Inner workings of my music oriented mind

 

frank ocean: i’ve been meaning to write you more. different hotels every night...

frankocean:

i’ve been meaning to write you more. different hotels every night aren’t so bad really. in fact- all the moving house could inspire a photo series.. not for the gram, knowing me it’s probably only for whoever controls my estate in the future and enthusiastically develops all the rolls of film i…

workaholics:

Six Days of Half Christmas, Six Half Christmas Gifs
On the last day of #HalfXmas, my true love gave to me…

workaholics:

Six Days of Half Christmas, Six Half Christmas Gifs

On the last day of #HalfXmas, my true love gave to me…

POZ Stream: I Can Make A Mess - “Adaptation Cell”

propertyofzack:

image

I Can Make A Mess will be releasing Enola on June 11th via Rise Records. We wrote about the new album in our Most Anticipated feature for June and in our First Impressions series, so it’s clear that PropertyOfZack is a big fan of the release, which is why we’re so stoked to be streaming a new song from record.

Ace will be on Warped Tour all summer long with The Early November, but will be playing I Can Make A Mess songs at the Acoustic Basement every day as well. Pre-order Enola here and stream a brand new song called ”Adaptation Cell” below!

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This CD hasnt left the truck in months.

(Source: Spotify)

workaholics:

As we draw closer to the Season 3B premiere tomorrow night, we take a moment to recognize the fans who have helped to keep the show alive during the hiatus through their passion, dedication, and screaming from rooftops.  They don’t have to #GetWeird; they already live there.

One such fan is artist Carlos Ramos, whom our Production Designer Gary Kordan was working on a project with when he discovered Carlos was a huge Workaholics fan; so much so he offered to draw the whole cast.

On display now are his renditions of the Best Friend Brigade, the three brajeteers who hang the show on their proverbial plot coatrack.  In the weeks to come we’ll have more pieces detailing the TelAmeriCorp office, and beyond.  It’s only going to #GetWeirder.

See more of Carlos Ramos’ non-Workaholics stuff on his Tumblr.  We’ll have info on how you can order these prints yourself coming soon.

Are you a Workaholics fan with a love of the brush stroke?  Stay tuned to the Workaholics Tumblr for info on where you can send your work for possible posting right here on the blog, or even use on a future episode of the show!

workaholics:

Are you ready to #GetWeird for years to come?

Good.

Because Workaholics is coming back for not just Season 4… it’s coming back for Season MORE!  That’s Season 5, too.  

Season’s 4 and 5 were just announced by Comedy Central Head of Production and Original Programming Kent Alterman at the TCA’s in Pasadena, California.  That’s the epicenter of this #GetWeird earthquake, and the gnar aftershocks are sure to be felt from Rancho Cucamonga all the way to Poundtown.  

We’ll see you there!

Don’t forget Workaholics Season 3B premieres on Wednesday, January 16th at 10/9 CT, only on Comedy Central!

I’d like to congratulate two oft favorite people @ssgandy and @caitbrink for their new daughter Ms. Isabelle Joy. (at The Baby Depot)

I’d like to congratulate two oft favorite people @ssgandy and @caitbrink for their new daughter Ms. Isabelle Joy. (at The Baby Depot)

fyeahblackhippy:

