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However, billy woods, a lover of long novels and physical records with liner notes, may urge them to bear with him for a while. The casual listener might use any number of dark adjectives to describe what they hear in a billy woods record: aggressive, abrasive, confrontational, hard, dense, paranoid, bleak, unsettling, overwhelming. So began a decade of boundary-breaking projects that would win him the underground acclaim that he had long worked for. “As far as the synthesis between being where I wanted to be with the final product, and a business model that would work for the label,” woods summarizes, “ History was the beginning” (Schube). But everything changed with his first real solo album, History Will Absolve Me (2012), “the first release to be sold directly to fans through website” (Faierman). The Great Recession and the rise of the digital music industry did no favors for a small DIY label focused on producing physical records and CDs. “The irony is, we came along and got something going right at the end of the old model, and when we finally got a sub-distribution deal through Caroline Records, it was at the exact moment where Caroline and all these other companies were a year and a half from going out of business,” he explains. By 2003, he was inspired by rapper El-P’s label Definitive Jux and integrated enough into the scene to start his own label, Backwoodz Studioz, though it took several years for real musical output to materialize (Schube). woods started writing rhymes with Vordul’s encouragement (Nguyen). Here, in the mid-1990s, he made his second fateful rap discovery in his friendship with Vordul Mega, an emcee embedded in New York’s underground hip hop scene, half of the up-and-coming group Cannibal Ox and also part of the Atoms Family collective. and moved to attend college in New York (Schube). After high school and a short stint at Howard University, young woods decided to escape the social quicksand that was swallowing many of his friends in D.C. Almost immediately thereafter woods made a life-changing discovery: he rented Spike Lee’s 1989 film Do the Right Thing and was enraptured by the soundtrack supplied by the militant rap collective Public Enemy.
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The family moved back to the US, just outside of Washington, D.C., after his father died (Mlynar). “My only goal in life was to be a creative writer,” he recalls (Biswas). woods himself started writing at a young age, following in his parents’ footsteps – though not feminist Shakespeare scholarship or Marxist political theory, but stories (Ma). While woods’s mother taught college students, his father traveled to Eastern-Bloc countries or those involved with the Non-Aligned Movement “for seminars summits” (Biswas) “he was raising funds and writing on behalf of the political arm of the party,” says woods (Schube). During this period they would often visit family in Jamaica and the U.S. The young family soon followed the father and lived in Harare while he held two different government positions under Mugabe (Biswas). By then, Robert Mugabe’s Marxist, black-majority National Liberation Army had subdued the white-minority government there. His father arrived as a political refugee but returned to Rhodesia when peace talks tempered the Rhodesian Bush War in 1979.
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His mother already had Jamaican relatives there and came to study English literature. The two migrants met as PhD students in New York City in the 1970s. His story begins with that of his parents, who come from “countries…that don’t exist anymore”: Rhodesia (Zimbabwe) and the West Indies (Jamaica), according to his birth certificate (Diamond). I also publish it in honor of the recent release of Brass, woods’s latest tour de force, a collaboration with his label-mate Moor Mother.īilly woods is an underground rapper based in New York City. I hope it can be helpful to internautes engaged in woods’s poetry, as I found next to no secondary sources about him in my research. After an account of woods’s provenance and style, I explore themes that arise from his solo work, such as authorial self-figuration, emergency, orality, globality, complicity, and historical memory. In the essay I basically aimed to describe how woods raps circles around many academics producing critical theory today. Below is the main body of a paper I wrote for the Approaches to Comparative Literature seminar I had to take this fall for my PhD at UC Berkeley.