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In Rotation – Speakeasy

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Speak Easy is Atlanta based rapper Sean Fahie. He just dropped a new mixtape called Words Have Power. I recall having a discussion with Sean about how the best albums are the ones that you can hit play once, go clean the house, cook breakfast and the record is still playing without any tracks skipped.

Words Have Power is one of those records. Sean’s flow reminds me a bit of Del tha Funky Homosapien, but his lyrical content is closer to Moka Only’s. I highly recommend this mixtape to hip hop heads who are into artists like Mr. Lif, Pharcyde, early Common and Curren$y.

You can stream all of Words Have Power here


Written by shotfromguns

September 2nd, 2010 at 2:11 pm

September Show Calendar

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Wednesday, September 1

Glitch Mob, Marty Party @ the Masquerade

Thursday, September 2

Hip To Death, Mourdella (free show) @ Criminal Records

Wednesday, September 8

Bear in Heaven, Crystal Castles @ the Masquerade

The New Master Sounds, East Ponce Soul Faction @ New Earth Music Hall (Athens)

Sunday, September 12

Balmorhea, Sleepy Sun @ the Earl

Thursday, September 14

Dungen, No Joy @ the Earl

Public Enemy, Crew Grrl Order @ Center Stage

Saturday, September 18

Kuroma, Quiet Hooves, Grape Soda @ 40 Watt (Athens)

Monday, September 20

Titus Andronicus, Turf War @ the Earl

Wednesday, September 22

Jamie Lidell, Twin Shadow @ the Earl

Friday, September 24

Letters Organize, Predator @ 529

Dexter Romweber Duo @ Star Bar

Saturday, September 25

RJD2 @ the Masquerade

Amel Larrieux, Anthony David @ Center Stage


Where Does Art Belong in a Capitalist Society?

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Art is not something that can be used within a diverse set of applications worldwide. A knowledgeable software programmer with a masters in computer science and engineering can create a software program that can benefit the entire world. Accountants help to interpret and communicate the financial information within a company; this is extremely valuable for business owners, managers and shareholders. The same can be said for doctors or clinical lab technicians who help to diagnose, monitor and treat diseases that can threaten all of mankind.

However, an art form such as music can only be taught to people who are interested in music and want to expand their own outlooks in regards to that craft. Music is not something that can be used in a variety of applications and fields and one person’s music tastes can be largely divergent from another person’s. So the entire art form is very subjective and is balanced upon the often disparate interests of different groups of people.

In general, from a capitalistic vantage point, it may be hard to weigh the overall benefits of the fine arts because 1) they cannot be applied universally and 2) it is hard to make an extraordinary amount of profit on the by-products of the arts and those products’ application within our modern global society.

From this perspective, one can better understand how arts programs have been cut from school budgets and why students are encouraged to enroll in more math and science courses and not band class. However, I would argue that the arts definitely have a place within a capitalistic society; moreover, they have a strong place within American culture.

As a capitalistic society, we may share a set of attitudes and goals surrounding the pursuit of profit or a greater dollar. But as a nation, we are a myriad of cultures and the arts are a major subdivision of all cultures within our nation. America is a very diverse nation, but as people we share a capacity for symbolic thought, creative expression and social learning. The arts enhance all of these things by granting individuals and groups the power to express themselves through art; impacting other people through a completely new and provocative experience that can transcend the artist’s initial inspiration or stimulus. This in turn manifests the creation of new symbolic thought processes and engages people in both passive and active learning experiences.

Let us not forget that the fine arts are universal and have the potential to connect people of all classes, races, ethnic groups and cultures worldwide.

Should it be mandatory for the government to support the arts?

This can be a tough question because it arouses the issue of what role the government should play in any private sector, including the arts. But I would make the case that the arts should not and are not exclusive to the private sector, but a part of the public sector. This is because the arts offer intrinsic value to our society – personally I feel that we cannot boil everything down to profit within this country.

