Dj Rashad Teklife Vol 1 Rar

1. Dj Rashad Teklife Vol 1 Rar

That's Manny and myself, J-Cush 'MAKE ME FEEL' which'll probably be on Manny's album on Lit City. 3rd World was made back in 1998.

It's a fine example of how long the style has existed. Clent started Beatdown with Rashad, Spinn, Magik Myke.and maybe DJ Spyda (not 100%, but he's not around anymore anyway).That was arguably the first production clique that was making straight footwork. Everyone was making trax on their own before hand, Arpebu, Traxman et all included Thanks!

Cool track man, really dig these grime crossovers. I heard it in the Rinse FM Hyperdub show last week, I believe someone recommended it here in this tread and I'd like to second that: (skip to the last half hour). I think I also heard it in the Ayshay Fact Mix, also recommended: http://www.factmag.com/2011/12/05/fact-mix-307-ayshay/.

That is DJ Clent - Clent's Knee Deep. Came out in december. Such a good tune. I know azziza and the other chicago guys posting on here have caused a bit of kerfuffle on here in the past with their strong (biased) opinions, but I think they have been proved right in the long run. Clearly the best Juke music is by Rashad, Spinn, Clent, Traxman, RP Boo.time has proved this.

If you go back to the start of this thread Nate and Roc were the ones getting most of the props but they are not on the same level as this stuff. If you look at those Planet Mu comps it is quite clear what is the real deal. Checked out Lil Jabba the other day and really, why bother with him if you can listen to Ghetto tekz? Don't bother listening to lil Jabba when you can have the real thing, seriously.

Can't wait for the rashad album now. Ego trip has been giving the music some love recently, Brilliant. Very illuminating piece and very nice to see the acknowledgement of hip hop in full force from Rashad and Spinn. I think the best, most vibey Juke stuff has that classic hip hop style sampling sensibility. The Rashad/Spinn stuff is basically like golden-age era hiphop with a new rhythmic framework after all. Case in point, absolutely genius rework of a Roy Ayers track from Rashads last LP after this http://www.youtube.com/watch?v=ZQMVsQWkjM.

Very illuminating piece and very nice to see the acknowledgement of hip hop in full force from Rashad and Spinn. I think the best, most vibey Juke stuff has that classic hip hop style sampling sensibility. The Rashad/Spinn stuff is basically like golden-age era hiphop with a new rhythmic framework after all. Case in point, absolutely genius rework of a Roy Ayers track from Rashads last LP after this brilliant indeed. Checked out Lil Jabba the other day and really, why bother with him if you can listen to Ghetto tekz?

Don't bother listening to lil Jabba when you can have the real thing, seriously. What a fucking stupid attitude to have it's like saying why listen to shackleton when you could listen to dmz. There's loads of wicked stuff from non-tekz producers about: jabba, eq why, dj roc, leatherface, young smoke, elmoe (tho i don't think he still makes footwork, right?). Why would you not listen to the rest of it just cos you like one clique the most? What a fucking stupid attitude to have it's like saying why listen to shackleton when you could listen to dmz.

There's loads of wicked stuff from non-tekz producers about: jabba, eq why, dj roc, leatherface, young smoke, elmoe (tho i don't think he still makes footwork, right?). Why would you not listen to the rest of it just cos you like one clique the most? Oh god, keep forgetting you´ve gotta watch what you say round here nowadays.just ignore me. All i wanted to really say was I don´t rate lil Jabba, thats all. Yea hold tight benny, and nice 1 for speaking ur mind don! Obviously jabba's a bit odd and the ghettotekkz do the most straight up gutter / funk-y footwork tracks out there still, so sort of with you on the sentiment there.

But jabba's sick. He's got these great tribal and warp records sounding influences, and yea, as I say, he's managed to get in with the tekkz guys to some extent off the back of it. I really like this one - it's a bit like distance or vex'd with the original dubstep lot i guess.what's cool is that, like with the early dubstep stuff, the tekkz DJs will play stuff by these outsider producers as well as their mates, if it sounds good enough (jabba, slick shoota, umbertron (?).). EVEN THOUGH they still haaaate on flight muzik or tribe haha! (who are just a lot younger really, as far as i can see.it's not just crew rivalry.those guys are like 5-10yrs younger and all trying to be like the tekkz.). Yea diamond, young smoke and metro i think.aziza's said it before on here, but i think it's mainly because they're a lot younger and use dodgy samples, space imagery, fruity loops etc.same reason they resonate so well with ppl over in the UK i reckon, ironically enough!

Mike mu gets his scope PERFECT in his sets i reckon, really representing with lots of tracks from the young guns out there that would be criminally critically underrated if it were'nt for mu (it really is only him pushing any of them right now.) well worth checking out his recent 'afro-futurist' boiler room mix just for the landslide of super future unreleased young smoke tracks at the start - ARRRGGHHH! All the unreleased tekkz bits too after! As for the murderbot thing - they were trolling the fuck out of him on that same boiler room show, you couldn't get a word in on the chat room and they kept calling him 'murderfag' really really embarassing. Some lame excuse given like he said that he would put stuff out for the tekkz guys but then didn't or something.seemed really really petty. Yea diamond, young smoke and metro i think.aziza's said it before on here, but i think it's mainly because they're a lot younger and use dodgy samples, space imagery, fruity loops etcnot in the uk, but still loving the space samples.

