Geko Jones was guest hosting Moglo Radio this week and he put together a beautiful hour of tropical travels. This is good for your in home personal dance parties, I know cause it was recorded in my Bed Stuy apartment and the place was jumping. For real, I was jumping. I got all amped and tried to have a cumbia cd delivered with our tacos, cause they do sell them at the restaurant, but alas the tacos arrived alone. Don’t worry though, I’ll try again next time, I’m determined to have cumbia delivered to my door.

In the meantime, grab the radio show below, put it on, and start practicing your moves for the next Que Bajo dance party on April 9th at APT, as well as every Thursday in April after that.

Also I wanna shout out Chief Boima who has two new productions featured in Geko’s mix, one of them in collaboration with Oro 11 under the name Banana Clipz. They’re both fire and Boima promises a trip out here in the summer so get familiar.



Filaw (Chief Boima rmx) – Issa Bagayogo
Bongo Jam- Crazy Cousins
Guata Guata- Dj Mouse
Serena Step- Hossam Ramsey
Num Deu Pra Creditá- Barbatuques
Borachera- Charly DJ
El Pescador (Uproot Andy remix) – Toto la Momposina
Mapale Sabroso – Cumbia Soledena

El Principe- Sonido del Principe
Kamphopo- The Very Best
Crisis (Banaclipz Bubustyle riddim)- Khady Black
Ay paloma- La Reverenda (Geko Jones & Reaganomics Ay Kuduro rmx)
Drift Furioso- DJ Marfox
Lem Lem feat Sara- Ku Bo
Freight Dub- Stagga

Tune in Mudd Up! with DJ Rupture tonight 7-8PM EST, or 91.1 FM if you’re in NYC to catch Dutty Artz ambassador and crate digger extraordinaire Geko Jones live on Rupture’s radio.  Listen, dance, drop some comments. WFMU cut and paste below –

Latin/Caribbean music expert & DJ Geko Jones will be joining Rupture. The Colombian-Puerto Rican digger will share with us some of his latest finds from the cutting edge of tropical soundsystem and street music culture, from Mexican tribal guarachero to freshly made ragga-bass mutations and Afro-Colombian soul gems. A deep live mix from Geko Jones — ¡¡No te lo pierdas!!

Binyavanga Wainaina is one of the strongest voices among a new generation African writers.   Here he is (on American Public Media’s Speaking of Faith) offering some personal and critical views on the efforts, approach and  nature of Western aid, the push to end poverty, and the damaging consequences it is having on the Kontinent.

Friend of Dutty Artz and always fascinating Timeblind has a new dubstep mix up on Samurai FM.

Dubstep, dub reggae, sheets of noise, 4×4 beats and… stuff

As with everything he does, it is deeeeeeeeeeeeeep. I recommend.

Dive in.

(scroll to bottom of that page to stream the mix, no direct link)

GIF at top is from Timeblinds myspace, I have no idea either.

Domingo Garcia Henriquez


Despues que Dios hizo el mundo noto’ que se le olvidaba algo, entoces hizo las manos de Tatico


After God made the world, he noticed he forgot something- then he made Tatico’s hands

I’ve been out hunting in Washington Heights a couple times this year searching for tunes and source material in what’s left of the mixtape shops up there – damned internet.

On my first trip, I trekked uptown with Rupture on a Perico Ripiao re-con mission. The dealers will usually let you decide whether you want the original or the cd-r so you can really rack up at some of these spots. That trip was my first time hearing el fuego improvisado that is Tatico Henriquez.

I feel totally robbed that I didn’t hear this guy growing up on the island next door. At first listen, he is an artist that draws from the listener a sense of appreciation for his contribution not only to music but to his culture. I’ll see your cotton candy pop star and raise you one jibaro de campo and a bag of plantain chips.

Here’s the story of the chunky hick that comes down from the back woods with his accordion, lucky to get paid free food and rum, who completely changed the music game in DR and raised the stakes for merengue players from making 100 dollars to play a bar to making 3-5 thousand dollars a night. He also accredited as one of the earliest latin musicians to have crossed over and played in America.

After years of tagging along behind the best accordion players on the island, guys like Matoncito and Nicolora who’s names are only carried on the lips of camperos. He learned their old songs and in later years there was some controversy over the authorship credits of some of his interpretations. Copyright issues aside, should we not merit him for capturing and rescuing this music before it was lost? What he eventually developed was a sound of his own adding the first electric bass and congas to the genre. He would play shows from seven to eight hours long shredding on his two-row diatonic accordion tuned to the key of A instead of C like all other accordions. He did this to match the key he sang in making the interplay of his voice and his instrument sync.

