Skip to Content Skip to Navigation

R.A.: Text

Morgan Craft "Black Project" - March 26, 2016

http://roughamericana.com/publicfiles/BLACK_PROJECT_PDF.pdf

"...The fact is that there are no limitations and no excuses for the black American of today."

Morgan Craft 'Power of Won' - January 31, 2016

http://www.roughamericana.com/publicfiles/Power_Won_press.pdf

"The general shift to a society guided and shaped by a black box master algorithm is almost complete. But at what gain?"

Mutamassik 'Symbols Follow' Liner Notes - April 6, 2015

http://www.roughamericana.com/publicfiles/symb_liner_for_web.pdf

"Creativity = Vision = Vision = seeing what is Unseen = Unseen = Spirit = Spirit = Creativity"

'On Greatness' by Morgan Craft - June 2, 2012

http://www.roughamericana.com/publicfiles/ON_GREATNESS.pdf

"...if the world today, with its continued violence, greed, disease,depression, inequality, ennui, etc., is the accumulated result of the good grossly outweighing the great, then perhaps it’s time to demand a recalibration."

 

P.E.I. (Personal Efficiency Index) by G. Loli - March 8, 2012

http://roughamericana.com/publicfiles/PEI_layout___.pdf

from "P.E.I." by Giulia Loli

'"Frugal Innovation", the hot new business phrase slung around by behemoth corporations such as Siemens (and other Economist economists), is quickening the pulse of suits and ties worldwide.  Further proof that there is something powerful in reduction...maybe even magical...or maybe, rather un-magically, they are accepting what they know to be unavoidable.  From a comfortable distance, they keep their lecherous buzzard eyes on what brilliant creations the leaner and meaner are conjuring up from their unassuming basket of tools. 

  They are no different than my peers in the music industry who want the revolutions that created ground-breaking art, music and culture without the oft shitty-but-fertile soil out of which they blossomed..."

Chapters:

1.  P.E.I. (Personal Efficiency Index): a note to the Good Livers

2.  From "Inconvenient Truth" to Existential Dilemma:  No Political Solution without Spiritual Resolution

3.  Morality Graphs, Conscience Indicators and other Unsavory Pies

4.  Even those of us Below the Radar are On the Grid/ From the Other Side of the 'Developed' World/ Compli-City

5.  Diagnosis & Treatment of the Symptom-based Disorders in "The Age of Austerity"/ Incentives, Benefits and Mutual Growth 

6.  The Power of Reduction and the Spiritual Payoff

7.  The Misplaced Energy of the Well-Fed Masses: Black Nobility, Diaper Genies and the Myth of Sisyphus

 

 

Morgan Craft article by Michael Kaplan - December 17, 2011

http://roughamericana.com/publicfiles/Michael_Kaplan___.pdf

"What initially drew my attention was a short essay of his posing as a letter that I came across in The Wire, subsequently quoted and included in George E. Lewis’ seminal book, ‘A Power Stronger Than Itself’. In it, Craft lays out his rather militant observation of a missing black American avant-garde, placing the blame equally between the new generation of musicians content on rehashing old forms and an institutional system seemingly committed to narrowing and isolating black American genius. I agreed with much of his thesis and found it refreshing to read such honest criticism. I wanted to know more so I peeled back another layer."

Morgan Craft / 'A Cycle of Seven' - July 19, 2011

 

Full length album download.

 

http://www.roughamericana.com/publicfiles/MorganCraft-ACycleOfSeven.zip

 

Copyright © 2011 Circle of Light Recordings.

 

Q:  What is the concept or idea behind this new album?

 

MC:  Seven year cycles for us as humans can be seen as shifting points or markers of change.  Most spiritual traditions recognize the number seven as having special powers, oftentimes associated with a transformation of some kind.  The septimal law carries with it the blueprint found in all aspects of life, namely; birth, growth, fruitage, decline.  This album is being released on the seven year anniversary of my coming to Italy.  It represents a closing of a circle, an ending of an era, and the beginning of something new.  I see it also as an offering of respect to this experience.  My primary concern in coming here was to utilize the time and space to solidify my musical foundation.  That was my mission.  I knew that if I was going to go out into the world and contribute on a level with respect to the masters then I had to find my methodology and my music.  I had no idea it would take seven years and evolve into what it has. 