In addition, I believe that arts programs should be in every academic institution. There should be government support and funds for all fine arts programs and monies allocated to people interested in teaching the different art forms to America’s students. If someone wants to teach ceramics, film studies, music, dance, or journalism to a group of young, budding minds; they should be granted that opportunity and know that they can always receive some form of income, no matter how large or small, from a government entity. This should be a mandatory initiative on Congress’s long, bullet-pointed agenda.

Why do I feel that the government should support the arts?

 I feel the government should support the arts for the same reason that we value creative expression and ingenuity as human beings. I also value the arts because I understand that from time to time our society needs to take a mirror and have our people look at themselves. Artists provide that self-examination and keen, yet sometimes brutally honest observation of society. And let’s not forget, art is entertainment. We love the spectacle of seeing a gifted virtuoso onstage or watching a blank canvas transform into a work of art that resembles a reality separate from our own.

The entertainment aspect is honestly no different from what we get out of sports. We watch athletes because it’s entertaining and enjoy seeing people who are in their peak physical condition competing against similarly matched athletes. Yet time after time, schools and universities nation-wide increase the budgets of the sports teams (especially in the southeast), while the arts programs and facilities remain in constant fear and peril of being extinct on campus.

Parents send their children to specialized art schools where they can cultivate their artistic talents, but these schools remain on the fringe of the academic world. In addition, many parents may do this hesitantly because they feel their children will end up with a mountain of debt and no lucrative career to assist in paying it off.

My only answer is that the government can play a greater role in promoting the arts, specifically at the compulsory education levels of elementary, middle and high school. There are countless art galleries, museums, opera houses and dance halls funded by the government, that’s great! But I always hear complaints from the art teachers and band/orchestra directors at the schools. They complain about how the budget is being cut, teachers are losing their jobs; there is not enough interest in the programs, etc. There should always be government support for the arts and it starts at the school level.

Students who encompass a natural talent for the arts should not feel shunned. They should not feel that their set of skills is not valuable or lucrative within our society. As a musician, I have been told my entire life that music is great as a hobby, but why pursue it as a career?  I have been told by family members, friends, counselors, etc. that being a musician can and will end up in starving artist lifestyle. And because it is a “starving” artist lifestyle, there is no value in it.

In addition, as a minority, I understand that amongst the lower-income black and Hispanic youth, it is more popular and respected to take the route of an athlete. They believe that because athletes in the NBA or NFL get paid more money and are more popular in the mainstream media. The job of an athlete ultimately becomes more appealing and gratifying to the impressionable inner city youth. If a few of these kids with artistic inclinations knew that they would be guaranteed some sort of income by being involved in the fine arts, things would be different. And it has to start at the compulsory education level, this is the time when our country’s youth is programmed and will eventually turn into future citizens/taxpayers of America.

In general, how the government and taxpayers respond to the arts agenda and cause is largely contingent upon where and how we view ourselves as a society. As consumers, we are all bound by the pursuit of a greater profit. This is a fact. But on a day to day basis, people do not ask themselves where they envision this country in the future. What kind of leaders will we have elected, what institutions will be built, how will the rest of the world perceive America? These are all tough questions that make up an even greater equation about how we ultimately define the new American society and the new American values of the 21st century.

But these questions have be to asked, at least evaluated- and the fate of the fine arts in our country should be one of these questions. My answer is simple. Fine arts education needs more funding at the compulsory education level. It is intrinsically tied to a child’s personal development and it is a public service to American society and culture.

*If you are seeking a solution on how to gain more funds for your fine arts program or start a fine arts program at your school, I would consult the National Endowment for the Arts (NEA) and find out where the funding sources in your state are.

You can access their site here and I would HIGHLY encourage you to read this article published by the NEA here

I also encourage students to start clubs at their schools. You may already have a band, orchestra, choir, art class, etc., but feel the curriculum doesn’t fit the needs of your current student body. First, talk to your teachers about it. Then see if you can start a club and highlight those art-related issues that you care most about. I was a part of a guitar club at my high school and it was a major part of my musical and personal development.

