I am sure the U Street Corridor on up to Adams Morgan will be jam-packed with party goers this New Year’s Eve. For folks looking for a bit less congestion and authentically funky good time that won’t break your pockets, then the “Soul Train” New Year's Eve 2012 party at Ras Hall is just what you are looking for.

Sister Zurii Conroy tipped me off a few weeks back that she was working something special for New Year’s Eve at Ras Hall. She mentioned specifically she was interested in having a funk music party. A real one, where folks could come and let it all loose on the dance floor like we used to do back in the day—as "One Nation Under a Groove."

No show in television history promoted funk, soul, and R&B music to the world masses like Don Cornelius’ Soul Train. It’s the longest-running nationally syndicated show in history, with over 1,000 episodes broadcast between 1971 and 2006. As a kid, I remember waiting for Soul Train to come on Channel 20. Thinking back on it, I think my favorite part of the show were the dancers! The way they would move to the music was incredible. On the dance floor everyone looked GOOD! The fellas were fly and the ladies were smoking hot. Each episode, the Soul Train line was what everyone looked forward to. I don’t think anyone who has ever seen Soul Train can forget the sexy Asian sister with the smoking dance moves who was a staple on the show. In fact, if you wanted to learn how to dance, you would watch Soul Train. Then, once perfected, you would show up with your people at the party and show the funk off.

Sister Zurii wants you to get on that very same Soul Train with her to help ring in the New Year. She wants you to know, "This party is for anyone who's looking to do something new, different, and festive (& easy on the pockets) for their New Year!" The Soul Train New Year’s Eve 2012 party features D.C.’s own DJ RBI in charge of making you move on the dance floor—spinning a range of styles from different funk eras (classics, hip-hop, soul, reggae, house). There will be catering (Ras’ cuisine is DELICIOUS!), drink specials, and a champagne toast at midnight to ring in 2012 in the spirit of Love, Peace, and Soul!

Soul Train/70’s Attire is recommended!

Soul Train New Years Eve 2012 bash begins 9pm this Saturday at Ras Hall, 4809 Georgia Ave. NW. $15/advance. Click here for more info.

An occasional feature in which esteemed D.C. rapper Head-Roc shares what’s on his mind.

Here are the Head-Roc-recommended events for people of culture in the D.C. area to check out this weekend.

Friday: A benefit concert for Occupy DC and the People of Color Working Group at OWS
Uptown Friday Nights at Ras Hall is a weekly party supporting the activities of integrity-based groups and organizations working for principled change here in D.C. and the surrounding areas. These events feature great music and culture with high-caliber performances by talented local artists who contribute to popularizing D.C.’s social justice movement and agenda. The food at Ras is spectacular, featuring a tasty menu of Ethiopian and Caribbean fusion cuisine. For folks looking to get away from the madness and segregation of U Street and Adams Morgan Friday nights, Uptown Friday Nights are always worth checking out. Ras Hall, 4809 Georgia Ave. NW, 8 p.m., $10 suggested donation.

Saturday: Kilbourne Street Block Party
This annual fall/pre-Halloween street party in Mount Pleasant is the brainchild of longtime D.C. African music griot Frank Argbo,  of Francojazz fame. Founded on the principal of community unity, the event blocks off Kilbourne Street NW between 17th and 18th streets NW and neighbors come out to promote brotherly love and community interaction. There are live performances and activities for the family throughout the day and night—including a moon bounce for the kiddies. Last year, partygoers were treated to a special appearance and One Love performance by D.C. legendary rock star and worldwide punk-rock icon HR of Bad Brains. Complete people of culture fun for the entire family! Noon to 10 p.m.

Sunday: D.P.E Rocks Black Fox Lounge (live video taping)
This Sunday is the “D.P.E presents "ILL-LUMINATE the Party Show" featuring Kev Brown, Kaimber, and The Package. It’s a free event and you are invited to be a part of the video production for D.P.E’s first single “ILL-LUMINATE” off the upcoming album 3X’s DPE. This native-Washingtonian hip-hop super group comprises of DarnGood, Princess of Controversy & Enoch 7th Prophet. Further strengthening the weight and credibility of this event as a true D.C. hip-hop rock-star bonanza, The Package (Noyeek, Dimes, and Theory of Infinite Loop) along with Kev Brown and Kaimber of Low Budget Crew are part of the line-up. This is a show you don’t want to miss! Black Fox Lounge, 1723 Connecticut Ave., 9 p.m., Free.

