-Drop Ready & Spider-Pussy present- Miami Music Week, TERMINATOR Records Showcase

Posted in Uncategorized on March 14, 2018 by clubspiderpussy
– – – – – – – – – – – – – – – – – – – –
Friday, March 23, 2018
9pm – 5am
Powered by Traxsource

Todd Terry > traxsource.com click HERE
Alexander Technique > traxsource.com click HERE
Ant Larock
> traxsource.com click HERE
Chris Azure >traxsource.com click HERE
Becka > traxsource.com click HERE
Leuroy / Erlon > traxsource.com click HERE
Johnny Strokes

-Special Guests-
Roland Clark > traxsource.com click HERE
Arthur Baker > traxsource.com click HERE

Click HERE to MAP >>>>
Kill Your Idol
222 Espanola Way
Miami Beach, FL 33139

Dj Kid-Kiddo; Andrews Lorenzana; Kill Your Idol; Todd Terry; Alexander Technique; Roland Clark; Arthur Baker, SpiderPussy



Spider-Pussy presents…Drop Ready & Terminator Records with guests Dantiez, Roland Clark & more…

Posted in Uncategorized on March 11, 2017 by clubspiderpussy

Spider-Pussy presents

Drop Ready & Terminator Records

Thursday // March 23rd // 09pm – 5am // 2017

DJ sets by: 

Alexander Technique (Terminator / Drop Ready)


Dantiez (KMS // Defected)

Roland Clark (Get Physical // Defected)

Agent Orange (Toolroom // Bitten)

Prince. L (Still Play // Priroslin)

Becka (Gotham Grooves // Different Is Different)

Leuroy (Proper House)

Johnny Strokes & Kid-Kiddo 

(Spider-Pussy // Cornbread Productions)
LIVE STREAM via // facebook.com/atechnique

No Cover – RSVP to: dropreadyRSVP@gmail.com


Straight Outta Compton…Hmmmm

Posted in Uncategorized on August 12, 2015 by clubspiderpussy

It’s amazing what a few decades can do…


The forthcoming N.W.A biopic Straight Outta Compton is one of the more buzzed-about films of the summer, as hip-hop fans look forward to F. Gary Gray’s dramatic retelling of the rise of Dr. Dre, Ice Cube, Eazy-E, MC Ren, and DJ Yella—the quintet of rap rebels who took the genre by storm in the late ‘80s as Niggaz With Attitude. N.W.A became notorious for their explicit tales of street life in Compton, California, and though the group only actively released music for less than five years, their legacy stretches far and wide throughout hip-hop. Great hip-hop artists ranging from Snoop Dogg to Del the Funkee Homosapien to Bone Thugs N Harmony to Eminem have a direct connection to the lineage of N.W.A. Even pop-rap superstar Coolio was once affiliated with Cube’s Lench Mob as a member of W.C.’s Maad Circle.

And Straight Outta Compton celebrates that obviously important legacy in masterful fashion. But along with infusing hip-hop with “the strength of street knowledge” via hardcore rhymes about bangin,’ slangin’, and county bids, another important facet of N.W.A’s legacy is one of blatant and rampant misogyny. From Cube’s declaration that “A Bitch Iz A Bitch” on 1988’s landmark Straight Outta Compton to the Slim Shady-esque murder fantasies on the hateful “One Less Bitch” from their uber-controversial sophomore album Niggaz4Life, N.W.A presented a casual contempt for women that foreshadowed what would become a recurring theme in even the most mainstream stars of the genre.

And, most egregiously, Compton opts to completely ignore the more toxic elements of Dr. Dre’s history in regards to women. The legendary producer was the musical architect of N.W..’s sound, and in 1991, Dre physically attacked television host Dee Barnes at an industry party in Hollywood. The assault landed Barnes in an emergency room after she was brutally assaulted by a drunken Dre.