You can also partner with different organizations and people within your community. When I was in high school, my guidance counselor laughed when I said I wanted to play guitar and compose for a living. What she should have said is that I could seek out an internship at a local music venue or volunteer at a local theatre, art gallery or non-profit such as the NEA that works to protect and preserve the arts. Reach out to those other creative people in your community and help them make that community stronger.

 


The Rap Media Cannot Be Trusted

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I’m pissed. When I go to the grocery store or a bookstore and I browse the magazines section, nine times out of ten, there are two hip hop magazines and that’s The Source and XXL. Two magazines to represent a multi-million dollar industry and a music genre that has been around for almost 25 years. On top of that, I think of the notorious “greatest rappers alive” debate and I realize something. All of the people who are deemed the “greatest rappers alive” are signed to major labels, featured in the big hip hop magazines and consistently receive album reviews in these same two magazines year after year.

In addition, the biggest hip hop magazines are corporate owned. Almost all of the up and coming rappers that they endorse are signed to corporate major labels. XXL (*which is owned by the corporation Harris Publications, the same publisher that publishes guns and ammo magazines. XXL also owned Scratch; they own Shade 45, Hip Hop Soul and Eye Candy. Shade 45 was initially designed to put a spotlight on Eminem and his label Shady Records. Eminem is regularly featured in XXL) has an issue dedicated to “unsigned hype” and the “freshman class” of rap. The articles within this particular issue are designed to put a shine on new artists. However, the majority of these artists are signed to major labels and they seek to further their labels’ interests as much as their own. Because if they don’t serve the labels’ interests, their albums might end up in rap record purgatory and who knows when the record will see the light of day.

So what have we gathered? There are two popular hip hop magazines that reign supreme, they’re corporate owned and they back major label artists. These magazines creates a buzz around artists that have big money behind them. As a hip hop fan, what can I personally infer from this?  I don’t know…I’m actually confused. Last time I checked I thought rap and hip hop was music about giving the little guy a voice. Yet, I don’t even see the little guy being invited to the conversation. However, I will tell you what I do see.

I see rappers compromising their values and music so they can be signed to major labels and get a taste of  the “the Source hype.” I see fans having intense debates over who the greatest rookie emcee is, but their entire lists are comprised of corporate artists signed to corporate labels that back corporate interests and not hip hop’s interests (sorry Drake and Weezy). Moreover, I read about talented rap artists like Clipse getting in bed with labels like Columbia Records even after their last major record label burned them. They do this because they genuinely want to be considered some of the best rappers alive, but think they can’t do it without the rap corporatocracy.

I feel it is obvious that a corporatocracy exists within the music industry, but what is less obvious is that as this corporatocracy has gained power and expanded its jaws – now other music genres are being affected by it. Hip hop fans have complained about the quality of the music for years now, but do they ever stop and think about how there were only two magazines that dictate the status quo in the industry? How independent artists like Jean Grae and Moka Only have been releasing great rap records for years, but won’t receive any credit. This is not because they lack talent or an image, that’s a fabrication. They don’t receive shine because they aren’t signed to major labels. Do hip hop fans think about how the same stale and revolving list of names enters the debate when we discuss hip hop and rap? This is because hip hop and rap fans do not realize there is a rap corporatocracy and they feed into it on a daily basis.

So what is a rapper to do? If I was a rap artist, I’d be sick. I could work my ass off with the ambitions of being featured in The Source or XXL, all in the hopes of being considered “legitimate” in the eyes of my fans. I could also sign to a major label, where who knows what kind of crazy demands, loopholes and negative backlash could ensue. Moreover, I could hire the world’s best producers, make the most radio friendly music possible, change my image and still not sell enough records to compete with rappers higher up on the corporate food chain (Wikipedia Wale). The only thing that would have changed is that now I would be in serious debt to the major label. What kind of choices would I have in such a limiting environment?