Then there’s the fact he’s often just improvising the lyrics. How many people do you know that can freestyle and play instrument and sound ill at both? To me that’s genius level shit on par with folks like D’Angelo, Meshell Ndegeocello. Add to that a sweet voice, the g-suave charisma plus success element and what you get is jokes from his widow about women leaving their husbands on the dancefloor and go home with this guy.

The sound he unleashed via shows and his two hour weekly show on Radio Naguas spread all over the Dominican Republic. 30 years past his death he remains to this day one of the most requested artists on merengue tipico stations out there. He died in a car crash in 1976 and what they showed of the wreckage was a gnarled Caddy that resembled a plane crash. Tatico was Buddy Holly. Tatico was Kurt Cobain. Another one gone way too soon. He should be celebrated like Tito or Celia as one of the great contributors to latin music.

Large up to the folks over at the Merenyola website for Merengue Tipico events in NYC and for putting up this one hour documentary on youtube.


Since the last post was about a mambo tune that I won’t be playing out anytime soon I thought I’d start out with a fun spanglish mambo party jam that I DO like and got a big forward at the last New York Tropical Dance. Bachata meets Mambo meets ATCQ.

Sakawaka by the official Dominican Pimp Makaraka y la Grande Liga


Tiroteo [tee-roh-te-o] or alternatively Tiradera [Tee-ra-deh-rah]

1) A shoot-out

2) gunman lyrics in latin music

3) Battle tunes dissin other MC’s in latin music

I could draw on a million gun choons you’ve heard so I’m rollin with definition 3 here and offering a nugget from an unknown young Dominican duo called The Mr. feat Yankee Next. A ting called Ratata

Another bachata meets mambo tune, this one takes aim at the big boys of Mambo: El Sujeto, Jucafri, Tulile and Omega. The Mister who refuse to be pigeon-holed as Mamberos or Reggaeton artists fuse all sorts of urban and caribbean music and are comprised of Wagner Jesus Ortiz aka Mr. WJ and Franklin Emilio Gomez aka Mr. Frank. In recent hip-hop history this underdog tactic was deployed to career-launching success by one Mr Curtis Jackson on the now legendary How to Rob.


I went back and found the video of El Sujeto I mentioned in comments of the last post. Here he and up and coming latin hip-hop artist El Lapiz are in a parking lot cheezin for the camara, flashing loaded clips, matching hardware and rattling off lyrics…. they then take turns exchanging poetic two-line couplets of street verse (as u watch, think bomba improvisada)



Now, I’ve got guys and girls in my family that freestyle and act just like this on and off camara so here’s some thoughts on the gangsta/bling ethos infiltrating the jibaro homelands.

At home in PR, after a blunt, my cousins are easy enough to get along with. We spend our time together laughing at some of their admittedly moronic antics; a 26-man brawl with a police squad, pranks played on crack-heads, stealing cars (na dawg- sorry to break it to ya…. playing Grand Theft Auto does not a gangsta make), motorcycle crashes, bar fights, turf wars etc. Every visit is replete with new stories and matching battle scars. They boast of a revolving door at the local precinct that was recently installed, just to keep up with our brood. As they’re telling me all this, I watch two of them bitch up to raised hand from Titi Lulu, standing a towering 5’4 en chancletas y rollos.

This in-and-out of jail pattern that has developed for my cousins on the island (and in the Bronx), it causes grief to both their families and the community. Some of crimes are necessitated by survival, but most of it is carried out just to get a rep. (There is also a percentage of our cumulative arrests that is attributed to cops being pigs, racial profiling and babylon system)

I ask myself where they get it from because we were raised together outside of the fact that I left the island our biggest differences aren’t a formal education. I stand with them as a student of life educated by my environment who chose to go my own road while good friends opted to finish school and then college to get their degree. True enough, the experience of coming to the states lends me some advantages like mastering English as a first language but that gets balanced-out by other factors. They own their houses, while I pay rent. One even has a garage below his house which has rented as a tire and mechanic shop his whole life, so he’s learned a trade by osmosis. Neighbors come to him for the odd jobs they cant afford to pay a trained mechanic for. Nobody offers me gigs for my superior tele-marketing skills and DJ’ing has yet to re-coup the amount of money I’ve spent on music, my drug of choice.

Then there are my cousins in the Bronx. Like me, they are transplants that have been here in the states for more than ten years. They speak English as a first language and spent most of their lives here but they share equally riotous stories. Difference between me and most of these kids? Surprisingly, neither camp watches much TV so the best I can pin down is that Hot 97, La Kalle and NYC’s mixtape circuit dominate the South Bronx, PR is bumpin reggaeton and I’m the odd man out that listens to as many genres as they do artists. Obviously, I’m tuned into the internet streams on BBC radio, Samurai.FM and the elsewhere in blog-landia. Therein lies the discrepancy. Puerto Rico’s internet is still largely dial-up last I checked and neither they nor the Bronx camp are web-crawlers so they are subject to whatever information is given to them.

