Deep Dickollective | On Some Other

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On Some Other

by Deep Dickollective

Nerdy, wordy homiesexual hip hop. don't be scurred. Queer Is Black.
Genre: Hip-Hop/Rap: Alternative Hip Hop
Release Date: 

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  Song Share Time Download
1. Otherwisdom
0:23 $0.99
2. Other Countries
5:00 $0.99
3. Birthdaze
3:50 $0.99
4. Cabelsriffing (The Dupont Cypher)
3:50 $0.99
5. It's All Jood (Innerlube Five)
0:43 $0.99
6. TMI
4:42 $0.99
7. Butchqueen
3:40 $0.99
8. He's Trade (Innerlube Six)
1:16 $0.99
9. Ebony Lane (Sabatajj!)
4:12 $0.99
10. Negrolosophy
3:40 $0.99
11. Fly Free
4:19 $0.99
12. Let Them Eat Cakes (Innerlube Seven)
1:35 $0.99
13. Ghetto Rainbows
4:37 $0.99
14. A Grand Buffet (Innerlube Eight)
1:51 $0.99
15. Man of Me
4:46 $0.99
16. Don't Say Nothin? (Innerlube Nine)
1:13 $0.99
17. For Colored Boys
4:48 $0.99
Downloads are available as MP3-320 files.


Album Notes
**********************PLEASE NOTE***************************
as of MAY 4,2009, copies of ON SOME OTHER bought from this page will be SLIM LINE cases until further notice.

Atenndantly, the price has been reduced from 12.97 to 10.97
as the units are a bit less expensive to produce.

Thanks for your past and present support,

Juba Kalamka
c/o Deep Dickollective LLC
"....sounds like Ntozake Shange's black poetic shout come three decades later with a cock ring and a refusal to erase queer black existence."

Leah Lakshmi Piepzna-Samarahsinha-
NOW Toronto Weekly 6/2007

OAKLAND, California - Following an extended “vacation” to accommodate the expanding solo recording and performance schedules of its members, Deep Dickollective (D/DC) has returned in classic form with "On Some Other", (on Sugartruck Recordings). The CD is the group’s fifth overall release and first studio recording since 2004’s "The Famous Outlaw League Of Proto Negroes", a 2005 Outmusic Award double nominee and Out Magazine Top Ten Gay Albums of 2004 selection.

Since the release of their groundbreaking debut "BourgieBohoPostPomoAfroHomo" in 2001, D/DC has been a creative and cultural force driving popular and academic discourse around race, class, queerness and masculinity as reflected in the burgeoning “homohop” subculture.

Appearing in countless features, essays, and articles in LGBT and mainstream media, D/DC has toured colleges and festivals around the U.S. and Canada since mid 2001, winning the Best Hip Hop Group award in the 2003 San Francisco Bay Guardian readers poll, and came to more recent mainstream attention through their central presence in Alex Hinton’s documentary "Pick Up The Mic".

Premiering at the 2005 Toronto International Film Festival, "Pick Up The Mic" has since screened in 50+ film festivals internationally,broadcast recurrently on the LOGO network and will be released to DVD in fall 2007. The resultant exposure created more tour and lecture opportunities for the groups co-founders, Juba Kalamka (Pointfivefag) and Tim’m West (25Percenter). West released his solo debut Songs From Red Dirt and the accompanying poetic memoir Red Dirt Revival, while Sugartruck Recordings founder Kalamka received the 2005 Creating Change Award from the National Gay And Lesbian Task Force, toured the U.S. with Sex Workers Art Show and continued his promotion of independent queer hip hop artists through Sugartruck and direction of the PeaceOUT World Homohop Festival, which celebrates its seventh year in 2007.

“We never really expected to become so busy,” says Kalamka, who finished an MFA in Poetics during the gap between albums and began his second solo recording project as well. “Deep Dic has always been more a collaborative space than a traditional hip hop group, and as such we’ve been adamant about not stifling our individual creativity. We’ve continued doing spot dates at colleges though we live in different cities. Still, it was a challenge to get back into the group’s groove. It’s a testament to how hard everyone worked that On Some Other is so cohesive.”

Featuring performances by new members Leslie “Buttaflysoul” Taylor (Def Poetry Jam) emerging producer/emcee Baraka Noel and vocalist /songwriter Solis B. Lalgee, On Some Other ‘s sound is reflective of the variety of experiences the groups’ members have had over the past few years and their resultant growth . Recorded primarily at Oakland’s Killer Banshee Studios (Tribe 8, Sister Spit, By Hook Or By Crook) Kalamka produced the bulk of the CD, which includes major contributions from New York based poet/producer baron. and homohop vet Tori Fixx (Johnny Dangerous, Rainbow Flava, Deadlee).

