Headless Giant Magazine

"So because I have nothing but idle time on my hands, I can do foolishness like sit home for a day and watch the entire 5^Th season of The Wire like HBO is cutting me a check. If you follow the show you know that  Omar decided to stack his chips and retire to the Islands in Season 4. Unfortunately Marlow, shot up some close friends of his and Omar was forced out of retirement like MJ. After I finished watching ALL the episodes I went back online to refresh my memory on some earlier seasons and ran into some interesting things."

The Crazy are the Most Moral

By Johnathan Dixon

What do Baltimore’s homosexual gunman and Gotham City’s worst nightmare have in common? They wade in a pool of moral consciousness most of us wouldn’t find if we slipped and drowned in it.  In David Simon’s HBO thriller The Wire, Omar Little, better known as Omar, is an overt homosexual, who robs drug dealers for a living just to prove a point. In season one, Omar testified in open court against the Barxdale crime family for the murder of an elderly man in the neighborhood with no hesitation. Omar is profoundly aware of the life of crime that he lives and the players in this game.

A soft voice says, “Run ya’ll…Omar...Omar is coming.” These whispers echo in the streets anytime his presence is felt from miles off. He is by far the single most feared presence in the streets of Baltimore, and even with his villainous behavior, he had the moral sobriety to stand up in court to testify against D’Angelo Barxdale for the murder of a man who “wasn’t in the game”. The morally corrupt and ethically diluted ideology of “stop snitching” went out the window when being a human was more important. Omar knew that this man was killed over noting but reckless irreverence for human existence. If you were in the game, you were an open target to Omar, but he left civilians alone.

Much like Omar, the Joker of Gotham City terrorized the streets of his hometown in extravagant fashion. He too stole from “white collar” criminals just to prove a point. There was a beautiful moment in the Dark Knight when Joker slid a pile of money stacked to the ceiling, got up, took a few steps, turned around, and set the money on fire. The symbolism of this was of planetary proportions.  Money is the silk with which we stitch our egos, and to pull a loose thread much less burn our psychological foundation is simply dissident. A man, whose actions are inherently malignant, yet at the same time morally calibrated, was able to see that these men were ruled by malfeasance and greed. He saw through the creation of self entitlement that could only end in peril and insignificance.

Omar and the Joker do not by any means fit into "society’s" standards of normalcy. Omar is walking urban paradox. On one hand he will kill your entire lineage with a 12 gauge shot gun, and in the same breath tongue kiss a man. And it is this man who will stand up and testify in court because it’s morally right. The  Joker torments the most average of people in Gotham to get the attention of Batman for this eternal tug-of-war, but will burn millions just to prove a point about the toxic levels of greed certain men posses. There is absolutely something to be said about this. Maybe we should look more into the brains of “outsiders”.

"I like to look up things like record sales and what artists are touring where. Some websites give you the break down of domestic and international sales [by country] and it's always funny to me how an artist will sell double what they did in one country overseas than they did in all the United States. Or the fact that some underground artists are booking shows in England for 40 thousand Euros but are still “regional” in America. That’s blows my mind. I feel like the rest of the world has a different set of ears than Americans does."

The Domestic Euro League

By Johnathan Dixon

With the upsurge in availability of music through limitless media avenues, underground Hip Hop artists have been able to independently release music without the exhausting contractual legalities of major record labels. This allows an unknown artist to generate a buzz and gain recognition on his/her own. Once they have an established fan base, that is when the major labels come knocking. With the decline of record sales in America, record labels are ever more reluctant to sign anyone who isn’t a guaranteed success. This forces artists to take alternative actions. Much like a college basketball player who wasn’t drafted, they look for employment abroad. While nothing may seem wrong with this, some athletes take this as a blow to their ego, “I wasn’t good enough to play for the Bulls, so now I have to settle for some team in Bangladesh”.  In both music and sports there are situational and political reasons why certain people just don’t make it.

For a professional basketball player to leave the NBA and go play in the Euro league almost seems senseless. Why give up the contract security and familiarity of playing in your home land? Recent times have shown that the Euro league is becoming more and more attractive, especially with Josh Childress leaving the Atlanta Hawks to go play in Greece. The question at hand remains...is taking your profession “abroad” as an artist a senseless or ingenious act?

