Glencoe second graders get history lesson with walking tour

By Jake Krzeczowski For Pioneer Press

May 29, 2012 3:42PM

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Updated: May 31, 2012 3:53AM

Dozens of second-graders flooded into the garden of the Eklund Historical Center in Glencoe, snatching bags of pretzels and water bottles along the way.

In the middle of the scrum, Barney Berlin, corresponding secretary of the Historical Society directed the children with his thick wooden cane.

The kids were at the center on May 24 for the annual South School Historical Day and Berlin tactfully organized the students and parents into groups like a general preparing for battle.

“I’ve been helping with the (annual event) since I retired about four or five years ago,” Berlin said. “It’s fun, it really gives kids a chance to see things they normally wouldn’t, like our wind-up 78 rpm phonograph.”

The South School Historical Day is part of a year-long second grade social studies curriculum that focuses on teaching students about their own towns and neighborhoods.

South School Principal Molly Cinnamon said the visit corresponds to “my community” curriculum that encourages students to actively learn about their own community.

“We have a three day experience for them to do that,” she said.

Along with the visit to the Eklund Center, South School second-graders also participated in a walking tour of Glencoe guided by parents.

Chosen sites were marked with balloons and parents read to the students from packets they were given.

As students crowded around the center’s “Touch Me Table,” one looked at the typewriter in front of him.

“Where is the backspace key?”

The program and the current site of the Eklund Historical Center at 377 Park Avenue have been around for just over a decade and have benefitted from each other by hosting the annual event.

Aside from tours and exhibits, the Eklund Center also offers community research.

The colonial-style site was donated to the Historical Society following the passing of Sally Eklund in 2003.

“It’s a true picture of the community coming together,” said Catherine Wang, director of curriculum and instruction for District 35.

While the kids milled about the different exhibits in the Eklund Center, Wendy Gale and Fran O’Connor watched intently, taking mental notes.

“We’re in charge of putting this on next year for our children,” Gale, mother of a first-grade student said. “It’s a great way for the kids to connect with the community they live in and get a sense of the culture.”

AN AMERICAN EXILE

Verum Magazine, March 2012

Over winter break this year I was able to go on a two week study abroad writing class to Havana, Cuba. While I was there I was introduced to Nehanda Abiodun, currently living in Cuba under political asylum. After meeting briefly I asked to do an interview and the next day found myself in  on the outskirts of East Havana with just my photographer and a backpack filled with notebooks and cameras. Sitting for three hours in the bright Cuban sun with Nehanda was an unforgettable part of the trip but the story of how she got there in the first place is even more intriguing.

The Revolution Will (Literally) Not Be Televised

Track 1: “And now I’m like a major threat, Cause I remind you of the things you were made to forget” – 2Pac

Somewhere in the U.S., 1989

The monotonous tone of helicopter blades chopping at the brisk late afternoon air snapped her suddenly from intense concentration; “Ok, what will it be?” Nehanda Abiodun stood before her open closet, carefully investigating its contents as the walls closed in from all sides. Knowing full well that her spot on America’s Most Wanted list would warrant a parade of her image across TV stations and newspapers should she be captured, she took her time deciding precisely what to wear. “Something that won’t get dirty easily, something that won’t wrinkle,” she thought to herself, carefully fingering through the hangers. Sirens sounded in the distance.


Havana, Cuba – 2012

Sitting on the creaky red bench attached to one of two tables at Los Pollos, a state-owned fast food chicken bodega in the cluttered public housing section of Havana, Cuba known to us as La Bahia I began to wonder if she would actually show up. Popping a chicken croqueta in my mouth and washing it down with an orange soda I saw her approaching from across the street, trading pleasantries with seemingly everyone who walked by.

Pulling herself away from the crowd Abiodun approached my photographer Louis and myself, wrapping us into a hug that seemed meant for an old friend. Puzzled looks followed her as she embraced the two tank-topped pale Americans. Grabbing three Bucaneros from the bodega, she sat down doling out the take, “Let’s do this,” she said with a crack of the can, a smile crossing her face.

“Besos.”

Nehanda Abiodun, previously known as Cherie Dalton, holds a degree from Columbia University and a host of 32 felonies against her in America. She was third on the FBI Most Wanted list during her heydey in the late 70s for her involvement in the Lincoln Detoxification Center, a drug rehabilitation complex with a revolutionary message. Whether they are all warranted is up for debate. What isn’t however is the revolutionary spirit of the movement that she and her comrades were a part of.


Track 2: “Give the crack to the kids who the hell cares? One less hungry mouth on the welfare.” – 2pac

The phone rang, another interruption in her decision-making process. Carefully, she picked up the receiver without saying a thing. The voice from the other end informed her that police had set up road blocks around her neighborhood, were handing out photos of her asking for information. Muttering a quick thank you, Nehanda put the receiver back.