On Some Other will be available online through sugartruckrecordings.som,, CDBaby, iTunes and many independent music outlets throughout the U.S, Canada and abroad, Deep Dickollective celebrates the release with a performance at Toronto Pride’s Labatt South Stage (Church and Dundas streets) on Friday, June 22 at 10pm.
queer hiphop heroes
Deep Dickollective dish up politics and positivity

DEEP DICKOLLECTIVE with BELLA DONNA and the AWAKENING, DJ NIK RED, SHANTE PARADIGM, JOHNNY DANGEROUS and CAZWELL on the South Stage (Church and Wood), Friday (June 22), 10 pm (show starts at 6). Free.

I'm one of those dykes who dig Deep Dick. Deepdickollective make me happy. Five out queer black men producing tight DIY hiphop about Essex Hemphill, dads, lovers and the international queer black diaspora to beats you can shake your ass to - are you kidding?

Mainstaging it for Pride Friday night on the South Stage, DDC launch their latest album, On Some Other, alongside an all-queer hiphop lineup that includes Toronto's own Belladonna and the Awakening and DJ Nik Red and New York and Chicago's Shante Paradigm, Johnny Dangerous and Cazwell. It feels like the DCC's pulling off the miraculous and impossible.

And it's not the first time for the miraculous. Since Juba Kalamka and Tim'm West founded the Deepdickollective after a chance meeting at a Bay Area screening of Marlon Riggs's landmark black gay film Tongues Untied in 2000, they've been at the centre of the homo-hop movement and launched Peace Out, a three-day festival of queer hiphop that's branched out into New York's Peace Out East and Peace Out UK.

Pick Up The Mic, Alex Hinton's documentary about queers in hiphop, in which the DDC had a prominent role, had a sold-out premier at the 2005 Toronto International Film Festival and was a fave at festivals internationally.

"There's no way I'd have believed you if you'd told me seven years ago I'd be doing this," says Kalamka on his land line at his east Oakland home way early Saturday morning, before his baby daughter wakes up and he has to make it to the studio.

Locally, Blockorama is at year 10 and taking up space on Church Street for the first time, moving to the parking lot outside the Beer Store. And as transphobic as it is, this year's Michigan Womyn's Music Festival has a lineup thick with independent queer-of-colour hiphop artists: D'Lo, Skim from L.A. and Brooklyn's Hanifah Walidah (ex of the early-90s Brooklyn Funk Essentials, now rocking a baldie and a fedora.) This ain't your mama's Indigo Girl.

So have queers in hiphop arrived? And what does "arrived" mean?

I came of age dancing in Club Manhattan's weekly jams in the late 90s, where underground heroes like DJ BlackKat brought hiphop and dancehall to an all queer and trans, mostly black crowd. We went to Manhattan's like we were searching for water, and found it. Hiphop in a queer-of-colour space was like church for us.

When the building next to the club collapsed, destroying both, in 2002, the party moved on: to BlackKat's nights at Tequila Lounge, the annual Pelau jump-ups at Caribana and smaller nights at the Concord Café.

So, like many queers of colour I know, I was surprised when Big Primpin', a mostly white West Queen West monthly queer night that spins hiphop, was hyped as the first queer hiphop club in Toronto a few years ago.

The 99 per cent white hipster scene for whom the music is often kooky and ironic isn't why or how I came to hiphop.

While I'm sure some folks who go to Big Primpin' genuinely love the music and culture of hiphop, I find the way the night has been hyped as "Toronto's first queer hiphop club" an insulting erasure of all the years of queers of colour throwing down and dancing at Toronto hiphop nights and being involved as MCs, DJs, b-boys and girls and producers in Toronto's hiphop communities.

It's an example of who gets to blow up and who gets overlooked – and who profits – when a despised culture suddenly becomes hip.

According to Kalamka, after Pick Up The Mic a lot of the artists involved thought major labels would come knocking but were disappointed. "MySpace is now flooded with gay hiphop artists, but like all of MySpace, some of them are good and a lot of them are bad.

