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The Year of the Renaissance Woman: Dj WhySham Is Carving Her Own Career Path

[Via jade(d)] This was originally published on jade(d) by Jade Abston: this month I wanted to highlight a woman who continues to inspire me everyday. DJ WhySham is a dj, community activist, consultant and holds many other roles. her passion and commitment to her community and the work is unmatched. When she’s not dj’ing parties for the likes of Elizabeth Warren, she makes the time to sit down and answer some questions about her career. So what exactly is Bringing Back Boston and what is the mission/goal of this network? Bringing Back Boston is a network of people, organizations, and businesses that come together to address mental health, public health and trauma in communities of color. The goal is to challenge ourselves to create conversations about things that may be impacting our lives, affecting our mental, spiritual and/or physical being negatively. Why was it important for you to create this network in your community? There are so many stereotypes and stigmas around mental health in the black community and what is determined by textbooks to be considered “trauma”. It was time to push back against what white institutions are telling black communities our struggles are without giving a proper voice or face of what is going on. What has the process been like? I know that taking on such a huge initiative, especially when you are doing most of the work alone can be overwhelming. The process has been amazing, draining but worthwhile all at once. Maintaining social media and websites has been the biggest challenge and letting people know we are still active but just making moves behind the scenes. We advocate for various individuals, make referrals but sometimes it doesn’t come to the light because our hands are in various projects. During this process, I have met some amazing individuals and groups that have helped me push to see where I can take BBBMA. How has your community received Bringing Back Boston? I think the community has received it well. Many people show interest in the topics or the need for a physical space to release, feel safe and hopefully receive some form of support (peer to peer; peer to counselor). Moreso the people who have heard about it through the grapevine always trying to figure out “Why haven’t I created this sooner?”. What has been the biggest challenge and what has been your greatest success? The biggest challenge is being consistent, I want to get to the point where a conversation is happening somewhere different in the city each month. I think this will create more conversations amongst people in their social and family environment. The greatest success is connecting with so many organizations and networks to create something for everyone. Meeting people of color in positions who really want to create a change. From your love of music and dj’ing you started the initiative, Boston Got Next. What exactly is Boston Got Next? Boston Got Next is a space where local artists can share their music projects, receive feedback or performance and content. We are aiming to promote local artists,  producers, shows and venues to connect the dots in the Boston music scene. What has been your biggest challenge with Boston Got Next and what has been the most rewarding experience? Biggest challenge is a need for space! We have been grateful to have an amazing partner in this journey. DJ Troy Frost and been able to use their space but we are growing day by day. The most rewarding experience is seeing the artists grow, the connections being made and the word-of-mouth that has been happening about the listening sessions. As a DJ who is a black woman and LGBTQIA what has your experience been like? My experience has been mediocre, I get into situations where male DJ’s (who are in attendance) kind of either think I am a girlfriend, photographer, friend of the party until I am like yeah buddy this is my equipment I lugged here. I also have had many amazing conversations with people who are excited to see a female DJ since there are so few. What advice do you have for women, in particular, black women and LGBTQIA women who want to DJ, produce, and get into the entertainment/music industry? Do it and take all the risks you can afford! Literally…afford. Take gigs that you think you will find future network opportunities to perform. Sometimes these are unpaid but depending on who network with might lead you to a bigger opportunity. Don’t be afraid to clear the space! If you are on a DJ line up with five other people; or five male DJ’s make sure you own your time slot and shout yourself out. What advice do you have for black women who are multi-faceted, dynamic, and don’t necessarily want to follow a traditional career path? If you are scared to think outside the box, you have the right to be. Sometimes our career paths do not go where we may have planned it to go but as a creative individual, you can create your own career paths. I am a DJ, community advocate, farmers market manager, consultant and so many roles I have within organizations and businesses. Create a timeline of personal goals you want to set for yourself, something tangible. Example, By April 2020, I want to have my website launched. To keep up with DJ WhySham endeavors or to request/inquire her services, or collaborate check out: Instagram: @djwhysham @bostongotnextTwitter: @DJWhyShamWebsite: Bringing Back BostonFacebook: Bringing Back Boston

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BRANDIE BLAZE: BOSTON’S TRAP FEMINIST MC