An occasional feature in which esteemed D.C. rapper Head-Roc shares what’s on his mind

In an effort to popularize artists and groups who have more than paid their dues and paved the way for others within the D.C. arts community, I have decided to provide profiles on who they are and what they are up to now. Many are still rocking today, under different names and configurations, still pushing the envelope with hopes of achieving sustainable careers to continue pursuing their passions. Two months ago, I spoke to Akil Nadir of Dirty Water fame, whom I had the pleasure of having come through to rock the Art Under Pressure presents Power Moves party at Ras Hall. This time around, I want to throw full shine on another D.C. hip-hop legend, Terence Nicholson, better known to the world as Sub-Z of the world-phenomenon band Opus Akoben.

I've been waiting for this brother to unveil his latest undertaking for a while now, and once I found out about the other D.C. indie-rock stars involved on his Thaylobleu project, I knew I wouldn't be disappointed. Along with the Opus Akoben anchor, members of Poem-cees, Storm the Unpredictable, and Uninterrupted are all a part of Thaylobleu. I can’t say enough about these and other individuals, groups, and crews, and the immeasurable sacrifice of family, friends, lovers, children, life, and, yes, death over the last 20 years living and shaping the D.C. music scene. And I like to let the artists tell it in their own words.

Artist: Thaylobleu
Members: Terence Nicholson, Ezra Greer, DJ Ayce International, Anisha Moon Newbill, Darrell Perry, Bill Vaughn, Jay Nichols
Years professionally active in D.C.: 1
Neighborhood: Ward 8
Genre: funk rock
Label: seeking
Website: thaylobleu.tumblr.com
Musical influences: Jimi, Miles, Led Zeppelin, Queens of the Stone Age, KISS, Frank Zappa, Ezra Greer, Earth Wind and Fire, Radiohead, Bad Brains
Favorite local artists: Cornel West Theory, Asheru, Head-Roc, World of Light,
Shout Outs: The Most High God, mom, my wife Sarah and son Gabriel

Head-Roc: Peace, family. For those that don’t know, please tell Chocolate City and the world a little something about yourself

Terence Nicholson: I was born and raised in Washington, D.C. My father was a craftsman and my mother was a nurse who was always into music. The first record I ever got was a 45 RPM by KISS called "Shock Me." My next door neighbor was this black cat named Eric Alexander and he had a band called Electric Lady Experience. They did Jimi Hendrix tunes and some originals. I used to just sit on the wall and watch them rehearse. I was only 11 years old, so I could not be a roadie but they used to let me carry equipment. I was trying to write songs back then and start my own group but that wouldn't happen till way later. It wasn't too long after that when I got exposed to hip-hop. It was new and fresh. I got with this MC crew called Dynamically Fresh (1984) and we used to get on the Frank Ski and Larry G show on UDC's radio station at the time. At the same time, Kokayi and I used to get down a little since we knew each other from elementary and high school. Years later, Kok and I became founding members of Freestyle Union, founded by Toni Blackman, and started traveling and gigging with saxophonist Steve Coleman. This later turned into Opus Akoben. In the last couple of years, I have sort of returned to my roots: rock, hip-hop, go-go, reggae and such, and have been just following my heart with the Thaylobleu project.

HR: Please, tell Chocolate City about your latest project, as well as some of the folks you worked with to make it happen.

TN: Thaylobleu is my latest effort and I am very amped about it. I am working with bassist Ezra Greer, guitarist Darrell Perry, Bill Vaughn of Urban Intalek Studio, DJ Ayce International, Jay Nichols, who plays drums with Citizen Cope, and singer Anisha Moon Newbill. Videographer and hella MC Heron Gibran did the debut video. I am so humbled to be around this much talent.

HR: Please explain the kind of support you’d like to see from Chocolate City and the surrounding areas that would be beneficial to you as an artist, and the D.C.-area arts community as a whole as you work your project.

TN: I think that the best support any artist in the District can have is the support of fellow artists and the understanding that paying to see your man (or woman) is support as well. Personally, I appreciate the positive energy that has been coming with the video and the single.

