for all you bush haters

Mr Lif - The Sun

HERE ARE THE 2 FOR 2NITE, I’M SURE I’LL SEE YOU @ ONE OF ‘EM!

ATX MPC & Sampler Club’s 6th meeting

When: Sunday, May 31st, 2009

Where: Gruv (101 W 5th St Austin, TX 78701)

Time: 6-10PM (5PM Load-in)

Free and open to the public.

www.myspace.com/austinmpc

COME PLUG IN & HANG OUT…

THIS IS A DUPLICATE POST FROM www.thefifthgalleryaustin.com
Plug and Play Open Jam Session for DJ’s, MC’s and beatmakers. BYOB. FREE.

Come jam out with Beat Imprint’s John Gomi who is fresh from SxSW and WMC music festivals, as well as Joel, the man with the plan….If you have any questions. Contact Marc here.

OFFICIAL “HATERZ & ROBOTZ” LISTENING PARTY
WITH DJ/LIVE MUSICIAN OPEN HIP HOP JAM
LIVE HIP HOP JAM SESSION
featuring
ZEALE
JOHNGOMI
JOEL IRDBISA
MORE GUESTS T.B.A.

+ COMPLIMENTARY BEVERAGES

good dupstep. on the dub and ambient side, which i dig.

DJ Rupture - Strategy Decay

JOEL POSTED THIS TRACK ON GOMIHEARTELECTRIC.COM THIS IS FROM THE FRIDAY SESSIONS @ THE 5TH. I LIKE IT ALOT SO I POSTED IT HERE TOO. ENJOY.

FIVE CORNER- DISCO HOSPITAL VS. JOHNGOMI

THIS WEEK WE RESUME OUR WEEKLY FRIDAY LIVE MUSIC, DJ, ART,JAZZ, HIP HOP, EXPERIMENTAL, WHATEVER. RETURNING TO THE MIX WE HAVE IRDBISA, & ANATAN ON EFFECTATIONS & PERCUSSION, & RETURNING GUEST LIVE DRAWING/ARTIST SKZA. COME OUT!!!

ok not really a picture of him!

Maga Bo is a DJ/producer working with an international collision of styles, sounds, location recordings from all continents and beats that have yet to be classified. A study in the digital contortions of hip hop, ragga, breakbeat and jungle drum ‘n’ bass, his sound is a divine (s)mashup of batucada, rai, capoeira, bhangra, and skewed electronic beats in a borderless conundrum of gritty street sounds, found and modified rhythms and melodies from Brazil, Morocco, Senegal, India and beyond. DJing and producing tracks with a portable laptop studio, he has worked and performed in North and South America, Africa, Asia, and Europe.

01-maga-bo-nakhil-feat-k-libre.mp3

02-maga-bo-saye-mbott-feat-alif.mp3

HEY I’M GOING BACK TO MY ROOTS A BIT WITH THIS ONE. ART JAZZ HIP HOP HEADZ HOUSE & GLOBAL GROOVES EVERY FRIDAY @ THE FIFTH GALLERY FEATURING ART BY THE STAY BUSY CREW. LIVE PERCUSSION, POETS, & PAINTERS ROUND OUT THIS JAZZ DANCE WEEKLY

9pm-12midnight. FREE

I HAD THIS REALIZATION THE OTHER NIGHT THAT I NEED TO START POSTING MY HIP HOP HISTORY 101  JOINS AGAIN FOR EA.COM ONE BECAUSE I’M A SLACK ASS & 2 BECAUSE THE KID I WAS TALKING TO THE OTHER NIGHT HAD NO IDEA THAT RAHZEL HAD EVER BEEN PART OF THE ROOTS… ANYWAY, THAT ASIDE HERE’S JOINT ABOUT APACHE, GANGSTA’ BITCH IS STILL ONE OF MY ALL TIME FAVORITE SINGLES, I INCLUDED THE INSTRUMENTAL IN CASE SOMEBODY WANTS TO DO SOMETHING WITH IT. WOULD LOVE TO FIND AN ACCAPELLA BUT I’VE BEEN WORKING ON THAT FOR OVER A DECADE. ENJOY

01-apache-gangsta_bitch_dirty.mp3

05-apache-gangsta_bitch_inst.mp3

Apache (original name: Anthony Peaks) was a rapper of short success from New Jersey^[2]

His first appearance was in 1990 on The 45 King Presents The Flavor Unit by Flavor Unit. Apart from his individual records (see below), he also featured on several albums (of Naughty By Nature, Tupac, Fat Joe Da Gangsta, etc. ).^[1]

He had a small part (Bubba Worker 1) in the Who’s the Man? comedy film.

