Well then...

Music, monkeys, and mayhem. Also, a lot of alliteration.

Well, Bachata Neighbor finally bought a non-Aventura CD. Of course it’s Romeo Santos…. Progress?


Tru funk presents “Tasty beats Vol 3” and what a trunk of funk it is! Even though the sun eluded us this week, were continuing on with the summer party vibes regardless! We present to you our slice of the beat ridden pie that is this 5 track whopper” Dig Ma Bounce”.

Featuring one of Missy`s finest pellas from Get ya freak on, some cool as ice instrumentals from the late, great Desmond Dekker and a touch of Blackstreet & The Beatnuts thrown in for good measure. Its a bob to the bar bouncer, We hope ya dig, You stay classy… world.

Thank you to Tru Funk for letting us be apart of this release!

Links :)
Phibes Facebook www.facebook.com/phibesaday
Phibes Twitter twitter.com/WildPhibes

Tru Funk https://soundcloud.com/tru-funk

Tru Funk Facebook https://www.facebook.com/TruFunkCrew


July Mixtape for Funk And Filth
Catch me in August at the Funk And Filth Takeover with Hot Cakes and Instant Vibes
Details Here… http://www.funkandfilth.com/2014/06/funk-and-filth-hot-cakes-instant-vibes-boat-party.html
Grab Tickets Here…. https://shop.ticketscript.com/channel/web2/start-order/rid/LYUHG2AY
B-Side-Going Deeper (Coming Soon)
A.Skillz-Good Music
Jem Stone-Top O’ The Town (Featurecast Remix Dub)
Timothy Wisdom-Loopback Brother (Howla Remix)
B-Side & Detta-Paper Bag (Dave Remix-Paper Back Edit)
Monstafunk-Salmon Banger (Coming soon to Relative Dimensions)
Zemerald-Tis Alright
Hotline zero-Dribbly Dribbly Sound
Toots & The Maytals-54 46 (KROSSBOW Remix)
Father Funk & Howla-Got Swing?
The McMash Clan ft. Kate Mullins-Swing Break
Phibes-Heartache Is Dangerous (The Captain ReRub)
Cray Daylight-Baby Gets Down
Lack Jemmon-Hello World, Hello Lorde
NineLives The Cat-LaLaLa (Will Styles Remix)
Normski-Party Jam (Dubmental)
Hong Kong Ping Pong-Right On Bucovina
Jesswah vs Amp’l Beats-Senorita (Booty Bass Remix)
Grinny Grandad-Swim Fish


Order here:

Deekline & Ed Solo approached me to give another one of their jungle tunes the old funky bass treatment! If you liked my remix of “No No No” https://soundcloud.com/slynk/deekline-ed-solo-no-no-no?in=slynk/sets/releases-185 then you are going to dig this one too!

Had a lot of fun writing this one and I’ve been playing it all around the world during my recent Australia/NZ and Europe tours :)


Listen - http://soundcloud.com/slynk
Like - http://www.facebook.com/evanslynk
Follow - https://twitter.com/evanslynk
Watch - http://www.youtube.com/slynkdnb
Website - http://slynk.net

For many of these women, the reading experience begins from a place of seething rage. Take Sara Marcus’ initial impression of Jack Kerouac: “I remember putting On the Road down the first time a woman was mentioned. I was just like: ‘Fuck. You.’ I was probably 15 or 16. And over the coming years I realized that it was this canonical work, so I tried to return to it, but every time I was just like, ‘Fuck you.’” Tortorici had a similarly visceral reaction to Charles Bukowski: “I will never forget reading Bukowski’s Post Office and feeling so horrible, the way that the narrator describes the thickness of ugly women’s legs. I think it was the first time I felt like a book that I was trying to identify with rejected me. Though I did absorb it, and of course it made me hate my body or whatever.” Emily Witt turned to masculine texts to access a sexual language that was absent from books about women, but found herself turned off by their take: “many of the great classic coming-of-age novels about the female experience don’t openly discuss sex,” she says in No Regrets. “I read the ones by men instead, until I was like, ‘I cannot read another passage about masturbation. I can’t. It was like a pile of Kleenex.”

This isn’t just about the books. When young women read the hyper-masculine literary canon—what Emily Gould calls the “midcentury misogynists,” staffed with the likes of Roth, Mailer, and Miller—their discomfort is punctuated by the knowledge that their male peers are reading these books, identifying with them, and acting out their perspectives and narratives. These writers are celebrated by the society that we live in, even the one who stabbed his wife. In No Regrets, Elif Bautman talks about reading Henry Miller for the first time because she had a “serious crush” on a guy who said his were “the best books ever,” and that guy’s real-life recommendation exacerbated her distaste for the fictional. When she read Miller, “I felt so alienated by the books, and then thinking about this guy, and it was so hot and summertime … I just wanted to kill myself. … He compared women to soup.”

In No Regrets, women writers talk about what it was like to read literature’s “midcentury misogynists.” (via becauseiamawoman)

Here’s a fun thing you learn when you study literature: the western canon is not universally beloved. Those books are not the Truth any more than the New York Post is skilled journalism. The main reason they’re held in such high esteem is because they were written by boring white dudes with rage fantasies and boring white dudes with rage fantasies also happen to be largely in charge of deciding which books are deemed classics and taught forever in the American school system.
So if your boyfriend tells you he loves Kerouac then you tell your boyfriend Kerouac was a fucking second rate hack who wrote Beat style because he didn’t have the skill or talent to write any other way, which is probably also why he just copied every adolescent male wanderlust story since the beginning of time. That shit’s derivative and boring.

(via saintthecla)

(via darrylayo)