They were close; moving in.


Three decades ago, at age 30, Abiodun had had enough with community work. Seeing little positive results from her work within the system, along with the killing of a young boy by police in her neighborhood she felt compelled to do more.

“I felt I had to do everything I could to stop things like that from happening,” Abiodun said. “That’s when I decided to go about a more revolutionary path of bringing about human rights and the ending of ‘badisms’ that exist in the United States.”

To be a patient at Lincoln Detox and Acupuncture Clinic you had to take political education classes, do community work,” Abiodun said. “Doing community work, you were no longer a parasite on your community, you’re giving something back and getting a different outlook on yourself”

New York Comptroller Ed Koch, who would later go on to be Mayor and other members of the government had been keeping a keen eye on the center and it’s revolutionary ideals eventually closing Lincoln with a raid of nearly 100 NYPD officers and SWAT team members. The raid occurred at night, with only five or six attendants on duty, none of whom were Abiodun.

Lincoln was overseen by revolutionaries  like Mutulu Shakur and had loose ties to a string of Brink’s truck heists during which several police officers and security guards were harmed or killed. The attempted heists resulted in the jailing of several members of the group, also connected to the Black Liberation Army (BLA).

Stemming from the closing of the center, the attempted heists and the liberation of Assata Shakur in 1979, Abiodun was facing several charges under the Rico Conspiracy Act which deals with being a part of illegal organization for personal gain and had previously only been used in mob cases. She was also implicated in the escape of Assata.

“They say I and others were involved in expropriations of armored trucks, that we were also engaged in the ‘liberation’ of Assata,” Abiodun said. “Personally they say I was involved in the expropriations and aiding and abetting Assata’s liberation.”

The 32 felonies levied against Abiodun, likely a life sentence if tried, are the most of anyone involved in the liberations and “revolutionary” work.


Track 3: The war on drugs is a war on you and me, And yet they say this is the Home of The Free. – 2Pac

It had been eight years since skipping town on the grand jury. Eight years of living out of the public’s eye throughout America and it had come to this. Taking a deep breath she grabbed a pair of dark pants, black shirt and grey sweater. As sirens sounded in the distance, she dressed in a hurry; took a moment to smooth things over in the mirror and soaked in what very well could be her last moments of freedom.

As she put the car into gear and rolled out of the driveway, reversing to the street, she glanced in the rearview mirror, “Here we go,” she said to herself. Dropping the gear from R to D, the car jumped and she turned the corner out of her neighborhood for the last time.

It wasn’t long before what her friend had told her on the phone became reality. Sitting in a long line of cars, she peeked around those in front of her where she saw the black and white of police cars, officers stopping each vehicle with a document in their hands. With a car in front and behind her, a barricade ahead, Nehanda had nowhere to go; slowly inching toward fate.

After the breakup of Lincoln and the subsequent backlash that followed the failed attempt on a Brink’s truck, Nehanda skipped town describing it as “underground”. With a legitimate ID, a job and a home she was well within the reach of American forces but she managed to stay out of their way, for awhile.

She had been called by a Grand Jury to testify against Mutulu, but she refused and went into hiding believing the charges against her and others were bogus.

“At the first trial there was a ledger for all the money that was liberated, robbed, whatever went to do what?” Abiodun said. “To build the clinic, to finance a camp for kids, to help kids with college money. I still have people asking me ‘what happened to the $4.5 million, there must be a stash.’ Well if there is, no one’s told me.”

Speaking to Nehanda about the decades that followed is difficult, highlighted by half sentences, pauses and smiles followed by reminders not to talk about certain things. For obvious reasons, Abiodun is conservative about what she says and does. After all, she spent eight years underground across America. Helped by those sympathetic in the struggle she managed to maintain a semblance of a real life with her children still in New York.


Track 4: “And even to this day they try to get to her, But she’s free with political asylum in Cuba” – Common

As the officer approached her mouth went dry and she swallowed hard to clear her throat, thinking about the hectic schedule of the next couple of days would hold if she were recognized. A rapping on the window broke her reverie, bringing her back to the present. An officer stood outside her window, a similar bored look on his face. She rolled the window down slowly.

“Hello ma’am,” the officer said from behind thick black aviator sunglasses. “Have you seen this woman?”

She reached out and met the officer’s hand at the window,flipping the photo over over in her grip.

Nehanda had expected to see the picture, she had seen it almost everywhere for the better part of a decade: newspapers, magazines; repeatedly on television. This time though, tracing the photo quickly with her eyes she hardly recognized the woman she held in her hands in black and white. She followed the smile on her face to the dread-locked black hair she now wore up in a hat. The photo had been snapped a lifetime ago.

“Never seen her” she said, handing the picture back hoping he wouldn’t notice.

He didn’t.

