Badbwoy BMC
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Badbwoy BMC

Houston, Texas, United States | INDIE

Houston, Texas, United States | INDIE
Band EDM Reggae

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"HPD arrests Swisha House DJ for noise violation"

By Alex Wukman

This shit is getting too predictable. Honestly, another week brings another report of HPD overreacting to the noise ordinance. Last week it was a cop pulling a gun this week it’s a report that Dubstep DJ Badbwoy BMC was arrested for an alleged noise violation. Apparently a little after midnight on Wednesday, February 8, an HPD officer rolled up to Mango’s where BMC was working some tracks from his upcoming “Dubbed Out” LP, which drops in March from Swisha House, into his weekly gig. According to BMC, real name Billy McCain, HPD stopping by is all too common. In an e-mail sent to FPH, BMC states that HPD has been coming by Mango’s almost every week to “see if the bass can be heard from outside” since he “won a noise violation ticket in court,” on April 5 of last year. BMC says that the cop sat outside of Mango’s for about 30 minutes before coming inside and telling him to come outside.

BMC goes on to write:

“So I grabbed my jacket and lit a cigarette thinking this would be another ticket. As we were walking outside he asked me to get rid of my cigarette and told me to put my hands behind my back. I asked him if he was serious and he said yes. So I threw my cigarette down and he said he was gonna give me a ticket for littering. As he began cuffing me I told him that this was harassment. I explained to him that I would lose my job if i went to jail. His reply to me was too bad shouldn’t have been loud.”

The rest of BMC’s tale is all-too-familiar to anyone who’s been in HPD custody, 10 hours to get processed in and six hours to get processed out even after someone posts bond. And like anyone who works in music knows, spending 24 hours in jail isn’t a vacation when you’ve got gigs lined up. “I ended up losing my gigs for the rest of the week because there was no way for me to contact my employer,” writes BMC. He goes on to write that HPD giving out tickets to enforce the noise ordinance has become commonplace. The arresting officer “comes to Mango’s almost every Tuesday to give out tickets for noise.” According to BMC on October 12, the night the new noise ordinance went into effect, “he gave out six tickets for the same noise violation. Micheal Watts, myself, the sound guy, the bar manager, the owner of Mango’s and the person who owned the sound system” were all ticketed.

With the amount of tickets that are being handed out at Mango’s it would be easy to assume that the club is just blasting out the music and not making any concessions to the neighbors. That’s a wrong assumption. Since the new ordinance went into effect in October 2011 the owners of Mango’s have spent over $3,000 to improve the club’s sound proofing. BMC says that they added “double doors on each of the exits and also putting up bass traps through out the building” as well as enclosing the front patio to try and contain the sound. “These are all guidelines that the city has told club owners to do so they won’t have any more issues. But that’s not the case,” writes BMC.

According to BMC’s lawyer Jonathan Landers the arrest itself wasn’t illegal, just uncommon.

“A person in Texas can be arrested for any offense, with the exception of speeding and open container. However, for offenses punishable by fine only, an officer is given the option of issuing a person a citation which requires their appearance in court. This is the standard practice throughout the state. In the past, Badbwoy has followed the law and appeared when he was given a citation. The officer in this case apparently decided to arrest Badbwoy to make a point.”

He goes on to point out that currently “there are over two hundred ways to violate this statute” and that since it’s easier to break this law than it is to obey it he feels that the noise ordinance is “unconstitutionally broad.” Landers says that since conviction under the new ordinance only requires the testimony of a single officer saying he or she “was ‘aware of the vibrations’ caused by my music,” as opposed to say a reading from a decibel meter, means that the law “possibly does not put a person on notice of what is being outlawed.”

“In the past, I could go outside and make sure I was not in violation of the law by measuring volume myself. Now, I am forced to guess at whether a random officer will be able to feel the music,” wrote Landers. - FREE PRESS


"New Music Genre Goes Mainstream"

Jennifer Ferguson
The Signal
Move over techno; there’s a new form of electronic dance music in town.

Sidebar with information about upcoming dubstep events in HoustonDubstep originated as early as 1998. However, 2011 has been dubstep’s most influential year yet, with the music making a loud entrance into the culture of mainstream music.

“Dub music is a form of reggae music,” said Amir Borhani, dubstep advocate and enthusiast. “In turn, dubstep is a derivative of reggae and hip-hop beats. That is what makes it so catchy.”

