; 2. Robert Hight; 3. Ron Capps; 4. Jack Beckman; 5. J.R. Todd; 6. Cruz Pedregon; 7. Tim Wilkerson; 8. Jonnie Lindberg; 9. Bob Tasca III; 10. Jim Campbell; 11. John Force; 12. Tommy Johnson Jr.; 13. Courtney Force; 14. Del Worsham; 15. Jeff Diehl; 16. Shawn Langdon.

PRO STOCK:

Bo Butner; 2. Jason Line; 3. Erica Enders; 4. Deric Kramer; 5. Drew Skillman; 6. Vincent Nobile; 7. Alex Laughlin; 8. Greg Anderson; 9. Chris McGaha; 10. Jeg Coughlin; 11. Kenny Delco; 12. Steve Graham; 13. Val Smeland; 14. Joey Grose; 15. Tanner Gray; 16. Alan Prusiensky.

      The post Exciting Competition at the Lucas Oil, NHRA 2018 Winternationals! appeared first on Hot Rod Network.

from Hot Rod Network http://www.hotrod.com/articles/exciting-competition-lucas-oil-nhra-2018-winternationals/ via IFTTT

[rbeatz]

The Meadows Music & Arts Preview

The Meadows Music & Arts Festival is the weekend and rBeatz Radio will be there to capture photos, videos, and interviews. Follow rBeatz on Twitter, Instagram, Facebook, and of course the radio station to get live updates. This years headliners include Jay-Z, Gorillaz, Red Hot Chili Peppers, Future, Migos, Nas, Bassnectar, and so many other acts that sell out stadiums on the regular.

The Meadows Music & Arts Festival is held at Citi Field in Queens, New York City. The festival is produced by Founders Entertainment, the same production company that produces Governors Ball Music Festival. This will be the second year the festival was in operation. Last year, headliner Kanye West had to cut his set short due to the unfortunate kidnapping incident by his wife, Kim Kardashian.

Our resident DJ, BRB, has created an exclusive mix for the festival. You can find this tracklist towards the bottom of this article.

Below, I’ve outlined the entire schedule from Friday to Sunday. Listing each act I will see in order of set time with a bit about each and their newest piece of content.

Friday, September 15th

Slaptop

DJ/Producer from San Francisco. His song, Sunrise, was a hit song in the summer of 2015 and was featured on FIFA 15 and his song Walls was on FIFA 16.

Jordan Bratton

R&B artist from New York City.

Léon

Music is in her blood. Her month is cellist and her father a composer. She’s was listed as an artist to watch by Spotify, Paper Magazine, Buzzfeed and Snapchat.

Big Wild

It’s a big, wild world out there kid….and this guy has unique productions that will catch you off guard.

Marian Hill

This duos catchy minimal melodic approach has gained them a feature on an Apple commercial, with their single, Down.

Migos

Trio from Atlanta crushing the Billboard Charts. No explication needed.

Joe Bada$$

An authentic hip-hop vibe from New York City, Joey and Schoolboy Q are going on a Fall tour together.

Run The Jewels

They’ve been critically acclaimed as a cncompromisingly raw, forward thinking hip-hop duo from notable publications such as Rolling Stone, Pitchfork, XXL, SPIN, New York Times, and more.

Milky Chance

Stolen Dance was #1 in so many countries for like an entire year. Crazy success from that single.

Jay-Z

JAY-Z’s new album, 4:44. A New York City rap legend.

  Saturday, September 16th

Mike Floss

Her grew up the under the tutelage of his father and renown jazz musician, Rod McGaha. He’s opened for major acts such as Future, Pusha T, Wale, Stalley, Yo Gotti, Dom Kennedy, Big K.R.I.T. and more.

Public Access TV

Both Entertainment Weekly and NME listed the Public Access TV as one of the “Top 10 Best Artists” at SXSW.

Youngr

A completely live electronic act. A one man electronic band.

Flatbush Zombies

Flatbush Zombies released their first-ever full length album 3001: A Laced Odyssey in March. It become #1 on the US iTunes Album chart and debuted #10 on the Billboard 200.

Big Boi

Big Boi’s first solo album, Sir Lucious Left Foot…The Son of Chico Dusty debuted at #3 on the Billboard Top 200 Charts. He also has a side project with Phantogram, called Big Grams.

Erykah Badu

The first lady and queen of neo soul.

A-Trak

Founder of Fool’s Gold Records. Winner of the DMC World DJ Championship in 1997 at the age of 15. One of the best party DJ’s I’ve witnessed live.

