Tuesday, May 3, 2016

Afropunk Festival in Brooklyn, August 27-28


AFROPUNK BROOKLYN returns to Commodore Barry Park August 27th & 28th for another weekend of live music and good vibes.

Described by The New York Times as “the most multicultural festival in the US,” it promises an eclectic line-up and an audience as diverse as the acts they come to see. More than just a weekend, as the AFROPUNK movement expands into international terrain, experiencing it on its home turf makes AFROPUNK BROOKLYN that much more special.

Join us this summer to add your voice to the sound behind the movement. And most importantly, come ready to party.

Sunday, May 1, 2016

Lee Ranaldo has been added to The Thurston Moore Group at Baby's All Right, May 1


Three of the four (sans Kim Gordon) original members of Sonic Youth will be in the same room tonight at Baby's All Right in Brooklyn, NY. Lee Ranaldo will be performing a solo set along with Thurston Moore's group headlining. You can bet this will be a memorable evening...  get your tickets ASAP!

Saturday, April 30, 2016

Don Cheadle kills it in "Miles Ahead"

If you don't know anything about the life or music of jazz legend Miles Davis going into "Miles Ahead," you won't know much more walking out of it.

Don Cheadle's film – he co-wrote, directed and stars in it – might be pigeon-holed as a bio-pic, but it sure doesn't fit any of the accepted parameters of the genre.

For one thing, most of it is made up. For another, it skips Davis's childhood and early formation as an artist, and ignores important collaborators and key people in his life.

Then again, its protagonist was a rule-breaker of the first order, a restless and inventive musician who said, accurately, "Well, I guess I changed music five or six times."

It makes sense that anyone making a movie about the man and the artist should at least take a stab at reinventing the genre, even if it means adding a heavy dose of fiction. As Davis says to an interviewer at the beginning of the film, "If you're going to tell a story, come with some attitude, man."

But if facts don't get in the way of this story, what you will know about Miles Davis is a kind of truth. Cheadle, in an exultant, career-capping performance, shows us the Davis we might have met if we'd been lucky enough to sneak into his apartment in the late 1970s -- a period when he stopped making music, became a recluse and almost disappeared into drugs and paranoia.

That's precisely the plot Cheadle and co-writer Steven Baigelman cooked up for their portrait of Davis. A reporter for Rolling Stone (Ewan McGregor, nailing the charming rascal role), goes to interview Davis, pretty much sneaks into his apartment, and ends up as his sidekick in a weird heist movie, one complete with stolen treasure, screeching car chases, guns and leering bad guys.

Along the way, the reporter attempts an interview. Davis doesn't cooperate, of course, but it leads him into reveries of the past and memories of his first wife, Frances Taylor (Emayatzy Corinealdi), a stunning dancer who became his muse. Frances gave up her art and her identity when he demanded it, getting in return his infidelities and abuse. The movie suggests that when she left him, so did his music. (True? Who knows?)

These flashbacks take us to the 1950s, when Davis was both the ultimate cool cat of jazz and an intense and driven virtuoso -- facets that Cheadle slips between as fluidly as vividly as the music Davis made. In fact, some of the best scenes in the movie take place in his studio, where Davis works with musicians and composes brilliant pieces on the fly – recalling the studio scenes in the similarly inventive Brian Wilson bio-pic, "Love & Mercy."

But while "Love & Mercy" broke a lot of the genre rules, too, it was a far more successful movie – in large part because most of it was true, even as it departed from standard form.

"Miles Ahead," in attempting to mirror Davis's music with an impressionistic, free-form style, is too often a confusing jumble of flash-backs and digressions.

Cheadle worked on the movie for 10 years, and worked hard to secure financing for it. He delivers a spectacular performance. It's clear that "Miles Ahead" is the very definition of the term labor of love.

Alas, much like its difficult, cranky, unpredictable and genius subject, it is a very hard movie to love.

Friday, April 29, 2016

Mark Newman to Open for Legendary Blues Artist David Bromberg at The Space at Westbury Friday, May 6th

Bringing tones of familiarity yet originality to his new EP “Brussels”--out last March 2015 on Danal Music and on iTunes and CD Baby--singer/songwriter Mark Newman is continuing to make his mark on both East and West Coasts and internationally. Although he’s played a ton of exciting solo and full-band showcases recently, notably NYC’s B.B. King’s for the Delbert McClinton Birthday Show, The Space at Westbury opening for the one and only Don Felder, and The Blue Note in Tokyo, Japan, he has also worked as sideman to so many soul, blues, and rock greats of our time like John Oates (Hall and Oates), Jim McCarty (The Yardbirds), Willy DeVille, Sam The Sham, and Sam Moore! With Spring 2016 rapidly approaching, Newman has added a performance at Rockwood Music Hall Tuesday, June 14th and at The Space at Westbury Friday, May 6th to his list of upcoming performances!