HR: OK, family, so what’s the next move for Thaylobleu?

TN: Well, I am navigating the logistics of managing family (my wife and son) with upcoming gigs and potential tours. I am finishing the album and visualizing stage shows that are very creative. Like mixed media Nine Inch Nails action.

Thaylobleu performs Saturday at 9 p.m. at Ras Hall, 4809 Georgia Ave NW. $3.

This Saturday, yours truly is hosting the Return of Power Moves Party at Ras Hall. The original Power Moves party was a fixture on the D.C. hip-hop scene, showcasing the best local talent in a consistently packed Kaffa House for nearly a decade during D.C.'s hip-hop golden era.

We have a special treat for you at the return of Power Moves. Founding A Tribe Called Quest member Jarobi White—in town promoting the local premiere of Beats, Rhymes, and Life: The Travels of A Tribe Called Quest—will co-host the event.

Some may not know that Jarobi is a bricklayer of the D.C. hip-hop scene by way of his exploits, tutelage, and guidance of Infinite Loop and later the Head-Roc War Machine featuring Noyeek the Grizzy Bear and DJ Eurok. Jarobi is like a brother to me, and I am truly excited to have him back in Chocolate City. I will further note that he has requested all of the good people he knows and loves—you know who you are—to use the Power Moves party as a way to reconnect.

But while Jarobi's appearance is a big plus, my invitation is anchored by my desire to showcase what I know to be the blessed talent in D.C. hip-hop and indie music. So in addition to hiring D.C.'s hottest DJ and universally agreed-upon master of the mix and musicologist DJ RBI, we are providing another very special treat: Veteran MC Akil Nadir, who will be back to rock the stage after a three-year hiatus.

Who is Akil Nadir? Well, family, in order for you to understand the science of the person I consider the epitome of a D.C. MC—pure funk—is to let the brother tell his own story.

Head-Roc: Please tell Chocolate City and the world a little something about yourself.

Akil Nadir: I’m a family man, first and foremost. I just got married this past summer and I live with my wife and two beautiful daughters in Bowie. I took a hiatus from music for two years to focus on family, my career as an educator, and furthering my own education. I received a Master’s degree in Educational Administration from Trinity University in December and decided almost immediately to get back in the studio to work on a new project. I also used that time to self-reflect and review my body of work. A few things stood out: 1) It was all really vulgar, nothing I could share with my children or my students, 2) I didn’t really have a clear message beyond bragging about how clever I am and how many women I’ve conquered, and 3) the quality was really uneven. I wanted to dead those less desirable elements of my body of work and start over with something I could be proud of on all levels. So, I dropped the alter ego and started recording music that reflected my current state of mind.

HR: As a D.C.-area artist, what do you think of the current music scene? Have changes in local music affected your own music?

AN: I’m so excited and proud to see how hard everyone is hustling—from Wale, to Tabi [Bonney], to my friends Gods’ Illa. Joe (of Dirty Water) and I were trying so hard for years to create the environment that we are seeing today with these younger guys. I’m taking notes, humbling myself, and preparing to re-enter the scene. I don’t expect anything but a hard grind. I realize that these younger guys have worked harder and smarter than I did and I have no interest in taking any of that away from them or riding anyone’s coattails. I’m planning a lane for myself. I want to shine next to them, not in front or behind. I think there’s enough light for us all. It’s just time for me to step out of the shadows.

HR: Talk about your latest project and some of the folks you worked with to make it happen.

AN: The latest project is a mixtape called The Orientation and it’s a prelude, basically, to an album I plan to release late this summer called The Re-Education Program. I’m no longer interested in blowing up and becoming a celebrity. I want to make music that makes my people ask themselves important, scary questions about themselves and their community. I want to make music that sparks the kinds of conversations that cause people to change their perspectives and behavior. I want to be a part of the solution to the problems that plague our community, like teenage pregnancy, AIDS, drop-out rates, poverty, over-representation in the penal system, drug and alcohol abuse, violence, broken families, health, and government dependence. To me, it’s all a matter of culture. Obama, Vincent Gray, Kwame Brown—none of them can help our people improve their conditions because it’s not a matter of changing laws or policy. It’s about changing minds. To affect this positive change, brave people need to be willing to stand up and ask the important, scary questions like “Why are we doing this?” “Why do we think this way?” “Why do we believe these things to be true when we have no evidence to support it?” and “Why do we continue to do this when it’s obviously not doing us any good?” Politicians can’t ask people scary questions because scary questions make people uncomfortable. People don’t vote for people who make them uncomfortable. If a politician doesn’t get elected, he is no longer a politician. He’s unemployed. Then he can’t help anyone. I don’t have that problem. So, I’ll say whatever the hell I want to say.