“Pop” music has become almost nauseating over the last ten years. Record labels continue to produce cookie cutter one hit wonders and over saturate the market with them. The music lacks content, originality, and purpose. On the other hand, underground artists seem to be much more grounded [No pun intended], conscious, and real. The music of the underground in all genres has an authenticity to it that you won’t find on the radio or television. So when underground artists over the years have gone overseas for recognition and exposure, and get it, isn't it somewhat hypocritical of is as a nation to them embrace them when they come home?  Does it say something about the American listener? That we aren’t concerned with “content” but with whatever the “media” throws in front of us? It’s almost a shame for an artist to have to leave their homeland for someone to recognize their genius.

Diverse media outlets have allowed these once musical nomads to stay right at home and create a “Domestic Euro League”. 2009 has felt a billow of raw, heavily creative and conscious music domestically. Artists like Jay Electronica, Wale, Blu, and J.Cole have been in the forefront of the “freshman class”, and have displayed tremendous talent. There is so much underground talent right now that they have the ability to start their own league and play a completely different game. This shift in consciousness is imperative not only for music but humanity. The key to this is getting the Middle America to pay attention because they are the bulk of the industry "consumer". Sure young people in major cities tune in to some of these artists due to proximity the movement. But the people in between are unaware. Hopefully these underground artists will band together and realize the good they can do in this world.

"Me and my boy JJ always have these foolishly long IM convos about music, sports, really anything that’s current. It’s more like a professional debate because this dude is pulling quotes from Encarta and pulling out these obscure audio files that were supposed to be locked away in the Warren Commission report in the 60’s. This happens on average twice a day. So I reached out to him and asked him to contribute to HG and he was with it. Michael Vick had recently been released so he tackled it. Shout out to JJ at 3Sidez "

Vick vs Goodell

By Julian Gonzalez

Recently, Terrell Owens chastised NFL commissioner Roger Goodell for his recent 4 game suspension of Michael Vick. Owens simply explained that Vick had already served a punishment determined by legal forces outside of the NFL, and said that should be enough. The fans seem to be split on the issue, some agreeing with Owens, others of the opinion that seemingly no punishment is enough for “dog-killer” Vick.

Before I get into the details of why Owens is correct, let me make a detour.

The NFL is, and always has been, a league run by owners. When you compare the balance of power between fans, owners, and players in the National Football League and compare it to the two other major American sports (Basketball and Baseball), or even the English Premiership Football League across the pond, it becomes even more clear. No other league can cut players mid contract for lack of performance. Yes, that does benefit the fans, because the players cannot slack upon signing a contract.

However, the players have no safety…consider that the average NFL career lasts three years.

This is due to the violent nature of the sport, but also due to the fact that the average battered NFL player, after about 2 or 3 years, becomes a useless asset not worth investing in for owners of such lucrative businesses.

The point is…NFL owners, as well as the commissioner, have absolute power for the most part. I’m not even going to get into the ridiculous issue of NFL retired veteran support.

What the hell does all this have to do with Michael Vick and T.O.?

Well, many players in the NFL have committed crimes, some worse than others. You have Vick, participating in the unethical, inhumane killing of countless dogs…Matt Jones and his coke use/distribution (although the intent to distribute remains unproven, it is silently acknowledged as true by anyone who knows the facts)…Shawn Merriman and his performance enhancers…Chris Henry and well…what crime DIDN’T he commit… The point is, they all were punished, thoroughly. Vick was punished more so than the rest of them, because of the public nature and emotional aspect of his crime.

But apparently the Justice system isn’t as adequate for the commissioner. Vick already served his time…like T.O. said, he paid his debt and showed his remorse. Unfortunately for Vick, there is nothing he could have done to prove to the commissioner that this occurred. Losing his money, going to jail, and  possibly losing his career were not enough to Goodell…no, he clearly needed to, once  again, backhand the life out of the NFL players association.

He needed to tack on further punishment to show that he “Isn’t kidding.” The suspension is a simple reminder that this will always be the commissioner’s league.