One thing I've heard them say is that the younger guys don't make music you can dance to, and this may very well be true in that you can't dance to it like you do to more traditional forms of footwork. Idk, it's something that came up in the juke documentary where some of the older dancers were recounting looking at younger generations and being like 'ey they just kickin they feet, that aint dancin'. Some of these alternative juke/footwork artists aren't really making music to battle to, though I guess they can also seem a bit too soft and safe, 'intelligent', which is what most people were complaining about in the post-dubstep thread in regarding younger producers in the UK scene. Edit: Young Smoke mix was decent, but the moment that Rashad track came on was the moment I lifted my eyes up from my Angry Birds game like what is this brilliant work of art right here then. Just can't compete with the Tekkz when it comes to raw heat.

Should've said unreachable I guess. I'm aware of his profile on Facebook and I've tried contacting him twice but never got a response. Apparently his tracks were up for sale/download at a place called imeem, but that seems to be non-existing now. I know of one guy at DSF who managed to get them back in the days but he's not willing to send them, which is understandable.

I'll just periodically bring the subject up in the hope someone will have them up for download or sale, really wouldn't mind paying a few bucks for them. Anyone know of any blogs or forums that cover this stuff regularly? Dave Quam's seems to have gone quiet. No really accurate blogs.the Lit Cit website will have an active Blog with videos, mixes, trax and other exclusives.

Give us a month. I hope someone still has it then and could upload it somewhere. The link on his blog is expired. Can give you this one for sure. I'll upload this for you.

Why they gotta hate on flight muzik?:( That is referring to DJ Diamond, no? Also, does anybody know what beef they have with Chrissy Murderbot nowadays?

That's just intriguing as not too many moons ago he was collabing with Spinn and throwing a night with Dave There's no hate with Flight Muzik mate. They're youngers who don't respect the Tekz. Diamond runs his mouth here and there but no one cares. He actually just tried to flip the It'z Not Rite sample. Compare it to Rashad's and you're gonna understand.

This sample borrowing is constant and it's one way. The Tekz do it first always. Then Flight or Bosses come thru and bite off it. No problem really but it's just something to note. Helps realize who the most talented producers are. T-Why who's ex BOTC was claimin Rashad was shot in his stomach while we were on tour in Europe.

That's childish no? So whoever callin us petty, get to kno what the deal is before you make your asinine assumptions. We're good people - there's a reason behind issues. Chrissy is a whole other story. He is a lame. Outright psychotic. Was telling press before our tour that we were a nightmare etc when we were paying expenses and taking care of our end ourselves.

He continued to tell them, he wasn't looking forward to handholding us along the tour. It was his way of making us look bad when his tour fails because he's a con artist. If it suceeded he could look like a patron of the hood. He did tell Wills' buddy that he prefers to be called a 'sissy boy from the hood' lol.I don't want to tell y'all what he told us about his past.

He earned the same as 3 footworkers and 2 djs made plus myself earned every night meanwhile wasn't bringing anyone to parties tbh. He'd throw fits and promoters would complain about him regularly. He was a creep when Mike P was around interupting constantly, talking about giving himself a concussion etc. When Mike first met us and was trying to talk trax with us. He would do weird things like take the Serato box home with him trying to sabotage parties, print tickets and not give us our tickets while we would print him his and give him his, steal money from the dancers claiming to be their manager etc. He even tried to have us sent home returning to LDN from Geneva the lil neek. He lied over and over about his role organising shit and prior to tour was on bs trying to sign Rashad to his label.

He was talking to me, negotiating and such, while telling me Rashad said one thing, Spinn said this, Gant said that - meanwhile we are all talking and no one said shit to him. It's all very long but he's a dire human being quite honestly. Even his booking agent quit on him cus he's a proper diva. His party with Dave was his way of getting in with the Tekz as Quam is Teklife and Dave was ready to quit after two. He never paid anyone shit and was known for stealin trax.

He never collaborated with anyone. He had Gant say some shit 3 years ago as Gant was easily accessible at the time being a DJ all over the city and his track with Spinn is an old tune Rash made and he's just gotten the stems and reworked it innit. LMAO yea diamond, young smoke and metro i think.aziza's said it before on here, but i think it's mainly because they're a lot younger and use dodgy samples, space imagery, fruity loops etc.same reason they resonate so well with ppl over in the UK i reckon, ironically enough! Mike mu gets his scope PERFECT in his sets i reckon, really representing with lots of tracks from the young guns out there that would be criminally critically underrated if it were'nt for mu (it really is only him pushing any of them right now.) well worth checking out his recent 'afro-futurist' boiler room mix just for the landslide of super future unreleased young smoke tracks at the start - ARRRGGHHH! All the unreleased tekkz bits too after! As for the murderbot thing - they were trolling the fuck out of him on that same boiler room show, you couldn't get a word in on the chat room and they kept calling him 'murderfag' really really embarassing.

Some lame excuse given like he said that he would put stuff out for the tekkz guys but then didn't or something.seemed really really petty. EZ maaaate - AGE HAS NOTHING TO DO WITH IT. It's really the constant appropriation of Ghettotekz tracks and the samples in them. It's weird isn't it? Especially if you don't out do the original.