HR: Please explain the kind of support you’d like to see from Chocolate City and the surrounding areas that would benefit you as an artist.

AN: Just take some time out of your busy schedule to download it and give it at least one listen. I promise you won’t regret it. Your soul will do all the work from there.

HR: So what’s the next move?

AN: The next move is a follow up mixtape, some music videos, some shows, and, ultimately, the album release late this summer. I plan to keep busy. This winter I’ll be self-publishing a novel, and next year I plan to release a short film. Also, I’ve been painting. Hopefully, I’ll have enough decent pieces to make my debut on the local art scene next year as well.

HR: What is your favorite and least favorite thing about the local music community?

AN: I love everything about D.C., Maryland, and Virginia, or the DMV as they’re calling it now (still trying to get used to it). I love the good and the bad. It’s what gives our region character. It’s the reason why we haven’t had a national success story come out of here in decades. We are hard on one another. We challenge each other. We compete ferociously. That can seem like a big negative, but I look at it like this: Whoever does come out of D.C. and make a serious and sustainable impact in the music industry will have cut his or her teeth on the hardest ground in the country. They’ll be more than ready for whatever they encounter out there in the rest of the world.

"Art Under Pressure presents: The Return of Power Moves" takes place 9 p.m. on July 16 at Ras Hall, 4809 Georgia Ave. NW. 21+. $3.

An occasional feature in which esteemed D.C. rapper Head-Roc shares what’s on his mind.

Guess what Washington, D.C.? Hey, I know some of the folks in power trying to eradicate indigenous black cultural expression may not like it, but for the vast and overwhelming majority of us who are actually in love with this chocolate city, I have good news for you: Go-go music seems to be making a comeback!

Block, block-a-boom boom!

Last Saturday, I had the high pleasure of being in the presence of the on-point and cranking Outta Body Xperience Band (OBX) at the first ever Ivy City Reunion Celebration and Cookout. In the grand tradition of Chocolate City "people of culture" coming together to help one another, OBX came to rock with the people, and did so for free. On top of that, the good brothers were the first ones on site to begin setting up. They waited patiently for what seemed an eternity while a second generator was acquired because the first one didn’t work—before putting on a go-go “band and show” clinic for three hours on a beautifully sunny day in front of a energetic crowd of about 200 people in one of D.C.’s first, oldest, and most sabotaged black communities.

Me? I was serving up barbecued chicken, hot dogs, and burgers during the community fellowship and empowerment event organized by Joel McPherson of Empower DC—D.C.’s most gangster community organizing group. So gangsta is Empower DC about organizing the residents of Ivy City toward realizing self-determination in our gentrification agenda-legislated Nation’s Capitol that zero elected public officials—from the Mayor to ANC members, and not even officially sanctified church folk—showed up join a community long in need of love. For me, this dynamic parallels go-go’s plight dealing with racism and discrimination within the local music community that has seen its presence and influence run out of the city over the years. So, go-go and Empower DC working together  seemed like a match made in Heaven. On this glorious day, even the sound company was called Empowered Sound. Yeah, that’s all right right there...

The original funk expression from the people of Chocolate City, go-go music over the last 20 years has been marginalized and pushed out of the city’s competitive sphere. Unfairly stereotyped and used as a scapegoat for politicians and businessmen to adopt policies and practices that disenfranchise the most populous voice in Chocolate City, go-go music has become persona non grata in its own home. I’ve heard ridiculous stories of clubs in town using tactics like actually banning congas in their clubs to silence the signature go-go sound when black bands show up to rock.

Block, block-a-boom boom!

