Category Archives: music

Moon Medicin is trippy. And I like it.

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Have you ever experienced something that was so trippy, surreal and ethereal that you thought was a dream, but turned out to be real?

Last week, I had one of those experiences.

“What happened?” you ask.

No.

I was not tripping on acid, popping pills or high on the stickiest of the icky.

I saw Moon Medicin at Neuehouse.

Why was it so trippy?

Well, if you’ve never experienced a Moon Medicin show, it will be somewhat hard to explain.

But here goes nothing.

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Moon Medicin is a five piece band consisting of lead vocalist and guitarist, Martin Luther McCoy, DJ and background vocalist, Jahi Lake, drummer, Swiss Chris, bassist and background vocalist, Mark Hines, and keyboard and background vocalist, Sanford Biggers.

Moon Medicin is also a performance piece, created by Sanford Biggers, which explores the creative intersection of music, visual and performance art.

Indeed, the pieces that Moon Medicin performs are mashups that push the boundaries of music and performance art.

Moon Medicin shows are one part live music, one part DJ, one part visual and one part experiential.

You’ve got to experience a Moon Medicin show to truly understand how you can be transported from sitting or standing in a performance venue, to a sandy dune in the desert, feeling waves lick at your toes in the ocean, or running frantically through a forest.

Trippy right?

Perhaps it was experiencing Moon Medicin from the steps at Neuehouse.

Maybe it was the combination of the lighting, the massive visuals projected on the screen behind the band or the other worldly music they play.

It might have been the ghostly silhouettes of passers-by against the backdrop of the frosted glass windows.

I could go on and on trying to figure it out, but I’ll do you one better and let you peep a short video from their set at Lincoln Center in April.

Moon Medicin Lands at Lincoln Center – Weird Fishes, Soul Assasinator, The Great Escape from Visualeyz on Vimeo.

If you get a chance, make sure you check ’em out.

It will definitely trip you out.

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Flatbush Zombies+Visualeyz=Coachella turned up.

 

flatbush zombies

If you’ve never heard of the Flatbush Zombies, I will forgive you.

If you’re a person of a certain age, like me, your musical tastes are fairly pedestrian and rap music probably doesn’t factor highly into your playlists.

You probably listen to more classics and lame tame music (read John Coltrane on Pandora) and your underground music radar has probably been turned off for a while.

For you, music discovery takes the form of recommendations from the NY Times Music section.

You’re not trolling Grooveshark or YouTube looking for the latest hip hop videos.

If you do listen to rap, and are still a die hard hip hop fan, you’re listening to safe established artists.

Rarely do you stray off the reservation.

I say all this to say that it’s highly unlikely that your aural travels have brought you to the land of the Flatbush Zombies.

But now that you’re here, pay attention.

Flatbush Zombies are a three man hip hop group from Flatbush, Brooklyn, formed in 2010.

The trio consists of Meechy Darko, Zombie Juice and Erick “Arc” Elliott.

Since 2012, they’ve put out a series of well received mix tapes and even though they’re relatively new, they’ve built a loyal following both on and offline.

Despite the (trite and repetitive) themes of sex, drugs and alcohol, these kids can spit (spit=rap really well for my slang-challenged readers).

They remind me of the Alkoholics, Cyprus Hill, Wu Tang, and Kendrick Lamar all rolled into one.

Complex lyrical ability, hard hooks, insane production – they’ve got all the ingredients for breakout success.

Having already collaborated with the likes of Action Bronson, ASAP Rocky and others the Flatbush Zombies are not newcomers, by any stretch of the imagination.

But they’re new enough that you might not have heard of them.

And that’s okay.

I was put on when I heard that my man, Mark Hines (aka Yoda) was working with them, and was immediately intrigued.

Flatbush Zombies, as their name implies, aren’t your run-of-the-mill hip hop group.

They are eclectic looking, and very cerebral.

And their videos are ‘trippy’ to say the least.