 

I’m impatient by nature, and I’ve felt the pressures of supporting my family, watching nearly all of my thirties fly by, and seeing my peers out there working.  But this year I realized that I had actually been given something much broader, something that came to resemble mythology more than a music career.  Seven years on a mountain, isolated, surrounded by forest, conducting sonic research in a studio laboratory definitely isn’t the standard business model.  So what was it then?  I found that when I tried to understand it logically, intellectually, I’d get very agitated and fearful.  But when I widened my scope out to seeing my experience along mythological lines I felt stronger and more confident that my work had a deeper purpose.  What all the myths tell of, at their essence, is transformations of consciousness of one kind or another.  In order to find something new, one has to leave the old and go in quest of the seed idea that will have the potentiality of bringing forth that new thing.            

 

Q:  And what is the broader perspective or deeper purpose?

 

MC:  The broader perspective is realizing that music has the power to change the world, and in order for it to do that in a positive way, we have to recover the essence of the art form and bring it into the future.  As a musician, there is a great responsibility to create sounds that carry vibrations which can help humanity.  None of the old forms or styles will work for what the world needs now; there is no going back to the good old days.  It is the job of the re-defined musician to find a new approach that is inspired and will allow music to reveal even more of its higher potentials.   

 

Q:  You’ve said that ‘no new music ever preceded the new musician.’

 

MC:  Precisely.  It means that music is the result of the musician and not the other way around.  Perhaps a better way of looking at it is: all creativity derives from the same infinite source.  This source could be called energy, spirit, God, whatever you’re comfortable with, and it is the quarry from which all things are hewn.  The musician translates this energy into sonic form, while the poet translates it into words.

 

That being said, the ground zero of any new music must be the musician.  By re-defined I mean one who understands that if the source is infinite, then the sonic palette must be also.  In most western music, the harmonic system, or building blocks of the music can be roughly boiled down to the twelve tone chromatic scale.  Seen from the vantage point of the new musician, these tones are comparable to twelve tiny fragments taken from a glacier.  Even that analogy is misleading, because a glacier has boundaries and can be measured.  The new musician embraces infinite sonic possibilities. 

 

Another characteristic of the creative source is that it is in constant motion.  Nowhere in nature do we find a static or fixed element.  A common analogy is that of a river, always flowing but never the same.  The key to a new music then is aligning oneself to the governing principles of life as we know it.  Within music, the process by which we come closest to this natural reality is improvisation.  Most musicians have a belief in the power of a first take.  The energy or vibe of doing something for the first time can’t be duplicated.  I know that it’s possible to create a music based on that principle, one that is alive and in the moment, which is what improvisation truly is.

 

Thirdly, with the advent of sampling technologies, the concept of the band; drums, bass, keyboard, guitar, vocals, all playing their prescribed and traditional roles, is entirely out of date.  A single musician can now build structures that previously required the efforts of twenty instrumentalists.  Every musician is now an orchestra.  Not only is this a breakthrough for the self-reliant types, but when collaborations do occur, as in the form of a group, each person’s role will have to be entirely re-assessed.     

 

Q:  There seems to be a general ennui in the world of music these days.  You hear people say that such and such band or artist gave them hope that real music was coming back.  What is it we’re yearning for?

 

MC:  I believe we’re yearning to be inspired again, especially now.  I think we’ve been drifting so far away from what it means to be creative that we only have a dull or vague sense of something not being right.  Bands come and go and we like them because they remind us of something else.  People say they want real music, but that shouldn’t be confused with what real music was thirty years ago.  What we long for from our musicians is that sense of adventure, that spirit of transcendence.  And what we long for in our music is to be transported and transformed.  The modern musician has to be honest with what has run its course.  What I mean is, thirty years ago, going to the big city seemed to inspire new ideas; the rents were cheap and people had the time to explore.  But now, the major cities are corporate strongholds, intent only on bleeding the creative spirit dry.  The new musician needs to go in search of new inspiration. 