There is a definite movement to right the wrongdoings wrought against our beloved go-go music. One of the longest is the campaign to get the godfather of go-go, Chuck Brown, inducted into the Rock 'n' Roll Hall of Fame for his prolific career. Most people know Chuck’s name and holla it loud when sounding off the names of go-go music’s royalty. Another name, though maybe not immediately recognized at first to non-locals, is Sugar Bear of Experience Unlimited (E.U.) who took the entire world by storm with the 1988 national go-go hit “Da Butt.” The song ended up being the lead track for Spike Lee’s School Daze. Everybody knows “Da Butt,” family. It’s played at weddings and graduations. The song is practically a national treasure—a shining example of how when the conditions are right, and go-go music is given the spotlight, it will steal the show.

As it happens, there is a huge spotlight on go-go music this Saturday in Anacostia. At 1 p.m. the Smithsonian Anacostia Community Museum—which is just up the street from the former Panorama Room, a famed go-go venue from back in the day—is hosting the event "Evolution of the Go-Go Beat in Washington, D.C." It features an in-depth discussion with none other than Sugar Bear himself, along with go-go goddess Sweet Cherie. Adding more go-go big weight, name draw, and legitimacy to the event, there will be an actual go-go band rocking live and direct at the museum: The Faycez U Know band, of which my own personal music mentor and GODISHEUS partner in crime, Dwayne “Super Bad III” Lee, is a member.

A lot of folks have misconceptions about go-go music and think that the mere sound of the music promotes violence, and that's just pure nonsense. However, the stigma is so out of control that to escape it, some bands and promoters use the term “grown and sexy” to distinguish themselves from the younger go-go acts that many in the political and entertainment establishments have a problem with. To that extent, F.U.K is cemented in its reputation as one of the baddest “grown and sexy” go-go bands rocking these days, but the term that best describes this superhero squad of go-go veterans is classic. If you’ve never ever been to a go-go, then Saturday's event shouldn't be missed. It’s a family-friendly affair running from 1 to 4 p.m., and is free.

Also tomorrow evening, and less that 500 feet away from the museum, the Anacostia Art Gallery and Boutique is hosting a “Concert Under the Stars” featuring R&B icon Howard Hewitt performing live along with D.C.’s Be’la Donna (Sweet Cherie’s band) with sounds provided by DJ Rico. “Concert Under the Stars” is brought to you by a fabulous sister named Juanita “Buzy Bee” Britton, who has been hard at work bringing life-sustaining cultural events, goods, and services to the much underserved communities east of the river for quite a number of years. The fact that she has a superstar like Howard Hewitt coming out to rock with our own locally based rock stars says a lot about the sister. The gallery is  2806 Bruce Place SE, and starts at 7 p.m. $25-$30.

Perhaps I will see at either or both events, Chocolate City!

An occasional feature in which esteemed D.C. rapper Head-Roc shares what’s on his mind.

This weekend, there is a three-day art gathering in Anacostia that will feature some of D.C.’s blessed visual and spoken word artists. Masterful works from heavyweight D.C. artists Melani Douglass and Anieken Udofia, along with art from J'Nell Jordan, Lizzie Spaceship, Johnnie Bess, and Greg Slade, will be on display Friday to Sunday at The Blank Space on MLK Jr. Avenue SE.

“Arts on the Avenue” is the brainchild of Maceo Thomas, who has been increasingly  successful at creating opportunities where artists and art lovers, enthusiasts and supporters, can interact in an environment where community building takes place.

There are tons of tiny boutique pop-up (literally “pop culture”) galleries now in Chocolate City, and it seems everyone and their mother is producing an art show these days. What I like about brother Maceo’s approach is his chief location choice for the signature events he produces: east of the river.

I’ve personally known Maceo for a few years now, having rocked with my band GODISHEUS for two of the Capitol Hip-Hop Soul Festivals he co-produced with Khadijah Ali-Coleman at Marvin Gaye Park in Deanwood. I must say I am a fan of his hustle to popularize and nurture life and living east of the river. Rather than set up shop at the usual spaces in congested (and contested) places, brother Maceo’s Arts on the Avenue is actually on the Avenue in D.C. (as far as I’m concerned): Martin Luther King Jr. Avenue in Southeast, right at the corner of Good Hope Raod SE. The historic Anacostia area has been in a state of slow but steady redevelopment for many years and, thanks to the ARCH Development Corporation, there are now several art galleries and multiuse spaces in its downtown center.