His name still appears on later compilations.

Discography

Albums

• 1993 : Apache Ain’t Shit (CD)^[3]
• 1993: Do Fa Self / Hey Girl (CD) ^[4]

Singles

• 1992: Gangsta Bitch (7 in. vinyl; 4:44, both sides identical)^[5]

artist: eliot lipp genre: instrumental idm hip hop

this is fun, i hear a bit of goblin influence over the entire album. not so much with this track though.

eliot lipp - the outside

ok, so this is more goblin:

eliot lipp - the meaning

tomorrow night, best sound in town. no really.

so idm / instrumental hip hop heads show up.

you like blockhead, prefuse and dabrye, show up.

his space

THIS IS WHAT HAPPENS WHEN I CRATE DIVE IN MY OWN RECORD COLLECTION, I HAD FORGOTTEN ABOUT THIS THIS ONE, IT’S SUCH A KILLER TRACK, ENJOY.

jeru-the-damaja-dirty-rotten-scoundrels.mp3

jeru-the-damaja-you-cant-stop-the-prophet-pete-rock-mix-instrumental.mp3

Kendrick Jeru Davis, known as Jeru the Damaja, (formely as D. Original Dirty Rotten Scoundrel) is an MC from Brooklyn, New York. He has worked extensively with Guru and DJ Premier of Gang Starr, whom he has known since high school.

He spent his early years in the Brooklyn neighborhood of East New York, where he began rhyming at block parties as a youth. He first showcased his hardcore Brooklyn style to audiences on “I’m the Man,” a track from Gang Starr’s 1992 album Daily Operation. The following year he released his first single, “Come Clean,” which was produced by DJ Premier and became an instant underground hit.

His first album, The Sun Rises in the East, was released in 1994 and produced entirely by DJ Premier. The album is considered a classic, and was one of the most acclaimed hip-hop albums of its time. The album cover depicts the World Trade Center on fire, long before the September 11 attacks, a year after the 1993 bombing of the North Tower. The album featured Jeru’s signature conscious lyrics, however he was criticized by the Fugees for his lyrics particularly for the song “Da Bichez.” Fugees member Pras lightly mentioned Jeru on the track “Zealots,” from the group’s landmark 1996 album The Score, with the line “No matter who you damage, you’re still a false prophet,” referencing Jeru’s single “You Can’t Stop the Prophet.” Jeru responded lightly in the intro of the track “Me or the Papes” and also on the track “Black Cowboys.”

Jeru followed up in 1996 with his second album Wrath of the Math, again produced solely by DJ Premier. The album was also widely acclaimed, although not on the same level as his debut. Like on his first album, Jeru was accusatory of commercial hip-hop artists and record labels (Death Row and Bad Boy), which he criticized on the concept track “One Day.” After the release of Wrath of the Math, Jeru reportadly had a falling-out with DJ Premier and Guru (however Jeru has dismissed this and claimed that they wanted to go in different directions), and was missing from the scene until 1999, when he released his third album, Heroz4hire, released together with Mizmarvel. Heroz was his first album without production from DJ Premier and also his first under his then-newly created KnowSavage Records. It featured the single “99.9 Pa Cent,” which was a verbal attack on his former affiliates Gang Starr. Heroz4hire was less critically acclaimed, due mostly to Premier’s absence. In 1999 collaborated with the group of Spanish hip-hop Violadores del verso, in the track “Solo quedar consuelo”.

His album, Divine Design, released in 2003, was the first album under his new record label, Ashenafi Records. The album received little attention and mixed reviews. The latest Jeru album, titled Still Rising, was released on October 16, 2007. On April 2, 2007, during a La Coka Nostra concert at the Gramercy Theatre in New York city, Jeru the Damaja came out for a surprise appearance to perform his song “Dirty Rotten Scoundrels”.