 

This is the first time in history where we can affordably take a whole studio, in the form of a laptop, and make industry standard albums wherever we are.  And with downloads becoming the accepted method of hearing new music, the possibilities are exciting and endless.  Why not live on a boat and make an album in the middle of the Mediterranean, or on the beach in Bali, or up in the Himalayas?  A balanced relationship between the new technologies and what it means to be human could provide the necessary leap into a new era.

Morgan Craft / 'For the Love and Return of Music' - February 2, 2011

Music has been sold out.  Finally this elephant in the room will be talked about and acknowledged, so let’s not waste any more time.  I believe that the state of music today is the worst in history, full stop.  There, I said it.  Can’t you breathe a little easier now that we’ve gotten that out into the open?  This is not a new development.  It’s old news in fact.  We’ve allowed ourselves to be led into a cul-de-sac and diverted from the truth; the truth that music, or the essence which animates great music, has almost completely disappeared from the landscape, the same as the Mekong giant catfish or golden headed langur.  And yet we all still carry the memory, deep in our subconscious, of times when music was not just a diversion but an actual force which could lift us above the mundane or confusing world around us, a music that resonated in our souls.  All of our debates about the collapsing industry are keeping us from what we really want to say but don’t want to admit.  Namely, that the music of today doesn’t inspire us.  It doesn’t carry with it that dimension of wonder and possibility.  We’re all responsible.  We all sat back and watched as certain forces systematically narrowed and flattened its higher potentials.    

 

What is music?  Music is emotionalized sound.  Music is energy.  It can be used as a weapon or it can be used to heal.  Sound is the result of that mystery of mysteries, existing independently of us as much as the stars in space.  Emotion is the result of the human experience.  So the source or nexus of music is midway between the human and the divine.  Without our emotional engagement, sound remains ordinary, even dull.  Wouldn’t you say there is something intrinsically unique about this art form?  It is invisible, and its ability to cross borders remains unparalleled.  These facts alone should alert us to the special qualities of emotionalized sound.  Is there a limit to what is possible through music?  Has everything been heard?  My feeling is that we’ve only scratched the surface and that this period in history will usher in a new sonic approach that will help us contribute to this new world.  We need music to come back to us.  I’ve missed it terribly.  We need it to come back and show us a positive way forward by filling our hearts with the assurance that what we dream is truly possible, and more.  But what will it take?              

 

If music is to be saved it will take a new kind of musician to do it, a magician of the sonic realm, one who is fully conscious of what is at stake and what it will take.  This new musician is once again an adventurer, for the inspiration s/he seeks lives out on the frontiers of the heart, mind, and soul.  It is a spiritual realm, a diving deep into oneself in search of that which is real, timeless.  It will require the patience and diligence of an ox, but it’s not without reward.  The inspiration uncovered could be seen as a key, spark, or seed that is alive and in motion, with the musician as go-between, carrying it into the world.  Once this seed is planted it grows into initiative, which in turn grows into creation.  The creative person is the properly aligned person.  Creative in all walks of life, in every pursuit, in every situation.  As all of the political and economic promises continue to trip, stumble, and fall short of real change, the inspired individual is the one true currency.  Without this, all of our oil and gold would be so much black water and yellow rock. 

 

I feel that music wants to come back, is ready to come back.  It had to wait for its freedom in order to speak without consequences or copyright infringements.       But, life works in strange ways.  Perhaps without the ridiculous demands and foibles of a corrupt, and now moribund, music industry, we wouldn’t be as hungry and ready to really hear again from our hearts.  Whatever the case may be, we stand poised to create a new habitat for this force called music.  And I, for one, am grateful.