Future

The Future is NOW. I’m going to have to split my time between Future and Big Gigantic.

Big Gigantic

The GOD of Sax EDM.

TV on the Radio

BBC called them “one of the most compelling American rock and roll stories of the modern age.”

M.I.A

All I want to do is *bang* *bang* *bang* *bang* and a *open cash register* And take your money

Gorillaz

They’re back and headlining. Boss

Sunday, September 17th

Arkells

Their album, Morning Report was their “ weirdest, funniest, saddest record yet, and therefore, our most honest one, too.”

Fantastic Negrito

The man’s truth told in the form of black roots music has experienced the highs of a million dollar record deal and the lows of a near fatal car accident that put him in a four-week coma. He’s playing and crushing stages despite his playing hand being mangled.

Wild Belle

They were a major feature in one of Major Lazer’s more iconic songs.

GTA

Thirty push-ups and a shot of tequila before each set. that’s all the preparation Julio Mejia and Matt Toth need to crush their set.

St. Paul & The Broken Bones

The multi-piece band from Birmingham, Alabama recently opened for the Rolling Stones in Atlanta and Buffalo.

Action Bronson

His show on Viceland, Fuck, That’s Delicious is hilarious.

Ghostface Killah

A member of the Wu-Tang Clan.

NAS

Legend. MTV ranked him at #5 on their list of “The Greatest MCs of All Time.”

Lido

He’s produced for Chance the Rapper, A$AP Mob, and Halsey. He also recently reworked Kanye’s ‘The Life of Pablo’ into an eight-minute reimagining called ‘Life of Peder.’ It his 1 million streams in less than 24 hours.

Bassnectar

The act I’m looking forward to the most: one of the most respected artists in American electronic dance music.

  from rBeatz Radio http://ift.tt/2h625sI

[sommagazine]

Mike Floss | Talks New Music, Touring With Nipsey Hussle, Waka Flocka, & More!

Mike Floss | Talks New Music, Touring With Nipsey Hussle, Waka Flocka, & More!

  At home, it was Miles Davis, Duke Ellington, James Brown, and Parliament Funkadelic.

Dad was a trumpet player. Well, more than that. Dad was, and is, Rod McGaha, one of those virtuoso musicians whose talent and musicality simultaneously inspires and frustrates. He’s good enough to make people want to play, or make players want to quit.

Floss wanted to play. He picked up the trumpet at age…

[toneast1960]

...'Free Improv', with Max Roach, Eddie Henderson, Delfeayo Marsalis, Mark Taylor, & Rod McGaha! http://www.jango.com/music/Tony+Underwood+TONE+EAST+MUSIC/Live+The+Regatta+M+Roach+

[itsworn]

NEWS: Big Changes To NHRA Pro Stock In 2018!

The Pro Stock class in NHRA has been subject to many changes and resulting drama over the past couple of years. First, hood scoops were gone, then carburetors were gone. The NHRA even tried to shake things up with changes in field sizes and burnout contests, the latter of which were very entertaining. Now perhaps the biggest change yet is upon us.

Yesterday, the NHRA announced that starting next year, the Pro Stock teams will be allowed to run any engine/body combination that is currently approved for competition. This could mean seeing more Dodge Dart and Ford Mustang bodies in a field commonly populated by Chevrolet products.

In order to finalize this big rule change, Glen Gray, Vice President of Technical Operations, said that the NHRA Technical Department worked with the Pro Stock teams and manufactures. “The cooperation from all of those involved in the process was very encouraging and we look forward to the 2018 Pro Stock season.”

The same basic rules will apply to all teams and vehicles, no matter the combination each team chooses to run.

According to the nhra.com staff:

“Body choice must be from a 2009 or later NHRA-accepted 2-door or 4-door coupe or sedan—domestic or foreign—production vehicle. Body, drivetrain, chassis, etc. may not be altered, modified, or relocated, except as outlined in Requirements & Specifications in the Rulebook. Minimum weight at conclusion of run: 2,350 pounds, including driver. Minimum weight on the rear axle at conclusion of run: 1,100 pounds, including driver.

“The engine still must be an internal-combustion, reciprocating, naturally aspirated, single camshaft, 90-degree V-8 (i.e., cylinder bank must be at a 45-degree angle from the camshaft/crankshaft centerline, creating a combined 90-degree angle) automotive-type engine with a maximum 500 cid. Aftermarket blocks permitted if designed and cast with OEM approval, and currently accepted by NHRA.”

