What did Kendrick Lamar do? DAMN. Apparently

American hip hop recording artist and songwriter born and raised in Compton, California, has released DAMN. K-Dot, released Overly Dedicated in September 2010 selling 12,000 copies of his mix tape two years later in October of 2012.

The fourth studio album, DAMN. was released on April 14, 2017, by Top Dawg Entertainment, Aftermath Entertainment and Interscope Records. The album features production from a variety of record producers, including executive producer and Top Dawg Entertainment label-head Anthony “Top Dawg” Tiffith, Sounwave, DJ Dahi, Mike Will Made It and Ricci Riera, as well as production contributions from James Blake, Steve Lacy, BadBadNotGood, Greg Kurstin, The Alchemist, 9th Wonder, and others.

On March 30 of this year prior to the albumn debut the artist’s lead single, Humble,
debuted at number two on the US Billboard Hot 100 chart and the Canadian Hot 100.

The Guardian gave Damn. a 5/5 star rating and wrote: “If it seems a more straightforward listen than To Pimp a Butterfly, there’s a cheering sense that this doesn’t equate to a lessening of musical ambition. (Whatever that Means, lol).

Regardless, the albumn struck a chord with En La Calle and we are hoping to hear more from the Compton Artist, but are pretty DAMN. satisfied.

Party at The Post debut in East Fort Worth, Riverside

Organizing or creating a social event while advertising artistic ability can be challenging. As for Saturday’s Party At The Post debut event at 2925 Race St. in East Fort Worth, the challenge was accepted and carried out nicely.

Hosted by local musicians and artists, the event was supported by facebook followers, DFW residents, the Riverside community and artists of different media. Division Brewery and Hop Fusion along with Vendors from Cannon Chinese Kitchen, Shinjuku Station, and Gypsy Scoops catered guests while music from Day, Vylit, and Lindy’s Revenge gave a new perspective to the growing Riverside scene in DFW
Foxy Production affiliates stated the event gives outlet for productive artists and supporters of various artistic media.
Artists included: Sophia Ceballos, Troy Yingst, Brad Albright, Miles Reed, Julian Gonzales, Juan Grimaldo, Chris Najera, Jackdaw Folk Art, and Urban Castro.

Foxy Productions state that Party at the Post will be held on a monthly basis and say their productions are done in a live atmosphere and market to that of a small art festival.

In a Press release, Foxy Productions state their goal is to strengthen the artistic scene in respect to both music and visual arts. The method involves providing extraordinarily talented DFW Artists a venue in which to present their work.

To contact Foxy Productions email the group at: Foxyproductionsdfw@gmail.com

Fort Worth Music Festival to debut at Will Rogers

By: Juan R Govea

Fortress Festival has unveiled the full performance schedule for its inaugural event, slated to make its debut this April 29 & 30 in Fort Worth’s Cultural District. Two-day and single-day GA and VIP tickets are still available for purchase at www.FortressFestival.com.

Trey Hicks of Giant Noise: Public Relations, Social Media & Events stated, “Attendees at the first-year fest will be able to catch at least a portion of every single music performer at the two-day event. Saturday is definitely more of an upbeat party with most of the hip-hop and electronic acts performing that day including headliner Run The Jewels, while Sunday is a bit more tranquil and relaxing with a mix of mostly indie and rock acts that concludes with the Day 2 headliner Purity Ring.”

The fest will offer ticket holders music from across the globe featuring internationally acclaimed headline artists alongside some of today’s hottest music acts, as well as a variety of local artists and boundary-testing musical pioneers. Taking place in the Cultural District of Fort Worth and in partnership with the Modern Art Museum of Fort Worth, the festival will feature two stages—one on the grounds of the Will Rogers Memorial Center and another on the reflecting pond at the Modern Art Museum of Fort Worth.

The Will Rogers stage will host the fests main headliners, rap duo Run the Jewels on Saturday night, as well as indie-electro darlings Purity Ring on Sunday night, which happens to mark the band’s only currently scheduled performance worldwide in 2017.