“He picked her up by her hair and ‘began slamming her head and the right side of her body repeatedly against a brick wall near the stairway’ as his bodyguard held off the crowd with a gun,” wrote Rolling Stone. “After Dre tried to throw her down the stairs and failed, he began kicking her in the ribs and hands. She escaped and ran into the women’s rest room. Dre followed her and ‘grabbed her from behind by the hair again and proceeded to punch her in the back of the head.’”

A lawsuit was subsequently settled out of court, but Dre and N.W.A never even pretended to regret the incident—both Ren (“bitch deserved it”) and Eazy (“yeah, bitch had it coming”) mocked Barnes’s beating in an interview with MTV—and Dre would go on to even wider fame and commercial appeal in the following year. “People talk all this shit, but you know, somebody fuck with me, I’m gonna fuck with them. I just did it, you know. Ain’t nothing you can do now by talking about it. Besides, it ain’t no big thing—I just threw her through a door,” explained Dr. Dre.

The Barnes beating has become immortalized as a hip-hop punchline; it was most notably referenced by Eminem on his hit single “Guilty Conscience” (“You’re gonna take advice from somebody who slapped Dee Barnes?”) but it was something the filmmakers felt was too sore a subject to even acknowledge in this movie. Dre and Cube are executive producers on the film, so it can’t be a shock that no one would want to address the D.R.E.’s most disgusting public scandal. But for a group that was predicated on “reality raps” and for a film that doesn’t shy away from subtle moralizing regarding the departed Eazy-E’s AIDS diagnosis, it’s quite telling that they don’t believe anything can be learned from Dre’s brutal past.

Culturally, we feel the need to sanitize those who achieve great things in order to force the world to fit into the moral box we’ve been conditioned to create. We don’t want to believe that our heroes can be bastards. But bad or damaged people can do great and brilliant things. And as it pertains to social ideals that have far-reaching ramifications—i.e. homophobia, racism, misogyny, etc.—we have to be willing to stare at the ugly aspects of our favorite artists’ personalities. It helps to temper our tendency to hero worship. But also, in facing the ignorance of those we admire, we’re forced to face the fact that that ignorance exists everywhere—not just “over there” in some undefined space where only the narrow-minded or extreme right-wing congregate.

Eric Clapton is one of the most famous blues guitarists in the world—a Brit who discovered the music as a youth and who considers himself a disciple of Muddy Waters and a kindred spirit to more contemporaneous bluesmen like Buddy Guy. But despite having built his name on the music of black people, Clapton unleashed a horribly racist rant during an appearance at a festival in Birmingham, U.K. back in 1976.

After complaining that “some fucking wog… Arab grabbed my wife’s bum,” the visibly intoxicated Clapton went on a tirade blasting non-white immigrants and endorsing racist right-winger Enoch Powell.

“I don’t want you here, in the room or in my country. Listen to me, man! I think we should vote for Enoch Powell,” the drunk rocker said. “Enoch’s our man. I think Enoch’s right, I think we should send them all back. Stop Britain from becoming a black colony. Get the foreigners out. Get the wogs out. Get the coons out. Keep Britain white. I used to be into dope, now I’m into racism. It’s much heavier, man. Fucking wogs, man. Fucking Saudis taking over London. Bastard wogs. Britain is becoming overcrowded and Enoch will stop it and send them all back. The black wogs and coons and Arabs and fucking Jamaicans and fucking [indecipherable] don’t belong here, we don’t want them here.”

The incident sparked a backlash amongst the U.K. music press and indirectly became the catalyst for the formation of Rock Against Racism, but Clapton has rarely been pressed about the incident over the years—despite having never really renounced Powell’s racist politics or his own xenophobic language.