-the-house-of-magic.mp3

-just-get-on-down-and-rock.mp3

Magic Mike made his debut in the world of Miami Bass productions when he met Miami based producer/rapper Rod Whitehead (of Pryme Tyme fame) in 1986. Rod enlisted Mike as a DJ for his upcoming projects on Miami’s Suntown Records, but after Mike reviewed the deal offered by label owner Edward Meriwether, he left the label, project unfinished. Shortly after while performing cuts on the radio, he received a call from Beatmaster Clay D to add cuts on an upcoming project for rappers MC Cool Rock and MC Chaszey Chess. This resulted in his first recorded work, Boot the Booty. However, Mike often found himself in the producer’s chair by default while working with Clay D, and always remained uncredited. During this period, he also was called into Vision studios to add cuts to songs he had no creative input on, such as Chilla Frauste’s Get Up, Get Down, Get Funky, Get Loose and Popular Demand’s Don’t Clock Me.

After realizing his back-breaking work for Clay D and Vision Records was not getting him the money nor fame he deserved, he returned to Orlando and landed a solo deal with the then unknown Cheetah Records, releasing his first batch of solo singles in 1988. Those led to a full length album in 1989 entitled “DJ Magic Mike and The Royal Posse”, which featured many guest crews and rappers all based on his production and turntable antics. His following album Bass is the Name of the Game in 1990 saw the Miami Bass genre reach a zenith both creatively and commercially.

Much like most other Miami Bass producers, Magic Mike’s music was never exclusively Miami Bass, but also aimed for the traditional Hip-Hop market. Eventually, he teamed up with MC Madness as his primary rapper during his more Hip-Hop oriented days, although there was no exclusive deal for this, and Mike continued on, collaborating with artists such as Sir Mix-a-Lot and Techmaster PEB.

Despite his history with Miami Bass and his overwhelming catalog of straight ahead Hip-Hop, he’s also made a mark in the Florida breaks scene, including the 2005 single release “Cowbell”. A compilation featuring instrumental versions of many of his hits was published by Mo Wax. Magic Mike currently plays regular Friday Nights at Antigua Night Club in Downtown Orlando and On Memorial Day and Labor Day Sundays for “Service Industry Night” at House of Blues at Downtown Disney in Lake Buena Vista, Florida.

ANYBODY KNOW WHAT HAPPENED TO ANY OF THESE FOLKS??? THIS IS MAKING IT’S WAY BACK INTO MY CRATES THANKS TO DJ ASSAULT @ BEAUTY BAR A COUPLE WEEKS AGO…SOMIN’ FROM THE 90’s IT’S ALL PROT-CRUNK-MIAMI BASS FUSION, & I @#$$#@!!! LOVE IT, GUILTY PLEASURE. & i’ll post a a wiki to crunk & miami bass, so if you don’t you will. i also think it’s funny someone thought enough about this to write this much!!!  See there was life before b-more!!!

my-baby-daddy.mp3

fired-up.mp3

wall-2-wall-booty.mp3

i-want-to-ball.mp3

keep-it-crunk.mp3

Crunk is a genre of hip hop music. Unlike the East Coast and West Coast style of hip hop, crunk has a high-energy and club-oriented feel. While other hip hop styles might involve a more conversational vocal delivery, crunk usually involves hoarse chants and repetitive, simple refrains. Lyrics are based on a rhythmic bounce, which is very effective in a club environment.^{[citation needed]}

Looped drum machine rhythms are usually in the forefront of the mix, with the Roland TR-808 being especially popular.^[1] A typical crunk song uses four bars of music generated by electronic drums and synthesizers that repeat throughout the song, but sometimes includes a break towards the end of the song. Many of the drum machines and rhythms they produce were previously well known in specialty genres of dance music.

Miami bass (also known as booty music, a term that may also include other genres, such as dirty rap), is a type of hip hop music that became popular in the 1980s and 1990s. It is known for applying the Roland TR-808 sustained kick drum, slightly higher dance tempos, and occasionally sexually explicit lyrical content. Music author Richie Unterberger has characterized Miami bass as using rhythms with a “stop start flavor” and “hissy” cymbals with lyrics that “reflected the language of the streets, particularly Miami’s black ghettos such as Liberty City and Overtown” [1]. Miami bass has never found consistent mainstream acceptance, though it has had a profound impact on the development of drum and bass, Baltimore Club, Southern rap, funk carioca, and other genres.

Unterberger has referred to James (Maggotron) McCauley (also known as DXJ, Maggozulu 2, Planet Detroit and Bass Master Khan) as the “father of Miami bass,” a distinction McCauley himself denies, choosing rather to confer that status on producer Amos Larkins[citation needed].

