There’s just too many of these videos to leave it at one post.

The kids have gone madddddd. Dun know the youtube channel.

Crazy Legs:




Versatile Crew:


Squadi & Caspa:





Another great speech from Barack who is ahead of Clinton  for the Democratic Party nomination and a shot against McCain at the presidency. If he wins I do actually feel like America and the world will be quite different, in a better way.

We made it a tribute to African women, because African women are defined by the shape of their bottoms” – DJ mix

wah? The BBC on coupe decale… (from). mysterious injections in the back end of markets. creams may be another possibility.

The dance that launched a thousand body modifications:[youtube][/youtube]

you know Al Gore’s image consultants also told him to bulk up, so he look more elder-statesman-like? everyone loves a big batty (& it’s a man’s dance too).

I do the bobaraba because I already have a big bum. When I dance, everyone looks at me.” – unidentified source

today i realized that im leaving for europe in a few hours, rather than a day & half from now… SO. MUCH. TO. DO. B4 LIFTOFF.

so my brain feels like MC Smear’s gifford — you caught her slow, now watch her go, and/or follow his rabbithole in the world of paral-lel utubeuniverses

dates for my Euro jaunt can be found on myspace, and the next US gig is this one in SF (flyer below). ALL KUMBIA ALL THE TIME, aka Tropical Storm Bersa con Zizek Gang desde Buenos Aires!!!!

(we havent started talking about the DUTTY ARTZ BK PARTY on March 21st b/c we’re too busy lighting the studio on fire)




You thought I was joking when I said Brooklyn Anthem will not die. Well, after getting rinsed on the underground throughout the world and going mainstream through placement on Madden ’08 it’s now crossed over to the Brooklyn teen bashment dance scene, which is popping off on Youtube. To be totally honest, I had no idea this was happening. Klash just sent me a mail with about 40 youtube links of kids dancing to my tune. Big up to Island Superia sound for playing it and promoting their edit of the riddim. If you want to hear a clip of it with Cypha Soundz talking over it about their big teen dance on Mar 1st go to their myspace and play “March 1st Sea Breeze Manor” or check DJ Mountain Doo’s myspace.

My original name for it was the “718 Riddim” but everybody always just called it the “Brooklyn Instro”. Now these kids are calling it the “Craziest” and I like that. I figure it’s a good name for a riddim that just will not stop.

Now, the dancers:

{check the Dutty Artz Youtube Channel for many more of these, this is just four of them}







Lil Wayne is postmodern in a highly enjoyable, totalized and awkwardly modernist way, which makes him tough to beat. Except Chingo Bling is


whatever comes next. potent bilingual evidence!:


(everything else enhanced by U Mean giffordization.) so that intro…!, then some of the video and off to look at another window, tune still running, hit by a Mexican — which is to say, American — crossroads truck.



This is a video, by Bashy, from a couple years ago of him just talking to Wiley on road in London. They’re basically just chatting about this and that, grime, the war they had, etc. The content is not actually what’s interesting. More it’s a view into Wiley as a person, which is what makes him so compelling as an artist. I met him once and he was polite and friendly, but I definitely wouldn’t say that I know him like that. That said, from listening to his avalanche of mixtapes I feel like I know him, his struggles, happinesses, scars. He seems like a genuinely likeable person and this makes me want to spend time with him through his music. Few people can do this. This video is a little window into that. Here his new “spirit in the beat” over at Rupture’s blog.

DATV is very proud to present DATV#003: Dexplicit at Trouble & Bass. T&B brought Dexplicit to play at Love in NYC and we were there to film the mayhem. It was a great party. Dex ripped it up with a banging set of bassline/niche tunes, the T&B crew dropped their own blend of 4×4, dubstep, club hotness whatever (not quite sure what to call what they’re playing nowadays) and the ravers LOVED IT UP. A couple days later me and Rupture met up with Dex and Star Eyes for some shopping and an interview. Check it:


Dex is a great guy and was very cool to talk to, he had a lot of interesting stuff to say. We had to cut it way down to keep the piece moving but for the hardcore heads who want to hear EVERYTHING he had to say you will be able to catch the full version on the DATV DVD later this year. The video starts with a killer Dexplicit remix of DTL alter ego Curses! “What I Need” that will be out soon on Trouble & Bass. Check their website for more info on releases, parties etc.

Big shouts to the whole Trouble and Bass crew, Drop The Lime, Star Eyes, Math Head, The Captain and my boy Zack Shadetek, Dexplicit, the photographer who goes by Madaes on flickr (wicked pictures bro) and all the ravers who were there raving. More DATV episodes coming soon, we’ve been having fun making ’em, keep watching.