A New York native, Newman’s musical prowess has taken him around the world several times over, playing with an eclectic mix of noted musical talents from Sting to Elvis Costello, and Travis Tritt as well as his own solo work. A multi stringsman, Mark has mastered electric/acoustic/lap steel guitar as well as the mandolin and dobro, and with a voice reminiscent of many rock and bluesmen before him- it has the familiarity of an old friend yet the power and soul of many of today’s rock, soul, folk and R&B icons. For over five years, Newman and fellow songwriter Naomi Margolin have run the “Music From the Hive” Singer/Songwriter Series, and for the past two years- “The Original Music Series” for bands, in an attempt to keep original music alive on Long Island. Newman also records and produces local artists in the Long Island/NYC area.

He’s said of some of his mentors: “You’d have to be an idiot not to learn from the guys I’ve had the honor of playing with,” adding “Hey, Sam The Sham didn’t just write ‘Wooly Bully.’ He wrote some of the best blues songs I ever heard. And Sam Moore’s almost 80 yet sings like he’s 25. He taught me not to over-think, just open your mouth and let it go. I don’t know if I’ve even come close to doing this but what I do know is what I’ve learned from those three is invaluable.”

Having released “Walls of Jericho” in 2010, the album is filled with intricate guitar work and mixed with a plethora of sounds from hard rock to a lighter more Dylanesque folk tinge, but this style comes even more to the forefront on “Brussels”. The new live acoustic-driven EP packs a bluesy punch reminiscent of Clapton’s “Unplugged” album through both the guitar work and raw vocal power. On the first track “Mean Season (Lucille, Lucille)”, Newman bellows “I waited til’ dawn, see if the sun will shine when you’re gone // You turn away, I just can’t stay where I don’t belong” and like many early bluesmen before him, you can hear the soulful longing and strife in his voice. With the brilliant slide-guitar work in “Dead Man’s Shoes” we’re easily transported in our minds to the West in the era of outlaws and cowboy boots, and in “Must Be A Pony” reminded about the power of a child’s enthusiasm and the efforts not to lose it as time goes by.

Upcoming Shows:

Friday, May 6th w/ David Bromberg @ The Space at Westbury, Westbury, NY

Tuesday, June 14th w/ John Platt’s On Your Radar at Rockwood Music Hall, New York, NY

In an age of technology with the power of easy editing techniques at the touch of a button, it can be reassuring to know that a musician can still pack a punch with raw talent as a songwriter and overall accomplished performer, and Mark Newman’s live EP “Brussels” along with his carefully crafted live shows do just that.

You won’t want to miss this incredible performer and guitarist-at-large as he continues bringing his talents to the stage throughout 2016! To see for yourself, head to any one of his upcoming NY dates!

Thursday, April 28, 2016

Hear Rivers Cuomo's Upbeat Song From New Monkees Album

The Monkees are just one month away from releasing Good Times!, their first studio album since 1996's Justus, and right here you can watch the official lyric video for "She Makes Me Laugh," written by Weezer frontman Rivers Cuomo. "I'm super stoked to be writing a song for the Monkees," says Cuomo. "I've always identified with their musical aesthetic – the chord changes and melodies."

Good Times! (in stores May 27th) celebrates the group's 50th anniversary as a recording unit, and it features songs by Death Cab for Cutie's Ben Gibbard and XTC's Andy Partridge, as well as Noel Gallagher and Paul Weller. There are also tunes written by Neil Diamond and Carole King in the 1960s that the group never got around to releasing. The album was produced by Adam Schlesinger of Fountains of Wayne.

The Monkees reformed with original guitarist Mike Nesmith in 2012, shortly after the sudden death of Davy Jones. Nesmith played a series of critically acclaimed tours with surviving members Micky Dolenz and Peter Tork through 2014, but this summer they are hitting the road without him. Nesmith did contribute a tune to Good Times! ("I Know What I Know"), and he plays guitar and sings on several tracks on the album.