Kendrick Lamar: The Story Behind ‘good kid, m.A.A.d city.’
by Benjamin Meadows-Ingram.
It’s a Tuesday evening in early October and Kendrick Lamar just dozed off in the back of a black mini coach. He’s got a black Top Dawg Entertainment hooded sweatshirt pulled low over his eyes as the inexplicable in-car entertainment, a live recording of the Blue Man Group, dances across a screen at the front of the cab. Midtown Manhattan is gridlock. In the rearview is 30 Rockefeller Plaza, where Lamar just marked his first network TV appearance, taping a performance of his single “Swimming Pools (Drank)” for “Late Night With Jimmy Fallon.” Ahead is a meet-and-greet at the Soho Apple Store, where he’ll participate in an onstage Q&A with AllHipHop.com founder Chuck Creekmur and do another performance of “Swimming Pools” to promote pre—orders of his highly anticipated TDE/Aftermath/Interscope debut, “good kid, m.A.A.d city,” which went live the night before and immediately shot the project to the top of iTunes’ hip-hop/rap chart. In between: van chatter, the Blue Man Group or a few minutes to steal a few Z’s. Can you blame him for choosing door No. 3? 
With the album’s release just weeks away, Lamar is in the middle of a relentless run that began in earnest with the first of a 30-date self-titled tour, sponsored by BET Music Matters and TDE, in early September. Last night, he was in Baton Rouge, La., picking up a sold-out spot date at Varsity Theatre that was tacked onto the New Orleans stop of the Music Matters tour the previous night. Before New Orleans, Lamar was in Atlanta taping a rack of segments for the BET Hip-Hop Awards, including a performance of “Swimming Pools” and “The Recipe” (the Dr. Dre-assisted single that will appear on the deluxe edition of “good kid, m.A.A.d city”), presenting the I Am Hip-Hop Award to legendary MC Rakim; appearing in the West Coast cipher alongside the likes of E-40, DJ Quik, Kurupt and Snoop Lion; and collecting an award for lyricist of the year. Tomorrow, he’ll push back his flight home in order to crash in a magazine photo shoot, a radio station appearance and a stop by BET’s “106 & Park.” On Saturday, he’ll drive himself to Fresno, Calif., where he’ll perform in the Big Fresno Fair. Two weeks ago, he had been scheduled to have the week off. 
“I don’t look at no dates,” Lamar says, explaining how he manages to stay afloat. “I just go to the crowd and do shows. I don’t look at days of the week or none of that — that’s how I get another 12 months [out of myself]. If I sit down and think about it now, I’ll go crazy.”
Kendrick Lamar’s ‘Good Kid’: Track-By-Track Review
The current schedule shuffle, stack, reshuffle, re-stack and reshuffle all over again is just a snapshot of how things have been going for the 25-year-old Compton, Calif.-bred MC since he released the “Kendrick Lamar” EP, the first project recorded under his birth name, on Dec. 31, 2009 — and arguably even well before that. 
It’s been nearly eight years since Lamar first hooked up with Anthony “Top Dawg” Tiffith as the second artist to join the latter’s then-fledgling TDE. Since then, Lamar has evolved from local teenage standout (he came to TDE through high school friend/longtime manager/sometime producer Dave Free, who sought him out after catching wind of his talents while attending a school across town) to one of the most celebrated upstart MCs to emerge in the past 10 years. Embraced by both the press and his peers for his technical prowess and thoughtful subject matter, Lamar has been hailed as both the New West Coast King and hip-hop’s savior. 
When TDE signed a somewhat opaque joint venture with Interscope in March that included a companion solo deal directly aligning Lamar with Dr. Dre’s Aftermath Entertainment — positioning Lamar’s album as the first solo rap debut on the storied label since the Game’s “The Documentary” bowed atop the Billboard 200 in 2005 with 580,000 copies sold, according to Nielsen SoundScan — the stage was set for “good kid, m.A.A.d city” to be one of the most-anticipated albums by a rap rookie in years. After all, it’s not every day that Dr. Dre, who ushered in the careers of Snoop, Eminem, 50 Cent, and the Game, co-signs a potential new star. 
Not that Lamar is fazed. 
“It’s cool for them to put me in big shoes,” he says, “because I have high expectations for myself. Anyone else’s expectations? My team’s expectations? [We’re] already at that. We’re at this point where we feel like we’re elite members of the game, so it’s really just about everyone else catching up.” 
But as Tiffith notes, there’s more riding on “good kid, m.A.A.d city” than Lamar’s, or even Dre’s, rep. 