 

Spring 2011 / Castell’Azzara

Mutamassik "The Making of 'That Which Death Cannot Destroy' and the new 'Hardcore'" - May 24, 2010

inlabsstudioshot.jpg

The making of "That Which Death Cannot Destroy": a studio tour into stabbing strings, thundering drums, howling conviction 

  Going from a predominantly raw urban experience (see: childbirth on Medicaid in Brooklyn, many etcs.) to a raw, rough, rugged rural experience has taught me many things.

  Let me give props where props are due:  A decade plus+ in the streets of New York City and Cairo cut my teeth; half that time in Nature, however, has kicked my ass.  Not just once, but continuously.  This has been a boot camp.  If inner city life made me hard, Nature made me harder. 

  During the making of my latest record, I was mostly wearing a parka, long johns, 2 pairs of socks, 2 sweatshirts, pants and a hat and every time I exhaled a condensed pulmonary fog clung to the air undisputed-by-modern-science measuring the harshness of the situation (I'd take the parka and hat off when I got sweaty on drums and cello).  I have to frequently cuddle my DAT which I record my masters onto to get it's digi-electronic guts warm enough to function.  Couldn't an electric space heater solve the problem?  No.  The excess wattage makes the old, faulty electrical circuit jump.  {The American gear (which 99% of our gear is, brought over from N.Y. on a ship with the entire $5,000 given to us by the U.S. government for being hard-working, poor and with child) is converted and stabilized by voltage transformers used by the U.S. military in the hairiest parts of Afghanistan--not proud, just real}.  There is no central heating.  We go deep into the forest to collect firewood, chop trees, burn burn burn.  We make fires to stay warm (9 months out of 12).  CAVEmen-style.  We hike 4 miles up the mountain 5 days a week, bringing empty bottles to fill up at the mountain spring--whatever we can carry, our daily drinking water.  Since the local water has been privatized it's chlorinated vapors (which we have to pay handsomely for) are best avoided.  We've learned to cement up falling ceilings, maximize a piece of dirt to grow food (picking up some ripe sheep shit on the way to  the mountain spring to make the vegetables pop), make a 3-month supply of fuel for heating water last 1 year by only having 15 minutes of hot water every other day--no matter how harsh the winter-- and feed 3 people on a buck.  Our only form of transportation has been our son's stroller which we used well after he started walking to haul up large tanks of cooking gas.  From it's beginnings on Atlantic Avenue, and after many brutal years of international service as person, baggage, tank, garbage rickshaw, it has once again been recycled as a safe home for cats.  {Note:  None of this new or harsh to anyone but us city slickers/urbanites/suburbanites/industrialites}.

  We have a relationship to Nature that is mostly not Soft, Ethereal, Romantic as somehow propagated by Dabbling-Vegan-Hallmark-Hippies, but rather Tense, Negotiating, Respectful...Intense.   There aren't many affectations here:  When I bark and howl on 'Future Ancient Ruins' and many other tracks, it's a reflection of what I hear around me.  Just as unaffected as the helicopter blades that incessantly circled my apartment in Brooklyn in 2002 (scanning the Atlantic Ave Falafel/Atlantic Seaboard/East River circuit just after 911?) and found their way on my tracks while I was making the 'High Alert' Ep. 

  I'm telling you this, a bell'100th of it all, because this has made me confront many things, including accountability/consumption... 

  But the sparkling gem has been the molecular realization that Resourcefulness makes you funky.  Being able to make 'Something' useful and/or inspiring out of what most people call 'Nothing' is a gift usually bestowed upon the meek.  <<<Something to think about when choosing Comfort over Hardcore>>> and/or when Life slips the comfort right out from under your feet.

Which leads to my upcoming P.E.I. theory....more later.

 P.s./disclaimer:  I'm not a luddite.  Neither am I a glassy-eyed naturalist who proposes everyone 'drop out' to swing naked on vines.