John Lennon was an admittedly violent man who’d been abusive to his girlfriends and his first wife, Cynthia, prior to meeting Yoko Ono in 1967. In art school, the symbol of ‘60s “peace and love” idealism once allegedly struck a young woman in the face after she’d refused to have a quick sexual fling in an empty classroom after a dance, and Cynthia had once been warned to leave the famous Beatle after a cleaning woman saw him hit her in public. But these aspects of Lennon’s personality have been almost totally ignored in the years following his senseless murder in 1980. Ono’s famous documentary tribute Imagine: John Lennon doesn’t acknowledge his abusive history and merely alludes to his temper, and most film depictions of Lennon skate the issue entirely.

When we celebrate Clapton or Lennon without acknowledging their most notorious and contradictory moments, what are we really celebrating? A deified symbol.

The estates of legendary artists have a lot at stake when they proclaim to present the “real story” behind some of the biggest names in rock, rap, and R&B history. Families can oftentimes be compelled to soften the rough edges surrounding a superstar’s story (as in the lukewarm James Brown biopic Get On Up) or sensationalize it for the sake of heightened drama (as was often the case in 1991’s The Doors and its depiction of the band’s fallen frontman, Jim Morrison). But we shouldn’t encourage audiences to ignore the darkness in so many of our creative geniuses—especially when that darkness permeates so much of said artist’s musical output. F. Gary Gray and the producers of Straight Outta Compton didn’t have to pretend that side of Dr. Dre doesn’t exist—he’s let us know for decades that it’s there. It’s in his music and in his actions. And putting it in there has won Dre all kinds of critical and financial accolades. Once they were a threat, now everyone celebrates N.W.A for their in-your-face raw realness. They had no fear. It takes bravery to take on East Coast hip-hop bias, mainstream radio, the LAPD, Detroit P.D., F.B.I. and the media. All anyone could ask for is that, in showing who he and his legendary bandmates really were, Dre had been just as brave.

WMC / MMW 2015 Friday, MARCH 27th, 2015 Spider Pussy / Cornbread Productions Presents

Posted in Uncategorized on March 19, 2015 by clubspiderpussy

WMC, MMW, 2015, Spider-Pussy, Cornbread Productions, Kill Your I

Friday, MARCH 27th, 2015

Spider Pussy / Cornbread Productions Presents
Maya & Kinetika WMC/MMW Showcase + Drop Ready Label Launch Party

@ Kill Your Idol:
222 Española Way
Miami Beach, FL 33139

– HR & SKI (Harry Romero + Joeski)
– Matt Sassari
– Alexander Technique ft live by vocals by Roland Clark
– Borja Peña (Cucarachas)
– Kid Kiddo
– RoVskee

RSVP: CornbreadProductions@gmail.com

WMC/MMW 2015

Posted in Uncategorized on February 12, 2015 by clubspiderpussy

ClubSpiderPussy.com / Spider-Pussy / Sex Cult Records / Desgner

Fedde Legrand @ Mansion Night Club in Miami Friday, December 26th 2014

Posted in Uncategorized on December 16, 2014 by clubspiderpussy

Friday, December 26th, 2014
Fedde Legrand Live DJ Set @ Mansion Night Club Miami 

Fedde Legrand - KidKiddo

We want UBER in MIAMI.

Posted in Uncategorized on July 28, 2014 by clubspiderpussy

Ashton Kutcher made an unplanned cameo during a Florida Senate Transportation Committee meeting two weeks ago. Uber representatives presented a clip of theTwo and Half Men star and Uber investor on Jimmy Kimmel Live blasting Miami for not changing longstanding laws to accommodate the upstart car service.

“Basically, it’s like mafioso, like village mentality of like we’re not gonna let the new guy in,” the actor said. “Like in Miami.”

Diego Feliciano might be considered one of those mafiosi. Feliciano is the president of the South Florida Taxicab Association. A man who got his start more than 30 years ago as a cab driver, Feliciano says Uber seeks to skim the top off taxis’ business while potentially threatening service to those who can’t afford the app.