I wanted to hold off on the following for a next conversation but I welcome your thoughts this: Gangsta rap’s ideology, the image of guns and bling being cool wasn’t made popular by the general American public or the hip hop community at large. Industry force-fed it to us with little alternative until we got used to it and its now grown past our borders and is affecting other communities. This isn’t my opinion as much as a springboard for dialog I’d like to engage in with you in the comments section. If you wanna go deep in the hood chronicles dig up Bushwick Bill’s album Lil Big Man and try that on for size before writing your response. What I’m getting at with this is until recently, when $mall Change invited me to play on WFMU, no one ever asked me what I wanted to hear on the radio, much like no one I know has ever participated in the political poles that CNN and other media outlets wave as hard statistical data.

Now, back to my hick relatives. Talking to most of my primos (i’m the fourth oldest of 32 blood-related cousins) I find they all share a highly-animated sense of reality, one in which being gangsta is how u gotta be ‘cuz that’s what its like in the streets yo! But when I look down the hill we all grew up on in Puerto Rico, there is still a huge field that horses graze. Behind that, the race track belonging to El Recinto de la ‘Yupee’ Bayamon (University of PR). Standing there, I often myself pondering if I had stayed would have stayed in Puerto Rico, living that close to a great university…

The oldest of the my cousins back on the island has enough crack-heads and ganja smokers in the area to pay the bills, but overall its really not that gully in Barrio Juan Sanchez where we’re from. The neighborhood remains mostly friendly jibaros, who now lock their doors because scattered corrillos of kids with shaved legs and plucked eye-brows are tryna act hard?!? These kids perceive their world through a lens calibrated by the gangsta-ideology that permeated reggaeton and now merengue and what we are seeing are consequences of allowing music and other forms of media to go off into the wilds uncontested.

One of our daily newspapers in Puerto Rico is named El Vocero. On more than one occasion and from both younger and older generation sources I heard it described like this…. when you pick up El Vocero, (holding it out pinched between thumb and index finger) ….it drips blood. During a two-week stay there, I read 3 separate articles about mercenary style killings; bag over head. hands tied to their feet behind their back- shot in the back of the head; all of them within a few miles of where I was staying and suspected to be carried out by guys my age and younger. These were separate articles over the span of a few days but there was no visible thread between them one was a car robbery, one over a girl, one over drugs. It seemed to me at the time, that several one-up ‘a ver quien es mas gangsta’ disputes had climaxed in tandem, resulting in copy-cat atrocities.

I’m not blaming artists or their music for the violent acts committed by individuals. But denying that the demeanor and attitudes which have become prevalent in the current generation is not in some way affected by the music these kids are digesting seems beyond naive. We can take a lot of what singers say with a grain of salt but the question I’m posing is why is the line so far off center? Does calling a spade a spade have to = censorship? I’m not saying these guys shouldn’t have the right to make their music or that it shouldn’t air. But is there a forced emphasis on new jingles or the dance of the week and an oppression of air-play for thought-provoking music, or is it me? What I see is a bunch of kids setting the coordinates to stat quo and forcing themselves into the cookie-cutter gangsta image in hopes of making it so they can get outta the hood.

I speaky di inglesh and my native tongue and I understand quite clearly the words that are coming out of their mouths.… so when do we get to the scene where bubble-gum gangstas get knocked the fuck out by artists with more talent and a different set of standards? At the very least lets call them out on their shit and ask them to elaborate. There are circumstances where letting art speak for itself is useful but when you have so many clones I think we would all be better off to challenge an artist on what they are trying to accomplish with this a piece of art beyond just making money. Those who put thought into their art will usually rise to the occasion. You can get into the ‘why does art have to mean something’ question if you wish, but I won’t be taking part in that with you. I’m busy looking for art with substance or both new and old genres to explore and learn from. Too busy working with MC’s that CAN break the mold. To watch artists hide behind the stage persona and do and say ridiculous things while in character seems a cop out even when factoring in that being an entertainer is, in rare cases, a well-paying job opportunity to someone who comes from bleak circumstances.