The Fans want football, and would not STAND for any delay once the next bargaining agreement between the owners and the NFL Players Association is made, so the next time they decide on the balance of power, the NFL Players will once again be powerless. For that to change, the players would need to go on strike, let the owners know they are willing to go without reward for some time. Collateral damage would include a stop of money to all those families of players…sudden dead ends for college athletes aspiring to the NFL…in other words…

It’s impossible. Goodell seemingly has a fail-safe system, so until we as fans of the NFL are willing to partake in some of the damage as the basketball fans and baseball fans did in the mid-90, the players will continue to be thoroughly screwed. The logical question that follows:

Are you willing to do that?

"Lately I’ve been listening to a lot of J.Cole. He’s from N.C. but he reminds me of mid 90’s New York rapper. He has this really raw style. Real street but intelligent. It’s rather refreshing. He sounds like he would have been down with The Firm with Nas and AZ. Anyway, his second mixtape, The Warm Up has been in heavy rotation on the Iphone. So I’m listening to the track "Can I live", and he says “I guess it’s just a nigga urge, this is The Boondocks, I swear yo I'm like Huey mixed with Riley, Thursday I’m tryna change the world, and the on Friday, I hit the club” A lot of the songs’ content was relevant to the subject matter of the show so that what sparked the inception of this next piece."

I'm Moving to the Boondocks!

By Johnathan Dixon

After two successful seasons that brought you stomach cramping laughs and painstaking realities of the black community, The Boondocks will be returning for a third season in 2010. If you have seen the show you cannot in any way ignore the comedic genius of Aaron McGruder (Creator) and his cast. The show takes stereotypes and runs wild with them, showing us how ignorant and silly they really are. As an adult, I can appreciate the depth of the show aside from the vulgar language context. I am also doubtful that most people recognize the declination that the show has to offer.

The show is based around two brothers, Huey and Riley Freeman, and their “Grandad” in Woodcrest, a Chicago suburb. The cultural duality between these two characters is so intricate. They represent the divide driven by cultural stigmas in young black males. Huey (named after Huey Newton) is a young revolutionary. His character is inherently iconoclastic, challenging ideologies of religion and pagan holidays. As an avid martial arts fan and student he has an insatiable quest for truth and understanding. He prides himself on learning and being logical.

On the other hand, his brother Riley is the complete opposite. Riley is obsessed with pop culture, and is a victim of its ignorance. He is ensnared in a web of propaganda and urban culture always riding the wave of the next “In" thing. You can see this in the episodes that dealt with issues such as “stop snitching” or homosexuality. His Grandad’s car was stolen in front of his eyes, but because he had to live up to the street code of “morality” he refused to identify the culprit. “Stop Snitching” is an age old adage that has been around for years, but has recently resurfaced as fad corrupting the moral fabric of our society. Riley is vehemently against education, in fact he despises books. In the “Home Alone” episode Riley spent he and Huey’s food money for the week on new clothes and was more than proud about it. Of course it was funny in the show, but this is a mindset that unfortunately plagues youths across our nation. The needs of basic survival are eclipsed with the wants of the material mind.

Now to the fun stuff…

Huey and Riley attend J.Edgar Hoover middle school. For those who don’t know, J.Edgar Hoover was the original dictator of the FBI and has been long accused for personal persecution, slander and defamation of Martin Luther King during the civil rights era.

Their next door neighbor is named Tom…as in “Uncle Tom”. Tom is the stereotypical “uppity” or “bourgeois” Negro that married a white woman, went to a fancy school and became a high powered attorney. His biggest fear in life is not dying before his children, or going blind, but going to jail and being anally raped!

Uncle Ruckus is the biggest, blackest ugliest man in Woodcrest, but yet he “hates his black skin” and prays to a “White Jesus” every night to make his skin white. He has a certain jealousy toward the Freemans because they are of a lighten complexion. He also envies Tom because he is married to a white woman. On this surface this is outlandishly funny, but it’s a very deep rooted issue in not only black but all cultures. A poor self image is something we as mankind grapple with, as we try to find ourselves in a word of Botox and plastic surgery. Poor self image leads to a series of other issues like depression, anxiety attacks, and so forth.