This genre, coined “dubstep” due to its ties to Jamaican “dub” music, is one of the fastest-growing fields in music history. Since what is believed to be the first recorded use of the term by Ammunition Productions in a 2002 cover story, the music has steadily gained momentum. In recent years, this momentum has spread from the U.K. to the U.S., and Houston is quickly getting involved.

“Personally, I’m attached to the music emotionally,” said Suraj Kurian, founder of Gritsy, Houston’s infamous dubstep movement. “It’s my crutch, my drug; it’s the way I breathe.”

While the music initially originated in a South London town, Croydon, it didn’t take long before it spread to other areas of the U.K. It was DJ Mary-Anne Hobbs who put dubstep on the map in 2006 with her BBC Radio special titled “Dubstep Warz.”

This initiation into mainstream in the U.K. was what dubstep needed to gain worldwide recognition. Before long, the music was being played in major night clubs and taking over other electronic genres all over the world.

“The speed at which [dubstep] caught on here in Houston as well as across the globe was unreal,” said Billy McCain, aka ‘Badbwoy BMC,’ dubstep DJ. “When I first heard dubstep, I knew right away that it was going to blow up, mainly because of the space in the music and the deepness of the bass.”

Indeed, bass is one of the most prominent elements of dubstep music. The idea is to not only hear the bass, but to feel it. Typically void of any vocals, dubstep uses bass as the driving force throughout the tracks. This paired with rhythm, dark overtones and atmospheric space, is what sets dubstep aside from other forms of electronic music.

“With dubstep, it’s a lot more space,” said Huy Cao, Gritsy photographer and DJ. “It’s kind of like music in moderation; it’s not just everything thrown at you at one time. With dubstep nights, the natural flow of the evening is much smoother.”

The course of the dubstep movement continues to flow smoothly. In 2011, mainstream artists Britney Spears, Jay-Z and Kanye West broke into the scene by releasing their own variations of bass-driven, dubstep beats. Moreover, American dubstep DJ, Sonny John Moore, aka ‘Skrillex,’ was nominated for five Grammy Awards that same year.

Nonetheless, as with any genre, there seems to be a sense of resistance toward dubstep music and many supporters believe that it is the very presence of mainstream, trendy tunes that are accountable for these negative associations.

“A lot of the modern dubstep that is really popular is just hype music,” said John Mullins, aka ‘John the Third,’ dubstep DJ and producer. “When people DJ that dubstep all the time, it doesn’t really make sense to people… it’s a lot of what kids want to listen to, but people are going to burn out on it so fast because there is no diversity in the sound.”

This is hardly the basis of original dubstep music. Dubstep music has expanded so drastically that there are many different sounds and styles associated with it. Much like any genre, one dubstep track by any given artist may completely differ from another.

“If [people] scratch and dig a little deeper they’ll find a buffet of bass, if you will,” Kurian said. “It’s not just that one type of sound… The rabbit hole goes so much deeper.”

As for the continuance in the movement of dubstep music, advocates seem extremely optimistic. Although there is slight opposition, the general consensus has great expectations for the future of dubstep.

“When [dubstep] first came out, people said no one would take the genre serious,” Mullins said. “Then it grew, and people said it would hit a peak and die out, but it just keeps building… There is still more of a life to it left.” - THE SIGNAL


Discography

DJ MIXES:

BMC - THROWED BACK - mash up - Aug 2005
BMC - live the life you love - reggae mix - JAn 2006
BMC - Music to make u stagga - DNB - Sep 2006
BMC - LiveatClarks - DNB- Oct 2006
BMC - Texmix 420 - mash up - Nov 2006
BMC - lovers race - Lovers Rock Reggae - Nov 2006
BMC - Badman fwd badman Pull Up 09 Nov 2006
Badbwoy BMC - Welcome to Trillstep - Dubstep - Sep 2007
Badbwoy BMC - houston's most hated - Dubstep - Nov 2008
Badbwoy BMC - SOUNDBWOY Killing - Dubstep - Feb 2009
Badbwoy BMC - TEXAS Heat - Dubstep - Jul 2009
Badbwoy BMC - texas allstars - Dubstep - Nov 2009
Badbwoy BMC - WELCOME 2 TRILLSTEP - SWISHA HOUSE - Dec 2010

PAST RELEASES:

Amped II - 10/2003 XBOX
Lenky Don "mo weed" BMC & Cle remix Starlight Records 5/2008 Vinyl
Badbwoy BMC The Southern OG's EP:
Badbwoy BMC & DJ Nine Truth And Rights
Badbwoy BMC Born Remix - Dread Foxx
Badbwoy BMC & Dread Foxx - Get Silly
Badbwoy BMC - Kickin'
Badbwoy BMC - Bloodfire - Betamorph Records 2/09 Digital