At the Modern Art Museum of Fort Worth, British post-punk artist Peter Hook, Wolf Parade, and Stranger Things composers SURVIVE, will perform on an ultra low-profile stage situated on the reflecting pond, which promoters say will be adorned with a dazzling light and sound system custom designed and programmed for the space. Fest patrons will be able to peruse priceless modern art in the museum galleries for free with their Fortress Festival wristbands. Galleries will stay open to Fortress audiences, after they close to the public, until 9:00 PM.

Additional performers for the two-day event include Grammy-nominated electronic music producer Flying Lotus; recently reunited English dream-pop band Slowdive; Nathaniel Rateliff & The Night Sweats; Houndmouth; Wolf Parade; Alvvays; Whitney; Dengue Fever; and a range of DFW-based acts like Quaker City Night Hawks; Sam Lao; Sudie; Blue, The Misfit.; Cure for Paranoia; and more. The full music performance schedule can be found below.

Fortress Fest organizers state that the event will be comparable to any other major metropolitan festival, with an overall new experience for attendees of all ages.

Single-day general admission passes to the fest are just $65, while single-day VIP passes cost $145. Additionally, GA weekend passes are still available for $105 as well as two-day VIP weekend passes, which are on sale for $275. Both GA and VIP passes offer free access to the Modern’s galleries during the festival with extended gallery hours exclusively for Fortress audiences. Perks for VIP ticket-holders include exclusive events, preferred viewing areas, an official Fortress Festival t-shirt, free parking, expedited entry, exclusive food and drink offerings, dedicated lounges and restroom facilities, exclusive guided gallery tours at the Modern, discounts on the merchandise from the Modern, memberships and programs, and additional amenities that will be announced in the weeks ahead.

Fortress Fest partners who helped make the event possible, include: the Modern Art Museum of Fort Worth, KXT-FM (91.7 FM) and Deep Eddy Vodka.

FORTRESS FESTIVAL 2017 – FULL PERFORMANCE SCHEDULE:

SATURDAY, APRIL 29

WILL ROGERS STAGE

10:00 PM – End: Run The Jewels

8:30 PM – 9:30 PM: Flying Lotus

6:45 PM – 7:45 PM: Houndmouth

5:30 PM – 6:15 PM: Blue, The Misfit.

4:15 PM – 5:00 PM: Bobby Sessions

3:00 PM – 3:45 PM: Ronnie Heart

2:00 PM: Doors Open*

MODERN STAGE

9:00 PM – End: S U R V I V E

7:30 PM – 8:30 PM: Wolf Parade

6:15 PM – 7:00 PM: Burning Hotels

5:00 PM – 5:45 PM: Sam Lao

3:45 PM – 4:30 PM: Cure for Paranoia

SUNDAY, APRIL 30

WILL ROGERS STAGE

9:30 PM – End: Purity Ring

8:00 PM – 9:00 PM: Slowdive

6:30 PM – 7:35 PM: Nathaniel Rateliff & The Night Sweats

5:15 PM – 6:00 PM: Quaker City Night Hawks

4:00 PM – 4:45 PM: Dengue Fever

2:00 PM: Doors Open*

MODERN STAGE

8:30 PM – End: Peter Hook & The Light

7:00 PM – 8:00 PM: Alvvays

5:30 PM – 6:30 PM: Whitney

4:15 PM – 5:00 PM: Golden Dawn Arkestra

3:00 PM – 3:45 PM: Sudie

An Editorial: Identity Through the Representation of Self-Expression

En La Calle Music and Lifestyle Magazine is oriented for a younger audience, not just young Latinos. We are all Mexican, Filipino, Cuban, or come form a mixture of colors of the cultural rainbow. We might even be certain of our own identity from the perspective of others. At first look, as a white conservative; dark brown liberal, black; straight; gay; transgender; bisexual; just normal or identified as lacking, or a more than fortunate human being.