See also: Uber Goes Over Miami-Dade’s Head and Takes Fight to Tallahassee

“I just don’t see the taxicab industry existing in Miami-Dade County if someone gets to do what we want to do and not doing what we have to do,” he said in a recent interview with Riptide. “It’s just not a fair playing field.”

Feliciano also says the Miami taxi industry now realizes the need to innovate. Not only are credit card readers coming soon to all cabs, but also more cab companies will likely partner with competing Uber-like apps in the near future.

New Times spoke with Uber CEO Travis Kalanick last September, but for the uninitiated, the venture-capitalist-backed San Francisco startup allows users to pull up an app on their smartphone and order one of its cars, usually black luxury sedans. Payment is handled through the app by credit card, and a 20 percent “tip” is automatically added with no option to offer more or less. Instead of rewarding good or bad service with money, users are instead asked to rate their driver on a five-star scale. The driver’s average rating is displayed on the app as users wait for their cars. Prices for the service are significantly higher than taxicabs and are not fixed. The company employs “surge pricing” when demand is unusually high, such as during periods of inclement weather or holidays.

Current Miami-Dade law regulating town car services, however, makes it nearly impossible for the company to operate here. Cars have to wait an hour after being ordered to arrive and must charge at least $70. Town car and limo services are also licensed in Miami, with the current cap on licenses sitting at 625. After failing to find traction to repeal those laws on the county level, Uber has unleashed an aggressive campaign in the state legislature. It’s estimated the company has about 20 lobbyists in Tallahassee.

Feliciano says Uber’s entrance into the industry could have disastrous affects by unleashing a new fleet of unregulated cars to compete with taxis.

“These cab drivers now are not only losing because they’ve got all these unregulated vehicles competing directly with them, but then they’re also losing the cream of the crop of the business,” he says of Uber’s hypothetical entrance in the market. “Fairly said, my cab drivers gotta go pick up a couple 50-, 60-dollar fares in Gables Estates and Kendall to make ends meet. They can’t just go pick up a mom who has to go to the laundry and do all the other little jobs.”

Many drivers, especially those who own their own cabs and have shelled out for pricey permits, are financially bound to their cabs. They’re also mandated to drive passengers anywhere in the city and must abide by fixed prices.

Of course, the taxi industry, particularly in Miami-Dade, has been rightly criticized for being apprehensive to change. Long after most other major American cities required cabs to accept credit cards, the county commission passed such an ordinance only earlier this year.

“We’re moving forward. We supported these ordinances,” Feliciano says. “We need charge cards — not in some cabs, in all cabs. The public needs it. It’s part of our service. We’re a world-class city. That is a done deal.”

Feliciano says the union is negotiating with several credit card processing companies and will likely strike a deal soon so that credit card readers are installed in all cabs for free.

And the tech innovation might not stop there.

“Every one one of our cab companies is being approached by one of the three major apps that exists in the United State that is not Uber, that are their competitors,” Feliciano estimates.

One cab company, Super Yellow, has already partnered with the app Fly Wheel. The free app allows users to hail a cab, track the taxi’s progress, and pay for the transaction through their smartphone via credit card. He estimates it already makes up about 20 percent of the company’s business.

“I don’t think it will ever serve all the public, but apps are here to stay,” he says.

In fact, Feliciano says, he could imagine Uber’s app entering Miami-Dade if the company agrees to work with existing taxis. However, he says Uber has refused several times to meet.

“If Uber came into Miami-Dade County and put their app on our cabs, we’d love them,” he says. “Why not? Just follow the rules. They’re a venture capitalist company. The money doesn’t even stay here. We’re here. We live here.”

As for Kutcher, an investor who stands to profit from Uber’s continued expansion, his video cameo didn’t go over too well in Tallahassee. The video apparently rubbed several lawmakers the wrong way.

The original version of the “Uber bill” in the Florida House has since been gutted, but it would still provide a road to Uber’s operation in Miami. It passed its first committee last week, but a Senate version has yet to find similar traction.