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MP3 Deep Dickollective - On Some Other
17 MP3 Songs
HIP-HOP/RAP: Alternative Hip Hop, URBAN/R&B: Soul
Details:
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"....sounds like Ntozake Shange''s black poetic shout come three decades later with a cock ring and a refusal to erase queer black existence."
Leah Lakshmi Piepzna-Samarahsinha-
NOW Toronto Weekly 6/2007
OAKLAND, California - Following an extended “vacation” to accommodate the expanding solo recording and performance schedules of its members, Deep Dickollective (D/DC) has returned in classic form with "On Some Other", (on Sugartruck Recordings). The CD is the group’s fifth overall release and first studio recording since 2004’s "The Famous Outlaw League Of Proto Negroes", a 2005 Outmusic Award double nominee and Out Magazine Top Ten Gay Albums of 2004 selection.
Since the release of their groundbreaking debut "BourgieBohoPostPomoAfroHomo" in 2001, D/DC has been a creative and cultural force driving popular and academic discourse around race, class, queerness and masculinity as reflected in the burgeoning “homohop” subculture.
Appearing in countless features, essays, and articles in LGBT and mainstream media, D/DC has toured colleges and festivals around the U.S. and Canada since mid 2001, winning the Best Hip Hop Group award in the 2003 San Francisco Bay Guardian readers poll, and came to more recent mainstream attention through their central presence in Alex Hinton’s documentary "Pick Up The Mic".
Premiering at the 2005 Toronto International Film Festival, "Pick Up The Mic" has since screened in 50+ film festivals internationally,broadcast recurrently on the LOGO network and will be released to DVD in fall 2007. The resultant exposure created more tour and lecture opportunities for the groups co-founders, Juba Kalamka (Pointfivefag) and Tim’m West (25Percenter). West released his solo debut Songs From Red Dirt and the accompanying poetic memoir Red Dirt Revival, while Sugartruck Recordings founder Kalamka received the 2005 Creating Change Award from the National Gay And Lesbian Task Force, toured the U.S. with Sex Workers Art Show and continued his promotion of independent queer hip hop artists through Sugartruck and direction of the PeaceOUT World Homohop Festival, which celebrates its seventh year in 2007.
“We never really expected to become so busy,” says Kalamka, who finished an MFA in Poetics during the gap between albums and began his second solo recording project as well. “Deep Dic has always been more a collaborative space than a traditional hip hop group, and as such we’ve been adamant about not stifling our individual creativity. We’ve continued doing spot dates at colleges though we live in different cities. Still, it was a challenge to get back into the group’s groove. It’s a testament to how hard everyone worked that On Some Other is so cohesive.”
Featuring performances by new members Leslie “Buttaflysoul” Taylor (Def Poetry Jam) emerging producer/emcee Baraka Noel and vocalist /songwriter Solis B. Lalgee, On Some Other ‘s sound is reflective of the variety of experiences the groups’ members have had over the past few years and their resultant growth . Recorded primarily at Oakland’s Killer Banshee Studios (Tribe 8, Sister Spit, By Hook Or By Crook) Kalamka produced the bulk of the CD, which includes major contributions from New York based poet/producer baron. and homohop vet Tori Fixx (Johnny Dangerous, Rainbow Flava, Deadlee).
On Some Other will be available online through https://www.tradebit.com, https://www.tradebit.com, CDBaby, iTunes and many independent music outlets throughout the U.S, Canada and abroad, Deep Dickollective celebrates the release with a performance at Toronto Pride’s Labatt South Stage (Church and Dundas streets) on Friday, June 22 at 10pm.
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PRIDE PREVIEW:
queer hiphop heroes
Deep Dickollective dish up politics and positivity
By LEAH LAKSHMI PIEPZNA-SAMARASINHA
https://www.tradebit.com
DEEP DICKOLLECTIVE with BELLA DONNA and the AWAKENING, DJ NIK RED, SHANTE PARADIGM, JOHNNY DANGEROUS and CAZWELL on the South Stage (Church and Wood), Friday (June 22), 10 pm (show starts at 6). Free. https://www.tradebit.com.