Sampling is an art. If you have to rely on other local producers for samples or ideas something's off innit. I've never heard the Tekz reference the other producers or use their chants or samples. And when Chris was being hounded on Boiler Room, I was trying to tell that person to stop. That was a weirdo ex of Chrissy not us who he's sueing lol - why the fuck would we be so petty.

Can't control someone in Chicago from NYC. We got shit goin on and don't troll like total neeks. We got trax to make, tours to book, interviews to do and records to sort LOL I can't argue about Mu's representation of the whole scene. Their scope is wide and if not for them, no one would be know who Nate or Roc or Diamond were/are really. However, I would argue his mixing style is that of an outsider. That's fine but pre mixes aren't the same as a live DJ presenting their trax and their contemporaries on some Technics actually mixing in the flesh. They are an enthusiasts curation of trax - just a hobby innit.

Sometimes things come in off beat and generally, you'd have to argue that's a no no as it misrepresents the track. A track mixed on beat always will sound better - u can blend it for long it wont clang.

The art of mixing is key - look how Traxman or Rashad or whomever makes long blends, makes trax's samples/chants speak to each other/relate etc, cut/chop etc That's the real essence of DJing when you're from Chicago. Bein a good DJ is more than just playing a mix made in logic and using filters and fx live. Either way no biggie just listen to the DJs do their thing and pay attention. If you wanna dj trax and represent the scene.

Lol if not do u however u please. He's probably my favourite producer in this field, it's really frustrating I can't get hold of his tracks. That's cus he's not a producer. No one in Chicago has heard of him.

Double checked for y'all. He's using other people's trax and footworkin to em in videos.

Big deal lol he's not around anyway. These are all old as hell. Not in the uk, but still loving the space samples. One thing I've heard them say is that the younger guys don't make music you can dance to, and this may very well be true in that you can't dance to it like you do to more traditional forms of footwork.

Idk, it's something that came up in the juke documentary where some of the older dancers were recounting looking at younger generations and being like 'ey they just kickin they feet, that aint dancin'. Some of these alternative juke/footwork artists aren't really making music to battle to, though I guess they can also seem a bit too soft and safe, 'intelligent', which is what most people were complaining about in the post-dubstep thread in regarding younger producers in the UK scene. Edit: Young Smoke mix was decent, but the moment that Rashad track came on was the moment I lifted my eyes up from my Angry Birds game like what is this brilliant work of art right here then. Just can't compete with the Tekkz when it comes to raw heat Props mate. As far as what u said about the Tekz - they're the originators.

No one can argue. Anyone else who says otherwise doesn't know what they're talking about. I'm going back again to the Chi Monday. Playin in Ohio on Tuesday: Rashad Manny Litebulb n myself. Then back to the Chi.

Monday after Tim and Akinola from Tim and Barry/DontWatchThatTV come to the Chi. We're gonna do a JustJam from Chicago, set up regular stream spots from Spinn's basement and Traxman's lab. Also, we'll be shooting many music videos.

LitCityTV will be back soon. As for Tribe media on YouTube I'd ignore most of it. They're a bunch of snakes. We brought their Chief to nyc 3 times and the 3rd time he robbed us of 2k which was what we were gonna use to press a Rashad 12' with. Tribe don't go to any events anymore. They've only been at one place and there was security there.

They're in hiding because of this and many other disputes for shady shit they've been on. It's funny and sad. I'll get some real shit on the net this month for all y'all. Producers using the same samples is cool with me - as long as they do something else with it rather than just loop it. Thats what competition is about i thought, seeing who can do something better with it. But all that stuff is interesting. I still like the diamond album.

The first half especially. And i have to confess that even though rashad and spinn seem to get a lot of props for being the 'best' producers, i still hear stuff of theirs that doesnt always sound that technically accomplished either. That just seems to be what footwork is about. Thanks, AZIZA, you're our window into Chicago yea, absolutely second that! Big ups aziza don, and my bad on the false accusation with the boiler room chat room thing. Was really hard to tell what was going on to be honest!

But i do remember you telling him to calm the fuck down actually now. That guy was fucking awful though wasn't he!?! It is a bit weird with the ripping off thing from the younger ones.i remember with grime early on there was all of that stealing beats and stuff going on and people vocalling tunes in reaction getting really vexed.glad to be a bit of an outsider to the politics of this one, cos all the music sounds great! Haha!;) don't doubt that the tekkz are running things right now either, don't think anyone on here does mate tbh! Respect where it's due!!! Just loving so much of the footwork sound atm really wanna support it all!

My days, yes sarantis is doing some absolutely incredible stuff at the moment at this speed! Him, lenkemz, warlock, ebola and all the other UK artists dabbling in footwork / juke are churning out some absolute ravey bangers which are all keeping me very very happy at the moment. Some incredibly succesful collabs going on with lenkemz atm too. Oh plus, the rashad + distal team up of recent has not only given birth to this piece of 2 rude vocal science fiction, but also a double b side of jungle / hardcore bootlegs (!).

It's almost too good to be true isn't it! Somehow it makes perfect sense that the japanese are into this stuff I like keeping an eye on the young tekz, this is solid: That Earl LP I posted earlier is great as well now that I've taken the time to properly listen to it Though I guess compared to Traxman they both have a long way to go, but one really shouldn't compare them gwan young tekz. Look how happy they are to be a part of the movement. Pretty sure they're stoned as well but according to Spinn that's a big part of the life.