The beauty of this show is that the writers are able to capture the root of ignorance in and about the black community and give it a talking persona. It’s easy to watch this show and get caught up in the over the top hilarity of the jokes and over use of the word “Nigga”, completely missing the depth and insight that goes into it. The bad part is that The Boondocks are not an exaggeration at all. There are people out there who perpetuate these notions by buying into them as a player or even spectator of the black race. While it is good to sit back and get a laugh for 30 minutes, think about the fact that the show would be non-existent if these actions didn’t exist.

"I used to work at Nordstroms two years ago and every now and then I go back to visit some people. So I walk in one day and start rapping with this girl I used to work with, telling her all about the vision for site and she’s really digging the concept and immediately asks how she could be part of the movement. So because the point of this magazine is to hear the voice of the taking in pop culture, I couldn’t turn her down. We randomly start talking about immigration [both of us come from parents who were immigrants], and she goes off talking about the "close mindedness" people toward other cultures... and that’s how this article was born."

All I Wanna Do is "BANG BANG BANG BANG"

By Soraya Amin

I don’t know about anyone else, but sometimes listening to the radio makes me feel old.  We all know it doesn’t take much for a song to make it big these days, just a hot beat and a dance to go along with it.  But are we so used to that kind of overproduced garbage that we stopped listening to lyrics, even the ones with the hot beats?

The glaring example I’m thinking of in particular is “Paper Planes” by MIA.  Few people know that the song was actually a parody about the stereotypes immigrants face when coming into this country.

“I fly like paper, get high like planes
If you catch me at the border I got visas in my name
If you come around here, I make 'em all day
I get one down in a second if you wait”

The song is highlighting the implications people make about immigrants’ behavior in America; they abuse & sell drugs, generate phony documents, and partake in whatever other illicit activities you can think of.  I personally like the song because of the light it sheds on this controversial topic.  The blame put on “foreigners” in the media today is unsettling because a lot of it is completely erroneous and unjustified.  When you listen to the news coverage of your preference and hear proposals which advocate for stronger immigration laws, do you actually know what it is they’re advocating for?  The U.S. has a long history of making immigration laws stronger in ways that are convenient for the majority.  Depending on the decade and where race relations were at the time (and the definition of race at the time, but that’s a whole other topic of discussion in and of itself) is how our government decided who they would or would not allow in the country.  So back in the day, when Irish immigrants weren’t considered white and stereotypes about them were as common as those about Middle Easterners/Latinos/African-Americans today, such as being lazy and abusing alcohol. It was almost impossible for them to legally immigrate to the US, versus a person trying to come into the country from England (that person would not be faced with a whole lot of trouble).

Unfortunately the more things change the more things stay the same.  In this post 9/11 world, the immigration laws that they made stronger still only apply for people coming from certain realms of the world, mainly Latin America and the Middle East.  The upper class likes to complain about immigrants coming here and “taking our jobs”, when in reality those of us who were born here would never want to do the work that immigrants come here and do. Lower class immigrants end up pumping gas, bussing tables, and other jobs that require intensive manual labor. Ironically enough, America was founded on the cheap labor of the underprivileged. In fact, if all immigrants left America tomorrow, this country would fall apart. But the government still practices their form of legal racial profiling and applies it to certain parts of the world.  The battle almost becomes futile at the end of the day, because apparently all that the immigrants of the world want to do is, “bang, bang, bang, bang” and “Ka-Ching”, and take your money”.  That’s what it all boils down to…

The beauty in all this is that music; our natural form of expression, can capture the ethos of a particular people and send your brain into this realm of deep thought and reflection. So props to MIA for this one and artists like her who makes the fact that they are socially conscious known through their music.

"A friend of mine  is really into black culture. She goes to a lot of plays and indie movies, has the whole “Bohemian” aura about her,and is really a good spirited person. So I reached out to her seeing if she wanted to be part of the HG movement as well and was more than happy to be down. So she has blessed some insight into the young rebellious mood of 1960’s."

"Aquarius' Rebirth"

By Whitney Pennington

I’ve been told that it’s hard to explain 1960s America; that, if you didn’t live through it, you can never really understand it. That may be true, but one performance has come close to showing me what it means to be a long-haired, free-spirited, peace-loving, 60s flower child.