I''m one of those dykes who dig Deep Dick. Deepdickollective make me happy. Five out queer black men producing tight DIY hiphop about Essex Hemphill, dads, lovers and the international queer black diaspora to beats you can shake your ass to - are you kidding?
Mainstaging it for Pride Friday night on the South Stage, DDC launch their latest album, On Some Other, alongside an all-queer hiphop lineup that includes Toronto''s own Belladonna and the Awakening and DJ Nik Red and New York and Chicago''s Shante Paradigm, Johnny Dangerous and Cazwell. It feels like the DCC''s pulling off the miraculous and impossible.
And it''s not the first time for the miraculous. Since Juba Kalamka and Tim''m West founded the Deepdickollective after a chance meeting at a Bay Area screening of Marlon Riggs''s landmark black gay film Tongues Untied in 2000, they''ve been at the centre of the homo-hop movement and launched Peace Out, a three-day festival of queer hiphop that''s branched out into New York''s Peace Out East and Peace Out UK.
Pick Up The Mic, Alex Hinton''s documentary about queers in hiphop, in which the DDC had a prominent role, had a sold-out premier at the 2005 Toronto International Film Festival and was a fave at festivals internationally.
"There''s no way I''d have believed you if you''d told me seven years ago I''d be doing this," says Kalamka on his land line at his east Oakland home way early Saturday morning, before his baby daughter wakes up and he has to make it to the studio.
Locally, Blockorama is at year 10 and taking up space on Church Street for the first time, moving to the parking lot outside the Beer Store. And as transphobic as it is, this year''s Michigan Womyn''s Music Festival has a lineup thick with independent queer-of-colour hiphop artists: D''Lo, Skim from L.A. and Brooklyn''s Hanifah Walidah (ex of the early-90s Brooklyn Funk Essentials, now rocking a baldie and a fedora.) This ain''t your mama''s Indigo Girl.
So have queers in hiphop arrived? And what does "arrived" mean?
I came of age dancing in Club Manhattan''s weekly jams in the late 90s, where underground heroes like DJ BlackKat brought hiphop and dancehall to an all queer and trans, mostly black crowd. We went to Manhattan''s like we were searching for water, and found it. Hiphop in a queer-of-colour space was like church for us.
When the building next to the club collapsed, destroying both, in 2002, the party moved on: to BlackKat''s nights at Tequila Lounge, the annual Pelau jump-ups at Caribana and smaller nights at the Concord Café.
So, like many queers of colour I know, I was surprised when Big Primpin'', a mostly white West Queen West monthly queer night that spins hiphop, was hyped as the first queer hiphop club in Toronto a few years ago.
The 99 per cent white hipster scene for whom the music is often kooky and ironic isn''t why or how I came to hiphop.
While I''m sure some folks who go to Big Primpin'' genuinely love the music and culture of hiphop, I find the way the night has been hyped as "Toronto''s first queer hiphop club" an insulting erasure of all the years of queers of colour throwing down and dancing at Toronto hiphop nights and being involved as MCs, DJs, b-boys and girls and producers in Toronto''s hiphop communities.
It''s an example of who gets to blow up and who gets overlooked – and who profits – when a despised culture suddenly becomes hip.
According to Kalamka, after Pick Up The Mic a lot of the artists involved thought major labels would come knocking but were disappointed. "MySpace is now flooded with gay hiphop artists, but like all of MySpace, some of them are good and a lot of them are bad.
"As loath as we are to admit it, queer consumers are just as sheeplike as straight people. The masses of them don''t have a deconstructionist relation to capitalism any more than straight people do, and they''re many times more vociferous and hungry for validation: ''Let''s get on Will & Grace!'' We''ve never been about that," says Kalamka.
He credits Deep Dickollective''s continued success to their commitment to remaining community-based, underground artists and their creation of their own micro-label, SugarTruck Recordings (named after a passing older black man nodded at the DDC and said, "Mmm-mmm, looks like somebody just fell off the sugar truck") on which they self-release all their albums. Kalamka''d rather be the Ani DiFranco (or the Coup) of queer hiphop.
"In the long term, there''s a lot more safety in creating a micro-economy to support the work than in depending on the machine to give you your five minutes of fame."