Rivers Cuomo is a longtime Monkees fan. "I've always felt a personal connection to the Monkees because I'm from the same small New England farm town as Peter Tork," he writes in the album's liner notes. "I used to hear that one of the Monkees went to my high school, which was an amazing fact to me because it was such a small school out in the middle of nowhere. It gave me the feeling that if an E.O. Smith kid made it to the top once, it can happen again. So let that be an inspiration to you E.O. Smith kids now, maybe 30 years into the future you'll be writing a song for a new Weezer album."

Super Furry Animals at Webster Hall, May 5


Monday, April 25, 2016

Prince covered David Bowie’s “Heroes” at his final gig

Prince paid tribute to David Bowie at his final concert with a cover of “Heroes”.

He performed the stripped-back tribute to his fellow pop icon, who died in January, on April 14 in Atlanta – a show which proved to be his final performance. Watch fan-shot footage of the cover below.

Prince was found dead at his Paisley Park studio yesterday. A post-mortem will be carried out today to determine the cause of death.

Questlove, Just Blaze and Missy Elliott are among the famous fans who’ve paid tribute on social media, while Barack Obama said the world had “lost a creative icon”.

Last night First Avenue, the Twin Cities venue that was the setting for Purple Rain, hosted an all-night dance party in honor of Prince’s legacy.

In the US, MTV cancelled its regular programming to air Prince videos for the day, while several US radio stations were broadcasting all-Prince shows.

Prince was due to publish his memoir next year, described by publisher Spiegel & Grau as “an unconventional and poetic journey through his life and creative work”.

Read Andrew Friedman’s tribute to the baddest motherfucker on the planet.

Sunday, April 17, 2016

PJ Harvey – The Hope Six Demolition Project

If PJ Harvey’s intention for her new album was to get people talking, then The Hope Six Demolition Project is an unqualified success. That’s what happens when a famous rock star travels the world, observing war-torn, poverty-stricken, tragic, and otherwise profoundly different places and using those observations for a seemingly political album.

Leading up to her first truly “political” record, 2011’s Let England Shake, Harvey hesitated to approach large issues outside her own experience. “I’d never felt that I’d reach the place with my writing that I could talk about these things well in a language that would work,” she told NME. The process of discovering that essential political language for Let England Shake, an album focused on the first World War, is quite telling. She spent years researching the events, poring over the poetry of Harold Pinter and T.S. Eliot, and reading testimonials from participants of other conflicts, specifically civilians and soldiers in Iraq and Afghanistan. She digested as much of the reality she could, developed her own take on it, and then wrote songs that demonstrated her perspective. It’s easy to assume that The Hope Six Demolition Project works by that same process, but there’s another language at play here: journalism.

Harvey’s research for this record involved touring Kosovo, Afghanistan, and Washington, D.C., taking in the places firsthand, often with a guide. A lot of controversy has arisen over her treatment of the latter particularly. “The school just looks like shit-hole,” she offers. “Now this is just drugtown, just zombies/ But that’s just life.” Apparently, some of these words are taken directly from the man who led her through D.C., a reporter no less, The Washington Post’s Paul Schwartzman. It would seem that rather than make a direct claim at authority, or immersive personal knowledge of the situation, she was focused on portraying the reality as seen by those who have it. Also telling is Schwartzman’s own account of the day published in the Post, in which he says Harvey’s publicists denied a follow-up interview (he was unaware of the legend in his backseat when giving the tour), but that Harvey would “love the idea of you writing about your experience that day.” She hasn’t explained her own feelings on the songs, let alone the environment on which they report. Instead, she wants you to see that these words are coming from other people. It’s entirely possible that every single one of these words comes from the mouth of another. (Though considering the purple descriptions of native herbs creeping over the urban landscape on “Medicinals”, that seems unlikely.)

The album has led D.C. politicians, citizens, and music critics alike to skewer Harvey for saying awful things about a place she saw through a car window. One even called her the Piers Morgan of music. It’s a cute comparison — a Brit stepping into America’s issues, raking it around without experiencing it, and talking about it from a place of privilege and authority — but it’s not quite accurate. Harvey isn’t injecting herself into the frame at every opportunity or offering inane opinions. She wants to stand up and hold a frame on the problem — to make you see it, confront it, and form an opinion on things that we too often push out of our minds. By describing the woman in a wheelchair in “Medicinals” rather than commenting on her, by describing urban blight on “The Community of Hope” rather than offering some kind of moral or in-depth analysis of the good that’s happening, she’s attempting to focus on what still needs to change in order to spread the unease she has to millions of others.