(check 'music' page for 2 high quality mp3 links)

Mutamassik 'Mash Up' = 'Skim Skam' or 'Just Lancing the Boil' - May 15, 2010

  The term 'Mash-up' (said to be coined in 2001 by dj Freelance Hellraiser?) really embodies the Zeitgeist.  But before I blow the term to bits, let me take a moment to appreciate it's use as contaminant and destroyer of corporate systems, in line with hackers, adbusters, pirate radio broadcasters, etc .  Also, to be clear:  this is not a semantics debate.   I had fair warning from my dad when I was little with our first drug chat.  He used to tell me that 'cocaine', for example, as a word and even a drug shouldn't necessarily be demonized.  It's how people use it that makes it 'bad'.

  So how is this term being used in music/art now?  Glibly, superficially,  glossed-over to make sure it's party-ready.  Ready to be consumed and vomited. 

  We're living in an era of the ultimate Cliff Note, of Cultural Bulimia

 In whatever blaze of creative brilliance it may have started, 'Mash-up' has become synonymous with 'Skim-Skam' (aka Lay-Z!), my term for the current musical/journalistic/PR trend that nonchalantly quotes and glibly references African, Jamaican, Arabic, Celtic, etc music (i.e., music embedded in a culture that means alot more to it's people than an outsider could ever understand) without going deep (Skim), regurgitating it back out into the world with an air of 'Uh-huh, got it'  and making a career out of it (Skam).   {Seems to have become an especially useful cover for people who really have no ideas of their own, but still want to appear cool by affiliating themselves with whatever they're 'mashing up'}. 

  Adverse effects include the ubiquitous and oblivious, existential-ontological-digital delusion that all that IS must BE online (I'm googlable therefore I am).  All of this neatly disposes of the harsh reality of how experience + information + spiritual weight used to be got:  from donkey shit squishing between your toes (then losing your flip flop in it), power shortages, grumpy locals and bumpy bus rides.   The Mash up Zeitgeist dictates that entire sounds, cultures, peoples can be gotten as quickly as an FTP(Flippant Tourist Pretention). 

  The grand and sapping illusion of the "thumb generation" is that everything in the world can be found online...somewhere.  The fact remains that there is an infinite, valuable myriad of phenomena that is NOWHERE to be found online (I have proof). 

  And while I'm amped to be part of the beauty of uploading, inputing, sharing rare information via this neo-Alexandrian-human-rhizome library (maktoub ya’ll), what I'm seeing is a gradual evolution of humans into the Wellsian Elois prototype; limp-wristed, brain-heavy, bloodless, nutless, post-humans living in paralytic fear of anything that operates with a body, blood, breath, meat, death, pain, passion  (last time I checked-this morning- most humans still take stinky shits). 

  I hope this fact encourages more people to get off their asses and actually leave their safe abodes to physically go check things out--empirical knowledge-style before ripping it off.  Of course, I'm addressing mostly the part of the world afflicted with this new disease, which is the privileged world (people who have access to food, water, 'peace'-redefined as no bombs dropping on your house, education, money--which nowadays does not only mean the 'West' anymore). 

 We still have bodies for a reason.  "Use 'em or lose 'em".

 

Morgan Craft/ 'Absence of Day and Night' - March 28, 2010

MORGAN CRAFT / "THE SILVER BULLET" 2010 - January 26, 2010

NEW RELEASE.  MORGAN CRAFT / “THE SILVER BULLET”

Free full length album download.

(Clinical Archives Release)  2009.

 

http://clinicalarchives.blogspot.com/2009/10/ca324-morgan-craft-silver-bullet.html

 

Q:  So the name of the album is "The Silver Bullet", what exactly are you trying to say with that?

 

MC:  I mean it to work on a couple levels.  Obviously the most common use for silver bullets comes from folklore, against werewolves, witches, or certain monsters.  In looking around today at the music scene it's hard not to feel it's being propped up and run by real life monsters.  The endless barrage of negativity and regression, the focus on style over substance, laziness, misinformation, theft, greed, lies, all point to a certain kind of evil.  So, metaphorically, the only way to stop them is with a silver bullet.  But my bullet / album doesn't kill, it enters the body through the ear and acts as a catalyst for realignment and mutation.  As a more general metaphor, the term silver bullet refers to any straightforward solution perceived to have extreme effectiveness.  The phrase typically appears with an expectation that some new technology or practice will easily cure a major prevailing problem.

