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Grupo Meusite

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Edgar Mironov
Edgar Mironov

Rudy Ray Moore Eat Out More Often Rar



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Rudy Ray Moore Eat Out More Often Rar



Bay Area rapper Too Short had smeared types of women since 1985,[86] or 1983,[137] more vaguely.[38] "Bitches Ain't Shit" apparently "scorned all women,"[38] and "presented misogyny with an explanation."[89] Although the words bitch and ho can be playful or even loving,[138] this song scorns any trust or love for such.[38][83][82] While many were instantly offended,[48] women fond of the song often explained, "It's not about me."[92][139][93] Especially from women,[90] a near apology emerged: Oh, I just like the beat.[48] But in one view, this adopts a sexist stereotype: "men work the intellect, and women work the body."[91] At least some girls who ignored accosts by passerby boys were harassed by chants from the hook.[140]


In 1999, rap magazine Ego Trip named "16 Memorable Misogynist Rap Music Moments."[86] They date to 1985: the pioneer, Too Short, still at #3, "The Bitch Sucks Dick."[86] Ahead of that, the #2 moment, is "Bitches Ain't Shit."[86] This trails only Snoop with, the next year, more male camaraderie and teamwork,[20][89] now featuring Warren G, Nate Dogg, and again Kurupt: the Doggystyle track "Ain't No Fun (If the Homies Can't Have None)."[86][166] Also never a single, yet another huge underground hit,[3] "Ain't No Fun" is often recalled with "Bitches Ain't Shit."[87][93][89][167] Snoop's second underground hit swiftly fulfilled what Snoop's first had presaged: the end of popular music's tenacious idealization of women.[87][88]


That's the Way I Feel Now: A Tribute to Thelonious Monk [A&M, 1984]At first this ambitious two-disc multiple-artist memorial to the greatest composer of the post-World War II era left me cold--be nice if a few kids got pulled in by Joe Jackson or Todd Rundgren, but I'd been a Monk fan since the '50s. And indeed, I still prefer Monk's Monk to anybody else's, so much so that the discography here has me expanding my collection. But only Donald Fagen's synthesizers and John Zorn's weirdnesses approach the level of desecration jazzbos discern, and more often the extravagantly good-humored (NRBQ) or carnivalesque (Dr. John) or obvious (Chris Spedding) rock interpretations are instructive alongside the subtler, more reverential readings of Steve Lacy, Barry Harris, Sharon Freeman. In short, when I feel like Monk, occasionally I may play this. A-


Ram Dancehall [Mango, 1989]I expected more of our former finest reggae label, though Jamaica hasn't been its strength since it turned into one of our three finest African labels. Anyway, these selections are just a little too subtle (the way Johnny P.'s "Ring a Roses" finally gets you going, the synthpan intro on Cocotea's "Bad Love Affair" that doesn't return often enough to act as a hook) or second-drawer (Tiger's "Never Let Go" rather than his supposed title cut, Brian and Tony Gold's "Maniac" rather than Michael Sembello's). Manhattan Special: Admiral Tibet's "Mad Man." B


White Country Blues (1926-1938): A Lighter Shade of Blue [Columbia/Legacy, 1994]Columbia has mined its blues catalogue with an assiduousness that verges on exploitation--the thematic albums are dully inconsistent, the single-artist jobs find deathless art in every $20 take. But this one is fascinating and fun. By now the sound of half-remembered crackers co-opting, emulating, and creating 12-bar laments and 16-bar romps is more provocative than the sound of black "originals" that are often only versions themselves. It fleshes out our dim awareness that Sam Phillips's white-rebels-singing-the-blues had a long history in the South (and you thought Carl Perkins wrote "Matchbox" like the Beatles said he did). Breaching the borders of the status quo, these hillbilly troubadours hewed to the innocent escapism of small-time show business--they stole only the catchiest tunes, and when the jokes fell flat they pumped in their own. In the course of two hour-long discs, there's still the occasional irritating sense that three generations later, ordinary subcultural entertainment music has been declared good for you. But mostly it's just ribald rhymes and wrecked romance--sometimes pained, but imbued with a droll detachment that epitomizes rural cool. If late minstrelsy was anything like this, I'm sorry we haven't heard more. A-