Standing alone, Flatbush Zombies are bringing the heat.

Their videos are well produced and engaging.

But once you add Mr. Hines’ video production skills on top, everything becomes…well, better.

Visualeyz

He’s working on their visuals for their set at Coachella this week, and I can tell you that it’s nothing short of amazing.

Now Flatbush Zombies aren’t headlining at Coachella or anything like that.

In fact, they’re just one of the myriad of underground acts that Coachella will allow to shine on their stages this year.

But they will probably be one of the few (if not the only) underground act making use of the massive screens on stage.

And with Visualeyz’s tricked out treatment of Flatbush Zombies’ images and video content, their set is going to be off the chain.

So what am I saying?

1. Peep Flatbush Zombies.
2. If you’re going to be at Coachella, catch their set featuring video production from Visualeyz.
3. Thank me later.

Flatbush Zombies at Coachella

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K-Pop. Really? No seriously.

mnet_logo

I don’t know when it happened.

But somehow, K-Pop has taken over my home.

What’s K-Pop?

What indeed!

K-Pop is short for Korean pop.

No. I’m not Korean.

Why, then, has K-pop taken over your home, you ask?

I have no idea.

One day it wasn’t there, and the next it was.

I come home and K-Pop Tasty Road, or KCon (the K-Pop conference), or some other inane candy-colored show is on my beautiful 42″ Samsung.

Is that a Korean set? Hmmm…

Thinking back, K-pop has been creeping insidiously into my life for a minute.

It started with Iron Chef.

And then Smile Again Donghae.

Soon Tasty Road and Hello Pop were added to the mix.

Then came Mnet.

And my demise.

Mnet is everything K-pop.

Even though they play the same things over and over in an endless loop of dancing robotic young Asians, somehow I can’t seem to break its hypnotic grip.

I can’t tell one boy group from another.

GOT7, BTOB, TOPPDOGG, LunaFly, FT Island…

A bunch of androgynous boys clad in tight-fitting leather.

Very Boy George, the lot of them.

Girl groups are no different.

RunDevilRun, 2NE1, Girls Generation, Lip Service, 4Minute…

A stage full of six or seven gyrating automatons.

Singing or rapping their little hearts out.

I don’t get it.

Perhaps if I were a young Asian girl, I’d be all in.

But I’m not.

So I’m not.

I blame the wife.

She’s all into the crisp clean lines and manicured…well, everything.

There is something to be said about the highly stylized nature of K-pop content.

But the homogeneousness of it all makes it monotonous, quickly.

And since you really can’t tell one group member (much less one group) from another, I don’t get it.

Clearly though, there are millions that do.

Whatev.

Hopefully the kids will pick up Korean the way foreigners pick up English from watching tv.

I doubt it, but who knows.

What I do know is that since I’ve been paying attention, there are a number of new programs out there.

Far more than there were a year ago.

And this trend tells me that Kpop is here to stay.

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De La Soul for free! Happy Valentines Day! UPDATE!

Rappers Real Names. Courtesy of http://aminorfactotum.wordpress.com/

Rappers Real Names. Courtesy of http://aminorfactotum.wordpress.com/

I was originally going to publish a scathing expose on online dating as an ode to Valentines Day.

I’ve listened to the dating woes of numerous friends and colleagues, and decided that enough was enough.

I’d get to the bottom of this whole online dating debacle myself, exposing it’s putrid underbelly and convincing online daters that good old fashion face-to-face meeting/dating was the way to go.

I was going to reveal online dating as the meat market it is, fraught with fake profiles and bullshit ‘compatibility’ criteria, to be avoided at all costs.

In fact, I’d created a bogus account on OkCupid and was prepared to blast online dating as a farce for suckers, when I came across an article on OkayPlayer that gave me pause.

Apparently for the next 25 hours (fewer than that at this point), De La Soul is making their entire album collection available for download – for free!

That’s right – FREE.