 

Q:  So you're taking it upon yourself to illustrate another approach?

 

MC:  Someone has to do it.  I don't see anybody else stepping up and taking the heat.  I don't see anybody cutting against the grain with anything revolutionary.  I feel like it's time to lay the cards out on the table and really walk the walk.  I've talked so much about my generation and its lacks and now I'm really trying to move beyond all the complaining.  I feel that criticism really is very weak in terms of actually effecting some kind of change.  What is needed are musicians willing to show and prove that a new direction can and does exist.  I'm interested in art and artists that inspire humanity to think, feel, and act on the highest possible level for the good of the planet.  I'm interested in innovation and expansion.  I think we're at the end of a particular cycle that has allowed so much negativity to flourish.

 

Q:  The title also brings to mind the Lone Ranger.  He used silver bullets in his gun.

 

MC:  (laughs) That's true, I never thought of that.  I can't say I ever watched the show but the premise is definitely one I would agree with.   I think the world is ready for a new hero.  And I don't mean this penchant for identifying with comic books and naming yourself after one of the characters, or being a politician waving words around and posing as something heroic.  I mean a real flesh and blood hero going out to fight injustice.  Yeah, I think it's time for that.

 

 

Morgan Craft: Interview 2009 / A New Machine - August 20, 2009

http://roughamericana.com/publicfiles/MORGAN_CRAFT_2009_interview___.pdf

excerpt:

"MC:  I've been making the comparison of what's happening now in music to the advent of photography and what it did to the painters.  It forced a major change in the medium and I think the same will be true now for music.  I'm very excited about this, actually.  I like the fact that things are coming to a head, becoming congested and overpopulated because it forces a new direction.  Musicians or sound artists who are dedicated to the progression of the form are going to have to discover a way to continue.  Part of my whole research these last few years has been about building a new machine.  I've been thinking about the entire field of creativity and improvisation as opposed to just the audio or aural.  Part of me doesn't even want to focus on being a musician anymore, I almost don't want to call myself that.  I'd rather hold out for something other.  But the important question is / what is music for?..."

DE-NILE + by MUTAMASSIK - July 11, 2009

http://roughamericana.com/publicfiles/DeNILE_Mutamassik.pdf

originally published 2005 at http://www.nyfa.org/level3.asp?id=334&fid=6&sid=17

Republished at http://ambassadors.net/archives/issue26/opinions3.htm

excerpt:

"1) Egypt: a Brief thought on North African colonialism or "de-Nile" of/to Vulcanize or Afro-Asiatic Mokkassar

North Africa is under the Arab umbrella now. Egypt, for example, has officially been the 'Arab republic of Egypt' since 1971, 1300 years after the original Arab invasion. surely as Israel's expanding threat grew, so did the need for the surrounding nations to come together under one banner. there have been many attempts in history at forming a Pan-Arab league. when it was for the sake of peacefully unifying quarelling peoples, liberating Palestine and dissolving colonialism and imperialism all over N. Africa and the Middle East it was truly a noble feat. but what happened as a result is that alot of fundamental Aboriginal/pre-Arab cultures have been disregarded or generically assimilated.

 the original colonialist became the colonialized to become once again the colonialist.