Feeling herself slowly breathing again she passed by the cars and wooden blockades that made up the stop under the watchful eyes of the other officers before turning the corner and hitting the highway. It was late 1990. A couple months later she would arrive on the shores of Havana, Cuba; leaving the U.S. for good.

If Abiodun thought she had seen struggle in America, her arrival in 1991 in Havana was sure to open her eyes up to more. When asked how she got there she says matter of factly, “I didn’t walk on water.” The year marked the beginning of what Fidel Castro called “the special period” in Cuban history. Following the fall of the Soviet Union the country went through a time of intense economic collapse, felt most harshly by the people. It was normal for condoms to be shredded to mask a lack of cheese on pizzas.

“During the special period, people were just so united. If I had something and you needed it there was no questions of sharing it and vice versa,” she said. “I got used to holding on to things because you never knew when you might need it.”

She had arrived on the island fresh from her own revolution and eager to continue her support from abroad. The Cuban government granting her political asylum, however, had other plans. They ordered her to stop, to relax, allowing Nehanda the first semblance of peace she had felt in almost a decade of living underground.

“I’m really, really grateful to (the Cuban government) for insisting that I take a rest because I had spent eight years underground and even though I thought I was normal, I wasn’t. It had psychological repercussions, being underground all that time.”

Abiodun speaks of the pain she felt leaving her children behind initially, not being able to see friends or family members and a pesky habit of waking up in the middle of the night.

Life outside of the United States hasn’t been easy. Cuba, the only country listed as “self-sustaining” by the World Wildlife Foundation has it’s downsides. While she is appreciative of everything the people and government have done for her, there are times she feels it weighing on her.

“I’m comfortable,” Abiodun said. “I feel safe here. I have stress but it’s not the same stress if I was back in New York right now. I don’t worry about being put out of my house, about not eating.”

Politics now on the backburner, Abiodun had a chance to try something new. She began working in communities throughout Havana, blending into her community, picking up spanish word by word. It wasn’t long before her reputation preceded her and she was sought out.

Those looking for Abiodun however weren’t FBI operatives or military officials, but young hip-hop acts in Cuba looking for insight to the turbulent sixties and seventies in America; they wanted to hear about the struggle.

“I’m spoiled,” Abiodun said. “The youth that I see for the most part are very progressive, politically aware, involved in some sort of movement.”

The genre of hip-hop, mascaraded in America with showers of dollar bills, platinum grills and twenty-inch rims has taken on a different role in the land of socialism. It is a political tool of sorts in a country where there are few. Lyrics often work as a commentary on the government, confronting, within bounds, the issues they face.

Before long, Nehanda was tending to groups of Cuban rappers, often nearly a dozen at a time sitting on the floor of her apartment, looking to her for inspiration that is impossible to ignore when she speaks of listening to Malcolm X live or standing on protest lines at the age of ten.

Track 5: “In case you don’t know, I ride for Mutulu like I ride for Geronimo” – 2pac

During her time in New York during her community and revolutionary work there she came to be friends with a woman named Afeni Shakur, future member of famed American rap artist Tupac Shakur. For the first thirteen years of his life Tupac grew up playing and spending time with Nehanda’s children.

“Tupac was a year older than my son, but they played together like most kids that age.”

Abiodun was among those who impressed a revolutionary, socially aware spirit on the young Tupac Shakur was first impressed upon him. That politically aware mindset has carried over to her teachings amongst the Cuban hip-hop youth. Many come to hear the teachings she learned through time spent with the likes of Mutulu and Assata and the do it yourself mindset of their resistance to perceived biases around them.

She was first introduced to the hip-hop community by Dana Kaplan, then a young American college student studying at the University of Havana.

“While I was there I kept getting all these questions about the civil rights movement and racial justice issues in the U.S.,” Kaplan said. “Nehanda has a great historical perspective, I made sure they could have direct access to her, eventually she was hosting discussion groups in her apartment.”

Around the turn of the millennium the Cuban government declared hip-hop “an authentic expression of Cuban Culture,” and Fidel Castro called it “the vanguard of the Revolution.” The art form had jumped American borders and the locals were hungry.

Abiodun obliged,  bringing the Black August Hip Hop festival to Havana in 1999 along with the Malcolm X Grassroots Movement of the U.S. The festival has hosted the likes of Mos Def, Common and The Roots. Today Black August is one of the most important hip-hop organizations in the country.

Track 6: “It ain’t easy, being me. Will I see the penitentiary or will I stay free” – 2pac

Life in Cuba isn’t perfect. While citizens don’t worry for basic necessities, luxuries are seldom. The government is nearing a change as the Castro brothers age every day and it is the Cuban hip-hop groups that have increasingly looked to be the voice of the youth.