Éthiopiques 3 [Buda Musique, 1998]The instant cachet of a five-CD series documenting the 1969-1978 run of the only record label in Addis Ababa did not reflect the irresistibility of its parts. I doubt any reviewer bonded with many individual songs/tracks even on this superior volume, not after the three or four listens preceding publication and probably not ever. Because Ethiopia was its peculiar self--an uncolonized absolute monarchy so insensible to indigenous music that its national anthem was composed by an Armenian--the set also does without such world-music boons as love of the past, belief in the future, and lust for conquest. As the soundscape to a locale undiscovered by squarer, older tourists, however, it obviously has its uses, especially for an alt generation that's always mistrusted organic ecstasy. I've never encountered a more neurotic-sounding Third World sensibility. Its m.o. is to mush up Middle East, Africa, and Europe for a small-time power elite you can almost see--anxious young traffickers in court intrigue sitting around smoky, well-appointed clubs where petit-bourgeois artistes strive to give them a thrill. And just often enough, the organic--imbued with melody or hook or vocal commitment or instrumental synergy, only to be tempered and twisted by an endemic uncertainty--peeps through. B+


Tea in Marrakech [Sterns/Earthworks, 2001]These 15 songs are Muslim like Philip Roth is Jewish-irreverently, idiosyncratically, and to the marrow. Their North African provenance means their sense of Islam is at least unorthodox and often cosmopolitan/European-and so, of course, does their pop provenance. East-West instrument mixing is standard, mystical intensity a hook. Women hold their own. Some of these professional entertainers are seekers after the catchy tune, others folkloric types who sound authentic to us and impure to adepts, and as many come from Paris or Barcelona as from Cairo or Marrakech. You wouldn't think to listen that they're all championing a cultural tendency under attack. But Islamists hate them as much as they hate us, if not more. A


American Polka [Trikont, 2002]The first decent polka comp I've ever heard was masterminded by a record-collecting German American statistics prof who moonlights as the leader of Chicago's Polkaholics and can't resist boosting fellow hobbyists' novelties and burlesques. While these are often delicious--my personal jelly doughnut is the Happy Schnapps Combo's "You Can't Teach the Japanese to Polka"--they swamp the quaint delicacy and straightforward fun of the scant older selections, as I learned when (with much guesswork and difficulty) I programmed a chronological version from this vaguely annotated 25-track hodgepodge. Still, as someone who'd always found that polka was happy in theory and corny in practice, I'm ready for a more scholarly job--on Putumayo/Smithsonian, produced by Charles Keil, and please, not a box. B+


Authenticité: The Syliphone Years [Sterns Africa, 2007]A 1965 to 1980 trove from Guinea, which in its anti-accommodationist militance socialized music, subsidizing dozens of big-time, "federal" (i.e., "national" and local) orchestras and recording them on a government label. The consistent musicianship and enjoyable high points of the first of two mix-and-match discs don't necessarily signify from afar. But on the second, all the horn bands about to erupt up the coast in mercantile Dakar are presaged by longer tracks with crazier, more expansive arrangements. And though these aren't as spectacular as on Stern's Dakar-based Music in My Head, they're often as surprising. Midway in, roots-conscious new ensembles slow things down while keeping them weird. And for a finale, there's a tribute to the sharp, comic falsetto of Disc 1 standout Demba Camara, dead in 1973 along with his nation's first, best chance at pan-African stardom. A-


Panama! 2 [Soundway, 2009]The first volume preserves the big-band salsa and Latin soul of the Colon and Panama City scenes--hot, yes, but often secondhand and/or overblown. This one sticks mostly to the interior. On the lead track, an accordion takes the horn part of a Willie Colon bomba and turns the tune into a cumbia; on the next, two horns take the accordion part of a percussion-driven tamborito and turn that one into "tamborito swing." Gradually the music salsafies, though less elaborately than on volume one, as well as briefly resuscitating more soul and a couple of calypsos. But in the end the accordion returns, frisky and tipico, the indigenous instrument of what some have called "Colombia's black province," as of the 1967-'77 heyday this heroic crate dig documents. A-


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