"As loath as we are to admit it, queer consumers are just as sheeplike as straight people. The masses of them don't have a deconstructionist relation to capitalism any more than straight people do, and they're many times more vociferous and hungry for validation: 'Let's get on Will & Grace!' We've never been about that," says Kalamka.

He credits Deep Dickollective's continued success to their commitment to remaining community-based, underground artists and their creation of their own micro-label, SugarTruck Recordings (named after a passing older black man nodded at the DDC and said, "Mmm-mmm, looks like somebody just fell off the sugar truck") on which they self-release all their albums. Kalamka'd rather be the Ani DiFranco (or the Coup) of queer hiphop.

"In the long term, there's a lot more safety in creating a micro-economy to support the work than in depending on the machine to give you your five minutes of fame."

This is especially true for five out black queer men who talk about sexism, masculinity, homophobia and gender in their work – with flava .

"Someone asked me why we had this appeal with dyke and trans communities. I said, 'Honestly, it's because we're five guys who are trying not to be assholes, five minutes at a time. '"

Maybe it has something more to do with tracks like On Some Other's For Colored Boys, which sounds like Ntozake Shange's black poetic shout come three decades later with a cock ring and a refusal to erase queer black existence.

"There's no male equivalent to Michigan because men haven't had to care. If we had to depend on gay men for support, we wouldn't exist. Dykes and queer and trans people who've supported us, they're the communities who are doing politicized queer music and having their own issues."

As the baby wakes up in the other room, he pauses and says, "As long as people want to kill me for who I am, I'm going to be a black gay man."


Essexincantations (BMI)

Mr. ManMan:

This is a song made for colored boys
Whose rainbows forgot how to bloom
Whose moons forgot how to change into suns
To illuminate the gray days
This is a song made for colored boys
Whose heroes forgot how to fly
Whose wings were clipped with rage
And cages waited to take them with no reason why
This is a song made for colored boys
Whose up-ins that never come up
Whose mothers and fathers
became the sons and the daughters
of revolution's internal corrupt

Choral intro:

So This Is for the colored boys
Colored boys like me
Brother,fencewalker, fringe society
pressure rising exponentially


This is for the colored boys like me
dirty dirty, the city streets
literary geeks that control, alternate and delete
to reboot,we be the strange fruit
Blackberri sweet juice
we be rigging your reel telling our truth
we got moves like Langston Hughes
we be the Countee Cullen blues, be the soul of his shoes
Marvin White's blackbirds taking flight with words
from pens and manifestos, we bourgie and ghetto
thug and crud, the "nigga please!" and "nigga what?!"
the Essex of the mic check, we the boys suspect
when they fail to love themselves well
we Ntozake's warriors, pomo revolutionary males
following our heart we continue to spark
sunshine in the dark
Famous Outlaw emcees,we get free


We on some other shit
spit so sick, choke on it
Hear me on MySpace JBRap sick with it
call me Gaylord feel the face and fire grace
of those who expired
Rickey,Kaya, Alize' and Tanya
we miss you bad, love- won't retire
ready to blow like Golden State,puff
white girl. we done had enough
moist and sticky on the same brain
like cotton field's pain in yesterday's rain
how you gon' make it through
all the pain and all the anguish?
ball to the death, and stand tall
ball to the death, and stand tall

chorus (1x):

So This Is for the colored boys
Colored boys like me
Brother,fencewalker, fringe society
pressure rising exponentially and yet,we traverse on
Well I was born inside of a pot of gold
at the end of a rainbow that no one knows
so the answer is clear if you recognize
if you're looking for truth, look into my eyes


The point of this colored noise
This joint is is for colored boys
This is for Essex,Assoto, Donald and Marlon Troy
This is for Aimee,for Melvin,Claude,and for Countee C.
This is for Larry Duckette, for Joseph and Jimmy B.
For cousins and lovers who couldn’t be because you would laugh
This is for Luther,Poetic, Eazy, and Sugar Shaft
For brothers whose names we will never know, I’mma get it right
Labeija, Infiniti, Ninjas twistin’ it through the night
In spite of the pressure and expectations to hide desire
Like Bayard who paved it through slings and arrows while walking fire
We Pomo our Afros so Homo stories will see the light
The slights had me frightened,but now I’m ready to fuck and fight

Bridge (1x):

Chocolate colored rainbows,black boys get on down
Chocolate colored rainbows,love to hear that sound


I like to see your shades of brown
I like to see you get on down
love to see them boys get down
I like that U.K.-Irish brown
I like that Tamil-Trini brown
love to,love to see the sound
I love to see the sound,
I love to see the brown
love to see that sound ( I like to...)

chorus 1x

bridge 1x



to write a review

Nalo Hopkinson

OMFG this is good!
You know when you listen to an album over and over until you know bits of it by heart and your housemates are begging you to turn it down? When you start using bits of it for your .sig file? When you burst into tears when you hear certain lines, and bust out laughing when you hear others? This is like that.