During the 1980s, the focus of Miami bass tended to be on DJs and record producers, rather than individual performers. Record labels such as Pandisc were also well-known within the genre. “Bass Rock Express” by MC ADE (with music and beats produced by Amos Larkins) is often credited as being the first Miami bass record to gain underground popularity on an international scale.

Luther ‘Luke Skyywalker’ Campbell of 2 Live Crew played a key role in popularizing Miami bass in the late 1980s and early 1990s. The group’s 1986 release, The 2 Live Crew Is What We Are, became controversial for its sexually explicit lyrics, and 1989’s As Nasty As They Wanna Be, along with its hit single “Me So Horny,” proved more controversial still, leading to legal troubles for 2 Live Crew and retailers selling the album (all charges were eventually overturned on appeal).

The popularity of Miami bass was in part successful due to its promotion in the South Florida by local DJs, radio stations, and clubs.[citation needed] For the better part of the mid-80s and early 90s, DJs such as Luke Skyywalker’s Ghetto Style DJs, Norberto Morales’ Triple M DJs, Space Funk DJs, Mohamed Moretta, DJ Nice & Nasty, Felix Sama, Ramon Hernandez, Bass Master DJ’s, Lazaro Mendez (DJ Laz), Earl “The Pearl” Little, Uncle Al, K-Bass, JAm Pony DJ’s and others were heavily involved in playing Miami bass at local outdoor events to large audiences at area beaches, parks, and fairs. Clubs in South Florida including Pac-Jam, Superstars Rollertheque, Bass Station, Studio 183, Randolphs, Nepenthe, Video Powerhouse, Skylight Express, Beat Club and Club Boca were hosting bass nights on a regular basis. Radio airplay and programming support was strong in the now defunct Rhythm 98, as well as WEDR, and WPOW (Power 96).

Another well-known subgenre of Miami bass is “car audio bass,” exemplified by artists such as Techmaster P.E.B., DJ Magic Mike, Beat Dominator, Bass 305, Bass Mekanik, Quad Force, Bass Patrol, MC ADE, and others. This subgenre features an even more stripped down and bass heavy sound, tending to focus on either extremely hard 909 kicks combined with sine waves or the classic 808 kick, or sometimes simply the sine wave by itself.

Miami bass is closely related to the electronic dance music genres of Ghettotech and Booty House, genres which combine Detroit techno and Chicago house with the Miami bass sound. Ghettotech follows the same sexually oriented lyrics, hip-hop basslines and streetwise attitude but with harder, uptempo Roland TR-909 techno-style kick beats.

In 2007, contemporary hip-hop and R&B songs have become more dance oriented, showing traces of Miami bass and techno.

SHOULD BE DOPE, SEE YOU OUT!!!
JG

ONE OF MY FAVORITE JOINTZ EVER!!! IT WAS RE-ISSUED A BIT
AGO, SO CHECK IF YOU CAN. I’LL INCLUDE THE WIKI ON THIS ONE TO:

main_source-snake_eyes .mp3

main_source-just_a_friendly_game_of_baseball.mp3

Main Source was an innovative, acclaimed Toronto and New York-based hip hop group comprised of Toronto natives Sir Scratch, K-Cut, and Queens natives Large Professor and Mikey D.

Their first album, Breaking Atoms, featured conscious MC tracks such as “Looking at the Front Door” and “A Friendly Game of Baseball” and “Watch Roger Do His Thing” as well as the first on-record appearance of Nas on “Live at the Barbeque”, which also featured Joe Fatal and Akinyele. Because of business differences, the group broke up before their second album, tentatively entitled The Science could be released. However, Sir Scratch and K-Cut released a second album under the Main Source name, entitled Fuck What You Think, with new recruit Mikey D on vocals; however, the album was shelved due to inner conlficts between the record label and group management. Singer Madonna sampled the bassline from “What You Need”, on Fuck What You Think, in the song “Human Nature” for her 1994 album, Bedtime Stories.

Large Professor has gone on to be an instrumental producer for hip hop stars such as Eric B. & Rakim, Pete Rock and CL Smooth, Nas, and Diamond D. He has released a Solo LP entitled First Class, and his shelved The LP has been widely bootlegged.

K-Cut also produced for a wide range of hip hop artists including Big Pun, Maestro Fresh Wes, Fu-Schnickens, Queen Latifah and even NBA star Shaquille O’Neal. He also mentored another Toronto-based producer named Watts.