Gratis.

Sin dinero.

Pas d’argent.

I could go on, but you get the point.

Fuck online dating.

De. La. Soul. Free.

I’m married. I could give a fuck about the dating woes of a bunch of hags.

If you’re not a fan of De La Soul, and the significance of this coup is lost on you, sick a duck and stop reading.

If, however, you’re a fan of one of the most underrated hip hop trios of all time, then read on.

To be down all you’ve got to do is visit De La Soul’s website, complete the form and verify your email address.

wearedelasoul.com

After that, they’ll send you the albums you’ve requested.

De La Soul subscription confirmation

I’m soooo excited that I’ve been checking my inbox compulsively every few minutes.

As I was writing this, I got my email with the link to the albums!

Your Music - from De La Soul

They’re using DropBox as their fulfillment engine and – surprise, surprise – theres too much traffic and they’ve temporarily disabled the links.

The Stakes Is High! and DropBox can't handle the pressure!

The Stakes Is High! and DropBox can’t handle the pressure!

I’ve been clicking them every so often to see if they’ve re-upped the links, but no such luck.

Rest assured, when I get my joints, I’ll let you know.

Oh, and I will (eventually) post my in-depth investigation of online dating.

But in a nutshell:

  • Online dating is not for everyone, only the desperate and lonely.
  • If you’re ugly, don’t even bother, because 9 times out of 10, only cute girls/guys get any play.
  • If you’re a girl, good luck on finding someone who isn’t trying to bang you and bounce.
  • If you’re a dude, you’re going to be matched with 90% kennel, 5% respectable, 5% dimes.
  • If you’re not a dime yourself, expect radio silence from any other dime.

Now, there are exceptions to every rule, but you probably fall in the ‘rule’ category, so take heed.

Happy Valentines Day!

UPDATE: I just got my downloads!

De La Soul downloads

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Day 7: Beats Music earns a temporary reprieve. UPDATED

UPDATE: Since the writing of this post, Beats Music has intermittently stopped mid-stream on too many occasions to mention, on both the app and the web. While I had report (later in this article) that the fix that they applied worked, apparently, it has not. Verdict, Beats Music has a ways to go before I’d part with a red cent for it. Period.

A little over a week ago I downloaded the Beats Music app and was thoroughly unimpressed with the offering.

While it looked good and boasted a host of impressive features and capabilities, my first impression was that it was a buggy app, plagued with technical difficulties.

And due to apparently high demand created by the buzz of its launch, there was a serious backlog to get registered, which ran completely counter to the instant gratification culture of Beats Music’s target demographic.

Combined with a relatively short trial period, I projected that Beats was a cute idea, but outside of a few chumps who easily part with their dough just to be a billboard for some brand, real streaming music aficionados weren’t going to be swayed by Beats’ technically challenged offering.

A few days later, when my registration was approved and I was able to experience Beats Music, my stance softened.

The interface was fresh. Not as intuitive as I would have liked, but interesting and visually appealing.

Beats Music interface

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With options aplenty, but not so many that you needed a user manual, I was able to dive right in and get my Beats on.

But then those technical glitches reared their ugly heads and ruined everything.

Streams would stop mid-play, buttons would suddenly become unresponsive and all navigation inoperable.

On more than one occasion, I found myself quitting the app and restarting.

By the fourth day of my seven day trial, the app had stopped working completely.

Quite the ignominious start.

But then Beats Music did something that completely erased the maddening frustration of their (what was now a) pretty crappy app, and restored my faith in them.

They sent an email acknowledging that their shit was broken.

The outlined what they were doing to fix it and extended the trial period for another week.

Yeah, our shit broke. We fixed it. Now what?

Yeah, our shit broke. We fixed it. Now what?

Clearly someone at Beats had some customer service home training.

True to their word, their technicians had done something to eliminate the bugginess of their app.

More bandwidth? Redundant server arrays? Better on-device caching? Something.

