Bio:
Pew Fellowship recipient, King James Britt (his real name) is a 30+ year, producer, composer and performer in electronic music. His position as Assistant Teaching Professor in Computer Music carries a unique perspective, bringing a non-linear approach and knowledge to the department by focusing on various modern forms of electronic music pedagogy, while continuing to be an active force in the music industry.
As a composer and producer, his practice has lead to collaborations with the likes of De La Soul, Alarm Will Sound Orchestra, Saul Williams, director Michael Mann (Miami Vice) and many others, as well as being called for remixes from an eclectic list of giants, including, Meredith Monk, Solange to Calvin Harris. Most recently collaborating with MacArthur Fellow, Tyshawn Sorey for an upcoming album project. In his role as performer, he has travelled globally playing thousands of venues and festivals, including, AfroPunk (NYC), Berghain (Berlin), MoogFest (Durham), Le Guess Who Festival (Utrecht) and The Kitchen (NYC). King was also the original DJ for the Grammy Award winning Digable Planets.
Blacktronika : Afrofuturism In Electronic Music, is a new UCSD lecture course, created by King, researching and honoring the people of color, who have pioneered groundbreaking genres within the electronic music landscape. Genres span from Chicago House, Detroit Techno and Drum & Bass music. Using his position in the industry, the class has been attended by many, including Questlove, Julian Priester and Goldie.
Contact Information
Address:
King Britt
800 n 2nd Street
Philadelphia Pa 19123
Quotes, Notes & Etc.
Take a journey to the world of Afrofuturism—an ever-expansive aesthetic and practice—where music, visual arts, science fiction, and technology intersect to imagine alternate realities and a liberated future viewed through the lens of Black cultures. Immerse yourself in Afrofuturism, Carnegie Hall’s 2022 citywide festival.
Afrofuturism’s boundless sonic essence is celebrated with jazz, funk, R&B, Afrobeat, hip-hop, electronic music, and more. In education and social impact programs created by the Hall’s Weill Music Institute, young musicians, teachers, and people of all ages explore the infinite possibilities of Afrofuturism.
Across New York City, leading cultural organizations present multidisciplinary programming that touches African and African diasporic philosophies, speculative fiction, mythology, comics, quantum physics, cosmology, technology, and more. A diverse range of online offerings also includes film screenings, exhibitions, and talks with some of the leading thinkers and creatives in this multitiered experience.
An introduction for some and a continued quest for others, this trek across space and time will enrich and revitalize our relationship to new futures and futures past. Whether you know Afrofuturism through Alice Coltrane, the literary genius of Octavia E. Butler, the glowing world of comics, or the mythos of Sun Ra and P-Funk, epiphanies will abound in this experiential saga through the realm of Astro-Blackness.
A detailed schedule of Afrofuturism festival events will be announced in fall 2021.
The Recôncavo is an almost invisible center-of-gravity. Circumscribing the Bay of All Saints, this region was landing for more enslaved human beings than any other such throughout all of human history. Not unrelated, it is also birthplace of some of the most physically & spiritually uplifting music ever made. —Sparrow
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers: Personal recording engineer for Prince, inc. "Purple Rain", "Sign o' the Times", "Around the World in a Day"... Director of the Berklee Music Perception and Cognition Laboratory
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay. They paid.
MATRIX MUSICAL
The Matrix was built below among some of the world's most powerfully moving music, some of it made by people barely known beyond village borders. Or in the case of Sodré, his anthem A MASSA — a paean to Brazil's poor ("our pain is the pain of a timid boy, a calf stepped on...") — having blasted from every radio between the Amazon and Brazil's industrial south, before he was silenced. (that's me left, with David Dye & Kim Junod for U.S. National Public Radio) ... The Matrix started with Sodré, with João do Boi, with Roberto Mendes, with Bule Bule, with Roque Ferreira... music rooted in the sugarcane plantations of Bahia. Hence our logo (a cane cutter).