That’s the problem with the record though: she’s holding the frame. She can hold the frame anywhere she wants, but she has chosen this, here, now. There’s no such thing as entire objectivity. Arranging “facts” is still an act of imbuing perspective. The frame is a part of the story. Even if she didn’t call the school a shit-hole, she chose to include someone calling the school a shit-hole. On “Chain of Keys”, Harvey describes a woman in Kosovo who carries a ring of keys to the houses of her neighbors who have fled. “We ask but she won’t let us in,” Harvey sings, unclear as to whether the old woman means the homes or herself. In the song, Harvey relates the woman’s words (“‘A circle is broken,’ she says”) but also offers some words from a deliberate perspective (“A key, a promise, or a wish/ How can it mean such hopelessness”). If these were the woman’s words as well, why call out the others and not these? And if they’re her own analysis of the imagery, why offer it in the midst of a lot of third-person reportage?

In the aforementioned NME interview, Harvey describes her process in a way that also haunts this record. “I work on words entirely separately from music and spend a long time making a word-form work on a page,” she notes, and that tendency informs the music here, ideas prioritized in front of melodies and arrangements. She wants you to see what she’s seen as plainly as she saw it while the music punches home the things that must’ve been the most affecting. The saxophone on “Medicinals” follows the lyrics, offering a sting at the end as if to put a poisonous period at its close. Flocks of backing vocalists harmonize along on tracks like “The Orange Monkey” and “The Ministry of Defence”, drumline snares, guitar punches, and rich horn sections making sure to punctuate the gaps between her words or the middle of stretched syllables. Discordant saxophones duel on “A Line in the Sand” after she notes that “this is how the world will end.” The music is impeccably orchestrated to serve her purposes, even if you don’t agree with them. There’s a doomed confidence to the music, an alternation between parade bluster and broken blues.

Field recordings pop up here and there, as on the closing “Dollar Dollar”, where third-world beggars clamor for the British woman’s attention and monetary favor as she drives by. “I can’t look through or past/ A face saying dollar dollar,” she sings over a gospel river. Through closing on this sentiment, it’s possible she’s portraying the journey she wants us all to take: We hear the words of others describing poverty and pain; we can no longer ignore it.

In an email to Schwartzman, Harvey’s collaborator Seamus Murphy admitted the faults of the premise: “It’s awkwardly difficult to define.” By orchestrating an album meant to embody the difficult experience of the advantaged world talking about the atrocities that surround us, the majority of the project lacks a clear stance beyond what has been readily called “poverty tourism.” Once we reach the point of “Dollar Dollar”, that didactic revelation lacks the clarity and punch needed to make up for affectless descriptions. That may be the reality, but it doesn’t necessarily make for a masterpiece — though neither would an album full of messages, judgments, and opinions.

Saturday, April 16, 2016

The Monkees Classic Album Collection Vinyl Box Set, Record Store Day 2016

Here’s the final artwork (and full track listing) for The Monkees Classic Album Collection box set.

As mentioned previously, this will feature the band’s nine original studio albums: The Monkees, More of the Monkees, Headquarters, Pieces, Aquarius, Capricorn & Jones Ltd., The Birds, The Bees & the Monkees, Head, Instant Replay, Present and Changes. A tenth bonus disc of singles/rarities completes the set.

The track listing below also clarifies some of the remastering question marks. Changes (disc 9) is the new 2015 mastering, while other discs use masterings from 2007.

The Monkees Complete Albums box will be issued by Rhino on January 22 2016.

R5 presents Wintersleep, Caveman, The Cinnamon Band at Johnny Brenda's, May 5


Tuesday, April 12, 2016

The All Music Inc. Lounge at The Space at Westbury Adds More Great Live Music Acts Through July

Some of the Biggest Upcoming Bands and Artists Continue to Perform Thursday Nights Beginning at 8:00PM

If you are looking for the perfect spot to hear great LIVE Music on Thursday nights in Nassau county, Long Island NY, you need look no further--a new lineup of concerts has been announced for The Lounge - the new intimate performance venue located within the main entrance of The Space at Westbury, 250 Post Ave, Westbury NY www.thespaceatwestbury.com sposored by All Music Inc. of Plainview, NY!

The All Music Inc. Lounge at The Space has its own bar, can accommodate up to 125 patrons and can be used for receptions prior to special events, as well as the presentation of musicians, comedians and other performers. The Lounge’s warm and inviting atmosphere is an ode to The Space’s former life as a movie theater, featuring a granite bar, lighting fixtures created from vintage movie reels and decorated with showcases which display antique film projectors.