And as a result, I’ve been able to take Beats for a true test drive.

And do you know what? Beats Music is everything they said it would be.

They’ve got playlists for days , of all kinds, by genre, mood, curator, activity.

There’s a cool, “The Sentence” option that creates playlists from a sentence you configure.

Beats Music The Sentence

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You can mine down into individual artists within a playlist and create playlists of your own.

There’s even a nifty mode that allows you to listen to a playlist offline, that’s created from the playlists and songs you listened to while you had cellular or wifi access.

Although some have complained that Beats Music’s classical selection leaves much to be desired, I’ve taken deep dives into their jazz, hip hop, reggae, world, 90s and rock collections, and have come away deeply satisfied.

My one criticism of the app is that navigating isn’t as intuitive as I’d like.

Once you select a playlist, genre or song, getting back to the home screen takes a bit of maneuvering.

And the playlists, while diverse, are woefully short.

Just when you start to get into the groove, it’s over.

I found myself wishing that each playlist was just a little longer.

But these criticisms pale in comparison to the chasm of woefully deficiency Beats  managed to fill with their mea culpa and update.

For those of your who swear by Spotify, Pandora or any other paid streaming service, I challenge you to give Beats a try.

Now that they’ve got their shit together, you just might be impressed enough to switch.

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Record labels are dead. Beyonce killed them.

If you haven’t heard, last week Beyonce Knowles, aka Mrs. Carter digitally released her self-titled album to little fan fare.

And in less than a week, the Beyonce album was certified platinum, with over 1 million albums sold.

You heard me right.

She pulled a Prince.

All with no marketing or promotion.

No radio.

No street teams.

No promo tour.

Nada.

She dropped her album on the strength of her name alone.

And that move has everyone (or lots of folks) rethinking the whole music game.

If you know me, you know that I think that record labels are the devil.

They’ll loan you money to produce, market, promote, distribute and sell your album.

They may even give you a nominal advance because they “believe” in you.

If you’re lucky, your hard work will pay off, you’ll sell millions of records, and pay back every dime the label ever lent you.

And then they’ll give you your masters and everything’s even Steven, right?

Wrong!

Even when you’ve paid back the record label, satisfied your recording commitment, fulfilled all of your contractual obligations, the label will own your masters in perpetuity, and continue to make money well after their initial investment has been satisfied and concluded.

Long after you stop doing business with them or they drop you, they will still own and pimp the music you created (and essentially paid for).

Sounds pretty shitty right?

Which is why I’ve always recommended that artists go their own way sans label.

Now lets rap before you get all “But she’s Beyonce, she already has a name for herself.”

‘Cause that’s a cop out.

Almost everyone starts out as an independent before they get a deal.

That means getting on your grind.

You hit the studio, the streets, the internet and get your music out there.

Remember, every artist is a nobody before they’re a somebody.

But you have to be committed to becoming a somebody.

No one else can do it for you.

No publicist, producer, agent, manager, attorney, or stylist can get in the booth for you and spit (unless you’re Milli Vanilli).

No one can get on stage for you and perform.

No one can hit the road for you and tour.

But if you’re committed, you put out music and videos and your core audience will support you.

Period.

And it won’t happen overnight.

Beyonce wasn’t an overnight success.

Lets be real, she was in a few groups before Destiny’s Child broke.

And a few albums before she went solo.

And a few albums before she became the Beyonce we know today.

Today’s Beyonce has a cult following of loyal Beyoncettes, who would buy farts packaged as air fresheners if she sold them.

The success of her self-released album has a lot to do with the fact that she established herself as a brand before she made this jack move.

Beyonce has serious work ethic and a serious track record.

The phalanx of paparazzi is not by happenstance.

It doesn’t hurt that she’s also married to one of the most influential men in Hip Hop of all time.

She calls herself “Mrs. Carter” for chrissakes.

But that’s besides the point.

The real point is that you can write, produce, master and distribute your own music.

