The Only Thing TMR Does For Money Is Tell The Truth

White people claim I'm on the "race hustle" tip, which is silly because whites have all the money and - ahem - they don't seem to like what I'm doing. But I still do it - why? Because I'm right - 100% - and money's irrelevant to that. I'm into facts, and science, which teach you to stand alone:

   Einstein the failure: How history’s greatest physicist flirted with disaster

Before he changed the world forever, Albert Einstein staggered from one early defeat to another

 So laugh it up, white folks, and tell me how I'm an evil, racist, man wasting my time.

 The bells toll for you,…

 

Once Upon A Time, In A Crackhouse Far, Far, Away,...II

So, at the bottom of this post is KKKrack RocKKK, your second song from my 1999 mix tape, The Big Lowensky: Crackhouse Hits From The Clinton Era, and, y'all, is it a hoot!

I got excited all over, listening to it again, because - even after all these years (The Big Lowensky tracks were originally recorded before '95, remember) - KKKrack RocKKK's still a happy reminder of how well I can make some cold machines "hum".

And it was even a lot of fun to make!

Everything, back then, was fun. 

With my help, the Broun Fellinis' shows stayed packed, with lines around the block, and there was so much money coming in we made Billboard Magazine (above). And even though we ended up losing our Bay Area Music Award nominations in a rigged contest (some guy from the Jefferson Starship was the obvious favorite) San Francisco was becoming more-than-a-little aware that wherever the Fellinis' intimidating symbol, "Clyde, The Dancing Hippo," appeared, that's where the action was.

I, too, became a force to be reckoned with (being the highlight of the Fellinis' shows) as nightly crowds chanted/shouted/demanded "Crack Emcee! Crack Emcee!" so much, not only did offers came in for modeling jobs and "special guest" spots on other artist's albums, but the Fellinis' saxophone player, David Boyce, started feeling like he wasn't exactly the star of his own scene anymore.

And, boy, did he let me know it. 

But that was cool because - by that time - he wasn't.

David eventually took over vocals, after I went solo, and our friendship never recovered.

But it was time for me to go anyway. The Fellinis' got signed to a vanity label out of Los Angeles and didn't include me in the deal, but, unfortunately for them, while their first record had some beautiful moments, there weren't enough for it to be considered "all that". And, no matter where Aphrokubist Improvisations, Vol. 9 was reviewed, the one song I was allowed on the album - Pow! - was the stand-out. Even after the band stupidly edited it for swearing. 

So what more did I need? I had it all - a wife who (I thought) loved me, offers coming in from everywhere, the papers were noticing - and I had a home art/recording studio to keep 'em doing so. 

I was ready to conquer the world.

So that's exactly what I set out to do,...

     

"With his base strung over his back,..."

Once Upon A Time, In A Crackhouse Far, Far, Away,...

Above is the opening track from The Big Lowensky: Crackhouse Hits From The Clinton Era (1999) a critically acclaimed mixtape retrospective of my work during the Big Dawg's term.

I started making mixtapes in the early '90s (when no one else was doing them) as a outlet for some musical and cultural ideas I'd been pursuing with my friend, Henry Flood (fellow percussionist from our first popular band, The Beatnigs). Our recording project, Blackmail, got sidetracked but I kept going wherever that music, and current events, led.

It was a pretty intense time.

I mainly made the tapes for my friends, and fellow artists, but The Big Lowensky caught someone's attention during my stint as vocalist for the Broun Fellinis (1994) and - pow - I had a solo career.

I haven't thought about The Big Lowensky in years, and - because the songs are racial - probably never would've played them again. But, since everybody's lost their mind over Trayvon, and Bill & Hill and Monica are all back in the news, AND because I'm teaching myself to make YouTube videos during this down time (and need songs to try out) The Big Lowensky is once again free to terrorize a whole new political generation. (I've also got an album called Newt Hates Me around here somewhere,...)

What I'm saying, TMR readers, is you're about to (finally) enter the world of Crackhouse Music!

Prepare to get weird.

Since I'm making these videos now, I've decided to start with Big Lowensky songs, and then move forward or back to other releases, as a kind of build-up to my new material. (I'll eventually put up whole albums as I get better with the software. Let others hear them if you'd like.) If there's lyrics, I'd suggest expanding the YouTube videos (by clicking the square, bottom right) and, I think, all my earlier work is appreciated better in headphones (because that's how I made it). YMMV. That's it:

Enjoy,...

Broun Fellinis

This is one of the Jazz groups I used to work with. They just passed their 20-year anniversary, but this is what they sounded like when we first got started. I'm not on this track - you can find an example of that here - but this one's a goody none-the-less:

Real moments, indeed.

[Second link fixed - thanks to John0 Juanderlust for the heads up!]

Uh-Oh: White Folks Making Rap Look Bad Again

Brawl Mars DMV Music Awards Outside Washington: MyFoxDC.com

This was the scene at Washington, DC's DMV Music Awards, which sent one person to the hospital. First Question Of The Day:

Why is the Department of Motor Vehicles hosting a Hip-Hop awards show?

We would've thought that trouble the brain-dead rapper DMX got into a while back would've told them something. (That incident was so stupid we even put it in our own Rap song.) Sigh.

We really don't know what to say about this, considering the whole everybody-played-for-Gaddafi thing, except that, if Yoshi's Jazz club in San Francisco is still planning on finally hosting Rap concerts (something they never even considered when we were performing with our buddy, Kevin Carnes, and The Broun Fellinis) they'd better move the tables further away from the stage.

Just sayin'.

Get It Right When I Write

So I see a headline saying Scott Weiland's leaving Velvet Revolver, and I'm wondering who Scott Weiland is - and what has the awful name of Velvet Revolver? - when I see the name Stone Temple Pilots and I go, "Oh, yea, they sucked." It seems Duff McKagan, of Guns and Roses, is in Velvet Revolver. I was on a record with him a really long time ago (above) but what really tickled my fancy was this quote from the scribe, Margaret Wappler:

"All I’ve got to say is that no one in this fine mess has written a song as cool as 'Mr. Brownstone.' Well, at least not since Slash actually wrote 'Mr. Brownstone.'"

It's like she was reading my mind,...

Here's a few other releases I was on, in no particular order, and just the ones I could find quickly - not all of these were mine, and some were very-limited releases:

"America Fears The Drum"

"Rock Star"
Free download: Temporary Jigsaw (Written by "Uncle Ray" Wilcox and The Crack Emcee. Performed, produced, engineered, and recorded by The Crack Emcee)


"Sex Bomb"

"Suck"

"Tasty Licks"

"The Big Lowensky: Crackhouse Hits From The Clinton Era"
Free download: Democracy Sucks! (Written by The Crack Emcee. Performed by The Crack Emcee's Little White Radio. Produced, engineered, and recorded by The Crack Emcee.)

"The Crack Emcee (Best Of Collection)"
Free download: Pow! (Written by Broun Fellinis and The Crack Emcee. Performed and produced by Broun Fellinis and The Crack Emcee.)

"'Till The Bars Break"