AND if you’ve been listening to Rupture’s radio show you may heard the excellent “Language Removal Services” piece played by his guest, poet Caroline Bergvall, in which they take people reading or speaking and remove everything but the silences between words, umm, uhh, ehhs, etc. Inspired, DJ Empirical went and made one out of the show where Rupture broadcast a longer version of our Dexplicit interview as audio. Want to listen to Jace and Dex umm and ehh and wow for a bit? Here, now you can. It’s pretty funny, and wierd. The show is now podcasting here, and you can also check out the WICKED mix that Dex did for the show, broadcast the week before he appeared.

What does it mean when young white people want to do this to themselves?

(please note, to the best of my knowledge this is a totally serious, non-ironic “look how good my spray on fake tan I look like a carrot” scenario)

Further complicating the picture is the distinct influence of the far-east. Someone has obviously been travelling around the suburbs of New Jersey promoting the idea that it is cool to style your hair like a space mutant from Dragon Ball Z.


Why are they doing this with their lips?

I will leave interpretation to you. Note that the guy on the left looks like an androgynous clown who is melting. These men must spend a fortune on beauty and hair products. Obviously, identity politics is very complicated in America.

[we keep rollin! here’s the debut post by Geko Jones, Dutty Artz vibe springer & flyspace ambassador. We’re cooking up some of his refixes for public consumption this weekend , but until then, check the words of Papa Gex — Rupture]


[Te Chingo King – Do The Wetback]

I don’t remember when exactly it stopped bothering me, but being Latino in the U.S. means that at some point, some moron is gonna look you up & down and say “You’re a Mexican, right?” I by no means fit the commonly-held profile of my Mexicano bredren but in the back of my mind I brush it off on the premise that we’re gonna be the voting majority in this country in like two weeks. What I do have a problem with, however, is the standpoint that our country, which was entirely built by immigrants, has taken on its borders.

Here in the states, where we strive so hard to keep public face and remain politically correct, our administration has an apathy, if not disdain toward economic conditions south of the border and are considering funding to build a wall from Texas to Cali. Did we learn nothing from Berlin? Or better still look toward Gaza.

The Egyptian foreign minister sent a blunt message to Palestinians during a television interview being picked up by media outlets stating that “anyone daring to cross the recently re-sealed border between Egypt and Gaza will have their legs broken.” [BBC article] Imagine yourself living in a place where basic human needs and supplies are cut off by embargo except for a small trickle of goods being smuggled in by a network of underground caves. This is a complete 180 from the announcement made on Jan 24th by Egypt’s President Hosni Mubarak when he told Palestinians to “come in, eat, buy food then go back- so long as you do not carry weapons”.

Living in an increasingly globalized world it’s amazing to me that despite all the law regarding crimes against humanity that no international court can find grounds to hold someone accountable for keeping 1.4 million people penned in a roughly 25×7 mile cage and denying them food, medicine and goods.

Big up all my smugglers, hustlers and I.N.S. troublers.

[[U know who will be vibrating our pixels & stimulating neurotransmitters here at DA blog from time to time, ladies and gentlemen pls welcome MC SMEAR. this post is strictly visual but truss, there’s a biiiig story behind it, where Common & Andre3000 are just the iceberg’s suddenly feminine tip…–Rupture]]


Apparently I’m not the only musician who likes Barack Obama. Will.I.Am from Hip-Pop supergroup Blackeyed Peas does too, so he took Obama’s victory speech from New Hampshire (see below) and recorded this song with a bunch of his famous friends. People are calling it “The Obama Song” but I think it’s actually called Yes I Can. Good for you Will I Am, fucked up as this world is people are more likely to listen to a pop musician for musical advice than many others (politicians, parents, the media). Don’t know what that reflects on worse but hey… I’m officially throwing my hat in with an endorsement of Obama for president as well (Hilary, don’t get mad).


all links via. i’ll rip jumbie-themed JA vinyl another day. until then (spot di 17 yr old genius):


Heatwave – Rowdy 2007 reggae mix

(big mix! one of my 2008 resolutions is to attend a LDN Heatwave dance )

Forgaks – Unknown Number reggae mix

(not really mixed, burdened by weird volume drops and some glitches, but killer commentary and broken-out, labeled mp3s)

+ plus +

great Stelfox piece on the changing economy of Jamaica’s music industry:

“When voicing a riddim, artists are usually paid a flat fee by producers, not royalties, regardless of how well their song sells. Instead they make their fortunes from live performances and the recording of dubplates – custom versions of big hits calling out the name of a specific selector or sound system that are then played at dances or competitive sound clashes. The more in demand the artist or song, the more these dubplates cost, and with professional DJ teams around the world hungry for exclusive tracks, it’s a lucrative trade for top-tier performers. It is, in fact, the producers who are finding themselves cut out of reggae’s economic loop.”

– excerpt, Vinyl Has Been Eliminated, Dave Stelfox