Since she was ten years old Nehanda Abiodun has sought to stand up for the change she feels is right for the world. She has sacrificed her family and her freedom but the only thing she regrets is not having done things a bit smarter. She is at peace with her life but of course would jump at the chance to return to America without jail time.

Whether she is lending her teachings to the young people of Cuba or fighting for equality in “The Land of the Free,” Abiodun has never stopped pushing for what she believes in as others forced her to adapt.

“When I meet my ancestors I want to be able to look them in the eye and say ‘yes I made a lot of mistakes, but I tried my best. That’s what I really want.”

By Jake Krzeczowski

(scenes in italics early on are not necessarily how things happened)

Glencoe Grand Prix is June 2

By Jake Krzeczowski For Pioneer Press May 28, 2012 8:30AM

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Updated: May 29, 2012 11:56AM

On June 2 hundreds of cyclists will converge on Glencoe for the annual Glencoe Grand Prix.

Growing from a small race in 2007, the Grand Prix has blossomed into a full-scale professional contest featuring riders from all over the country.

The event, hosted by the Glencoe Educational Foundation (GEF), features a series of activities for the community including appearances by Golden Globe award-winning actor Matthew Modine who will serve as Grand Marshall of the event.

Modine, who will appear in The Dark Knight Rises this summer, is an avid cyclist himself who is the founder of the Bicycle for a Day Foundation.

Through a partnership Modine has with Biomega he was able to donate $30,000 of bikes to West Town Bikes on the West Side of Chicago.

The bikes are part of an initiative at the bike shop to educate kids about bike maintenance and safety. At the end of the program, each child recieves a bike.

As part of his Grand Marshall duties, Modine will host a talk at Alberto’s Cycles in Highland Park to discuss cycling, his career and the mission behind his foundation.

“Matthew was just a great fit for the race,” said Jon Knouse, President of the GEF and Director of the Grand Prix said. “His love for cycling and charity just matched up great with what we are trying to do.”

Part of the week-long activities surrounding the Grand Prix is the Family Fun Ride on May 31, which allows parents and children to take a spin around the professional course on their own two wheels.

The Grand Prix is able to attract professional-level riders because of its inclusion in the USA Cycling National Criterium, the official tour for cycling.

“We’re on the national level in terms of racing,” Knouse said. “We have riders coming from all over the country, international riders. Beyond the professional races we also have a series of amateur races.”

One of those racers is a local talent, Mike Sherer of Winnetka, who won the race in 2010. After missing last year’s race due to injury he is eager to get back on the familiar track.

“The race is about five blocks from my Dad’s house,” Sherer said. “All the races in the North Shore have a special place in my heart and I’m coming in ready to go.”

The race was started in 2007 as a way to raise money for the Glencoe Educational Foundation, which benefits schools in the Glencoe area as well as select Chicago public schools.

“We used to have a dinner in the winter time to complement the bike race in the summer, but the race got so big that we dropped the dinner altogether in 2008 and focused on the race,” Knouse said.

In 2010 the Grand Prix was awarded the National Championship for the Criterium schedule which has kept it on the tour schedule ever since.

“The Glencoe Grand Prix is a big deal for a lot of people,” Grand Prix Media Director Jon Kerr said. “It really has grown into something special.”

Glencoe’s West School kicks off Fitness Week

By Jake Krzeczowski For Pioneer Press May 21, 2012 4:42PM

Susie Sherman hugs her son Jacob after she played soccer in his gym class during Fitness Week at West School on Monday. | Joel Lerner~Sun-Times Media

Updated: May 22, 2012 9:45PM

Moms and dads in sweats and gym shoes exchanged nervous smiles and raised eyebrows as a dozen third graders skipped into the brightly lit gymnasium of Glencoe’s West School, grabbing their parent’s hands and pulling them into the fray amid a collective smile.

May 21-28 marks Fitness Week for District 35’s West School, allowing a chance for parents to drop in throughout the week and participate in physical education classes with their kids. Fitness has been celebrated across the district this month.

“Instead of just having parents watch, we like to get them involved and see things first hand,” said physical education teacher Hillary Lee.

Lining up cross-legged on the floor, students and parents listened intently as Lee explained the rules of the soccer game they were to play, a warning to be careful seeming to be meant more for the parents than the kids.

“We had one dad go down earlier today,” Lee said. “But he was fine, the kids got a good laugh.”

After instructions, parents and kids moved out to the fields surrounding the school for the game, dividing into teams of red and blue.

Students at West School normally participate in PE four days a week and while it is not required for parents to attend, many show up several times throughout Fitness Week to spend time in class.

“This is my tenth year doing this,” said mother Becca Friedland. “It’s a great way to come out and show kids that exercise can be fun.”

As a nine year old in a Blackhawks shirt dribbled past a mom in yoga pants Lee explained that the program, which has been around for more than 20 years, is a great way for families to spend quality time together while advocating for a healthy lifestyle.