“We’ve done a lot, but we haven’t sold any records,” says Tiffith, who started TDE in 1997, when he sunk what he estimates to be about $100,000 into a home studio in Carson, Calif. — only to watch it lay dormant for seven years while he “finished doing whatever I was doing” before turning his attention to music full time. 
“This is our real first release,” he adds. “This is going to set the tone for TDE.” 
SOMETHING TO PROVE. 
While Tiffith’s characterization of the label’s success to date isn’t quite accurate — TDE has moved more than 150,000 units, according to SoundScan, starting with Lamar’s 2010 project “Overly Dedicated” (12,000) and his 2011 follow-up, “Section.80” (78,000) — his assessment is certainly on point. This time last year, TDE was an independent success story, a label with a core roster in Lamar, Schoolboy Q, Jay Rock and Ab-Soul (collectively known as Black Hippy) — of young, viable talent with growing power at retail and on the road. The label’s Internet footprint — shaped in no small part by Free, a former computer technician who made securing online support for Lamar and TDE a cornerstone of his strategy — was formidable, and even without radio support, each subsequent release tracked higher and higher sales. 
By aligning with Interscope, however, the terms of the game immediately changed. No longer was TDE the indie label that could — suddenly it was an investment with questions to answer and something to prove. Still, Tiffith thinks that even with increased expectations, the deal was the right move. 
“As long as you control your touring, publishing and your merch, you’re good,” he says. “Kendrick might sell a million records, somebody else [on the label] might not. So if you can get a big-ass check to set the future up for everybody else, you might want to get that, because you never know what’s going to happen. Today, most rappers and artists make their money on the road because records don’t sell the way they used to.” 
In March, Warner/Chappell secured a partnership with Dr. Dre for Lamar’s publishing that Tiffith characterizes as “one of the biggest publishing deals in the past five to six years, especially for a new artist.” 
Warner/Chappell chairman/CEO Cameron Strang says, “Everyone at Warner/Chappell recognizes Kendrick’s great talents, and his new album is phenomenal. Our long and fruitful relationship with Dr. Dre was an instrumental factor in his signing with us.”
Even as it eyes Lamar’s debut, TDE is setting up solo releases from Ab-Soul and Schoolboy Q (who got a separate solo deal, with Interscope, as part of the TDE/Interscope package) with a possible Black Hippy project in the works. More broadly, Tiffith talks about restoring Interscope’s storied rap legacy (“We’ve got the talent, we’ve got the artists”) and building an empire on par with Cash Money and Death Row. 
But before he and TDE can get there, there’s “good kid, m.A.A.d city,” perhaps the most-watched rap debut since J. Cole’s “Cole World: The Sideline Story” last year. Like Cole, who was touted as Jay-Z’s protege, Lamar has a heavyweight co-sign in Dr. Dre. And like Cole, who didn’t have a hit single at radio as he headed into release, Lamar has yet to deliver a traditional hit — “Swimming Pools” held steady at No. 14 on the Hot R&B / Hip-Hop Songs last week and sits at No. 61 on the Billboard Hot 100. Yet, also like Cole (and next week’s big hip hop debut artist, Meek Mill), Lamar has an online buzz that is thunderous, if hard to gauge. According to the label, preorders for “good kid, m.A.A.d city” were at 12,000 at press time. 
“Cole World” surprised many industry watchers when it bowed atop the Billboard 200 with 217,000 copies, according to SoundScan, and in the year since, at least a couple of other rappers known more online than at radio have come close to repeating the trick. In November, Rostrum Records’ Mac Miller pulled off a feat of his own when he sold 144,000 first-week copies on his way to becoming the first independent artist to debut at No. 1 on the Billboard 200 since 1995. Last week, Macklemore & Ryan Lewis landed their debut at No. 2 with 78,000 sold, despite little to no airplay. The question is: Can TDE and Lamar do the same? 
“We’re trying to manage our expectations,” Interscope vice chairman Steve Berman says. “That said, based on the reaction that we’re getting, the expectations are growing every day. However this record rolls out, the commitment of Interscope Geffen A&M is to the long-term vision of Kendrick and of TDE. We’re going to be working this project for a long, long time.”