You can shoot your own videos and release your music directly to iTunes, without every Tom, Dick and Harry in your pocket.

And if you’re really bout-it-bout-it, you can create your own band of rabid followers to buy your packaged farts.

At the end of the day, labels are becoming less and less relevant to the making and discovery of new music.

So all you artists out there stop looking for a record deal and do for self.

Do a Beyonce and be the master of your brand!

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Young Forever. Def Jam and Chris Anokute officially split.

Chris Anokute & Katy Perry

If you’ve been following the Twitter-sphere you might have picked up the leak of two of Katy Perry singles from her new album, PRISM, a little over a month ago.

As many had been eagerly anticipating that release, it goes without saying that the singles were retweeted and just like that, the planned October 22nd release of her album went up in smoke.

Allegedly, the leaks came from the infamous Perez Hilton and caused quite a stir at Capitol Records, Katy’s label, who were – how do you say – “pissed.”

As anyone who has used social media in this millennia knows, once something hits the interwebs, you can’t really take it back.

So Capitol should have run with it and pushed their marketing and promotions ahead to take advantage of the early buzz.

Or accepted the leak as great pre-promotion, as a litmus test to see which DJs in which markets were feeling and playing the records – and concentrate their efforts where buzz and spins were concentrated (or missing).

But Capitol Records, in typical dying record label form, blew its stack and started playing the blame game.

Instead of “capitalizing” (pun intended) on the moment, they started looking for someone to blame.

And do you know who ended up in their crosshairs? Chris Anokute.

“Chris Anokute? Isn’t he at Island Def Jam?” You ask.

That’s right.

But in the cover your ass shit storm that ensued, Chris became the scapegoat for the label’s ineptitude.

You see Chris, who used to A&R Katy Perry saw Perez Hilton’s tweet of Katy’s single and retweeted it (as did at least 60+ others who saw the tweet that morning).

Although Chris is no longer at Capitol, he and Katy remain close and she counts him among her closest friends.

So it went without saying tag when he saw Perez’s tweet, he shared the link to Katy’s single with his 14k followers.

Sharing is what friends do in the age of social media.

Right?

Well not if you’re a label exec.

Allegedly, the powers that be at Capitol and Island Def Jam felt that somehow Chris’ retweet violated some unwritten code of conduct.

And apparently that breach caused at least one executive to try airing it out on Chris.

And I say “apparently” because Chris put a response on Facebook, essentially blacking out on the dimwit dinosaurs running most major record labels.

Here’s a taste:

This is the abridged version of the blackout.

And with that, it was on.

Shortly after that incident Chris Anokute was released from Def Jam.

The deals of his termination are sketchy, and he’s probably bound to some draconian non-disclosure agreement, so unfortunately I can’t share all the juicy details with  you.

Suffice it to say, he’s not up$et.

His termination caps a tumultuous year for Def Jam, which has seen mass exodus of its top A&Rs to rival labels.

And while that spells bad news for Def Jam, it’s great news for Chris’ new company, Young Forever, and his new artist, Bebe Rexha.

Where one chapter closes, another opens.

Chris wasted no time in getting back to work, this time for himself, with the chart-topping The Monster by Eminem featuring Rihanna.

Chris’ artist, Bebe, has co-writing credits on the song and also appears on the hook.

Young Forever is but one of Chris’ latest entrepreneurial ventures.

Quiet is kept, he’s also working on a killer app that will keep folks talking for a hot minute.

If you want to know what Chris is up to, make sure to follow him on Twitter @chrisanokute, where he routinely provides inspiration to independent artists looking to break into the business.

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Battle of the Blah: Streaming Pandora, Live 365, Spotify or iTunes Radio sucks

Streaming iTunes Radio is like Chinese Water Torture.

Streaming iTunes Radio is like Chinese Water Torture.

Recently I’ve been listening to a lot of music on streaming services.