Shit that traxman FACT mix is so fucking distorted though! Thought the overdriven bass sounded pretty cool and ghetto for the first part but then it just gets ridiculous.

Bit of a shame cos the selection sounds great and he is a proper proper DJ. Good new interview and mix (mainly of tracks from the new album) here Genuinely think the traxman album deserves all the praise its getting, its probably the best juke release I've ever heard. It just all sounds so classic. What do you think of the album? I know you just said you were sick of the old jazz and funk samples, but this album is absolutely dripping in them.

My fave Rashad stuff uses those type of samples too. I bought the Traxman and was a bit underwhelmed for that very reason, have only listened to it once. The acid track was great don't remember the rest. Funnily enough I listened to it as a Traktor playlist which meant a couple of tunes came out at double speed due to incorrect auto bpm, those were the ones that really made my ears prick up cos they sounded mental, once I realised I slowed them down and they were a bit boring. I couldn't really get with that Rashad album for the same reason The footwork all just sounds a bit too smooth to me these days, to keen to sound 'mature'. Sadly i'm old enough to remember the horrors of Jazz & Bass (no DJ SS no!) I've heard all the samples they use in the originals and the Hip Hop tunes that sampled them first and i'm really not interested in hearing them again. I want more stupid pitched up samples and weird noises.

At least a bit more variety in sample sources would be good. A couple of tunes off that DJ Earl one were ok, he does that Bladerunner dystopian synth thing pretty well which at least makes his tracks stand out a bit.

The thrill has gone sadly. Most mellow footwork is kinda boring tbh. Works well in a set to bring the tempo down a bit but its still a bit ho hum. Doesnt help that you can instantly place the samples most of the time or that the actual chopping of things like EWF or stevie sound a bit sloppy.

Traxman album is good but i think most of the praise is like the reason people gave altered natives so much praise - theyve been doing it a while, theres history there, and it shows in the production, hes just really good at getting around a piece of kit and getting good sounds. But the actual tracks i think arent always as exciting as the best stuff on the diamond or roc albums or the first bangs and works. Well apart from the acid one which is one of the best things ever. The mix is a bit tiring on the ears though, yeah. @wise, there is even a 'jazz n bass' track in the traxman mix near the end! I gotta disagree about trax that sample jazz being boring imo, but I think the way you guys picking apart which trax, or which kinds of trax you like or are good or not is sort of missing the point.

I've seen rashad and traxman play more than once each and what impressed me more than anything is how many DIFFERENT kinds of trax they had, and how much ground the could cover in terms of the vibe and sonic palette they were playing from, while keeping everything roughly around 160. Whats really great about this music imo is when you have all these different types of tracks, ghetto housey, Jazz & Soul, Pop, Acid etc. Overlapping and interacting with each other. I've heard rashad play trax that I thought were kinda boring and too minimal when I first heard them, but mixed into a live set, were incredible. That's a definite purchase been after that for time:D cheers man!

Sorry to spam as i know its a bit uncooth and off topic, but got a great press release courtesy of Dave Quam on Clent BLNK002 A few miles directly south of the Magnificent Mile, Chicago’s largest shopping district and go-to tourist destination dating back to the 1940s, lies a neighborhood that might not attract out-of-towners looking to shop at Marc Jacobs, but has proven to be a breeding ground for musical legends of the Windy City. Known as the Low End, an area where notorious public housing projects such as the Robert Taylor Homes and Stateway Gardens once stood tall along South State street before the CHA’s Plan for Transformation of the early 2000s led them to be demolished, was where many Ghetto House and Footwork producers once called home. One of these people is Clenton Hill aka DJ Clent, and his late 90s classic “3rd Wurle” (retitled 3rd World) was a key record in the construction of the sound that kids on the South and West Sides of the city dance to today. Born into a musical family of DJs, Clent got his start spinning records on his parent’s equipment when they weren’t looking as a toddler.

As he grew older he honed his craft playing at various skating rinks, dance competitions, and school parties throughout the city, learning from some of the best DJs of the Low End such as DJ Deeon, DJ Greedy, and DJ PJ. He formed Beat Down, his notorious crew of dancers and DJs in the 90s, and together with fellow member Majik Myke on vocals, he put out some stone cold classics during footwork’s infancy, and changing the game up as the 2000s began. These days Clent is still a force to be reckoned with, still regularly DJing on the South and West Sides of the city, as well as on Power 92, one of Chicago's most popular hip-hop stations. His first 12” “100% Ghetto” dropped on the legendary local label Dance Mania records in 1998, which featured hits such as Bang Skeet (the original, not DJ Chip’s), We Bout It, and 3rd Wurle, the later of which would become a footwork classic. Its buoyant horns almost drift away, only being held down by the tangle of claps placed for dancers to follow suite.

If you survey 10 footworkers, 8 of them will most likely call this one a favorite, and even the younger generation of today considers it a favorite. Over a decade after its creation, 3rd Wurle still sounds fresh, alien, and downright evil. I gotta disagree about trax that sample jazz being boring imo, but I think the way you guys picking apart which trax, or which kinds of trax you like or are good or not is sort of missing the point. I've seen rashad and traxman play more than once each and what impressed me more than anything is how many DIFFERENT kinds of trax they had, and how much ground the could cover in terms of the vibe and sonic palette they were playing from, while keeping everything roughly around 160. Whats really great about this music imo is when you have all these different types of tracks, ghetto housey, Jazz & Soul, Pop, Acid etc. Overlapping and interacting with each other.