Much like the flashback of the ’60s with some of the same issues that seem to be occurring in our nation and neighborhoods all over the world. It seems to be more than obvious that it does matter to be characterized, even if you are fair skinned. Everyone and anyone can be characterized, which in a way is unfortunate.

Being a part of the Millennial generation and bordering the baby boomer generation, it is extremely hard to identify as anything but a productive member of society without the accompanying identity of characterization, especially with an identifiable historical past. We are simply human, so what outlet do any of us have to realize our own self without being characterized by social fingers pointing out who we are and the correct way one should act.

It is through self-expression that every man, woman and child will realize who they are and realize their own identity to define their own character, without outside forces.

We have artistic expression to help define our own character and identity. Music, dancing, singing, painting and photography, any media of art can position our attitude and character to help with realizing who we are as an individual. Physical exercise, writing and poetry — like the former acts of all of our predecessors — humans are allowed to express the way they feel in any way they seem fit and with that comes self-Identity. In a world that is tangled in opinion of who or whom are considerably genuine or not, how could self-expression be so wrong or considerably bad?

The cover photo of this edition of En La Calle is of the French artist, Thierry Guetta, AKA “Mr. Brainwash” a now world-renowned street artist in Los Angeles. The artist became famous with the help of many other street artists, including the elusive and anonymous artist, Banksy.

Taking the example of Street Art, which has turned into a movement starting in the mid-nineties. The artist, Guetta, documented artists expressing their own political views in a somewhat rebellious and illegal way, which is captured in the original documentary, Exit Through the Gift Shop: A Banksy Film. Artists from around the globe were documented making their identifiable mark on the walls of buildings. Not in an obscene way, such as, “So and so was here,” on a simple curb. The artists’ work or graffiti was becoming their mode of self-expression and at the same time attributed to the artists’ identifiable work as a “Banksy” or “Mr. Brainwash” piece. The noticeable Street Art was seen by society as a whole, giving an identity to the anonymous artists’ self-expression.

There is nothing wrong with artistic expression in any form, even in broken nihilistic art, which in an abstract way, still art.

By breaking through the monotonous everyday lifestyle, which can be draining, many people use different modes of self-expression as their own identifiable outlet while might not realizing it. Whether through a Facebook post or simple conversation, in any way, shape, form or fashion, there is always an outlet for self-expression.
Become yourself through the act of expression in any way you wish, there are no limits. We are the makers of dreams and the owners of our own self-worth in a very judgmental world so never be afraid to challenge naysayers. Even through failure there is self-knowledge, learning and experience.

Splatter paint, howl at the moon and sing in the air and dance. Strike a hard heavy chord on a guitar, stomp your feet or run a mile to nowhere in your favorite gym or the empty streets. There is and will always be a form of self-expression and with that comes the reward of self-identification.