the fact is that many N. Africans are not entirely Arab if at all: the Gnawa of Morocco, the Berber- the Tuareg- the Kabylie of Algeria-, the Copts, the Nubians... Egypt, like the other N. African countries, has always been made up of incessant waves of foreign conquests/migration in some form or another: Persians, Phoenicians, Greeks, Turks, Romans, French, Arabs, British, Assyrians, Kushites, Babylonians, and yes, Nasser, even Jews... and perhaps even Spacemen! and let's face it, they've all tried to claim Egypt as their own. and despite their misgivings they've all made it what it is today--to try and extricate one thread would be to destroy the entire textile. from a cultural point of view, the fabric has fused, Vulcanized. politically though, that kind of Idealistic Unity(which in fact is quite Real) doesn't make for profit and therefore it is more opportunistic to proclaim it solely an Arab republic. economically, it would gain nothing from being called an 'African' country, which as far as i'm concerned is what it is First. it wouldn't be such a problem if the Aboriginal Cultures of N. Africa were not so unappreciated in their own countries. the interest in them comes mostly from the outside rather than from within the country of origin--- from Black scholars, uprooted mestizos, the sanitized French museum, the German anthropologist, the British cultural center, the 'world' music festival where musicians are paid to play barefoot in galabeyyas for rich Scandinavians while after the gig they're rocking pepe jeans and nikes, the hip producers begging to have their tracks laced with some Gnawa soul authenticity...{reminding me of what is being done to the Aboriginal People of America. nearly wiped out, then corraled & pieced back together for some archive.} undoubtedly, the people of the Arabian Peninsula brought with them a cache of knowledge, Science, Poetry...that Illuminated the world . and the African-Arab marriage in particular has bred an incredible breadth of culture (Music that i fanatically promote worldwide, Mathematics, Science, Medicine, Spirituality, Art, Philosophy, Meta-Physics, Architecture, etc). but it has been fraught with strife, one partner just being too domineering....

i find that one of the only sanctuarys is in the Music i do where the arguments and influences can battle themselves out, convulse, break bread together, get bashed into place in an inspiring, juicy pulp, still alive and kicking as sonic plasma should be. Afro-Asiatic Mokkassar..."

Morgan Craft/ Black Equation - June 2, 2009

http://roughamericana.com/publicfiles/Black_Equation___.pdf

as quoted in George Lewis' seminal book, "A Power Stronger Than Itself" (University of Chicago Press)

excerpt:

"...The genesis springs from looking at a magazine devoted to challenging, progressive musics from around the world, and seeing their top 50 list for last year and the only black Americans were a rapper, and a jazz man who has been dead for over 30 years. So I bring up this observation about the lack of a black American presence on the avant garde scene under the age of fifty just to see if maybe I’m not paying attention. I’m constantly fed this steady stream of future thinking folks from Germany, Japan, New Zealand, U.K., Australia, Norway, etc. but when it comes to America all I hear about is the genius that is free folk or if it’s black it must be hip hop, jazz or long dead. How many more articles on Albert Ayler do we really need? That isn’t a diss, I love Ayler but… And as far as hip hop being the future of black American music, well, let’s just say that the things Ornette, Butch Morris, Cecil Taylor, Anthony Braxton, Henry Threadgill, etc talk about, are not the same things that any rapper or producer that I know is talking about. (The exception being perhaps RZA five years ago) And believe me, I’m looking, I’m listening. I really want to eat these words..."

AFRICAN-DESCENDED WOMENS' HAIR: “WOULDN'T-BE-CAUGHT-DEAD” (as seen at Obama’s Inauguration Party)/ AnEgypt of Elvis Adoration by Mutamassik aka G. Loli - May 18, 2009

http://roughamericana.com/publicfiles/AFRICAN_women_s_hair.pdf

All present at Obama’s Inauguration. All processed.

Mutamassik's LETTER TO SCRATCH MAGAZINE - November 1, 2006

 http://roughamericana.com/publicfiles/letter_to_scratchMutamassik.pdf

"So because the term 'producer' is so misleading these days, let me clarify... the active producer: the hands-on-the-gear-diggin'-in'-the-crates-wiring-they-own-patchbay-producer as opposed to the the passive producer, i.e., the-sit-on-the-couch-at-the-back-of-the-studio-smackin'-on-popeye's-chicken-giving-orders-kind-of-'producer'...men and women to awake from their mental death chamber."

For those with the original, printed in Dubai, blue-cover DJ MUTAMASSIK 'BIDOUN' cd, here's the official track list + notes: - January 7, 2005

RSS feed