[Via DigBoston] “Yeah, I’m bossed up. That’s what my music is about.” While her parents may have given her “the talk” as a teenager, Brandie Blaze says she learned a lot more about the birds and the bees from Lil’ Kim and Missy Elliot. The 32-year-old hip-hop artist remembers walking to school listening to The Notorious K.I.M. on her blue Walkman and being struck by the pride Lil’ Kim showed in her body and her sexuality. Inspired by the shameless self-love of her idols, Blaze uses lyrics to reverse the power dynamics of rap music and redefine what it means to be a woman in the industry. Born and raised in Boston, she tells the story of the city from a queer, black, plus-size, and female perspective. Raised on ’70s R&B records and the female powerhouses of ’90s rap, Blaze combines activism and nostalgia, creating socially conscious cuts with a local focus and universal message. “I would describe my sound as trap feminism,” Blaze explained. “You don’t have to feel pressured to be something you’re not. You can be anyone, and you can be anything, and you can still be sexual and still tell them, Yeah, I’m bossed up. That’s what my music is about.” Blaze says she’s been an entertainer since she was just 3 years old, and it shows in her sets. Having first performed on stages with a jazz dance class as a young girl, the rapper jokes that she was only in it for the outfits at the time. She also had a brief stint with vocal and acting lessons, but even though those didn’t stick, Blaze was still drawn to the spotlight and eventually found her place in poetry and rap. Now she’s captivating audiences—just instead of local dance recitals, she’s rocking shows at venues like the Sinclair. Blaze hasn’t been writing rhymes her whole life. The rapper says she didn’t pen her first poem until junior high school, when she started using poetry to help cope with a death in the family. “It felt good because I was able to express all of the things I was too shy or too scared to say,” Blaze explained. “I just kept writing from there.” These days, you might see Blaze sitting in her car, blasting music and writing hooks, or practicing the flow for a new track during her commute. While her passion for writing was born out of tragedy, beyond personal expression she says she uses her poetry as a platform for public outcry. Specifically, Blaze tries to connect with and empower those with perspectives that are often overlooked in hip-hop. To that end, she blends substance with silliness, using lyrics that can sometimes seem inconsequential to mask witty retorts to the problematic lack of representation of certain minority groups in the culture. “I write primarily for black women, especially fat black women,” Blaze said. “There just isn’t enough for us. … I mean, how many times can we listen to cishet men on the radio be like, ‘I’m gonna disrespect you?’ “It gets old, it gets boring. People want to hear something different.” Blaze is just that—something different. The rapper explains that she uses Boston’s unique “sound” to her advantage, exploiting the local scene’s lack of a cohesive style to create music that is undeniably her own. “Some people see [the lack of a sound] as a weakness, but to me, it’s great because there’s something for everyone.” Blaze works primarily with DJ WhySham and her engineer Fresh, as well as a number of area producers to build tracks that are both playful and substantive—“hip-hop with a message,” as Blaze calls it. Her new single, “Drown,” drops this week and is a perfect example of the rapper’s lighthearted but poignant style. In it, the MC rhymes about an ex-boyfriend of hers who she met after boxing him in at a gas station. “He see all this ass lit up by headlights,” she raps. On the strength of solid rhymes and shows, the buzz around Blaze is increasing. All while she explores intricacies of female sexuality, relationships, and meeting significant others while blocking traffic. “Some people get to a certain point and they don’t look behind them,” Blaze said. “No matter how big and how far this goes—it can go nowhere and it can go everywhere—I have to stay humble and stay grounded.” BRANDIE BLAZE SINGLE RELEASE SHOW W/ LIK MERAKI AND TREVA HOLMES. THU 3.14. DORCHESTER ART PROJECT, 1486 DORCHESTER AVE., BOSTON. Written by Olivia Mastrosimone for DigBoston

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Boston’s Floor Lords Crew Celebrates 34 Years