I've heard rashad play trax that I thought were kinda boring and too minimal when I first heard them, but mixed into a live set, were incredible. Yeah it's all about variety, i'm just not hearing enough variety in the releases at the moment. Man speaks the truth when he say. 'Footwork' is prime proof of a recurring truth in dance music: While the various electronic vanguards strive self-consciously to break all sound barriers, it’s the functional styles that produce the real breakthroughs truth indeed. I am so proud of all the footworkers who continue to make better material than some of these /nameless/ various electronic vanguards. So proud, in fact, that I'm getting them gigs. I encourage any of you behind-the-scenes folk to book Rashad, Spinn, Earl, DJ Roc, Traxman, RP Boo, and T-Why (now EQ Why) - I've seen them play firsthand and it's absolutely breathtaking.

Yeah it's all about variety, i'm just not hearing enough variety in the releases at the moment the novelty (and amazing material) has left a bit, but as I said upthread, book or travel to see these fellas play live. Non-chicagoans playing chicago footwork to a non-chicago audience can really only get you so far. It's bizarre that Rashad and company are not dissimilar to DMZ, but without nearly as much acclaim or (correct me if I'm wrong) paying gigs.

These chicago cats can offer something completely unique from anyone else around the world in a live setting, as you'd think of Mala several years ago. I'm not saying that footwork has as much momentum as dubstep did - rather, the ratio of footwork 'techniques' being co-opted by established scene names is disproportionately high to the recognition/benefit of the creators. Wise, thanks for posting that awesome War Zone vid with EQ Why pon the decks. ^I'm never against godflesh but on hearing that I immediately thought you know what justin broadrick-related thing would be aces in a juke mashup? Napalm death. Two extreme, weird, sui generis musics. I bet juke + grindcore (if you chopped it up into loops) would go down a storm.

Or maybe not but I'd like to hear someone try.stick w/the original grindcore from the late 80s tho (nd, repulsion, fear of god, etc). Grind peaked as an art form in 1988 or so. It's kind of a dead-end, if a glorious one. 326322n.jpg.artwork by Ashes57 ARTIST: DJ RASHAD TITLE: TEKLIFE Vol. Interesting to see head of NYC's former number 1 dubstep night (if i'm not mistaken.) doing a release of weird mutant-y footwork variations for seclusiasis.

On the footwork that isn't really footwork but is still really good vibe also worth checking this red bull session from mike paradinas plus reading this very thoughtful article on the red bull music academy site, 'Flashdance; Footwork and the Future' http://www.redbullmusicacademy.com/magazine/flashdance-footwork-future. Juju-Juke demonstrates the epic reconnection between African tradition and Afro-Diaspora: between Nigerian Juju/Fuji music and Chicago Juke/Footwork, between Ethiopian dance styles and Detroit Ghetto-Tech, between Iberian trad-modern street sounds and American R’n'B/Pop, between Afro-Punk and Club Music, between Congolese Mbira workouts and Hiphop, between Ghanaian and Senegalese drumming and Urban Bass Pressure. OK, seems like it's time for me to clarify some shit. I've heard a lot of crazy rumors, and I'm tired of uninformed, one-sided, fanboy rantings from Aziza et al. Point by point: sissy boy from the hood I believe I said 'girly kid from the hood', but who cares? I am a kind of girly, nerdy kid who grew up in a shitty neighborhood without much money and there is nothing wrong with that. Unless you hate poor people or you're a homophobe or something.

Jamie/Aziza is a fucking hypocrite, buddying up with the LGBT community now that ballroom is fashionable, but at the same calling me a sissy and fag. You can't have it both ways. I don't want to tell y'all what he told us about his past. I am admittedly an outsider to the world of footwork, but at the end of the day I am a poor kid from the Midwest and my upbringing was not substantially different than that of Gant's or Spinn's or other footwork DJs who didn't grow up in the projects.

I grew up around a fair amount of crime and violence and dysfunction-we always had clothes on our back and food on the table but it was a struggle for my mother (who is a fucking saint, by the way). I fought HARD to get out of that situation, and I am proud of the fact that I can now live a middle-class existence. Aziza is a very wealthy kid from England who pretends to have some sort of insight into this world, so take that with grain of salt. Dave has lived in Chicago, but he currently lives back with his parents in their fancy neighborhood in Portland, Oregon.

At the end of the day it's not my job to prove my poverty credentials to a couple of fucking privileged rich kids living off their parents. Was telling press before our tour that we were a nightmare etc when we were paying expenses and taking care of our end ourselves. He continued to tell them, he wasn't looking forward to handholding us along the tour. I never told press that Spinn, Rashad, etc. Were a 'nightmare' before the tour.

For the record, working with Rashad IS a fucking nightmare, but I am a professional and I don't trash-talk an upcoming project. Even afterwards, I have gone to great lengths not to shit-talk, even while these petty fucking divas shit-talk me left and right.

He earned the same as 3 footworkers and 2 djs made plus myself earned every night I earned the same money that Spinn earned, same as Rashad earned. The footwork dancers were working for free, to my understanding (except for the Sadler's Wells gig, which was a dancers-only gig). Jamie (aka Aziza) was not on the tour's payroll. I don't know whether he paid his own way or whether Spinn & Rashad paid for him-I had no business relationship with Jamie so I can't say. He'd throw fits and promoters would complain about him regularly.