The week also comes on the heels of a visit to Chicago by First Lady Michelle Obama for the NATO Summit, herself a large supporter of healthy lifestyle choices through her “Let’s Move” campaign.

While Lee says she feels most of the students have no problem living healthy, it never hurts to have an adult role model to follow, hence bringing in parents and other family members.

One participant, grandmother Beatrice Cho, arrived at the school while still getting acclimated from a long trip to Korea early last week.

“My schedule has been so crazy since we got back that I’ve hardly slept, but I made a point to make it here for my granddaughter,” Cho said.

The kids also enjoy the competition.

“It’s fun to play with my mom because she’s better than me at soccer,” third-grader Shane Michelon said. “Plus she always passes me the ball.”

At the end of the half hour class both teams met in the middle, exchanging high fives and hugs. As they filed out of the field and back to the gym two of themothers glanced at each other with smiles on their faces.

“Same time tomorrow?”

INTERVIEW WITH AN HORSE’S KATE COOPER

Verum Magazine, February 2012

Kate Cooper and Damon Cox of An Horse

Verum had a chance to catch up with An Horse’s Kate Cooper. who with Damon Cox make up the band An Horse, while she was in the studio working on new material. The duo sets out on tour March 9 and visits the Blue Moose March 11. An abbreviated version of this article ran in the VMix section of the current issue of Verum.

Verum: Is this a typical tour for you?

Kate: This one is the perfect size. For me, it all feels kind of overwhelming, I have a month of dates and five dates in Australia which is totally manageable. In the past we’ve done two months in the states and a few weeks in Europe so it is just much easier to manage. It’s also one of our last tours on this record which is cool.

Verum: Are you currently working on new material?

Kate: That’s what I’m supposed to be doing instead of Googling coffee shops (laughs).  I’m actually set up in front of my computer and watching it open and it’s all set up and instead of doing what I’m meant to be doing I’m reading about coffee.

Verum: Is there a direction with the new album?

Kate:  We’re still in the early stages so I’m just writing, writing, writing. I have an albums worth of material but I think that we want to have, before we can contemplate recording, we need four or five albums worth of material. I’ve got some work to do, which I’m currently not doing. (laughs)

Verum: What can we expect from an An Horse show?

KateSerious rock and roll. It’ll be a bit longer, a few covers maybe thrown in. We’re not playing anything new just yet, can’t do that but we expect to have a lot of fun.

VerumHow did An Horse come to be?

KateDamon and I are from Brisbane, Australia originally and we worked in a record store there . He worked there a couple of years before me and I got the job there later. I didn’t know Damon well, I knew of him but we hadn’t met officially. I worked at the store for a couple of years and we’d go out after work and drink and talk about music and then we’d go to work and drink coffee and talk about music so we had this simple and amazing friendship. We understood each other and joked about starting this band. He used to get off work and tell me to pretend that we were on tour in America which at the time seemed to be the furthest thing from reality for us. We started jamming together and liked it and kept doing it. It’s the most unintentional band that ever came into being. We didn’t intentionally do anything.

Verum: Are you surprised at all by your success?

KateWell I mean success is an interesting term and there’s lots of levels to it. On one hand what we’re doing is crazy and amazing and very successful and on the other hand other bands are far more successful so I mean I’m still amazed I get to do this and we get to play with all these amazing people and bands, yeah I’m blown away. It’s just about time and hard work.

VerumWhat’s the writing process like?

Kate: I don’t really try to achieve anything. It just happens so I guess a lot of that record was just about a lot of the things that were going on in my life which is basically the way I approach it. I don’t really try to do anything because I think if I think about it too much it would freak me out. I do what I do. I would prefer to just be a poet but you can’t make any money as a poet (laughs).

Verum: What’s next for An Horse

KateI think mainly the focus is to knuckle down and write but I could be wrong. I’m a bit out of the loop because I ask to be kept out of the loop, don’t worry too much or freak myself out about travel schedules and whatnot. But I actually have no idea at this point which makes me think that we’ll just have to wait and see. We’ll wrap this tour up, go to Australia and do that and then get down to writing, try to make a new record at some point. I’d like to have a new album done this year.

ALBUM REVIEW – J.COLE – COLE WORLD: THE SIDELINE STORY

J. Cole – “Cole World: The Sideline Story” – An Instant Classic

In today’s instant media-driven world quality can sometimes get lost in the shuffle of pushing the product to the masses. Over the past two years North Carolina MC and Jay-Z protege, J. Cole has certainly produced his fair share of material, providing the hip-hop scene with some of the most sought-after mixtapes over that span. Cole World: The SIdeline Story is the tale of J. Cole’s rise from college student to the next in line for hip-hop’s next generation of anointed rhymers by crafting an album that is both socially conscious and impressive in the craft of the stories he spins.