Arts on the Avenue kicks off Friday evening at 6 p.m. with an opening reception hosted by the fabulous Keanna Faircloth (host of WPFW’s Tuesday Mid Day Jazz show). There will be a cocktail reception sponsored by the Washington Area Lawyers for the Arts—for which I am the arts ambassador (wink!) and therefore will most certainly be in the house! On Saturday, there is a tour of historic Anacostia being as well as a discussion on the practice and discipline of art collecting. At 6 p.m. Saturday, there will be a poetry showcase hosted by D.C. poetry all-star Gowri Koneswaran who is the program director at Bloombars up in Columbia Heights. My man Jonathan B. Tucker is one of five great poets featured on the bill, a definite must see!

“Arts on the Avenue” takes place Friday at The Blank Space, 1922 Martin Luther King Jr Ave. SE. Visit maceopicques.com for the complete schedule, and profiles of the featured artists.

Peace family,

As you very well know and understand by now, I feel it's not just my work but my responsibility to make sure that the cats who breathed life into this D.C. music scene —the indigenous folks aka Chocolate City’s finest—don’t get left behind as the dividends come in from the investment of our grind.

Continuing my efforts, I am developing what I think I'll call the Indigenous Interview Series, or InI Series, for short. The goal is to shine light on native D.C.-area Artists who have without a doubt have made significant contributions to the area's music culture, but have been shamelessly and grossly under-reported on by our community's entertainment tastemakers and gatekeepers.

This week’s feature is my man THE Dubber. He has a show Saturday night at RAS Hall and Lounge at 4809 Georgia Ave. NW.

My Brother, tell the world a little something about yourself…

First and foremost give thanks for considering me for the interview. Well, I was born and raised in Washington, D.C. and I grew up loving music. I’ve always been open to listening to all genres. This musical journey continued throughout my life in the pursuit of me becoming a musician, leading me through other regions of the country and allowed me to tap into many types of music. First there was soul, funk and D.C.’s own go-go. They all have that earthy percussive feel and sound. This is the foundation of my style.

Once leaving D.C. for college in North Carolina (Livingstone College), I became more experimental with music, joining the reggae band Truth and Rights as well as putting together a progressive rock band, Frija?. Being in these bands was helpful in the development of my songwriting and musicianship. With some band experience under my belt, fellow bandmate Pepe Johnson and I felt ready to pursue our musical career by relocating to L.A. Once in LA, we moved forward with Frija? by stepping into the Hardcore/Punk scene. We forged our sound with Rock, Reggae, Funk, Jazz, Hip-Hop, you name it. I was the chief songwriter /bandleader and with success from 89-92, we acquired major record label interest. It was then, that I realized we were on to something with our sounds. Unfortunately, Frija? came to a sudden end do to the untimely death of our lead singer DuShun Franklin. So, Greg Jamison (drums), Pepe, and I decided to disband.

After a short hiatus, Pepe and I soldiered on to create Backlash. Backlash was strictly a hardcore band fueled by the angst and disappointment with the outcome of Frija?. We kept the four-piece format and added drummer Terrence (Ras Gooch) Grimm and Shaun (Wolf) Woods on lead vocals. The band received a little success, but quickly spun out of control due to the anger that fueled its creation. Leading to yet another hiatus before stepping into the futuristic dub reggae sounds of The Dubbers of King Selassie I. Consisting of two dub poetics (Brotha Rack and Lord King David), Brotha Regis Bell on vocals with Ras Gooch, Pepe, and myself (Brother Breath) as the rhythm section. This band was birthed out of  The First Church of Rasta in South Central L.A. Guided by the spiritual teachings of high priest King Oji and directed by HIM King Selassie I JAH Rastafari. The band recorded our first and only album, The Sufferers Party, in 1996. In 1997 we relocated to D.C. where we performed at local clubs Bukom, The Kaffa House, and our home base spot Niela's.

As an indigenous D.C. musician with an obviously heavy D.C. go-go/funk developmental history, please share your perspective on what’s happened in our scene over the last 20 years or so, and how that may have affected your own music efforts.