This is especially true for five out black queer men who talk about sexism, masculinity, homophobia and gender in their work – with flava .
"Someone asked me why we had this appeal with dyke and trans communities. I said, ''Honestly, it''s because we''re five guys who are trying not to be assholes, five minutes at a time. ''"
Maybe it has something more to do with tracks like On Some Other''s For Colored Boys, which sounds like Ntozake Shange''s black poetic shout come three decades later with a cock ring and a refusal to erase queer black existence.
"There''s no male equivalent to Michigan because men haven''t had to care. If we had to depend on gay men for support, we wouldn''t exist. Dykes and queer and trans people who''ve supported us, they''re the communities who are doing politicized queer music and having their own issues."
As the baby wakes up in the other room, he pauses and says, "As long as people want to kill me for who I am, I''m going to be a black gay man."
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FOR COLORED BOYS
(Brown/Kalamka/Lalgee/Taylor/Van/West)
Essexincantations (BMI)
Mr. ManMan:
This is a song made for colored boys
Whose rainbows forgot how to bloom
Whose moons forgot how to change into suns
To illuminate the gray days
This is a song made for colored boys
Whose heroes forgot how to fly
Whose wings were clipped with rage
And cages waited to take them with no reason why
This is a song made for colored boys
Whose up-ins that never come up
Whose mothers and fathers
became the sons and the daughters
of revolution''s internal corrupt
Choral intro:
So This Is for the colored boys
Colored boys like me
Brother,fencewalker, fringe society
pressure rising exponentially
25Percenter:
This is for the colored boys like me
dirty dirty, the city streets
literary geeks that control, alternate and delete
to reboot,we be the strange fruit
Blackberri sweet juice
we be rigging your reel telling our truth
we got moves like Langston Hughes
we be the Countee Cullen blues, be the soul of his shoes
Marvin White''s blackbirds taking flight with words
from pens and manifestos, we bourgie and ghetto
thug and crud, the "nigga please!" and "nigga what?!"
the Essex of the mic check, we the boys suspect
when they fail to love themselves well
we Ntozake''s warriors, pomo revolutionary males
following our heart we continue to spark
sunshine in the dark
Famous Outlaw emcees,we get free
JBRap:
We on some other shit
spit so sick, choke on it
Hear me on MySpace JBRap sick with it
call me Gaylord feel the face and fire grace
of those who expired
Rickey,Kaya, Alize'' and Tanya
we miss you bad, love- won''t retire
ready to blow like Golden State,puff
white girl. we done had enough
moist and sticky on the same brain
like cotton field''s pain in yesterday''s rain
how you gon'' make it through
all the pain and all the anguish?
ball to the death, and stand tall
ball to the death, and stand tall
chorus (1x):
So This Is for the colored boys
Colored boys like me
Brother,fencewalker, fringe society
pressure rising exponentially and yet,we traverse on
Well I was born inside of a pot of gold
at the end of a rainbow that no one knows
so the answer is clear if you recognize
if you''re looking for truth, look into my eyes
Pointfive:
The point of this colored noise
This joint is is for colored boys
This is for Essex,Assoto, Donald and Marlon Troy
This is for Aimee,for Melvin,Claude,and for Countee C.
This is for Larry Duckette, for Joseph and Jimmy B.
For cousins and lovers who couldn’t be because you would laugh
This is for Luther,Poetic, Eazy, and Sugar Shaft
For brothers whose names we will never know, I’mma get it right
Labeija, Infiniti, Ninjas twistin’ it through the night
In spite of the pressure and expectations to hide desire
Like Bayard who paved it through slings and arrows while walking fire
We Pomo our Afros so Homo stories will see the light
The slights had me frightened,but now I’m ready to fuck and fight
Bridge (1x):
Chocolate colored rainbows,black boys get on down
Chocolate colored rainbows,love to hear that sound
Solis:
I like to see your shades of brown
I like to see you get on down
down,down,down,down,down
love to see them boys get down
I like that U.K.-Irish brown
I like that Tamil-Trini brown
brown,brown,brown,brown,brown
love to,love to see the sound
I love to see the sound,
I love to see the brown
love to see that sound ( I like to...)
chorus 1x
bridge 1x
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