Kwame Harrison has created this mix using his compilation of Bay area hip-hop mixtapes (circa 1995-2000).

Track List:

Gamma Ray & Fatgums – ‘Bay Tribute’ (from the OHHSSH!! mixtape, 2000)
BFAP – intro freestyle (from Cartoon World, n.d.)
Murs & Aesop – ‘Lose My Mind’ (from Area 51: Top Secret Tape . . ?, 1997)
Koncepts – ‘We & Dem’ (from Project: Ambershine, 1997)
Jihad! – ‘Cali Stare’ (from Soul Mate, 1998)
Jun dax – ‘2000AD/Two Zero’ (from Spills, 2000)
Conceit – ‘Fascinating’ (from Destination: Don’t Know, Don’t Care, 1998)
Skotrel – ‘Trainspotting’ (from Way Late, n.d.)
Gavin – ‘Verse One’ (from Comurshul, 1996)
Eligh & Scarub – ‘Everything Goes’ (from The Persuasion of Art, 1999)
Megabusive – ‘Anarhic Adjustment’ (from Searching for the Megalomistress, n.d.)
Ayentee & Koncepts – ‘Falling Down’ (from The PatternFall Wars, 1996)
IND-Ray & the “I” – ‘Song 13’ (from Narcoleptic Symposium, 2000)
Top Ramen – freestyle (from the Hardly Celebz freestyle-tape, 2000)
Prego w/ Zest (aka Just One) & Feller Quentin – ‘T-60 Slow’* (from the Unemployed Workaholic EP, n.d.)
Karma Chi & Kirby Dominant – ‘Jungle Repellents’ (from The PatternFall Wars, 1996)
Murs – untitled (from Yeah, n.d.)
Wonway – ‘Regrets’* freestyle (from Pinko, n.d.)
Destined & Mad Squirrel – ‘Recipe of We’* (unreleased)
Jun dax – ‘Watch Where You Walk’ (from Spills, 2000)

* – produced by Edison Victrola

Bay Area Hip-Hop Mix, by Kwame Harrison

TRACK LISTING:
“Elegy (Plain Black Boy)” Oscar Brown Jr. (Source poem: “of De Witt Williams on his way to Lincoln Cemetery” by Gwendolyn Brooks)
“Born Suspect” Chris Rock
“George Zimmerman 911 Call” George Zimmerman
“Stereotype” Kam
“Shut ‘Em Down” Public Enemy
“Zimmerman 2012” cody chesnuTT
“Pressure (Instrumental)” Black Milk
“I Find It Hard To Say” Lauryn Hill
“Diallo” Wyclef Jean featuring Youssou N’ Dour & MB2
“Mr. N*gga” Mos Def
“Bicentennial Blues” Gil Scott-Heron
“Liberty” Myka 9
“I Wanna Be Free” The Voices Of East Harlem
“President Obama speaks on Trayvon Martin” Barack Obama
“Mother’s Son” Curtis Mayfield
“U Will Know” Black Men United
“The Proud” Talib Kweli
“Survival a.k.a. Black Survivors” Bob Marley
“We Gonna Make It (Instrumental)” Jadakiss

elegy (for extraordinary black boys & girls) by Jalylah Burrell

audiocast

They Might Be Giants

Compton's Most Wanted

This 30-minute audiocast discusses the band Chicago, focusing on their early 1980s collaboration with music producer David Foster. Foster was a then up-and-coming songwriter/music producer who went on to become an industry legend. He was brought in to help revive Chicago’s struggling career but his strong-armed approach arguably changed the dynamics, sound, and spirit of the band. The Chicago-David Foster Dilemma hovers around the classic debate between art and industry. For members of a band like Chicago, is music a means to making a living or a way of living a fulfilling life? The audiocast additionally highlights the role of the music producer, briefly reflects on the circulation of used records, discusses the contemporary importance of touring, and re-introduces David Grazian’s notion of “The Set List From Hell.”

The Chicago Foster Dilemma

UPDATE: We have migrated to Mixcloud--> http://www.mixcloud.com/IASPMUS/

IASPM-US represents the United States branch of the International Association for the Study of Popular Music. IASPM-US has been an important part of the popular music landscape since the early 1980s and serves as a forum for a range of scholarly and other approaches to popular music. The past several decades have witnessed a period of dramatic and exciting growth in the field of popular music studies. The centrality of popular music to notions of personal and collective identity, geographic identity, political affiliation, technological change and adaptation, the economic and legal parameters of “intellectual property,” and the sociology of consumer-based fan cultures, makes it likely that popular music studies will only continue to grow in importance and intellectual value.

The US branch of IASPM holds true to the goals of our parent organization in the belief that popular music has much to teach us about this world. We place an emphasis on the writings and other activities of US-based scholars, journalists, and musicians–focusing not only on American music but also on musics from across the globe, and “Music 2.0″ made and consumed in virtual soundscapes.

IASPM-US

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