Large Professor makes a reference to his falling out with Sir Scratch and K-Cut on A Tribe Called Quest’s third album Midnight Marauders. On the track “Keep It Rollin’” he says, “I’m Uptown chillin, takin in this grand master Vic blend from the projects, the PJ’s, fuck them two DJ’s”.

Mikey D currently works with Hush Hip Hop Tours as a celebrity tour guide for its Queens tour.

the-knux-cappuccino.mp3

THIS IS A REPRINT FROM…
http://freehiphopnow.blogspot.com
THERE’S ALSO AN ARTICLE IN MASS APPEAL
THIS MONTH AS WELL, ENJOY.

The Knux are a self-produced group comprised of two brothers (Krispy and Al Millio) from New Orleans. They play all their own instrumentation and fight like The Kinks. Their debut album, Remind Me In 3 Days, sounds like Outkast, Juvenile, Tha Pharcyde, and The Strokes concurrently blasting, out of a drop-top Jag on Sunset Blvd. on a Saturday night in the summer. Wrap your head around that!!???

“When we made the album we refused to give the album to the label one song at a time,” says Krispy, who at 25 is the elder Knux brother. “We knew that they wouldn’t get it, they’d think we were buggin’ and they’d try to make us change things.” Instead, the two, who signed to Interscope in 2006 thanks to an incredible demo and manager Paul Rosenberg (Eminem’s manager) holed up in a mini-mansion in the Hollywood Hillsnew artists that they barely even knew were on the label.”

Just as their recording came to a standstill the Knux were met with great misfortune: Hurricane Katrina. “We never evacuated when the hurricanes hit,” says Krispy, “But for whatever reason when Katrina hit we left with our mom to go to Dallas for the weekend. When we were driving back to New Orleans on the Monday all the cars were going the other direction. The radio wasn’t working, so we had no idea about the flood ‘til someone flagged us down and told us that we weren’t gonna’ be allowed into the city.” After a week of the entire family sleeping in their car, they relocated to Houston and found an apartment. “Man, we lost everything, our whole apartment building burned to the ground, says Krispy. “So we were grateful that everyone was okay, but we weren’t happy to be in Houston.”

Fortunately things looked up for the group when their demo fell into the hands of Paul Rosenberg’s A&R man Dart Parker, who brought the group to his attention. Over the next months Rosenberg signed on as their manager. “We weren’t doing anything in Houston,” says Krispy. “Because of Katrina and how unhappy we were in that city we weren’t inspired to make anything new. So the whole thing with Paul was blessing.”

By the fall of 2006 the brothers had moved to the Hollywood Hills and begun the recording process. “Once we got out to L.A. there was just such a different vibe,” explains Al, “And we were going to all the downtown clubs with fuckin’ socialite girls and, like, the so-called hipsters, and guys like Steve Aoki. It was a totally different scene from what we were used to in New Orleans and the music we started making just reflected that.” The two wrapped the album during the summer of ’07 and hit the road hard. “We started by just inviting people over for house parties and performing the album on top of our couch,” says Al, “That’s how we knew what worked and what didn’t.” After a string of successful events at L.A. cool-guy emporiums the two got added as the opening act of Common’s Finding Forever tour.

With shows booked through the end of the year, and press clippings stacking up left and right—all without a single song available commercially—the ground swell is evident, and The Knux impact in 2008 is imminent. Act like you know. And if you forget, don’t worry, The Knux will Remind You!

OK, THIS IS NOT THEIR FIRST RECORD, BUT I THINK IT’s ONE OF THE MORE SLEPT ON. INCLUDED WITH THE COVER IS THE SINGLE “NO NOSE JOB”, & MY ALL TIME D.U. FAVE, “IT’S A GOOD THING THAT WE’RE RAPPIN” IT’S THE MACKINGEST F@#$!!! JOINT EVER, also i’m including a D.U. Wiki…ENJOY!

no-nose-job.mp3

good-thing-that-were-rappin.mp3

Digital Underground is an alternative rap group hailing from Oakland, California, who played a big part in giving West Coast rap the spotlight. Their leader was Greg “Shock G” Jacobs, who also went by the stage name of Humpty Hump. Jacobs spent most of his youth in New York City and southern Florida. Heavily influenced by the various funk bands of the 1970s, Digital Underground sampled their music frequently, which quickly became a defining element of West Coast rap. Their ‘alternative’ status owes much to their unabashedly spaced-out image, which lay in contrast to the gangster rap that most west coast acts focused on. The group’s original image was set up to be a tribute to social activists The Black Panthers, but when Public Enemy became a prominent band, Jacobs chose to take the group’s image in a more whimsical direction, that of an updated Parliament-Funkadelic for the hip-hop audience. Jacobs designed detailed album covers and cartoon-laced liner notes, a homage to Parliament-Funkadelic album designs. They are also notable for catapulting member Tupac Shakur into the spotlight.