Tim Dillinger

DDC Produces a Manifesto
It has been two years since their last release (2005's Live at Wildseed and Mo) and the timing of this release is so perfect. Anyone who has followed the evolution of what is termed as homo-hop knows that Deep Dickollective has been at the forefront of the movement since day one. While it is most certainly groundbreaking that they are a group of "out" MCs, it is that fact blended with their collective, monumental talent that makes them so entirely undeniable as a group. With the international critique of hip-hop over the past year, a statement from Deep Dickollective couldn't be more needed.

On Some Other runs like a perfect stage play...Conversational interludes between songs (poignant and ironic blurbs from various films), tight beats, some of the funkiest instrumentation I've heard in a minute, thought provoking verses, contagious hooks and soulful vocals, culminating into the first recording I've ever heard that feels like the kind of album Essex Hemphill would have made had he been a recording artist.

And they have the necessary dialogue: confronting homophobia in mainstream hip-hop in "TMI" ("What if we talked about sex as much as straight cats do...what if every hip-hop metaphor referred to a dude"), questioning gender rules and masculinity in "Butch Queen" (my personal favorite), telling engaging stories of ultra-personal experiences ("Man of Me") and engaging the listener in racial and political concerns in a way that channels Marvin Gaye and The Last Poets simultaneously ("Negrolosophy" and "For Colored Boys").

With On Some Other, DDC raises the bar and sets a new standard...not just for homo-hop, but for hip-hop at large. This is real (a much over-used term). There's no mass marketing hook involved...these guys are unashamed thinkers...and the world needs more music like this. This album is a manifesto, full of explorations, questions and celebratory declarations. Let me say, in addition, that this is the kind of album you can't help but feel. The spirit in which it was created eminates from every spoken word and every sung note. This is quint-essentially soulful.

I think the next time someone asks me what possible value does hip-hop have, I'm going to hand them a copy of On Some Other.

Dwayne Jenkins

My Boyz
My Boyz are at it again. I'm so glad this CD came back in the inventory! I have all DDC's CDs and this one is a must have for any fan or newby who needs to listen to our vocal veterans.


Very entertaining
Good job. creative! Vo MVP

DJ Pusspuss(Radio Free Pusspuss,San Francisco Bay Times)

a power poetry push for peace and better living through loving
Oakland, California-based Deep Dickollective (D/DC) aka Deep Dic has been the leading collaborative ensemble collective presenting homohop to the gathered faithful and completely unaware. The meat-packers and beat-backers release their fifth release On Some Other presenting a wet dream of “race, class, queerness and masculinity” wrapped in hip hop beats and poetic tributes to pop culture with cut ‘n paste sound bites, big ideas slapping your tender brain-matter and hipster grooves weaving it all into a power poetry push for peace and better living through loving. My picks: “Other Countries,” “Birthdaze,” “TMI,” “Ebony Lane (SABATAJJ),” “Fly Free,” “For Colored Boys” and “Man Of Me.”

Margaret Coble/Curve Magazine, October 2007

Smart,queer, and danceable...definitely give this a spin.
It may seem odd to feature a hip-hop band consisting of several gay black men in a lesbian magazine, but Deep Dic (as they are often abbreviated) has a surprisingly large dyke audience.
Why, you ask? Well I'd venture to say because they are good. Brilliant, even. With a west coast flavored style they call 'chocolate-colored rainbow sound", Deep Dic takes on issues of race, class,queerness and masculinity on this fifth album release via tracks such as "Butchqueen", "Negrolosophy" and "Ghetto Rainbows".
The album is littered with more abstract interstitial pieces called "Innerlubes" often sampling film and TV soundtracks, like "He's Trade (Innerlube Six)" and "Let Them Eat Cakes (Innerlube Seven)". The album-closing cut "For Colored Boys" ends the song cycle by riffing off choreo-poet Ntozake Shange's "for Colored Girls Who Have Considered Suicide When The Rainbow Is Enuf" making it a goosebump-inducing anthem for black fags everywhere. If you like your rap smart, queer and danceable, then definitely give this a spin."