Well, like most inner-city D.C. youth back in the '80s, I was at the go- go. That was it. The Howard, the Coliseum, the Bex  [Ibex], that was the scene. When returning to D.C. in '97, things had changed. Just like hip-hop, go-go had changed with the winds of time. Gone was the party vibe of “Take me out to the go-go”, “Do you want to have some fun,” and “Doing the Butt.” The current scene focused more on the hardcore street life. On the other side, you had the U Street and Adams Morgan scene that seemed to be run by the “artsy” Duke Ellington crowd or outsiders. Either way, The Dubbers were a fish out of water. The “gatekeepers” loved us. However, they wouldn’t allow us in. This shit was just too real. As a band we came to realize that it was too real for us as well, and thus disbanded six rough and tough months later. I loved The Dubbers, because it had a divine universal sound that all who heard it felt. And most who heard it, feared it. But it was definitely felt and sent shockwaves throughout the city. Knowing this, it had to continue, which brings me to introduce you to THE Dubber—that’s capital T- H-E.  THE Dubber. The last man standing.

The cover of your new project Global Warning is strikingly powerful, my brother. Please, tell me more about the concept, as well as some of the folks you worked with to make it happen.

I remember back in 2005, doing the photo shoot for the cover. When I came out the dressing room, one of the models and the photographer RaRah Stevenson, of Ra Rah Photo, was like,  "Oh my God”...this is what the world needs to see. Are you saying what we think you're saying. My responses was: "The time has come."

The Global Warning concept comes from the most ignored voice in America: the everyday around-the-way good brotha, the homie not making that long street paper or the big corporate dollar, the homeboy still in the thick of it—without street cred, or that good government job. The cat that's tired of being tired, but still ain't tired. The one it seems for some, his opinion doesn’t really matter any longer when it comes to world affairs. But as you see him continue to hold it down, you can see his true power. He knows who he is and his place in this world. He carries that “I'm on a mission from God, change [has] come, and I made it happen” attitude. The cover is a reflection of this. It's the new movement in the culture. It's time to fight the good fight. Even with all odds against him—[he’s] the homie, the good brotha.

In my travels, through conversations with people of all walks of life, this is how he's really viewed. They root for him. "The whole world is waiting on us..." (A line from the “Late Night Ride”.) For example, by sharing the cover with L.A. producer/musician JMD (Darryl Moore),  producer of the groundbreaking hip-hop album Innercity Griots from the Freestyle Fellowship and engineer on Erykah Badu's Amerikkka record. He jumped on board with the project, after seeing the photo and also brought in Motown’s legendary producer/engineer Reggie Dozier. This was the power of the photograph and the power needed to bring this project to life. It was a blessing to work with such heavyweights.

I flew out to L.A. in the fall of 2009. There, JMD and I started to co-produce the project. We worked together on the foundation, the beats. I did the rest of the instrumentation, mostly guitar, bass, with a few keys thrown in. Once we had the basic tracks, we took a break and I returned in the winter 2010 to lay vocals. Along with give a few guest appearances by RAS Spartacus, Da Poetical Lyricists, and Solomon Kemp. JMD finished mixing a few months later, and man... "He did is thing." The recording sounded incredible! Not only was he able to keep me focused in the studio, but also I discovered the real magic was in the mix. And just when I thought it was done, in comes Sir Reggie to master the mix. I was blown away! The finished product sounded better than I ever could have imagined. My best work to date, to hold the finished product in my hand, starting with that visual; I knew I was on the right path.

You have a video out for your single “With a Feeling.” I really enjoy the pace and feeling that it generates. I don’t recognize any of the scenery. Where was it shot?

The video was shot in Columbia, S.C., where I currently reside. It shows some of my favorite places and artwork throughout the city.

How has the experience been, being a D.C. artist, pushing culture music in the good ole South, my brother?

For the most part it has been great. South Carolina has shown me lots of love. At concerts, with the press, and especially the art community, But it has had its challenges for sure. It took a minute for the South to come around to my message of universal love. Coming from D.C., It hit pretty hard. But if the Dirty South can handle it, maybe the world is ready. Maybe.

OK my Brother, so what’s next for THE Dubber?

Well, I just got in from South by Southwest and I'm finishing up the remaining dates for the spring. I'll be performing Saturday April 2 at RAS Restaurant & Lounge. Abena Disroe the High Priestess of Poetry will host the show, with additional performances by Jamela Bullock, Sun-Dried Vibes, King Amin and Saraph Sunman. The show starts at 7 p.m. $10.

There's also a European tour in the works. I have a few opportunities abroad and I'm ready to make the best of them. In short... it's time to go Global!!!