Badbwoy BMC featuring JusB - Subfunk - Eye Ten Recordings 2/09 Digital
Badbwoy BMC featuring Werd2Jah - Soundbwoy Killin' on DCR All Stars
Vol. 1 Dirty Circuit - 3/09 Digital
Heavy Heights "Truth and Rights" Lp on Starlight CD and Digital
Joe B and BMC - Last TAngo in Texas - Starlight Records 7/2009 Vinyl
Badbwoy BMC - It's goin down - Shift Recordings - 10/2009 Digital
Bukkha, Dread Foxx & BMC - Long Horn Collision - Stupid Fly 9/2009 Digital
Bukkha - Last Call BMC REMIX - Eye Ten Recordings - 11/09 Digital
BMC & Bukkah - F8 ep - on Dirty Circuit records - 3/2010
Badbwoy BMC - Break Dem Boyz / Badmon Eye Ten Recordings - 5/2010
F8 - Dominator Remix - 6/2010
BMC "Bad Mon Coming" ep on Starlight Digital - 7/2010
Surreall "Know How to" remix on Swisha House - 10/2010
Badbwoy BMC - Welcome 2 Trillstep - Swisha House 12/2010 CD

Photos

Bio

Bass Music Culture

For more than a decade Badbwoy BMC has helped define Bass Music Culture in Houston, Texas. First, as one of Texas’ most sought after jungle/drum ‘n bass/ dubstep DJs, and most recently as a Producer. BMC’s production talent led quickly to numerous digital, vinyl, and CD releases on respected underground labels such as: Dirty Circuit; Shift; Stupid Fly; Betamorph and his own label Eye-Ten Recordings. His track titled “The Attack” was also featured on the video game Amped: Freestyle Snowboarding 2 for Xbox console.

Badbwoy BMC’s musical influences are rooted in reggae, and hip hop, and his resume includes membership in Tha Purrin Lion Sound Flex Crew (a group of some of Houston’s most respected old school junglists, whose dance parties helped pioneer the Bass Music Culture in Houston); publishing one of North America's only drum’n bass magazines to date(Tha Pride 1997-2001); founding Texas Dub (a crew of Houston dubstep producers and DJs; 2007), and co-founding Eye-Ten Recordings, with crew mate Intager (currently on its 5th release; 2009).

Some of his side projects include teaming up with Rebel Crew members Joe B. and DJ Suma to form the musical group Heavy Heights (“Truth & Rights” LP CD/Digital; Starlight; 2007), as well as releasing a collaborative 5 track compilation with former Texas Dub crew member Bukkah called F8 (“F8”EP; Dirty Circuit; 2010). In his spare time, tha Badbwoy has also worked on remixes for local vocalists Karina Nistal (“Nothing For Me”), Shina Rae (“Touch”) and indie band Posr (“Clairvoyant”).

In addition to producing original drum’n bass and dubstep tracks and remixes for a multitude of artists and acts, BMC is consistently booked to headline massive raves, club shows, and special events throughout the South. BMC also finds time to host a biweekly internet radio show the second and fourth Tuesday of the month (Traffic on sub.fm).

With an untouchable arsenal of exclusive, original and collaboratively produced remixes, his live shows display his all-star level of talent locking double drops; chopping beats; syncopating sounds in unison, and making seamless mixes that keep the dance floor packed in any venue.

Recently, BMC signed with the South’s most famous independent hip hop label: SwishaHouse (http://www.swishahouse.info). Recognized worldwide for bringing Houston's own chopped and screwed music to the forefront of hip hop, SwishaHouse has once again positioned itself as the label on the cutting edge of the music industry. The first set of remixes produced under the SwishaHouse label include work done with SwishaHouse’s beautiful and talented first lady and number one dame in the game, Surreall (“I’m A Model,” “Know How To”); Paul Wall (“I Rep Texas,” “Break Dem Boyz Off,” “Skillz”), and Archie Lee (“At The Bar”). SwishaHouse has plans to release a new mixtape that includes 24 remixes of classic HTown anthems— 18 produced by BMC and the remainder composed by Texas’ own Chango, Suma, Chi, Parson and Dread Foxx.

BMC has earned respect as one of the hardest working and popular DJ/Producer/Promoters in the Southern United States, and a mainstay of Houston’s Bass Music Culture. Bear witness to a mixture of sounds uniquely constructed to contain audible appeal that draws in underground dubstep heads, rap, and hip hop lovers alike!