There are other intricacies to this latest change, but the biggest news is that in the near future, variety in the Pro Stock class may become the norm. Hopefully this will bring some new faces and action to the class, which is what the NHRA has been trying to accomplish in past years. Check out the articles below to see what those changes were in greater detail.

2015

http://www.hotrod.com/articles/nhra-brings-pro-stock-induction-tech-into-the-21st-century/

http://www.hotrod.com/articles/see-what-the-pro-stock-guys-have-been-hiding-from-you/

2016

http://www.hotrod.com/articles/the-new-face-of-pro-stock-photos-hoodless-dodge-darts-and-electronically-fuel-injected-500ci-engines/

2017

http://www.hotrod.com/articles/2016-pro-stock-problems-solutions-future/

http://www.hotrod.com/articles/secrets-dark-places-nhra-pro-stock-according-chris-mcgaha/

The post NEWS: Big Changes To NHRA Pro Stock In 2018! appeared first on Hot Rod Network.

from Hot Rod Network http://www.hotrod.com/articles/news-big-changes-nhra-pro-stock-2018/ via IFTTT

[itsworn]

Chevy Coverage from the 2017 Chevrolet Performance U.S. Nationals at Indy

It really is tasking to properly summarize and capture the feel of drag racing’s ultimate annual event: NHRA’s Chevrolet Performance U.S. Nationals at Indianapolis.

The 63rd edition, held at the iconic Lucas Oil Raceway, once again commingled the who’s-who for both professional and sportsman drag racing with the end result being a highly entertaining racing product witnessed by a near capacity fan base.

As it seemingly happens every event edition, Chevrolet-brand drag racers were impactful at Indy, either through record-smashing performances or eliminator victories. The 2017 version was both representative and also atypical of that, as many new names were added to the annals of this race’s historic ledger.

The completion was certainly seeing “red” as both the event’s Pro Stock and Factory Stock Showdown final rounds featured marque and all-red-painted Camaro matches.

When Indiana’s own Drew Skillman used a holeshot in the Pro Stock final round to beat Greg Anderson, that was Skillman’s fourth win of the season. Prior to that, Skillman had waded through a Camaro-dominated field by beating Jeg Coughlin Jr., Chris McGaha, and Tanner Gray.

The impact of winning at Indy was immediate for the sophomore racer. “There is a very small list of things I’d really like to do in life,” Skillman said after the race. “And this (winning Indy) is one of them. This was something that I really wanted to do.”

Monday’s late-afternoon final rounds included the championship round for the Sam Tech-presented Factory Stock Showdown. In that spectacular race, Pennsylvania’s David Barton prevailed when he took the Wolkwitz Racing 2017 COPO past the 2016 COPO driven by Louisiana’s Stephen Bell. That was Barton’s fifth career win in the exciting and quick-developing class that features heads-up and pro tree FS/XX class car exclusively.

The myriad of Chevrolet-brand highlights and success stories was a very long list at the Chevrolet Performance U.S. Nationals.

Beginning with Thursday’s prestigious Stock Eliminator class runoffs, which featured wins by racers like J. Allen Sherman (B/SA), Victor Cagnazzi (FS/D), Jim Boburka (FS/C), and Daren Poole-Adams (FS/F), just to name a few – to Ernie Neal’s unreal run at 1.568 seconds under his index in his 2005 Cavalier to pace a 128-car Super Stock program through to Monday’s final round wins by Kevin Adams in his Chevy Nova in Super Gas and by Brazil’s Sidnei Frigo’s turbocharged C7 in J&A Service Pro Mod—it really was a race of remarkable pace.

Racing fans attending Indy got a very special treat when Ben Wenzel’s truly iconic 1967 Camaro—the very first Camaro ever built for drag racing and the longest lasting—lined up against Erica Enders-Stevens’ 2017 COPO—a most-recent product built from Chevrolet.

That snapshot, and for-the-ages exhibition run effectively captured the essence and history of the Chevrolet Performance U.S. Nationals!

Check out this extensive Chevy High Performance photo gallery from the NHRA Chevrolet Performance U.S. Nationals!

The post Chevy Coverage from the 2017 Chevrolet Performance U.S. Nationals at Indy appeared first on Hot Rod Network.

from Hot Rod Network http://www.hotrod.com/articles/chevy-coverage-2017-chevrolet-performance-u-s-nationals-indy/ via IFTTT