Best,
Juan R. Govea
En La Calle Editor-In-Chief

Back In The Day

guereca_1

By: Juan R Govea
Flipping through records of various artists past and present, 41-year-old veteran DJ Jason Guereca, peruses through vinyl at Lola’s Saloon’s record rummage in Fort Worth, TX. Forgotten talent mixed with music everyone should own, Guereca eyes the keepers and shelves back already owned albums. While searching, Guereca finds a white label bootleg of Blur’s “Song 2,” which he helped fund and produce.
The self-retired DJ along with a generation of DJ’s and fans of old school dance music share experiences and memories of the hazy limelight of downtown Fort Worth.
Once owner and operator of R-Type records and resident DJ at late club venues in Fort Worth during the mid 2000’s such as: 8.0’s, Saffire Lounge, Duce and Vivid. Guereca, along with many club kids, ravers and some of Fort Worth’s best talent are credited for catalyzing the now popular Electric Dance Music (EDM) movement that has grown to popularity. A genre, which artists’ roots such as Calvin Harris helped rise to stardom, during the mid ’90s to mid 2000’s.
Fellow veteran DJ’s of past and present, friends and co-workers of the now vacant R-Type Records: Mark Joslyn, Mike Bentley, Bryan Coonrod, Eric Scholwinski and Nicole Bridges a resident DJ from Fort Worth who Guereca says was a good defender of the store from competing vinyl sellers from Dallas. R-Type patrons along with several other wave breakers in Fort Worth were all part of a musical movement that struck the nightlife of Fort Worth, Arlington and Dallas. Sharing gig spots and taking to ear the next big vinyl record everyone wanted to own, R-type had become the hub for local DJ’s and dance music promoters in Fort Worth.
A well-known figure during the club scene and fellow R-Type patron, Mark Joslyn, began working at a few major nightclubs and updated club kids on new music coming out at Oak Lawn records in Dallas; his second job at the time and the premier dance music store in the country for 5-to-6 years.
At 6 years old Joslyn started collecting 45’s. With the help of his family and father growing up in a town near Detroit, Joslyn grew up with a musical funk and synth inspiration. A sound that he says generated and influenced the dance music and rave scene to today’s EDM. “Every type of music evolves from something else and the styles go into different directions,” Joslyn says.
As the scene progressed, Joslyn states that producers in California that had an Aqua Boogie sound and label started to spring up in local venues bringing artists like DJ Icey to the area whom still visits the local nightlife.
Mike Bentley, former co-worker, shared the stage with his fellow mates and nightlife providers from R-Type. Bentley started his musical career in 1999, becoming part of a local production company that promoted the rave scene at Austin Music Hall and several of Fort Worth’s best underground dance music events.
Bentley shared the DJ booth at local spots like Ridglea Theater on Camp Bowie and Bryant Irvine. While several of his gigs were local, Bentley played musical events in Europe and South American and credits several artists and R-Type friends to the production of the dance music culture. Artists and producers such as Disco agents, Chinese Records and Granite & Funk were probably Fort Worth’s major players along with Groove-e Company. Combined, Fort Worth DJ’s innovated the popular culture and became global artists like Rob Vaughn and Burufunk; DJ’s who still play Dallas’ venues today, Bentley says.
As the scene grew, events like The Post Office party off I-35, which according to Bentley was one of the best rave parties ever thrown in Fort Worth, which helped provide a nightlife to Fort Worth’s streets that has not been seen since.
Several artists like Guereca and Bentley agree funk and a bit of Hip-Hop helped blossom the dance music scene. Hip-Hop being a big game changer in Fort Worth clubs early on, and many DJ’s catered to the audience, but Guereca states there were many tracks of House dance music that was overlooked in the downtown nightclubs. Club owners didn’t seem to care for Guereca’s taste in the genre, which he tried to introduce to listeners before the sound became popular, Guereca says.
As the audience of dance music grew, nightclubs began taking recognition in what dance music DJ’s were playing. Events like the Post Office Party and major musical events began to sprout up, the Electric Daisy Carnival/Festival and Dallas’ Meltdown, to name a few.
Taking its place as a genre of House, Breakbeats, Trans, Scratch and Drum and Base. Local artists always kept a lookout for the next big sound. Guereca and Bentley state there was always the challenge of finding the best vinyl record that would turn heads to the dance floor. Guereca says that there were several instances where he would look over the shoulder of Rob Vaughn and other big name DJs, while taking note of the vinyl track that sparked life to the dance floor, trainspotting.
As of now there are not many venues in Fort Worth that support or recognize the old school dance music genres. DJ’s affiliated with dance music have moved to Dallas where the scene is still noticed. While Guereca and the old school dance music DJ’s of Fort Worth’s nightlife have lied dormant the DJ’s still play special events.
“With social media, it makes it harder to see who’s legit.” Bentley says, “Back then there was a ground game of people handing out fliers for the next club and rave events; it was a very vibe and diverse scene not only in fort worth but in Mexico, Europe and Colombia.”
Bentley and Joslyn agree that with the rise of social media and the amount of music available with a Google search are the reasons why the EDM sound has become so popular, while keeping professional vinyl DJ’s of the dance music genres (House, Breakbeat, etc.) overlooked by club owners.
Bryan Coonrod aka DJ Bryan C a resident DJ at Gas Monkey Live and Bar and Grill, played at Fort Worth Venues such as Vivid and Red Goose Saloon on Houston St. during his early years as a dance music DJ. Coonrod states that while the dance music scene seems to have become obsolete in Fort Worth there are venues such as Lola’s Saloon that cater his record rummage sale. Coonrod and those who provide old and new genres of music at the Saloon are an outlet to listeners whom may have never heard or know of the dance music scene and are more familiar with the current EDM.
“The old saying is, people from Dallas would never go to Fort Worth and the people in Fort Worth would rather go to Dallas,” Coonrod says. “As for today it still seems being a DJ in Fort Worth is a foreign thing when trying to get a bar or club to let you spin.”