Ever since I was banned from using my personal computer at the job, I’ve had to rely on other means for getting my music fix on.

You see, I have a massive sizeable music library, far too big for an iPod or portable music player.

And as I am loathe to allocate precious memory space on my phone to music, I’ve had to rely on alternate means to soothe my inner savage beast.

Back in the day, I used to rock Pandora hard.

I made a few stations based on artists I liked and was content for a hot second.

But when I realized that was listening to the same 15-20 songs over and over again, it quickly lost is luster.

Then there was last.fm.

Same difference as Pandora – except you could scrobble.

Someone suggested 365 Live as an alternative, and for a while I was content.

I’d primarily listen to their Classical or Jazz stations, and every once in a while stray to their Reggae offering (mistake).

I came across Spotify one day, and decided to give it a try.

In addition to their genres, you could create your own playlist or listen to radio stations built around artists or songs you like.

The problem with Spotify, aside from the annoying ads every three songs, is the repetitious nature of its playlists.

If you listen for more than an hour or to the same station multiple times, invariably you’re going to hear the same songs over and over again.

Now there’s one thing I don’t understand, each of these services claims to have millions of songs, but all of them suffer from repetition.

They all have ads (in the free versions) that pop up more frequently than terrestrial radio, and although they don’t last nearly as long, they’re annoying nonetheless.

For all that, I might as well simply listen to the actual radio.

At least then I’m under no delusion that I’ll experience variety.

But a few weeks ago, after I got my iPhone 5s, I noticed something new in iTunes.

Radio.

Do my eyes deceive me?

I don’t remember iTunes having a radio.

Scanning my memory banks, I did recall some mention of iTunes Radio at the WWDC.

But it was buried in the iOS 7 hoopla, and quickly faded from memory.

Having discovered the radio button in my dock, I decided to give it a go, and quickly created several stations.

The good thing about iTunes Radio is the absence of a learning curve.

Hit any one of the preset stations and you’re off.

Making a new station is as simple as pressing a “+” button and typing in the name of the artist or song you want to create a station around.

iTunes Radio does the rest.

Initially, I was pleased.

iTunes Radio seemed robust and the music was varied and (at first blush) non-repetitious.

But then it happened.

The commercials.

The repetition.

The random song unrelated to the artist or genre I had selected.

Worse than that though, was the spotty service.

Streaming iTunes Radio seemed to be worse than the other streaming services I used.

Now, to be fair, all streaming services suffer from some defect in playback.

But iTunes Radio seems to drop at an inordinately higher rate than Spotify, Pandora, Live365 or last.fm.

Waiting for iTunes Radio to connect (or reconnect as was often the case) was like Chinese Water Torture.

The anticipation was unbearable, especially when you were in the groove.

Despite my initial enthusiasm, iTunes Radio was no better than the rest.

It does provide you with the ability to purchase songs you hear on the fly, but so what?!

In the final analysis, streaming music apps are often more trouble than they’re worth.

I resign myself to the fact that I just have to devote some of my device’s precious memory to storing music.

Because streaming is for the birds!

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Bump Beats! Get Skullcandy.

skullcandy

A few years ago, I got my first set of Skullcandy headphones.

I was about to get on a plane to France, and had forgotten my headphones at home.

So I had to cop something from one of those little expensive ass stores inside the airport.

They had all kinds, but one particular pair stood out.

No. Not Beats by Dre.

I was not about to part with three bills for an over-priced set of headphones.

I’m not an audiophile, nor am I a fool.

Not to say that anyone who spend $300 on a pair of headphones is a fool, but…

I digress.

The pair that stood out were Skullcandy Skullcrushers.

My first pair of Skullcandy headphones.

My first pair of Skullcandy headphones.

From a features perspective, the Skullcrushers were indistinguishable from the rest: volume control, bass boost, collapsible.

But what set it apart were the two skulls on either earpiece.

Hence Skullcandy.

