The Beatnuts Street Level LP from 1994, I think this record is underrated, as far as beats, the shit is a masterpiece. And I think there was so much dope shit coming out at that in that era that, people kind of looked over this project. I think this is probably like, one of the illest boom bap New York records. It’s in my top five for sure. They’re known for production.
It’s cultural it taps into like cult, it’s downtown, it’s Uptown, got this guy on a one track, they got crazy hooks, it’s a combination of different things. First of all Mark, the 45 king passed away not too long ago. He was the king of finding these kind of funny samples, sampling these children and making these records kind of like bringing the inner child in you. Those beats for instance where the biggest hits. Jay-Z, hard knock and I feel like The Beatnuts were always digging these kind of quirky samples, and plus I know them, so I’m a little biased.
JU-JU at A1 Records NYC. Photo by Jeremie Delon
Vic at A1 Records NYC. Photo by Jeremie Delon
I met them through Lucian from Luck of Lucien. Tribe called Quest. He put us in touch with them like when he got deported in 1995, he was still in touch with them. And when I came here, he was like, “yo, talk to those guys”. And those guys were delightful human beings. At the same time, they were open minded, on some quirky, weird shit. They were on a different level. They were part of the native tongue.
Eric Duncan aka Dr. Dunks curates this edition of GENRE:NOW aNYthing’s dive into music we love.
Dunks unlocked his storage unit to bring us this classic LP recorded live in the Bronx at Yankee Stadium in 1973. The featured album is played in its entirety followed by tracks from the various artists credited in the live show. Check out the playlist below… It’s a New York Thing..
Eric looked at who the players were, and then went into their catalogs and selected one or two songs from them. There were special artist on that record such as Manu Dibango Soul Makossa an African saxophone player, Carlos Santana’s brother joins in as well. Jan Hammer who did Miami Vice later on in his career, He’s also on this record, Duncan put “Crockets theme” on the playlist. Duncan tried to highlight every single personthat was involved on The Fania All-stars Live at Yankee Stadium album.
Certain performances in music history stand out as truly legendary. One such moment was the spectacle that unfolded at Yankee Stadium on August 24, 1973, as Jerry Masucci presented the Fania All Stars in an unforgettable live performance. This was more than just a concert; it was a shift in the world of music, an eruption of salsa that left a mark on entertainment history.
40,000 fans descended upon Yankee Stadium at a time when salsa was still finding its footing in the United States. This concert represented a shift in the music landscape. Yankee Stadium, typically reserved for baseball and colossal sporting events, transformed into a colossal dance floor.
Salsa music replaced the crack of the bat, forever intertwining the stadium’s legacy with the history of Latin music. The concert showcased salsa’s rich tapestry, fusing Cuban, Puerto Rican, and Dominican influences. The Fania All Stars, one by one, unleashed their musical magic. Celia Cruz’s electrifying presence was a force of nature, Hector Lavoe’s soulful crooning reached deep into hearts, and Johnny Pacheco’s virtuosity on the flute cast a spell on the audience.
Jerry Masucci, the co-founder of Fania Records. His passion and vision would elevate salsa from the streets of New York to a global phenomenon.
The Fania All Stars were a constellation of salsa’s brightest stars. The lineup read like a who’s who of Latin music royalty: Celia Cruz, Willie Colón, Johnny Pacheco, Hector Lavoe, and many more. These virtuosos united under one banner, poised to ignite Yankee Stadium.
Abhi Chatterjee is the perfect example of a block print artist who knows how to strike just the right balance of technique and tone. His technical style is precise and shows both Western and Eastern influence. Because he prints by hand, you sometimes see small
“imperfections” in the prints which can be the result of the inking or printing process. The reason why I put the word imperfections in quotation marks is because I don’t consider these things to be flaws. These are the tiny details that give life to his images in unexpected and unusual ways. It also shows the hand of the artist, and gives soul to an art technique that can sometimes seem cold and detached.
Block printing, a form of art-making that consists of carving, inking and printing wood or linoleum, is a centuries-old technique that is practiced today. The dynamic, graphic quality of block printing is unique and has appealed to the sensibilities of artists throughout the ages.The result is an interesting amalgamation of ancient and modern that leaves a lasting impression.