fyeahblackhippy:

Kendrick Lamar: The Story Behind ‘good kid, m.A.A.d city.’

by Benjamin Meadows-Ingram.

It’s a Tuesday evening in early October and Kendrick Lamar just dozed off in the back of a black mini coach. He’s got a black Top Dawg Entertainment hooded sweatshirt pulled low over his eyes as the inexplicable in-car entertainment, a live recording of the Blue Man Group, dances across a screen at the front of the cab. Midtown Manhattan is gridlock. In the rearview is 30 Rockefeller Plaza, where Lamar just marked his first network TV appearance, taping a performance of his single “Swimming Pools (Drank)” for “Late Night With Jimmy Fallon.” Ahead is a meet-and-greet at the Soho Apple Store, where he’ll participate in an onstage Q&A with AllHipHop.com founder Chuck Creekmur and do another performance of “Swimming Pools” to promote pre—orders of his highly anticipated TDE/Aftermath/Interscope debut, “good kid, m.A.A.d city,” which went live the night before and immediately shot the project to the top of iTunes’ hip-hop/rap chart. In between: van chatter, the Blue Man Group or a few minutes to steal a few Z’s. Can you blame him for choosing door No. 3? 

With the album’s release just weeks away, Lamar is in the middle of a relentless run that began in earnest with the first of a 30-date self-titled tour, sponsored by BET Music Matters and TDE, in early September. Last night, he was in Baton Rouge, La., picking up a sold-out spot date at Varsity Theatre that was tacked onto the New Orleans stop of the Music Matters tour the previous night. Before New Orleans, Lamar was in Atlanta taping a rack of segments for the BET Hip-Hop Awards, including a performance of “Swimming Pools” and “The Recipe” (the Dr. Dre-assisted single that will appear on the deluxe edition of “good kid, m.A.A.d city”), presenting the I Am Hip-Hop Award to legendary MC Rakim; appearing in the West Coast cipher alongside the likes of E-40, DJ Quik, Kurupt and Snoop Lion; and collecting an award for lyricist of the year. Tomorrow, he’ll push back his flight home in order to crash in a magazine photo shoot, a radio station appearance and a stop by BET’s “106 & Park.” On Saturday, he’ll drive himself to Fresno, Calif., where he’ll perform in the Big Fresno Fair. Two weeks ago, he had been scheduled to have the week off. 

“I don’t look at no dates,” Lamar says, explaining how he manages to stay afloat. “I just go to the crowd and do shows. I don’t look at days of the week or none of that — that’s how I get another 12 months [out of myself]. If I sit down and think about it now, I’ll go crazy.”

Kendrick Lamar’s ‘Good Kid’: Track-By-Track Review

The current schedule shuffle, stack, reshuffle, re-stack and reshuffle all over again is just a snapshot of how things have been going for the 25-year-old Compton, Calif.-bred MC since he released the “Kendrick Lamar” EP, the first project recorded under his birth name, on Dec. 31, 2009 — and arguably even well before that. 

It’s been nearly eight years since Lamar first hooked up with Anthony “Top Dawg” Tiffith as the second artist to join the latter’s then-fledgling TDE. Since then, Lamar has evolved from local teenage standout (he came to TDE through high school friend/longtime manager/sometime producer Dave Free, who sought him out after catching wind of his talents while attending a school across town) to one of the most celebrated upstart MCs to emerge in the past 10 years. Embraced by both the press and his peers for his technical prowess and thoughtful subject matter, Lamar has been hailed as both the New West Coast King and hip-hop’s savior. 

When TDE signed a somewhat opaque joint venture with Interscope in March that included a companion solo deal directly aligning Lamar with Dr. Dre’s Aftermath Entertainment — positioning Lamar’s album as the first solo rap debut on the storied label since the Game’s “The Documentary” bowed atop the Billboard 200 in 2005 with 580,000 copies sold, according to Nielsen SoundScan — the stage was set for “good kid, m.A.A.d city” to be one of the most-anticipated albums by a rap rookie in years. After all, it’s not every day that Dr. Dre, who ushered in the careers of Snoop, Eminem, 50 Cent, and the Game, co-signs a potential new star. 

Not that Lamar is fazed. 

“It’s cool for them to put me in big shoes,” he says, “because I have high expectations for myself. Anyone else’s expectations? My team’s expectations? [We’re] already at that. We’re at this point where we feel like we’re elite members of the game, so it’s really just about everyone else catching up.” 

But as Tiffith notes, there’s more riding on “good kid, m.A.A.d city” than Lamar’s, or even Dre’s, rep. 

“We’ve done a lot, but we haven’t sold any records,” says Tiffith, who started TDE in 1997, when he sunk what he estimates to be about $100,000 into a home studio in Carson, Calif. — only to watch it lay dormant for seven years while he “finished doing whatever I was doing” before turning his attention to music full time. 

“This is our real first release,” he adds. “This is going to set the tone for TDE.” 

SOMETHING TO PROVE. 

While Tiffith’s characterization of the label’s success to date isn’t quite accurate — TDE has moved more than 150,000 units, according to SoundScan, starting with Lamar’s 2010 project “Overly Dedicated” (12,000) and his 2011 follow-up, “Section.80” (78,000) — his assessment is certainly on point. This time last year, TDE was an independent success story, a label with a core roster in Lamar, Schoolboy Q, Jay Rock and Ab-Soul (collectively known as Black Hippy) — of young, viable talent with growing power at retail and on the road. The label’s Internet footprint — shaped in no small part by Free, a former computer technician who made securing online support for Lamar and TDE a cornerstone of his strategy — was formidable, and even without radio support, each subsequent release tracked higher and higher sales. 

By aligning with Interscope, however, the terms of the game immediately changed. No longer was TDE the indie label that could — suddenly it was an investment with questions to answer and something to prove. Still, Tiffith thinks that even with increased expectations, the deal was the right move. 

“As long as you control your touring, publishing and your merch, you’re good,” he says. “Kendrick might sell a million records, somebody else [on the label] might not. So if you can get a big-ass check to set the future up for everybody else, you might want to get that, because you never know what’s going to happen. Today, most rappers and artists make their money on the road because records don’t sell the way they used to.” 