J. Cole – Sideline Story

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Perhaps the most telling part of J. Cole’s initial iTunes release is his development  of not only of lyrics and delivery, but also of that most important skill these days, production. On tracks like “In The Morning” Cole creates a breezy, airy beat complemented by his flowery lyrics detailing love at first sight, sort of. he counteracts that with the electro-pop inspired “Daddy’s Little Girl” which delves into the world of young women growing up in dire circumstances. J. Cole’s patience in releasing this latest project pays off as it becomes a testament to his continuous improvement and innate need to do just that. Both in production and on the mic, the assortment of tempos, subjects and rhyme schemes J. Cole attacks prove that he has certainly gotten off the bench and crossed the sideline into the game.

The hip-hop world was first introduced to J. Cole as a kid fresh off his college days when he scored a feature on Jigga’s The Blueprint III album, spitting a verse on the track A Star is Born. Since then he has released some of the hottest mixtapes around including,Friday Night LightsThe Come UpThe Blow Up and most recently the Any Given Sunday series, a collection of tracks passed on for the album.

What I found most interesting was the way Cole demonstrated his progression through the use of earlier tracks originally produced for the aformentioned mixtape releases. “In The Morning” popped up on both Friday Night Lights  and  The Blow Up but takes on a different tone on the latest release, easing in with the same opening line “Baby, you summertime fine” before veering off and adding small differences in the beat, while adding a hook from Drake. Likewise, “Dollar and a Dream III” is a continuation of tracks by similar names on The Warm Up. The lyrics tweaked and the beat deeper and more soulful, Cole shows his prowess as both a lyricist and a producer. The newer versions of the songs act almost as earlier drafts of a story written by an author.

The album is an instant classic much in the same vein as Jay-Z’s 1998 breakout albumReasonable Doubt. To appreciate it fully, you may want to check out his previous works to better understand the concept that pervades.

ALBUM REVIEW: ELIOT LIPP & JASIA 10 – HOW WE DO

 

TheUntz.com, October 2011

Jazz, as it evolved, took on two very distinct tempos most often classified as “hot” and “cold” jazz styles. Hot jazz was fast, more experimental and got folks on their feet and moving whereas cold or cool jazz evoked a mellow tone with a swinging vibe that allowed them to ease and ride the notes. Eliot Lipp’s latest offering, How We Do, would fall under the latter of those two sun-genres when applied to electro.

Seven years ago Eliot Lipp was working in a Los Angeles coffee shop, since retiring from life as a barista and dropping his first album, S/X on Eastern Developments the Tacoma, Washington native has released ten studio albums, How We Do, the latest in a line of genre-shifting synth beats and creative sampling that mesh with the “cool” sentiment that have the feelings of Chet Baker composition. While the music is different, the notes and schemes relay the same feeling of airiness and light flowing beats.

Eliot Lipp and Jasia 10 – “Acen It” 

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For his latest offering, Lipp teams up with fellow Washingtonian Jasia 10. The unsigned artist from the west coast shows what he can do, lending a signature tone that effectively mirrors Lipp’s own style which meshes elements of several genres and instrumentation to create something wholly unique and distinguishable. Lipp often performs with a live drummer and it is that element that drives many of the tracks on How We Do

On “Acen It” Lipp reaches back to his 70s-fusion influence pulling together a tightly wound horn section with a rollicking bass line that keeps the ears in tune and the head bobbing. The clean drumlines throughout the track lend effective transitions for the beat to build to a point before toppling down, waiting on the drums to kick it back into place. Of the albums songs, “Acen It” shows a mastering of composition and arrangement that plays together in perfect syncopation.

Lipp and Jasia 10 show off the full smorgasbord of what they are capable of on “Genesis”. Starting of slow and swinging, the tune plays off well-laid synth notes and billowing upbeats that play to Lipp’s love of hip-hop. The track reminded me a lot of early RJD2 and the light; airy feel is kept constant throughout the track before morphing into something completely different at the 3:20 mark. Adding throbbing synths and quick percussion, the walk in the park takes on a transient dream-like state that throbs out until the end of the track. Where many producers would have felt satisfied, Lipp pushes the envelope to create something endearing and memorable.

Lipp and Jasia came together to create a very impressive album in How We Do. The heavenly feel the beats bring make for easy listening and the album is perfect to vibe out to in any situation. Lipp will be rolling through Arizona with shows in Tempe and Tucson October 6 and 8. It is impressive that Lipp brought on a local talent to do the bidding on the new album but the gamble pays off, a throwback to earlier times while moving the genre progressively forward at all costs.

ALBUM REVIEW: FRANK OCEAN – DREAMKILLA

 

MIDCOAST MUSIC, NOVEMBER 2012

Frank Ocean has had quite a year. Since dropping his debut mixtapeNostalgia/Ultra in March of this year he has seen his stock skyrocket to the tune of over 150,000 downloads on Datpiff.com, features on Tyler, The Creator’s debut album Goblin, culminating maybe most notably with two features on Kanye West and Jay-Z’s major release Watch The Throne which were met with glowing reviews.