guereca_1

Piñata Protest: Mi Tierra, Mi Norteño Punk Rock

By: Juan R Govea

En La Calle headed out to the streets of Fort Worth and ended up at a small packed music lounge, The Grotto, located on N. University. It was The End of Summer Fest, which is a locally promoted music festival where we meet an interesting fellow, Alvaro Del Norte, lead singer of the San Antonio Norteño punk band Piñata Protest.

Decked out in Tejano/Punk gear, Del Norte says he and the band keep their cultural customs strong, which includes an anti-corporate punk attitude and lifestyle.

Several musicians have played in the band, but Del Norte is the only original member. “We started originally in ’06, but there were always changes,” he said.

Chris Ruptive (drums); Richie Brown (Bass); Jose Morales (Guitar), and Del Norte (accordion, vocal, pocket trumpet) headlined the festival with a large encouraging crowd. Del Norte says the band has a big local hometown following, as well.

Like most local punk bands, Piñata Protest have an anti-corporate outlook and stand firm with their beliefs, but local companies like Freetail Brewery in SATX
keep the band noticeable with Piñata Protest’s American Amber/Red Ale labeled beer.

Over the last few years the band has been gaining more and more attention, not only by local music supporters but also from fans across the country. LA Weekly hails the band as “festively energetic,” and NPR alt Latino deems them “brilliant” and “mind blowing.”

Besides the mainstream attention, which Del Norte and the band appreciate, the punk band has no intention of signing a major record deal, or even care to.

“If Wal-Mart, for instance, were to offer us a million dollars to play a show I would turn it down,” Del Norte said.

Like many punk rock bands including NOFX, Voodoo Glow Skulls and the Fat Wreck label, Del Norte and Piñata Protest’s sound is just as loud, fast and packs a punch. “Our sound is very different, we have a mixture of Latin rhythms and polka / ranchera beats, which make it original,” he said.

The Band starts their nation tour in early September with the Latin hardcore band Brujeria and the deathgrind sounds of the band, Cattle Decapitation. Del Norte and the bands always look forward to reaching out to locals, and are happy to talk and meet with new fans.

The next Piñata Protest show will be on Sunday Sept. 25 at Three Links Deep Ellum.

A Brief History of Snake Handling

Snake-handling

By: Juan R Govea

“Behold, I give unto you power to tread on serpents and scorpions, and over all the power of the enemy: and nothing shall by any means hurt you. (Luke 10:19)”

Snake handling or serpent handling is not a habitual practice in most Christian religions, but is slightly practiced as a religious ritual in a small number of Pentecostal churches. The practice, dating back to the early 20^th century, is mostly practiced in the Appalachian region of the United States.

George Went Hanslet (1880-1955) is more commonly referenced as the originator of the dangerously faith driven practice, which associates snake handling as an evident sign of salvation. Hanslet is familiarly known in the practice by introducing snake handling into the Church of God Holiness, an association of autonomous Christian Methodist congregations, who then founded the Dolly Pond Church of God in Birchwood, Tenn. around the year of 1910.