Block printing, a form of art-making that consists of carving, inking and printing wood or linoleum, is a centuries-old technique that is practiced today. The dynamic, graphic quality of block printing is unique and has appealed to the sensibilities of artists throughout the ages. Throughout the 1990s and 2000s, there were few artists in the art scene that made block prints. And those who try the technique often find it difficult to escape the Medieval European or Japanese Ukiyo-E aesthetics that are so overwhelmingly associated with that art form. In my opinion, the best artists who make block prints are those who embrace the traditions of the technique and combine them with contemporary subject matter.
The result is an interesting amalgamation of ancient and modern that leaves a lasting impression.
It was 1997 when this spaghetti outpost opened in SOHO on Sullivan Street, They fed the community and housed all the scenes recipes. The other day while eating a bowl of pasta at the new Pepe Rosso location, Lorenzo Lamarucciola left his phone on the table, we asked him what random photos he has on his phone that he took through the years, so he scrolled through and this is what we got, a little taste of the flavors of Pepe Rosso to go
agnès b. is an artist a peer a friend and a visionary. If you are from a NYC SOHO of the mid 80’s and now, you know The agnès b. store was in your face on Prince St dead center, rite across from the original bohemian hangout Whole foods nothing to do with the corps.
She opened her first international store on Prince Street in New York’s SoHo district in 1983 the store was a meeting point and a lot of young creatives had jobs there [Artist Suekwon, designer Gaby Basora, Jennifer Baker/formerly of Bookmarc, Brigitte Prat / formerly of Lulus cuts and toys, Joe Avedesian, Megan Owen / biologist studies polar bears and pandas]. The store supported emerging artist and more. It sounds like the same blue print that is being used today in shops, brands and movements. She plays a big part in the formula so let’s give praise and flowers to agnès b.
agnès b. understands the abstract idea of a platform of culture that stages and sets up art, fashion all as one, it’s an energy thats is tangiable. She showcased the work of emerging talents alongside her own designs. From Jean-Michel Basquiat to Keith Haring and David Lynch, Harmony Korine, Futura 2000, Ryan McGinley. agnès b. played a pivotal role in shaping the careers and propelling them towards international acclaim.
agnès b.’s unique character is defined by her unwavering commitment to promoting the arts. She believed that fashion transcended mere clothing and embraced its intersection with culture, art, and society. Her philosophy is encapsulated in her famous quote.
“Fashion is not something that exists in dresses only. Fashion is in the sky, in the street; fashion has to do with ideas, the way we live, what is happening.”
In 1984, agnès b. opened the Galerie du Jour in Paris, exhibiting Graffiti artists such as A-one, Futura 2000, Henry “Banger” Benvenuti, Sharp, and others; Bazooka, Bad BC, Echo et Mode2, JonOne 156, BBC (Bad Boys Crew), Ash, Skki et Jayonedont, Les Tétines Noires, les Frères Ripoulin. The library-gallery on rue du Jour eventually relocated to rue Quincampoix in the 4th arrondissement. A second library-gallery agnès b. then opened in Japan.
In 2003 agnès b. organized a show called the “a NEW NEW YORK scene” champion the next generation of artist in a post 9/11 NYC, she flew 20 artist to Paris and put them all up. Artist including Dash Snow, Jose Parla, Dan Colen, Ryan McGinness, Craig Costello, The Kid America Club, Brian DeGraw and more..
agnès b.’s influence and legacy continue to resonate today. Her innovative approach to fashion and her support for artists have reshaped the industry, leaving an indelible impact on the worlds of fashion and art.
In 2020 agnès b. opened her foundation called La Fab. in the 13th arrondissement of Paris.
1977 After creating a striped top for the film Who Are You, Polly Maggoo? in 1966, she launches it in her collections. Made from the cotton used for rugby uniforms, the classic piece is made in four stripe versions and was worn by David Bowie (left).
“Since we launched, we’ve always sold the 12mm and 16mm striped tops, and we won’t stop. It’s a garment you know you can keep forever. It works for children, men and women. David Bowie loved it. We have pictures of him towards the end of his life wearing the larger stripe. No one knew it was agnès b. I never told anyone that we were dressing him.”
The Sound of Paul C, He was a producer and engineer who had his life tragically cut short at the age of 24 in what remains an unsolved murder and one of the greatest losses in hip hop history. For those unaware of who he is let’s just say that without him the likes of Large Professor would perhaps never had made the impact that they did on the music.
A proper Organized Konfusion shout out to Paul C at the end of Fudge Pudge.
Here is a found playlist of tracks he engineered, mixed and co-produced.