Some of the venue’s upcoming performances include rock quartet The Rumble with psychedelic alt-rockers Upright Man Thursday, April 21st as well as the lyrical jam rock of Gnarly Karma - who recently made their TV debut along with a feature in the NY Times - Thursday, April 28th with Necter and The Gray!

The Lounge opens at 6pm and shows begin at 8pm each night. $10 to enter and 21+

Here is the full list of the latest coming attractions:


Thursday, April 21st: Upright Man & Guests

Thursday, April 28th : Gnarly Karma - Nectar - The Gray

Thursday, May 19th: Julie Lyon & Jack DeSalvo

Thursday, May 26th:  Foam & The Fulcrum

Thursday, June 23rd: Bobby Sexton Trio & Mind Open

Thursday, July 7th: FameUS & Chelsea Takami

Monday, April 11, 2016

Michael Stipe stumped for Bernie Sanders at Coney Island rally, featured in new campaign video

Michael Stipe, Graham Nash, Harry Belafonte, Miley Cyrus, Mark Ruffalo, Sean Lennon, Susan Sarandon, and Kristen Wiig are just some of the famous folks who appear in a new Bernie Sanders endorsement video which you can watch below.

Stipe also stumped for Sanders (and ate hot dogs with him) on Sunday (4/10), introducing the senator at a rally in Coney Island where he said:

Over the years of traveling across the United States and outside America with my former band, I’ve discovered within myself an underlying but potent appreciation of justice and common decency. I seek out leaders who represent themselves honestly and fairly and who share the same appreciation of justice…Bernie Sanders isn’t worried about political expediency or doing what polls might say is the right thing to do. His moral compass is due north and that is exactly what we need right now.

You can watch video of Stipe’s introduction below. Both Sanders and Hilary Clinton have been waging an all-out assault on New York City ahead of Thursday’s debate at Brooklyn Navy Yards (which will air on CNN) and next week’s big primary.

There are a few Bernie Sanders benefit shows coming up, including downtown ‘Lady’ legends Lady Miss Kier and Lady Bunny will be on hand to support Bernie at nearby Lot 45 in Bushwick for the #BerninUpNYC dance party on Tuesday, April 12.

Video below

The Last Shadow Puppets & Cameron Avery at Webster Hall, April 11


Friday, April 8, 2016

J Dilla “Gangsta Boogie” ft. Snoop Dogg and Kokane

Premiered on the latest episode of The Pharmacy with Dr. Dre, “Gangsta Boogie” finds J Dilla alongside Snoop Dogg and Kokane over production from Hi-Tek that’s absolutely dripping with West Coast funk. Serving as the latest single from Dilla’s highly anticipated posthumous LP, The Diary, this track might just inspire you to hit YouTube in search of a “Crip Walk Tutorial”—please don’t, because that’s some shit you should have done 10 years ago. Instead, find the nearest automobile, grab the aux chord, and blast this shit full volume.

 The Diary is out April 15 via Mass Appeal Records; pre-order now to receive an instant download of “Gangsta Boogie.”

Wednesday, April 6, 2016

Kanye West's Emphatic Tribute to Tribe Called Quest's Phife Dawg

Hundreds of fans, friends and family members of Malik "Phife Dawg" Taylor gathered at New York's Apollo Theater Tuesday night to pay tribute to the A Tribe Called Quest rapper who died at the age of 45 last month.

Busta Rhymes, Andre 3000, Chuck D and Michael Rapaport all recalled the immense legacy of the veteran rapper alongside ATCQ's Q-Tip, Jarobi and Ali Shaheed Muhammad, who closed the four-hour memorial service with moving, deeply personal eulogies.

The service doubled as a tribute concert of sorts, as rappers and R&B singers blended a mix of the secular and pious. D'Angelo performed a spirited gospel-soul rendition of Carole King's "You've Got a Friend" backed by the Roots, while R&B singer Kelly Price belted out the traditional worship song "Because He Lives." The Roots frontman Black Thought incorporated some of Phife's most famous lines into one verse and later, KRS-One, flanked by hip-hop pioneers Kid Capri, Grandmaster Flash, Teddy Ted and Special K, honored the rapper with Boogie Down Productions' "I'm Still #1" and a freestyle about Phife.