I figured walking around with a pair of white skulls on my ears would be an adequate deterrent to anyone thinking about trying to test the kid, so I bought them.

And you know what? It worked.

Beyond the effective anti-social shielding, they were a damn good set of headphones.

I’ve tried all sorts of headphones, and I prefer the over-the-ear style.

I’m not an iPhone in-the-ear kinda dude.

For one, they never actually stay in your ears.

More importantly, they lack the noise canceling aspect of headphones that cover your entire ear.

My first pair of Skullcandy headphones kept me right – that is, until the little clip on the bass boost broke.

This particular pair had a battery powered bass boost, which you could clip to your clothes.

It contained a switch, to alternate between bass boost and no-bass boost modes, and the volume.

It wasn’t heavy, per se, but it definitely was awkward having this dangling thing on the cord.

Long story short, the clip broke and I was reduced to putting the bass boost switch in my pocket.

Not fresh.

So the other day, I went online and found out that Skullcandy products carry a lifetime warranty.

You heard me right.

Lifetime warranty.

As long as you didn’t do anything to damage your headphones, they’ll replace them.

You heard me right.

They’ll replace them.

You’ve got to complete a form and mail them back to Skullcandy at your own expense.

But of you do, they’ll give you a credit for a replacement pair.

So I sent back my headphones and just got a new pair of Hesh headphones.

hesh-black-front_1

Aren’t they beautiful!

They’re awesome.

Great sound.

Noise canceling.

Durable.

Stylish.

And the best part is that these have a detachable cord with a mic, so I can use them with my iPhone.

If you’re not familiar with Skullcandy, I’d suggest you get acquainted.

They make some wicked headphones.

The next time you’re looking for a pair of over-the-ear headphones, and you don’t want to mortgage your home or sell one of your children to afford them, Shullcandy is the way to go.

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Come Together with The AfroBeatles.

Do you know what today is?

Its the day we drop the AfroBeatles Come Together Beasts of No Nation mash up video remix.

It’s also the anniversary of the Beatles’ 1969 track, Come Together.

“Come Together” came from “come together, join the party” the campaign slogan for Timothy Leary’s ’69 campaign for governor of California against Ronald Reagan.

If you follow me at all, you may have noticed I’m on a mission of sorts: to spread the word about The AfroBeatles.

All last week, we dropped tasty little factoids like this about Come Together.

If you peeped any of the various AfroBeatles social media properties, you would have learnt a lil’ sumthin.

Like, did you know that in the opening of Come Together, John Lennon says “here come old flattop,” referring to a popular style of haircut worn in the 60s?

Or that Come Together was released as a double A-side with Something?

Or that it Abbey Road was the title of the album Come Together appears on?

Come Together

Last week we also dropped factoids about Beasts of No Nation, the other half of the AfroBeatles mashup.

Like, did you know that Beasts of No Nation was Fela’s anti-apartheid album with Egypt ’80.

Or that in Beasts of No Nation Fela attacks the corrupt Nigerian government, Margaret Thatcher, Ronald Reagan, and P.W. Botha for their respective parts in the destabilization of Africa?

Or that the cover art for Beasts of No Nation was created by Ghariokwu Lemi, the artist behind many of Fela’s controversial covers?

Beasts of No Nation

In 2011, Rich Medina & Mark Hines first created the Come Together Beasts of No Nation mashup.

The original mashup included footage from two live events: a performance at Fela’s Shrine, and a Beatles performance from the early ’70s.

But the remix is a marked departure from the original.

We went all-in and the imagery for the anniversary mashup is off the chain.

There are all kinds of tasty tidbits in there.

It’s an AfroBeatles mashup, so subtle nods to the group abound.

Peep how many times you see the full group on-screen in the video.

I would be remiss if I failed to big up Mark Hines for his visual acumen.

Anyway, I’m done blabbing.

Enjoy.

If you like the video, feel free to check out the other mashups at AfroBeatles.com.

And by all means share!

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