In March, Warner/Chappell secured a partnership with Dr. Dre for Lamar’s publishing that Tiffith characterizes as “one of the biggest publishing deals in the past five to six years, especially for a new artist.” 

Warner/Chappell chairman/CEO Cameron Strang says, “Everyone at Warner/Chappell recognizes Kendrick’s great talents, and his new album is phenomenal. Our long and fruitful relationship with Dr. Dre was an instrumental factor in his signing with us.”

Even as it eyes Lamar’s debut, TDE is setting up solo releases from Ab-Soul and Schoolboy Q (who got a separate solo deal, with Interscope, as part of the TDE/Interscope package) with a possible Black Hippy project in the works. More broadly, Tiffith talks about restoring Interscope’s storied rap legacy (“We’ve got the talent, we’ve got the artists”) and building an empire on par with Cash Money and Death Row. 

But before he and TDE can get there, there’s “good kid, m.A.A.d city,” perhaps the most-watched rap debut since J. Cole’s “Cole World: The Sideline Story” last year. Like Cole, who was touted as Jay-Z’s protege, Lamar has a heavyweight co-sign in Dr. Dre. And like Cole, who didn’t have a hit single at radio as he headed into release, Lamar has yet to deliver a traditional hit — “Swimming Pools” held steady at No. 14 on the Hot R&B / Hip-Hop Songs last week and sits at No. 61 on the Billboard Hot 100. Yet, also like Cole (and next week’s big hip hop debut artist, Meek Mill), Lamar has an online buzz that is thunderous, if hard to gauge. According to the label, preorders for “good kid, m.A.A.d city” were at 12,000 at press time. 

“Cole World” surprised many industry watchers when it bowed atop the Billboard 200 with 217,000 copies, according to SoundScan, and in the year since, at least a couple of other rappers known more online than at radio have come close to repeating the trick. In November, Rostrum Records’ Mac Miller pulled off a feat of his own when he sold 144,000 first-week copies on his way to becoming the first independent artist to debut at No. 1 on the Billboard 200 since 1995. Last week, Macklemore & Ryan Lewis landed their debut at No. 2 with 78,000 sold, despite little to no airplay. The question is: Can TDE and Lamar do the same? 

“We’re trying to manage our expectations,” Interscope vice chairman Steve Berman says. “That said, based on the reaction that we’re getting, the expectations are growing every day. However this record rolls out, the commitment of Interscope Geffen A&M is to the long-term vision of Kendrick and of TDE. We’re going to be working this project for a long, long time.”

I slip another smile in your pocket. (Taken with Instagram at Yellowcard - Rocket)

I slip another smile in your pocket. (Taken with Instagram at Yellowcard - Rocket)

So in lieu of M&S concert I chose to miss (Prefer to spend my $$ on LP’s, if only I had $100,000+ to spend on whatever i want..)
This is a compilation of a bunch of bands who are new to me. Plus Dawes, M&S, Middle Brother, ect. Be ready to Hicked-out on this. I, personally, am loving it.

(Source: Spotify)

Tony Sly (No Use for a Name) dies at 41

cityofpunk:

Tony Sly has passed away yesterday at age 41. Anthony was an American singer, songwriter and guitarist, best known as the frontman of seminal punk rock band No Use for a Name. His cause of death has not yet been released. Check out a statement from the band’s longtime label, Fat Wreck Chords, below by clicking “Read More”

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Two of my idols. RIP George.
idledylan:

George reading Bob’s Don’t Look Back

Two of my idols. RIP George.

idledylan:

George reading Bob’s Don’t Look Back

"Everything the light touches our kingdom" (Taken with Instagram at Elton John & Tim Rice - Circle of Life)

"Everything the light touches our kingdom" (Taken with Instagram at Elton John & Tim Rice - Circle of Life)

Kendrick Lamar - Swimming Pools (Drank)

"Pass out. Drank. Wake up. Drank. Faded. Drank. Faded. Drank."

To be completely honest, Kendrick is my #1 favorite rapper of this decade starting with Kendrick Lamar EP. I truly believe he is getting stronger and stronger as an artist. However, I say this regrettably, I do not see him progressing as a hit artist. To clarify, I do not want him to get Popped-out like B.o.B can do. I do want to see him continue on his way to stardom as one of the most multi-facited lyricist the rap world (to my knowledge) has known. This sometimes can hurt him a song such as this one.

The 2nd verse is crucial to telling the story, but really breaks up the radiobility (apparently coined by a Jo Tacchi) of the song. Who knows, maybe the industry will change pace similar to the way it received Slim Shad LP, in my heart I don’t believe they will.

Hear’s to being wrong!