[Via RedBull BC One] By DJ Lean Rock on Jun. 24, 2015 It’s been quite a blessing growing up as a part of Floor Lords, a legacy which began 34 years ago. One of the longest-standing & active breaking crews in the world (Only Zulu Kings, TBB, Rock Steady Crew and Dynamic Rockers have been around longer), Floor Lords has played a major role in developing the Boston Hip Hop community for more than three decades. The story begins in 1981 when Mass Break Team and a few members of New York Puppeteers joined forces. Mass Break Team ended up changing my father, Leanski’s, life when they introduced him to street hitting (hitting is a term for dancing on the street for money). My dad couldn’t believe they were actually making money on the street just from breaking and popping. Around this same time, several members from my dad’s original crew, NY Puppeteers, lost interest in dancing. So my dad started to hang out with Mass Break Team and started doing street shows with them in downtown Boston. Since my dad and a few others started to come around more often, Kid Cisco and Mad came up with the idea of starting a new crew called the Floor Lords. The original members of the crew were Kid Cisco, Mad, Taz, Dave Carella, Supa Steve, Sir Rok A lot, Sut, Megatron, Dre, Gumbi and Leanski. Over the next year, the media had popularized breaking, and the global B-Boy community began to grow as a result. As the culture spread around the world, it too expanded throughout Boston, and even gaining a few members from Providence, Rhode Island, with Nolee and Archie, just to name a few. Fast forward to 1983, which saw a history-making showdown as Speedy (R.I.P) and Mike Gileo brought out Float and Chino from the Incredible Breakers (NYC) to do some shows in Boston.  What Float and Chino didn’t know is that they were actually being brought to Boston to battle the Floor Lords. My crew was notorious for being aggressive, and was known for getting into battles with everyone in the city of Boston. That said, there was plenty of hatred towards my crew in the city. To make the story short, my crew ended up battling Float and Chino and losing the battle quite sorely. No one in Boston had ever seen anything like Incredible Breakers before. Most B-Boys during that time typically specialized in one move, or a few moves, but the Incredible Breakers specialized in it all. For the people that don’t know of the Incredible Breakers, they were amongst the pioneers of toprock/rocking, innovated power moves and displayed a then next-level finesse. Not only did they inspire us to become well-rounded B-Boys, but they also inspired us to be more humble. They have been part of the legacy and family since that battle. About two years later, in 1985, Floor Lords and Unikue Dominoes were Boston’s most respected crews and biggest rivals. While both crews had battled on multiple occasions, there was never really footage or any press of any of the battles. So a major exhibition was set up between them through a campaign called “Rock Against Racism.” It was pretty much our city’s equivalent to the Rock Steady Crew vs Dynamic Rockers at the Lincoln Center. Most of the city of Boston came out to see the battle and a local TV station even filmed it. Another local crew, Spin City Rockers, joined Unikue Dominoes and the younger chapter of Floor Lords– called Floor Lords 2– joined the Floor Lords for the battle. The Floor Lords ended up winning the battle by a landslide and ultimately gained Boston’s respect. Around 1986, breaking began to die down across the country, but my crew still stayed strong. During these times, house dancing and new styles of Hip Hop dance became the more popular dance styles across the USA. People were really against breaking during this period, so in order for my crew to stay relevant in the performance world they had to learn to adapt to the newer styles of dance too. People would literally throw ice and water all over the floor at the time to prevent B-Boys from getting down. Despite the fact that everyone told the crew that breaking was played out and over, they kept with it. The crew managed to stay alive, but it died down to just Cisco, Flex, Archie, and my dad, Leanski, for a few years. Breaking finally made its resurgence on the East Coast again in the early 90s. And it was during that time that a couple of underground videotapes floated around, including crews like Battle Squad, Second to None, Aktuel Force and Rock Steady Crew. The most memorable footage I remember watching with my dad was the footage of Battle Squad at Battle of the Year 1992. For the older guys in my crew, it was really inspiring to see this footage because they got to see how big and how high-level breaking had become overseas. In fact, they hadn’t really see anyone break at such a high level in years. There were only two crews in the Boston area that could actually break in the early 90s­– Floor Lords and Something Different. And as for Something Different, they were more of a popping crew. The Rock Steady Crew Anniversary, Zulu Anniversary, and the videos of European B-Boys really gave  our community fuel again. In 1995, Leanski finally took commands of the crew and brought us back to our essence. He put more emphasis on training for breaking and popping, rather than adapting so much to the newer styles of dance. He began teaching my cousins and I how to break, gathered former members and started to recruit newer members to the crew to rebuild it. Around that time, Float had connected us with Kwikstep. We began building with Kwikstep and the people of his movement called Full Circle. This movement brought

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Djbooth reviews REKS |REVOLUTION COCKTAIL|

Dj Booth did a review for REKS upcoming and out now project |REVOLUTION COCKTAIL| If your interested just click on the DjBooth Link or if you want to purchase the Project click on REKSHipHop’s LINK Revolution Cocktail can be purchased at REKSHipHop.com. The review from DjBooth

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Boycott Blues CD Reviews | Irony

Boycott Blues CD Reviews | Irony Brick (2009) By CHRIS FARAONE | October 14, 2009 Read more: http://thephoenix.com/boston/music/91227-boycott-blues-irony-2009/#ixzz34vBdq896 Here’s one way to interpret the title of the debut disc from Boycott Blues: on one paw, he’s a street cat who says “fuck it” for a fast ducat; on the other, this Roxbury beast laments the residual effects that come from poisoning his people and advancing cyclical oppression in the “concrete Congo.” Dude is Glenn Beck America’s foulest nightmare: young, black, and smart enough to give a fuck. Irony is worth several hundred full listens. With emotional operatic ammo thundering behind him — mostly courtesy of intergalactic ghetto representative Insight — Blues both taps the pulse of blighted Boston and maturely represents frustrated clever hoodlums everywhere. The commanding strings on “Blues’ Brothers” cradle his narratives; “Back Stroke” is genuine enlightened block fare; “Da Math” with Consequence is the hottest hip-hop track of 2009. Blues admits he has no solution for senseless street violence; still, his righteous poverty-themed rhymes are wise and intelligent far beyond his age and reputation. Read more: http://thephoenix.com/boston/music/91227-boycott-blues-irony-2009/#ixzz34vBnkscL

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