Here’s an all-star line up of MC’s with real street-cred that aren’t afraid to face the wind and are ready to blow the current whackness out like the flickering flame that it is. Jahdan Blakkamoore the man Guyanese from Crown Heights Brooklyn, Princesa hailing from Argentina, recent unsigned hype inductee Homeboy Sandman outta the Qboro serving nourishment to the masses, Durrty Goodz in the UK whose Axiom EP raised the bar for grime MC’s, and MV Bill who lives in the City of God, Brazil (his documentary Falcao is story more people should be aware of- large up to Maga Bo on this one). All of them have wicked flows and make it a point to challenge norms plus know how to rock a party. Show them some love ya’ll

Now, I’ll admit to getting older, ornery and detached, having not owned a TV in 8 years. I still manage to enjoy the art of story telling in rhyme, slang and street context. Can you admit a large percentage of new artists out there offer very little lyrical song-writing ability and rely on good publicists to determine for the audience what’s hot? I have to believe at some point society should hold people accountable for their words and actions and at the same time strive and get to the root of our problems. As a Latino, I take it upon myself not sit idle and watch apathetically as my family and culture are brainwashed. I’m happy that Immortal Technique is doing his thing but he’s got a way too much M.O.P. in ’em for the average listener, myself included. Nobody likes Debbie Downer so I search far and wide for party-rockin music I can stand up for because, often times, that can’t afford a publicist. Challenge yourselves to create play-lists that work well on the dance-floor and balance lyrical content. You’ll find its a lot harder than keeping your eye on what everyone else is playing but infinitely more rewarding. That’s how we go ’round payola. Thank you for pushing good music forward via your blogs and the encouragement to air these ideas. –

run go tell dem come…we ready fi dem- Gex

I use all-caps because that’s how he talks, and this is what Funkmaster Flex said on the radio tonite, during one of his arrogant flawless radio DJ mix moments:



&here’s a 5-hour history lession [July 4th Hot 97 mix special, Funkmaster Flex]:

“LISTEN LISTEN LISTEN TO ME NEW YORK, OK? IM IN THE NINETIES STRONG. IM NOT IN THE 90S IN SOME MTV VIDEOS OR SOME VH1 NONSENSE. We ain’t commercialed out, its not what it is today. I did not come up here to play Hammer and Young MC. Its not what it is. That’s not what represents the 90s to me, ok? There’s nothing happy about the 90s, alright? NO EXTRA SMILING. OK? This is real hardcore, PEOPLE WERE MAKING RECORDS BECAUSE THEY WAS HYPED.”


MATT SHADETEk chimes in:

Yo, I just have to say, wow. I have not had this much fun listening to radio in a while. Big ups to rupture for posting this and funk flex for doing it. This is only iller considering what he has been playing lately.

Straight techno-pop, (like timbalands “Way I Are”, wicked), with shouting, impeccable beat juggling and MAD ENERGY SON! To have him go back into the crates of my own NYC adolescence is just… Spine tingling. This is one of the reasons I had such a hard time (and failed) staying in Europe. When I’m in NYC and Funk Flex is yelling down the radio and looping the beginning of a record he likes again and again I just feel, for lack of a better word, home. They sound old, dusty and anachronistic now but only a limited number of people on earth know what some of these nineties hip-hop records mean to me, to us. How HYPE we used to get about this stuff, stuff like Boot Camp Click, Smif N Wessun, Brand Nubian, Black Sheep and Nice and Smooth. Funkmaster Flex knows. Put your hands up for New York. I love my city.

PS: also, he drew for high pitched “Go flex!” intro. Who knows!?!

UK low-end bredren Sinden started off his (highly influential & generally awesome) Kiss FM radio show last night with the Cauto stormer from Dutty Remix Zero, Bona Vida! Tracklist. Seems like you can stream it back here for a week, although are my computer & I am not smart enough to make it work for us.



Across the Atlantic, on my radio show last nite we aired an exclusive set by another Londoner, bassline/grime producer Dexplicit. Listen back. This will be available as a podcast soon.

At night, when the big advertisers go away, NYC-area radio gets really good.

The stations that are satured with depressing, attention-grabbing ads for the army, “debt relief” usury, and McDonalds during the daytime… well, at night those ads dont go away, they widen to include Viagra-type ads. But they happen less frequently.

And between them unfolds incredible, alive radio. Some moments are great because of the music they play and others are great because of how live they make it all. The best combine both of these with technically virtuoso hiphop DJing. I’m convinced they edit it in advance because i’ve never once heard a mistake or an off-beat blend, it’s that good. We didn’t get any of that perfectionist Manhattan turntablism tonite, but it was bumpin nonetheless. Here’s what i heard:

radio 05aradio 05aradio 05aradio 05aradio 05a

nYc aIrwAves – dUTtY rAdIo RiP (30 min., 28 MB)

This is EXACTLY what New York City sounds like right now. Midnite to 3AMish? I’m skipping around stations, but La Kalle and Hot 97 are well-represented, and the weird stuff at the end is WFMU. Recorded onto a flagging harddrive from one of those cd-cassette units that resemble the head of a praying mantis or ant.

clean music rubs right off – the dutty stuff stains