I am a very professional guy, and I am pretty easygoing for the most part. I get along with the overwhelming majority of promoters just fine. I can be uptight about the equipment being correct, the flyers spelling my name right, or stuff like that, but that's because I run a professional show and I expect others around me to be professional as well. Spinn, Rashad, and Jamie are unprofessional, and it made it difficult for me to work with them. Case in point. He would do weird things like take the Serato box home with him trying to sabotage parties, As a professional DJ, I bring my Serato box to the gig.

Spinn and Rashad came on a month-long international tour without bringing a Serato box! They just expected that they would be able to borrow mine, but they never actually ASKED me to borrow it, so I didn't realize they were counting on using it. For the first gig of the tour (Brighton) the club had a Serato box so it wasn't a problem.

But on day 2 (Paris) I was tired and wanted to get some rest after my set, so I packed my stuff up and went back to the hotel, not realizing that they were counting on using my box. I get a text message from Mike Paradinas saying “we need you to bring the Serato box back so Spinn & Rashad can play!” I had NO IDEA they were expecting me to leave my gear at the club so they could use it because a) professional DJs bring their own box and b) THEY NEVER ASKED ME. Jamie then shows up to the hotel calling me a pussy and a bitch and all sorts of sideways shit, and STILL I let them borrow the box, because if the show stops it reflects poorly on all of us.

Print tickets and not give us our tickets while we would print him his and give him his I am not your manager, your booking agent, or your mommy. Since when is it my fucking job to print out your cot damn boarding passes? Be a professional, you sniveling fucking manchild. Steal money from the dancers claiming to be their manager etc. The dancers weren't getting paid on this tour—just travel and lodging. That's pretty standard for dancers on a lot of tours (unless you're Madonna or something).

They had one paid gig, which was at Sadler's Wells, and paid them $500 each. I organized the Sadler's Wells gig for the dancers singlehandedly, without taking a cut. My motives for doing this free work were to a) promote a scene that I thought needed promotion, b) get the dancers' flights paid for so we could afford to bring them on our tour, which would hopefully result in more interest from promoters and more bookings. I loaned the dancers a total of US$450 so they could eat until their Sadler's Wells gig rolled around.

They never paid me back. Marcus Noblett from Littlebig (our agent) offered to intervene and handle the situation—he took responsibility and said he would make sure I got the $450.

He then backed out on that promise, and we got into some heated arguments about it. In the end Marcus's made good on his promise to reimburse me the $450, but by that point neither of us had any interest in working with each other in the future. I believe Marcus is still waiting to get repaid by AG, Litebulb, and Manny. He lied over and over about his role organising shit This tour was initially supposed to be a tour for my album (Women's Studies) and for the Bangs & Works compilation. Mike P asked me who I wanted on the tour and I said Spinn & Diamond. That didn't work out because of their beef or whatever, so then I suggested Spinn & Roc, but Roc didn't have a passport, so then we asked Traxman. His passport was expired, so then we asked Rashad.

I was hesitant about Rashad because he had previously been denied entry to the UK (for not having a work visa) and I didn't think we needed any sort of undue attention brought on us at border crossings. I had a hand in picking the lineup of this tour, and I helped two of the three dancers get their passports.

Additionally, I sorted out the aforementioned Breakin' Convention showcase at Sadler's Wells-the real high-profile footwork performance outside of America. This is a big accomplishment and I am proud of it. Mike Paradinas or Marcus Noblett can confirm that this is all true. Even his booking agent quit on him cus he's a proper diva. See above about the $450.

His party with Dave was his way of getting in with the Tekz as Quam is Teklife and Dave was ready to quit after two. He never paid anyone shit and was known for stealin trax My party with Dave was a way of reaching out to young talent and trying to bridge the gap between the North Side and the South Side. I gave Dave Quam his first paying DJ gig so you'd think he'd show a little respect for that. Dave & I paid the DJs whatever we could afford to pay from the door and the bar. We never promised something that we didn't fulfill.

Any questions? Ask me to my face instead of believing a bunch of childish hoodrat gossip. Chrissy at murderbot dot com.

It's a bit quiet in this topic, surprising considering the release of Rashad's debute album which is absolutely mental, Africa Hitech dropped Welcome to the chi last friday at a party I attended and the crowd went mental, so much energy, so much force. I'd like to recommend this track as well: AND, did anyone check out DJ Earl - Audio Fixx? You can stream it here (I say it's great! Been lurkin' this thread for a while now, but haven't ever felt the need sign up til now. Was living in Chicago for a second, but just moved back to NC. Since 'footwork culture' doesn't really exist in the south yet, I'ma try to stay locked on here to substitute what I can't get in person.

I NEED TO GIVE A MAJOR SHOUT OUT TO BOYLAN (TEKLIFE) for giving me the address to BGz on soundcloud- for real, I can't thank you enough man. I went out every Sunday I could after you hit me up. 100% Life changing shit. Also s/o to Dave cuz your blog really laid out some of the basics when I was first trying to figure this shit out.