Kanye West, a longtime Tribe fan who asked the group to open for him on his 2013 Yeezus tour, took the stage to discuss Phife Dawg's legacy and influence on his own personality, attitude and lyrical style. Below is the complete transcript of West's remarks.

I might say something wrong as always, but I thought it'd be more wrong not to say nothing. When I see the power in this room.... Low End Theory was the first album I ever bought and I stayed in the suburbs of Chicago with my stepfather. I'd always get into trouble for listening to music during the week and then I would have to go to detention or study hall, but I enjoyed it 'cause I had that Tribe tape and it didn't really matter how long that walk was.

I think about stories I hear about [Queen] Latifah when she was young; how she knew what she was gonna be in life. I look at the power in this room. I know [Hot 97 DJ Peter] Rosenberg said something about [Led] Zeppelin and you know me: I'm very sensitive about things like this [Crowd laughs]. [Earlier that evening, Rosenberg compared A Tribe Called Quest to Led Zeppelin, calling both groups "timeless music."] But I don't want to hear Zeppelin mentioned at Phife's funeral.
"Tribe made Kanye West. Made the kid with the pink Polo. Made it so I could dress funny."

One hundred years from now, we're gonna all be with Phife. And this country was built off our back. [Jive Records CEO] Barry Weiss know. I live next to the dentist. I stay in a $20 million crib next to the dentist. Dave Chappelle, you know what I'm talking about. We had an event a year ago and I would just go over to Tip's house like when they was doing Low End Theory and Pete Rock came down. And I be at these events in Hollywood and I be at these events here and I'm looking at how many more people inspire us and the walls that we have on our finances. Out in Hollywood, everybody got a mink coat and $500,000 car. And it's the way the music industry was set up was that all the people that run the industry and sign everybody from out of Queens, the Bronx, southside of Chicago, Atlanta make sure that they get that crib.

I'm sorry, but that's what was on my fuckin' mind when I was sitting here thinking about how much these people inspire me and how powerful the influence of the music was and how it made that walk to study hall so short. How it meant everything. It is everything. Music was stolen from us and corporatized and anybody that spoke up was demonized. Anything I ever did wrong, blame Tip and Phife 'cause y'all raised me.

I don't want to hear about Led Zeppelin tonight. Every time y'all started the rap, you give me one line of "Scenario," I'll do the whole joint all the way through. Y'all made it okay in a city of Al Capone — number one murder capital city — for me to be me. Tribe made Kanye West. Made the kid with the pink Polo. Made it so I could dress funny. I'm not sorry if I said something wrong.


[Consequence] know. He said honor and maybe there wasn't no punch lines with it. Me and Cons were on the same thing, sitting at Baseline Studio. We ain't never stopped; cameras on/off, we ain't never stop. Honor. Honor that work. That influence. That ability to chop that sample. That ability to put that rap together. Honor that.

Maybe it ain't no David Stern that figured out to turn everybody in rap to multi-millionaires the way they turn ballplayers to multi-millionaires. But they got to honor it. I'm picturing the Grammys right now, it's going to be a real quick [tribute]. Short, like when the Michael Jackson joint was short. Or when you get to Michael Jackson status, somebody say, "Aw, you crazy 'cause you said the truth out loud." You get in trouble for the truth.

Honor, man. They gotta honor us; honor what hip-hop is. It should not be surprising to you when the sports announcer [Scott Van Pelt] was influenced by Tribe. That should not be a surprise! That's the absolute truth!

I love y'all and I'm not sorry. Rest in Peace to Phife Dawg.

Monday, April 4, 2016

Afrika Bambaataa’s 40,000-strong record collection to be preserved at Cornell University

The hip-hop legend’s enormous collection will be archived and viewable to the public soon.

Afrika Bambaataa’s record collection will be archived and preserved in the Cornell University Library’s Hip Hop Collection, the school’s newspaper The Chronicle reports. The acquisition comes after the end of Bambaataa’s three year term as the Cornell Hip Hop Collection’s first visiting scholar and was allowed through a $260,000 grant from the National Endowment for the Humanities.

Though the collection had been preserved by the school during his tenure as visiting scholar and was even displayed in a gallery in 2013, the new grant will allow for the archiving required to make information about the collection widely available to students and the public.

Fortunately, they’re already got a head start as many of the records were personally annotated by Bambaataa and numbered in the order he got them. Once the collection is properly archived, the full list of records and images of many of the annotated covers will be made available to the public online.

Guns N' Roses "Not In This Lifetime... Tour" at MetLife Stadium, July 23