An occasional feature in which esteemed D.C. rapper Head-Roc shares what’s on his mind.

Here we go, Chocolate City. To Walmart, or not to Walmart? Well, here is the answer: No!

D.C. residents do not want a Walmart. Just like D.C. residents didn’t want a baseball stadium, a new convention center, a “trolly going down H Street,” and the leveling of the Bruce-Monroe School. And they don’t want private developers’ “mixed-use” (they love to use that term) easy-profit scams, or the host of other gentrification deals that have sucked this city dry. These projects are supposed to create jobs, and stimulate and revitalize neighborhoods. Instead, they destroy or choke out local small businesses. They contribute to the displacement of longtime D.C. residents in communities where resources have been historically hard to come by.

Meanwhile, the city’s budget deficit for the upcoming year 2011 is projected to be around $600 million. That’s a lot of money. It makes me wonder about whether the $46 million subsidy for a Marriot-affiliated hotel in Adams Morgan is a part of those calculations. If so, that number should be deducted because Adams Morgan does not need a Marriot hotel that costs tax payers $46 million. It doesn’t.

And D.C. doesn’t need a Walmart either—and certainly not four of them. And get this: Here in Chocolate City, they’re being advertised as urban Walmarts! What is that supposed to be? Is that another way of saying they want to start the country’s first “black” Walmart here in Chocolate City?

After the jump: Head-Roc’s “Keep DC Walmart Free” anthem

The Walmart propaganda machine is out in full force too! Sister Michelle Obama helped launch a healthy foods campaign spearheaded by Walmart. I guess they are gonna have healthy foods at the “black” Walmarts proposed to open in long-neglected wards where the other big chain food stores pulled out of years ago. Hey, I ain’t saying Walmart is stupid.

And with those neighborhoods in desperate need of healthy food choices, since the city has shown no concern until the likes of a Walmart inquired, its gonna be quite a chess match to argue that Walmart is actually exactly what Washington DC does not want. My friends in the D.C. chapter of the International Peoples Democratic Uhuru Movement have a slogan they use that says “Forget Walmart, we need our mart!” I’m definitely on that page.

As DC resident who would like to see this city do tons more pursuing local investment solutions to our current budget and economic woes, I am opposed to the presence of a company like Walmart in DC. The strongest reasons for me being so are best articulated in the second verse of the “Keep DC Walmart Free” anthem I penned, which is streaming from the www.walmartfreedc.org website.

The music was created by DJ Munch, and I was honored to once again have my activist partner Dr. Jared Ball, aka The Funkienst Journalist, provide scholarly commentary on the 1-2-3s of how Walmart gets down. Personally, I think it needs some monster cuts to give it that boom bap polishing. I’m working on that and will update the current version once I’m done. For now, you can listen to the song here–and enjoy!

There's a screening tomorrow (Friday, Feb. 18) of the film Wal-Mart: The High Cost of Low Price at 6:30 p.m. at Plymouth Congregational Church. 5301 North Capitol St. NE. For more information call 202-787-5229 or 202-829-0306 or visit www.walmartfreedc.org

Bambaataa has been working repeatedly with Fort Knox Five over the past five years , releasing brand new material within that same period. Their latest collaboration is a joint called “Shift” that features the vocal stylings of Mustafa Akbar and is receiving good reviews from the electro-funk dance music community. (Check out the video).

Asheru and Mustafa Akbar have been burning it up on tour with Fort Knox Five for some time now and, if I’m not mistaken, this is the first full production show in D.C. proper where they will rock in this configuration—where each front man, working together, fronts a band other than their own. Everything is gonna be different from what we years-long fans of the acts will expect.

I did mention the very small fact (I'm being funny) that Afrika Bambaataa is a living god and chief deity of hip-hop culture, right? Honestly, if you know your history and what The Dream is all about, then you may want to get your tickets early so you can be apart of celebrating “Funk 4 the Dream!”

“Funk 4 the Dream” takes place this Sunday at U Street Music Hall. 9 p.m. to 3 a.m. $10.

*A portion of proceeds from this event, in commemoration of Dr. King’s dream, will benefit the arts incubation and nurturing organization Bloombars, which provides critically needed creative outlet space for Chocolate City artists—with a special commitment to the residents of Columbia Heights.