I didn't stick around to hear your set at that candy kid rave in Humboldt Park and couldn't go out to Smartbar cause I'm a babychild, but hopefully I'll catch you one day. All things in time mon. Anyways, here's some footage my gyal took at warzone and BGz. There's a couple more that are lost somewhere in the tumblr void, but if I can find 'em I'll be sure to post them on here. Edit: oh yea, who can break down the weird hemiola patterns in tracks?

Been trying for months, but can't wrap my head around. Clents 'Bounce' or EQ Why 'Suck My Dick' are examples of what I'm talking about. BGz is shorthand for BattleGroundz. I see a lot of people on here have their own opinions on footwork, but people in Chicago have even stronger opinions.

My 2¢: I regularly went out to BattleGroundz, and fucked with da WarZone a couple of times. During the time I was there, they were completely different environments, with pretty different scenes. They were/are both on Sunday evening (sometimes there are BGz or WZ special events on other nights), so there's kinda a divide in the scene on who can go to which event. Most people kinda have a defacto allegiance to their spots, which kinda has to deal with location (BGz=South, WZ=West) and a few other factors.

Some people have even put out diss tracks to the other location, which can be fucking hilarious. Anyone catch EQ Why's 'Them Girls at WarZone Suck Dick' track he put up on soundcloud a few weeks ago? BattleGroundz is at dance studio/community center on the Southside and is raw as fuck. Reese, the main organizer of the dance studio, is a fucking dawg and supposedly has a documentary coming out about him and his studio (Before moving to Chicago I was involved with the DIY punk scene from my area, and I think if you try, you can draw a lot of parallels between something like DIY punk spots and places like BGz or the Slaughterhouse (the footwork equivalent of an underground Punk House out on the far west side of Chicago). People who go out to BGz are there to dance, DJ, socialize, and chill, but when it boils down to it, everyone is there to support footwork music and culture with relatively little BS. As an outsider to the scene, I felt much more welcome at BGz than at WarZone.

From the videos I've seen, WZ looks like it's been at a ton of different spots and had a few different 'eras'. No disrespect to WZ/Wala, cuz his videos have helped make this shit accessible to people outside of Chicago, but whenever I went to WarZone I felt like I was at a middle school dance or a fucking bar mitzvah afterparty. I think it's Spinns track that's like 'Damn, that bitch is 14'? I never felt like that was more true than at WZ, haha. Don't get me wrong. The youth rule.

It was just weird to feel like the oldest person there, and I'm only 19. When I went they just found a new spot at a giant rec hall or some shit that Wala rented. There was security guys in suits who frisked everyone down, door price was higher than BGz, and you had to sign in on a list stating your gender, age, name, and maybe e-mail.

Way more commercial than BGz, and way more party oriented. Mostly just top 40 hip-hop, with some underground chicago rappers thrown in (DGainz/Staingang/etc), then a couple footwork battles for like an hour, and then hiprolling for the rest of the time (WarZone was only half a mile away from where I stayed, but I never really fucked with it cause it seemed too watered down. Unless I could get someone to drive me, I had to take the bus and train for like an hour and a half each way to get to BGz, but it was always worth it to me. BGz and WZ are the two main events, but there were some other ones that popped up briefly as well. And of course, people don't need an 'event' to footwork. If you're in Chicago for long enough on the south or west side, you will see people workin at bus stops, train stations, parking lots, etc. I'm not the grand expert on this shit, just trying to give some insight into how I perceived the scene for the time period that I was there.

Hopefully someone finds it interesting haha. It's a bit quiet in this topic, surprising considering the release of Rashad's debute album which is absolutely mental, Africa Hitech dropped Welcome to the chi last friday at a party I attended and the crowd went mental, so much energy, so much force. I'd like to recommend this track as well: AND, did anyone check out DJ Earl - Audio Fixx?

You can stream it here (I say it's great! Do It Again is great Audio Fixx is pretty good, weird that you can't buy it on the bandcamp, anyone know what's going on there? Also is Maasacooramaan Dave Quam? That ep's pretty good. Interesting to hear your thoughts on War Zone Vs Battle Groundz man. Just a few things: It isn't exactly a west side vs south side thing with these two events, lots of djs and dancers from the west sides and south side go to both.

War Zone definitely has a younger crowd, and is a bit more 'controlled'. Battle Groundz is always more of a party. Both parties have also changed locations a bunch, though BGz has been at the dance studio on 83rd for a while now. Yea man, you're right. I've def seen people hit up war zone and then go to BGz after, DJs and dancers alike. There are def people you're more likely to see at one event rather than the other, but that's kinda the nature of having two similar events on the same night.

Location inherently plays into it, but there are other factors aswell. RP Boo touches on it in his interview with crossfire and I think his analysis is on point. Considering how things could be, I think they have a realitivly healthy dynamic. BGz is by 87th and stoney island now! Think it's been there for like a year and a half at least.

Still Resse/final phase tho lol. Wz is between spots right now I think but last place was right west of garfield park. There were several other events happening when I lived up there but not as big or consistent.

I think it's kind of silly but what the hell, Traxman's always been a bit off kilter and this is just a free EP Spinn LP is showing promise though with the release right around the corner. September 2nd according to the soundcloud link I just hope it has something equally massive on it as Welcome to the Chi from Rashad's LP or Footworkin on Air from Traxman's.