The Broadway revival of “Hair: The American Tribal- Rock Musical” opened this spring at the Al Hirschfeld Theatre to rave reviews, sold out shows and, recently, snagged the Tony Award for Best Musical Revival. If you’ve seen the show, you know that each of these honors is not only well deserved, but understates the sheer magnificence of this masterfully well performed musical.

As a 80s baby, I’m not old enough to have seen the original 1960s run of Hair. But, like the rest of my generation, I grew up knowing many of the famed songs from the show’s score— Aquarius, Good Morning Starshine and, of course, the title song, Hair. Going in, I was prepared for a lively performance and heard tales of the controversial nude scene, but, even still, nothing prepared me for the EXPERIENCE that is Hair.

To set the stage, the show takes a glimpse into the lives of a diverse group of young hippies as they come of age in the turbulent 1960s era of sex, drugs, and rock n’ roll.  Each member of the “Tribe”—as they are known—struggles to establish their individuality while combating social pressure to conform. While maintaining a cool, lighthearted tone, Hair sheds light on the challenges that the seemingly carefree youth face when forced to deal with the troubles humanity has created for them.

From the moment the curtain rises, the audience is transported to the 1960s with a psychedelic set decked out in tie dye, paper lanterns, and floral decorations. The entire cast performs the opening number, Aquarius, behind the soulful lead of Sasha Allen (who plays Dionne) and contribute to the 1960s vibe with colorful costumes perfectly reminiscent of that period.

A similar format is maintained throughout the show (which is performed almost entirely in song), wherein one or two Tribe members take the lead on a particular musical number while the rest of the cast provides back-up vocals. Unlike many other theatrical productions, every member of the Tribe remains on stage for each performance, creating the mood of a two act party versus a chronological, scene-by-scene story. What’s more, the Tribe knows no bound in creating this ambiance and frequently breaks the “fourth wall” by jumping off stage (quite literally at times) to interact with the audience. It was evident that the cast not only believed in, but was passionate about the show’s message. This enthusiasm shined through to their performances, making this one of the best all-around casts I’ve seen on Broadway to date.

Although the revival of Hair pays great homage to the culture that epitomized the 1960s, the larger, underlying message of the musical speaks to change and the role of America’s youth in inciting social revolution. The 1960s generated what was, perhaps, the most aggressive political youth movement in our country’s history. In a big way, young adults took a stand against social injustice of nearly every form (including war, racism, and sexual oppression) with some going as far as risking their own lives to protect the values they believed to be fair and right. Sadly, no generation to follow would recapture the fervor of the youth from that epic decade and, for many years, it appeared the political voice of young America slumped into obscurity.

It seems fitting, however, that, in a year when this country has not only elected it’s first Black president, but done so with the fiery backing of a formerly apathetic youth, that Hair would be revived on Broadway. Perhaps, the link between Hair’s success and the historic changes taking place in America are more than coincidental. Maybe, the producers of Hair are on to more than we think and the public response to the show is simply a sign of things to come.

By now, I’m sure it goes without saying that I am a big fan of Hair. As an opinionated twenty something, I could definitely relate to the Tribes’ desire to rebel against their parents’ system and create their own rules. Even more so, I loved the quick, no holds barred style of the show and appreciated that Hair wanted the audience to seriously evaluate the world while simultaneously having fun and loving life.

Hair is a definite must see for any young adult struggling to find their place within the framework of society, as it encourages those coming of age to discover their voice and use it to make a difference.  After more than a quarter century of dormancy, Hair invites America’s youth to “let the sun shine in” and allow Aquarius to rise again.

Brother Man Obama was in the great state of New Jersey not to long ago and one of my close friends had tickets to go and see him speak. He and I had spoken maybe the day before about some things we both wanted to accomplish with HG and thought coverage of the event would be pretty dope. Not only the “message” but the “feeling” or “mood” of the people.

The Presidents' Visit to New Jersey

By Andre Jones

In classic superhero fashion [Think: Superman] President Barack Obama flew overhead (in a helicopter) as thousands of compatriots, fans, and certainly, New Jersey residents, on the ground cheerfully welcomed him for his visit to Holmdel, NJ back on July 16.

