Dj rashad just a taste rar download#

Dj rashad just a taste rar download#

DJ Rashad - Teklife Volume 1 - Welcome To The Chi download free.

Download dj rashad just a taste MediaFire Dj rashad just a taste 2011 (92 MB). Any tension here exists to soundtrack dance circles, not intellectual tautologies.ĭJ Rashad Just A Taste. By the time Rashad drops a sample of Nas’ “Still Dreaming,” which is at odds with the ice-cold beats he’s thus far commanded (it’s half the tempo, mind you), it’s clear that the sheer momentum of the rhythmic interplay and tonal disparities would destroy any critical commentary you could muster up. When the beat kicks in, it’s over no matter what your opinion of the song or footwork in general, this shit penetrates so deeply that your body has to react to it. Here, Rashad, a key member of the Ghettoteknitianz DJ crew and pioneer of juke/footwork, bursts out of the gates with stuttering sub bass, piercing hi-hat, stabbing snare hits, and X-Acto knife’d samples, all pitched to a frantic 160 BPM. After all, this music isn’t about fucking this is battle music: violent, propulsive, and visceral, and it’s internalized brilliantly within “Ghost,” the intro track to DJ Rashad’s Just A Taste. But as with non-Western musics - say, Shangaan music (new wave dance music from South Africa) - my relationship with footwork is conflicted: Any enjoyment I get out of listening to it hinges on attaching my own values to music that otherwise resists, detracts, or is simply indifferent to such readings.īut given the confrontational style of footwork dance, it seems like any conflict, physical or not, is welcome. I don’t live far away from Chicago, the city where 90s ghetto house transfigured into juke and (due largely to tracks like “11-47-99” and “Baby Come On” by RP Boo) subsequently birthed its disfigured mutant child, footwork. If footwork’s original meaning was established in these underground dance circles in Chicago, then its currency to everyone else now rests somewhat heavily on those too busy rationalizing the noise/music cleavage or politely tracing dance music’s trajectory to actually do any footworking themselves. But while this signifyin’ form of dance has yet to be shrinkwrapped and sold, the jagged shrapnel from the actual music has crossed geographical borders and social cliques so incisively that, from the perspective of everyone outside the circles, its origins are beside the point. At least that’s what it is in Chicago’s converted warehouses and rec centers where combatant footworkers form circles and take turns battling, dozens-style, with dazzlingly complex foot patterns. Footwork is, first and foremost, dance music.