A 2013 article by National Public Radio gave a rough estimate of about 125 churches where snakes are handled, but also indicated that, “snake handlers as notoriously private.”

All Appalachian states except West Virginia outlawed the snake handling ritual when it first emerged. Snake handlers, regardless of the law prohibiting their practice have rarely been lawfully cited, but have been in extreme cases.
As of today, snake handlers gather mainly in converted building or homes and have a general dress code that they abide by, such as; uncut hair, ankle-length dresses, and no cosmetics for women; short hair and long-sleeved shirts for men.

While the handling of poisonous snakes is obviously dangerous, Kristen Wiley, curator of the Kentucky Reptile Zoo said that by snake handlers familiarizing themselves with their practice have a better chances of not getting bitten.

Jamie Coots a pastor who subsequently died from a snakebite said, “Handlers get bitten all the time, and every few years someone dies.”

Ralph Wilbur Hood a professor of psychology at the University of Tennessee at Chattanooga said after observing the practice, “If you go to any serpent-handling church, you’ll see people with atrophied hands, and missing fingers. All the serpent-handling families have suffered such things.”

– Information and sources gathered from Wikipedia: https://en.wikipedia.org/wiki/Snake_handling

A look at the Black Lives Matter Movement

By: Juan R. Govea

The Black Lives Matter movement has been growing larger in its following. As more acts of police brutality on African Americans increases, the number of their participants seems to increase.

As for the unfortunate events in Dallas, T.X. where an armed gunman killed five police officers during a Black Lives Matter march, and also injuring several others who attended. The Black Lives Matter protests seem to not be retreating in their fight to end police brutality, and stand firm in their position to stop racial inequality.

Mothers Against Police Brutality gave a press release in response to the recent events in Dallas that stated remorse for the fallen officers, but also stated that their purpose and message will not falter.

“Our movement, in Dallas and nationally, will go forward. The struggle for justice, the struggle for Black lives, the struggle to end police brutality must continue and will continue. There is no turning back,” The press release states.
The organizations purpose is to, “unite and support mothers and families nationwide whose children have been stolen and who have suffered injustice at the hands of local police,” their website states.

Shortly after the Dallas shooting, Black Lives Matter held a peaceful protest at the Water Gardens in downtown Fort Worth. Attendees watched as several members spoke out, drawing attention with large signs that pleaded for resolution of social and racial inequality.

Dallas is third in the nation for police brutality with many of those police officers serving and protecting the streets of Dallas, Gary Stuard stated.
Stuard, an Activist for environmental/economic justice and organizer for Dallas MoveOn, attended and spoke during the protest in the Water Gardens.
“The Black Lives Matter movement is looking at institutional racism, neighborhoods have lack of funding, terrible schools, poor healthcare, poor roads and infrastructure,” he said. “Institutional racism is feeding the crisis of racism.”

Stuard participated in the protest because he is supportive of the movement and said that the African American community has had enough.

Black Lives Matter is a movement that broadens the conversation on state violence. According to the Black Lives Matter website the violence against black lives deprives African Americans the human right to dignity.

The website also states that Black Lives Matter is a chapter-based national organization working for the validity of Black life, while working to (re)build the Black liberation movement.

The Black Lives Matter movement will continue if there is no change to unjust racial issues Stuard said. Movements like this have not been seen since the late 1960’s where protesters marched for civil rights, he said. “For example the Voting Rights Act came unto be during the 1960’s, all the gains made during the 1960’s have been changed.”

#BlackLivesMatter was created in 2012 after Trayvon Martin’s murder, George Zimmerman, was acquitted for his crime. The website states, “Black Lives Matter is a unique contribution that goes beyond extrajudicial killings of Black people by police and vigilantes.”

For more information on Black Lives Matter visit: http://blacklivesmatter.com/

And for more information on Mothers Against Police Brutality visit: https://mothersagainstpolicebrutality.org/

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