The President graced the grounds of the historical PNC Bank Arts Center where he came to discuss his partnership with New Jersey’s Governor Jon Corzine on there “Help Make New Jersey Better” campaign.  With firsthand attendance, I must say, the experience was nothing short of enthralling.

With 52,000 people in attendance on a sweltering July afternoon, the Barack certainly hasn’t lost his “mojo” or his gravitational pull.  The fiery tone of his speech was a different touch for the generally known, charismatic President—it almost seemed to be the cause of the incendiary temperatures which nearly reached 100 degrees!

In a contrite, 20-to-30-something-minute speech the President addressed typical issues such as health care and jobs, and even delved into (a little bit) how these plans would work particularly for the State of New Jersey.  Terse, yes; but inspiring nonetheless.

The President’s visit to New Jersey was definitely a memorable one considering the original venue (Rutgers University) for the event was compromised due to the expectancy of guests.  Thanks for visiting Barack—come back soon!

"My boy is a sound engineer Quad Studios and has a crazy ear for music so he was able to put me on to a lot of new soulful and progressive acts. His take on music is a lot broader than mine is and we always talk about the myopic view people have when it comes to music. Like the average hip hop fan wont be open to a “punk record” or “indie rock” record. So shout out to Josh for his contribution."

HG Music

by Josh Batts

La Roux- French for ‘Red Haired (one)

La Roux is an electro synth duo hailing from Britain made up of vocalist Elly Jackson and producer Ben Langmaid. Headless Giant has been following the 80’-esque pop group throughout their short but successful transition to the United States. La Roux’ 1980s synthpop style is everything but corny and will definitely perpetuate music’s transition from simple grooves to the complex technical compositions deriving from Europe’s House scene (i.e. Stargate, Espionage). If you like golden honey layered over warm anything, check them out. Upcoming shows can be found on http://www.myspace.com/larouxuk. “In for the kill” is

Francis and the lights (unsigned)

495 TrafficThink about Phil Collins, Sting, Michael Jackson, and Jamiroquai mixed in one. That would make up half of what you might see when watching Francis Starlight on stage. The other half would have THC or a Grand Piano, either or. After attending Wesleyan University in Connecticut, Francis vanished to the west coast. His location was unknown to most, but he returned with an emotion soaked catalog of funk that will make you happy and sad simultaneously. Francis is what the industry has been waiting for, an emotional musician with a passion for self improvement and a glimmer of genius. We will let the music speak for it self. Download EP’s at http://www.francisandthelights.com. We like “A modern Promise.”

495 Traffik

Hailing from Long Island, 495 Traffic is putting the passion and lyricism back in hip-hop. The group’s roster has changed since the start in 2003, but the two most consistent members, Modo and Stro are taking the click to new heights. Both members rap and produce while Modo engineers every project. 495 is heavily influence by 90’s gangster rap (Wu-tang, Big L, 2pac) and combines the early rugged style with contemporary production techniques. Think Biggie Smalls rapping over a Heat Makers Beat (Heat Makers did a majority of the beats on The Diplomat’s first album, Diplomatic Immunity).  The group is still unsigned, but Headless Giant sees good things in their future. Check out http://www.myspace.com/495traffik. HG likes, “That Toy.”

…Oh, and they’re white boys.

OWL City

Adam Young, also known as Owl City, is a piano player and singer/song writer from Owatonna. Adam prefers to work throughout the night while others are dreaming which is ironic because I see the brightest flashes of light and color when listening. Owl City manages to capture the essence of both Cary Grant and Sigor Ros while still maintaining a unique sound. HG is curious how the well the new album will do. Check out the LP and go to http://www.OwlCityMusic.com for tour dates.

Loick Essien

This 19 year old dancer-turned-singer is currently in London completing his first album. The ambitious youngster of Nigerian Parents says that his, “…ambitions in life are to write songs that change people’s lives and for it to be so strong that it creates a vivid picture as your listening to it. Powerful music.” Many have stated said the same, but Loick has the tracks to back it up. His ambition will not be going unnoticed. Loick is currently in negotiation with numerous labels and will not be unsigned hype for long. Check out, Myspace.com/loickessien. HG likes, “Transformer.” Loick signed to BMG on September 3rd for 1.1 Million.