MORE INFO: http://en.wikipedia.org/wiki/Digital_Underground

THAT’s CLASS FOR 2 DAY KIDS, i mean SON!!!!

so expect hip hop beats and glitch,

i expect everyone that would attend a bassnectar show shall be there.

SOMETIMES I FEEL LIKE I HAVE TO DIG INTO MY CRATES & DROP LITTLE BITS O’ HISTORY. THIS TIME I WENT WITH A LITTLE BIT OF HIP HOP, FOR THOSE OF YOU WHO KNOW PAT YOURSELVES ON THE BACK, FOR THOSE OF YOU IN THE HAVE TOLD ME WITH A STRAIGHT FACE DURING SXSW YOU ONLY LISTEN TO NEW UNDERGROUND HIP HOP, THIS IS ORIGINAL UNDERGROUND HIP HOP, SO SHUT THE !@#$ UP & LISTEN…

critical-beatdownultramagnetic-mcs13.mp3

The Ultramagnetic MCs are a rap group whose members are Kool Keith, Ced Gee, TR Love and Moe Love. Tim Dog became an unofficial member in 1989. A former member, Rooney Roon was fired following an assault arrest. Beatbox legend Rahzel was also involved with the group early in their career. Their work was associated with unorthodox sampling, polysyllabic rhymes, and bizarre lyrical imagery.

artist: milanese genre: dub grime step hop

this style feels old and new to me. of course i heard plenty of cyberpunk soundtracks for the last two decades. i’ll not say something to the effect that this would be fitting in a william gibson soundtrack.  but it does. from what i can make out, the lyric subject matter fits too.

milanese - dead man walking

After chainsawing some trees in my backyard (literally… not a euphemism for illegal activity), I made my way to my local head shop. The guy behind the counter recognized me from the Bass Nectar show and we had a chat about local electronic music and shows. I couldn’t help but notice what they had playing over the store stereo system. Nothing like getting turned on to some new music at the head shop.
EPROM
You can downlaod a free mix here

Eprom - Donkey Nap (remix)

>

Yea its the weekend coming up and the MBM show is Saturday. So take this as your Friday and Saturday post and someone less hungover than me on Sunday can post:

Starkey
i had a hard time deciding which out of three trks of his to post. he’s got a shed load of mixes here if you want to download some
the single trk i chose has a little of everything thrown in. his other ones are a little more dubstep or idm.
all good.

Starkey - Glassy eyes (remix)

artist: Yoshinori Sunahara genre: prefuse lovin hop hip

this is another fun track that pops up on somafm. that sample sounds a lot like a suspense inducing sound clip preparing a late 70s television viewer for a commercial break. maybe it was “hart to hart”.

Yoshinori Sunahara - Love Beat

artist: populous genre: instrumental hip-hop

been listening to somafm too much, need to switch over to something with more bite. although bite doesn’t work when you are in deep thought.

Populous - pawn shop close

DANCE HIPSTER GYPSY DANCE!!!!DRESS UP, PAY LE$$.

FRIDAY, APRIL 25 @ RHIZOME KOLLECTIV (300 allen st - 10 TIL 2)”

balkan_beat_box-digital_monkey.mp3

WHO:
Upstairs: DJ Dirk Diggla (Austin), DJ Matt Nice (UK), DJ Snake Eyes (UK),
Downstairs: C-Mon & Kypski (Amsterdam), Sousa Operator (Austin), Fat Tony (Houston), + Very Special Guests

WHAT:

Austin’s Only River Jam Cruise
WHEN:
Wed March 13th
6pm-9pm (Load time 5:30)

WHERE:
Walsh Landing (past Hula Hut) on Lake Austin Blvd

More info at www.myspace.com/mashupatx
21+ show up early if possible–only room for 200, super secret amazing special guest
Please send RSVP with name and email address to: partymashup@hotmail.com