The appeal of the Odd Future crew member is his ability to be a breath of fresh air for a stagnant R&B still being desperately clung to by the likes of Chris Brown and Usher. That the likes of Kanye and Jay-z turned to him for the ballads on their much anticipated collaboration, not to mention the lead song. As is pretty recent memory, Watch The Throne went on to earn an 8.5 rating from Pitchfork and break iTunes sales records, vaulting Mr. Ocean to the stratosphere. Unfortunately, he is hardly scratching the clouds with his latest release, DreamKilla.

Frank Ocean –  Acura Integurl

http://s0.wp.com/wp-content/plugins/audio-player/player.swf?m=1307735173g

 

What set Frank Ocean apart on Nostalgia/Ultra was his originality and indie sounds that lent itself as a stark contrast to the slick dance moves, shimmering jackets and domestic disputes of the most previous R&B kings. For much of DreamKilla we see him falling into a more typical sound, the beats accompanying his voice seeming somehow less thoughtful than his earlier release. To put it a bit more simply, much of the mixtape felt tacky compared to what I have come to expect from Frank.

Now let me flip again here and say that I did like some of the mixtape, also understanding that it was not an official release by the young crooner, instead a collection of new songs he has been working on lately. “Denim” is a solid track with the echoes of the Frank Ocean I knew, spinning together a tale while simply talking about his jeans. The beat comes in on a heavy bass throbbing the listener into the song before giving way to Ocean’s soulful vocals. “She” Ocean’s feature from Goblin pairs him with OFWGTA mate Tyler, The Creator and puts him right back at his roots with his old crew handling the beats. What is also very noticeable throughout the sixteen tracks offered up is his increasing vocal range which were put on display in two releases that preceded DreamKilla, “Acura Integurl” and “Thinking About You”. It is refreshing to see that even as he gains prominence Ocean is still perfecting his craft.

All in all DreamKilla feels like a bit of a step back for a sure-fire up and coming star, albeit a miniscule one. Big things are on the horizon for an artist who was an unknown at Def Jam last year. For now he continues to work on his “debut” album and producing videos like the one below for the song “Swim Good” off Nostalgia/Ultra. Top 5 Tracks Below

DreamKilla Top 5 Tracks:

RapSody, The Mia Hamm of Hip-Hop

MidCoast Music, October 2011

Available at DJBooth.com

By Jake Krzeczowski

Marlanna Evans is not your typical up and coming hip-hop star. As a female with an accounting degree, it seems the native North Carolinian would fit in better behind a desk than a microphone. Yet, that is precisely what the young MC has become known for, having dropped two mixtapes already this year, the artist known as Rapsody has set out to return the B-Girl to the hip-hop game.

Growing up in North Carolina, sports play a huge part in everyone’s life, especially basketball. Two of the most storied programs in college basketball call the Tar Heel State home, as did Michael Jordan; and Marlanna Evans had a nasty crossover.

Raised in the hotbed of hoops Evans put everything she had into the game, eventually working her way into a spot on the high school varsity team as a freshman, that right-left dribble bringing her closer to her dreams.

North Carolina’s culture isn’t limited to the tan hardwood though.  Over the past decade the state has seen a rise in hip-hop acts, slowly carving out a niche in the industry beginning with Petey Pablo in the early 2000s. Taking the reigns from him was legendary producer 9th Wonder who with his “It’s a Wonderful World/JAMLA” label set out to cement the state in the hip-hop world.

9th Wonder, fresh off working with major talents Jay-Z, Lil’ Wayne and Drake,  eyed a chance to return to his old stomping grounds and help bring out the voice of NC.

For all the accolades and gym time, Marlanna was left without the coveted college scholarship she had envisioned since the YMCA leagues. Without a definite location for school, she decided to stay close to home and felt the pull of NC State’s profound hip-hop culture.

“When I was growing up, North Carolina State was it for hip-hop around us,” said Evans. “When I got there I think there was a country act for homecoming, so we kind of wanted to bring it back.”

So the girl who split her adolescence between wind sprints and endless verses from the likes of Jean Grae, Bahamadia and Rah Digga saw the impact a female could have in the game and traded her basketball for a pen and paper, immersing herself in the scene, creating the first hip-hop club on campus.

She eventually joined with fellow NCSU students to create the rap septenary Kooley High. The formation of the group marked a migration of sorts from Marlanna Evans to RapSody.

“It’s hard to be anyone but yourself,” said Evans. “That’s the beauty of music, it’s supposed to be different. Your not supposed to go out and do something the same as someone else, that’s not the art.”