Spinn keeps a pretty low profile between releases, but I trust he'll deliver nicely. Just a quick shout on here, but, LONDON MASSIVE - we will be holding our 2nd ever 100% JUKE AND FOOTWORK TRACKS party at The Alibi in Dalston, East London, this Friday 31st August. The bill's topped by juke chainsaw massacre-r Leatherface and Rag & Bone Records co-head Warlock, who will be doing an exclusive 160bpm set. All info here - 100% upfront and exclusive chicago and worldwide tracks + free entry all night. Would be banging to see some of the dissensus mandem down for it:D. Here is a little footwork mix I did a while back for Rinzence Fm Tiny Ears Mix / Planet Mu DJ's (thomasplanetmu) by zerovanity.

What do you guys think of the Young Smoke album? I remember someone asked for more bleepy kind-of juke some time ago in this thread well here you have it I guess.

Hardly any sampling. I think it's pretty wild. Tho I must say I have a weak spot for space-themed music and I can only dream about a remix EP by Arpanet.

Listening to Warning really reminds me of playing Half Life when I was younger, that scene where the reactor exploded and the whole alien thing got set in motion. Other tracks that stand out are Believe In Me and High Den A Mother Fucka. Roc uploaded some more madness to his soundcloud recently. This one's a fucking belter, must be a film sample or something - also avery from tribe's recent elegant energy ep's a good bit of afrofuturist mentalism, don't know if anyone else noticed, but there's a lot of footwork around london at the moment.

Seem to hear it out most times i go out these days! From what i can tell it tends to be more random soundcloud remixes that ppl are playing out (heard an alt-j rmx out the other day -yuck, yuck, yuck, yuck, yuck.) than actual chicago stuff, which is a shame - but good for the sound still! Guess it's just easier to get hold of. Om unit did a wicked 100% footwork type stuff set with some wicked halfstep hip hop bits thrown in at his label party recently - fucking ace. V futuristic.

Scratcha dva also mentioned juke in an interview with fabric recently (not the first time for him either.), said lots of good things, oh yea, and rashad and traxman's albums seem to be topping just about every dance music chart for 2012 imaginable (spin number 1 and 2 dance albums, and no 10 for someone from the nytimes off the top of my head.) - so in many ways in the UK i guess now it really is getting to be 'the new dubstep' circa '04 or something (in a kind of weird, splintered, internet-ty, imported kind of way.). Definitely good to see it enjoying success offline as well as online as this year comes to a close:D.

I want to hear grime guys do something with footwork rather than more post-dubstep ppl or artists just jumping on it cos its 'innovative' or novel etc. But its cool to have something new around, even if it isnt new in chicago. But if grime guys did something with it, surely they'd be doing it also because its innovative or novel too? Or would you just judge their interpretations differently because they're grime guys hmm post dubstep ppl = jumping on sounds, self concious, arty, trying too hard to be future grime guys = natural, authentic etc. thats how it works isnt it correct me if im wrong.:rolleyes.

Theres definitely more 808s in grime these days (though thats the trap influence mainly im sure). Listen to the snares that come in around 1:15 in Leon Best though, probably the only fwork influence in grime that comes to mind, i dunno, could just be coincidence or hiphop inspired http://www.youtube.com/watch?v=DtxoNkhKBes.

$3,599,772 $6M Dear Internet Archive Supporter, I ask only once a year: please help the Internet Archive today. We’re an independent, non-profit website that the entire world depends on. Most can’t afford to donate, but we hope you can. The average donation is about $41. If everyone chips in $5, we can keep this going for free. For a fraction of the cost of a book, we can share that book online forever. When I started this, people called me crazy.

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$3,599,772 $6M Dear Internet Archive Supporter, I ask only once a year: please help the Internet Archive today. We’re an independent, non-profit website that the entire world depends on. Most can’t afford to donate, but we hope you can. The average donation is about $41.

If everyone chips in $5, we can keep this going for free. For a fraction of the cost of a book, we can share that book online forever. When I started this, people called me crazy. Collect web pages? For 21 years, we’ve backed up the Web, so if government data or entire newspapers disappear, we can say: We Got This. We’re dedicated to reader privacy.

We never accept ads. But we still need to pay for servers and staff. If you find our site useful, please chip in. —Brewster Kahle, Founder, Internet Archive.

Dj Rashad Teklife Vol 1 Rar

$3,599,772 $6M Dear Internet Archive Supporter, I ask only once a year: please help the Internet Archive today. We’re an independent, non-profit website that the entire world depends on. Most can’t afford to donate, but we hope you can. The average donation is about $41. If everyone chips in $5, we can keep this going for free. For a fraction of the cost of a book, we can share that book online forever. When I started this, people called me crazy.

Collect web pages? For 21 years, we’ve backed up the Web, so if government data or entire newspapers disappear, we can say: We Got This. We’re dedicated to reader privacy. We never accept ads. But we still need to pay for servers and staff. If you find our site useful, please chip in. —Brewster Kahle, Founder, Internet Archive.

Dear Internet Archive Supporter, I ask only once a year: please help the Internet Archive today. We’re an independent, non-profit website that the entire world depends on. If everyone chips in $5, we can keep this going for free. For a fraction of the cost of a book, we can share that book online forever.

When I started this, people called me crazy. Collect web pages?

For 21 years, we’ve backed up the Web, so if government data or entire newspapers disappear, we can say: We Got This. We never accept ads, but we still need to pay for servers and staff. If you find our site useful, please chip in. —Brewster Kahle, Founder, Internet Archive.