9th Wonder began assembling his team in 2009, filling his roster with a host of young MCs from North Carolina, hungry to learn and grow. It didn’t take long for the fabled producer to hear about the young female MC making waves at NC State.

Listening to RapSody one thing is for sure, she loves hip-hop. “Culture over everything” her favorite line in her rhymes. It made sense then that 9th Wonder would extend an invitation which Rapsody quickly accepted

“ He gave me homework, to listen artists like Lil Wayne, A Tribe Called Quest, Jay-Z’s Black Album,” RapSody said. “He said to memorize these albums, not so much what they were saying but how they were saying it and how it was delivered.”

And so, the former point guard found herself a coach, bounce passing ideas off of each other on delivery, flow and cadence, all the while a pair of headphones not far away, “homework” always within reach for inspiration.

Player and coach spent endless time in the studio, working on Rapsody’s initial offering, “Return of the B-Girl” a whirlwind of a mixtape dropped in late 2010 to glowing reviews and set the stage for her follow-up project, Thank H.E.R Now, the title itself an homage to the great Common love ballad to hip-hop.

The mixtape featured collborations with hip-hop heavyweights and newbies alike including Raekwon, Mac Miller, her idol Jean Grae and Big K.R.I.T and thrust her into the underground’s limelight.

For years Marlanna Evans listened to Lauryn Hill and the like, game-changing artists  who came through and left their mark on the game. When asked what she thinks her legacy will be when her story is finished, a flash of that sense of history shines through, the Mia Hamm of hip-hop.

“I want to be able to say I produced good music and represented the culture well, introduced it to a new generation of young girls,” said RapSody. “Hip-hop has opened me up, there being so many stories and I want to touch those little girls the same way MC Lyte touched me, that would be the greatest thing for me.”

INTERVIEW WITH MAYER HAWTHORNE

Verum Magazine, January 2012

Mayer Hawthorne represents Detroit better than the Lions on Thanksgiving Day, a show he offered to sub in for Nickelback this past year. Recording his albums in his apartment in downtown Motor City Mayer came to prominence on the strength of his initial indie release A Strange Arrangement in 2009 on Stone’s Throw Records. Since then Mayer has been busy working on his follow-up which dropped late 2011. How Do You Do is a solid development for a new artist with a unique sound. Verum recently had a chance to catch up the soul singer.

Verum: What was the process of putting How Do You Do together compared to your last work, A Strange Arrangement?

Mayer Hawthorne: I went back to Detroit to record the majority of this new record. A lot of it was that dirty Detroit soul. Basically I just set up my own little bedroom studio in downtown Detroit. I played more of the instruments myself on the new album. Everything is definitely elevated on this album. The playing of the instruments is better, I learned to play better. I also learned a little bit more about how to sing so I hope people notice that on the album.

Verum: How do you keep your sound constant from playing the instruments to having a full band live? 

Mayer Hawthorne: Well it’s all about the guys I have playing with me. My live band The County is pretty much all guys I grew up with in Detroit. We’ve got one or two guys from L.A. It’s all about my guys in my band. They’re my favorite musicians and they’re all handpicked by me. A lot of them like me grew up in Detroit so they all know the vision.

Verum: Tell us about your relationship with Detroit.

Mayer Hawthorne: I wrote a song about it (A Long Time). I did a whole video based on The New Dance Show which was a show I used to watch everyday after work. I’m going to continue repping for the D always, it’s a fantastic city.

Verum: Tell us about your unique style

Mayer Hawthorne: I’ve always had the motto “flashy but classy. That was always been sort of my thing. I always wanted to be original and unique and stand out from the crowd but I was always brought up to keep it classy. That’s really what the formula is for me. I really borrow from and I’m influenced by everything that I see.

Verum: How does your music follow that motto?

Mayer Hawthorne: It’s definitely about being original and unique and doing something new and moving the music forward and not taking it back. The same goes for style.

Verum: What’s new on your latest album?

Mayer Hawthorne: This new record I really feel like I found my Mayer Hawthorne sound. It’s obviously very soulful and its rooted in Detroit soul music but it incorporates all the other styles of music that I grew up listening to and love like hip-hop and Jazz and Surf Rock and New Wave, all those things are blending together now are blending together to create that sound, It’s exciting.

 Verum: Was it important to you that you carve out a new sound on this album?

Mayer Hawthorne: Absolutely, it was very important to me to not just be a derivative of anything. I hate when people say ‘lets take it back to the good old days.  I don’t want to take it back to the good old days that shit drives me nuts. Let’s make the new good days and those that move t forward and do something new for our generation.

Verum: How did you enjoy your time at Stones Throw Records?

Mayer Hawthorne: Working with Stones Throw was fantastic. Those guys are all so much fun and they’re just really creative and that’s what I’m all about.  We got along really well. I’ll always put on for Stones Throw.

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