Personally, I wouldn’t participate in the system at all. I refuse to support a system that is fundamentally steeped in backing corporate interests, practicing nepotism, withholding information from its consumer base, and in general releases a subpar product.  So what’s all the hype about? The punk rock bands got it, jazz artists understand, blues musicians get it (Country artists don’t understand yet, but they will in time once their genre has been raped and pillaged.) Yet time after time, I hear from local rappers about how they want to emulate Young Jeezy, Kanye West or Eminem. They feel they need to be signed to majors and featured in corporate run magazines in order to get their product out there.

People can say that the music industry has existed like this for years and things aren’t very different from how they were 15 years ago. I don’t care if things are the same, I want change and I’m writer so I’m writing about it. It is ridiculous for an entire music genre and industry to rely on the interests and decoys of a couple corporate owned magazines – the rap media cannot be trusted. Moreover, that’s just the tip of the iceberg because these magazines serve to further the interests of their masters.

Now I’ll be frank. I can give magazines like XXL credit because they do feature artists in a more candid light. They get these people to talk about their industry experiences and XXL has never openly bashed independent artists. But the fact that they’re one of two big magazines speaks volumes. Both the Source and XXL have a massive amount of pull in the hip hop industry. But I can’t make excuses for The Source, they are plagued with poor writers and nepotism is a large part of their journalistic culture. In general, these two sources are the beacons of light within the hip hop industry, but they’re allowed to run rampant – there are no watchdogs within this industry and the majority of the fans lack the information to do put two and two together.

If we’re going to see any kind of balance within hip hop and rap, the media has to take a stronger stance. We don’t need just independent rappers and rap movements, there has to be independent and grassroots grown media to report about it. We lack that right now and until people step up to the plate and start using their computers for more than downloading music - the rap industry will remain in a coma.

Here are some links to free-standing and independent hip hop media outlets:

Fader Magazine – http://www.thefader.com/

Ozone Magazine - http://www.ozonemag.com/

UGS Mag – http://ugsmag.com/

Murder Dog – http://www.murderdog.com/

Above Ground Magazinehttp://abovegroundmagazine.com/

Wendy Day – http://www.wendyday.com/ (*very informative website, she has some great articles on the music business, HIGHLY RECOMMENDED)

*As an end note, I would like to add that this article may targeted towards hip hop musicians and their consumer base, but the information can be applied to all music genres. If you feel that there are not enough independent media outlets to represent your genre, do something about it. Start a local zine or magazine, create a blog, find local radio shows and programs that highlight your genre. The point is, get out there and start your own revolution.


August Show Calendar

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Sunday, August 1

Boris, Russian Circles @ the Masquerade

Monday, August 2

Sunglasses, Bukkake Boys, Awesome Shirt @ Club 529

Thursday, August 5

FUCK YESSS featuring Le Castlevania @ MJQ Concourse

Friday, August 13

Athens Popfest w/ Circulatory System, Apples in Stereo and Elekibass @ 40 Watt

Little Tybee, Soft Powers @ WonderRoot

Untied States, Today the Sun Tomorrow the Moon @ Star Bar

Saturday, August 14

Little Brother @ the Loft

Sunday, August 15

Strange Daze Music Fest w/ Jungol, It’s Elephants and many more @ the Masquerade

Wednesday, August 18

Ugly Radio Rebellion @ the Five Spot

Thursday, August 19

Patchwerk Studios Presents: I Do Music showcase @ Smith’s Olde Bar

Friday, August 20

Dubconscious @ Variety Playhouse

Colour Revolt @ Criminal Records

Saturday, August 21

All Night Drug Prowling Wolves (LP release), GG King, Author’s Apology @ the Earl

Down Since One, At Night @ Kayson’s

Letters Organize, Baby Baby @ 529

Tuesday, August 24

Knaves Graves, Film Strip, Dirty Girls @ 529

Monday, August 30

Fu Manchu, Black Tusk @ the Masquerade


Best shows in Atlanta and Athens July 22-31

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Friday, July 23

SLOPFEST @ Little Kings

Saturday, July 24

NOPHEST @ Eyedrum

Mint Benefit Concert @ WonderRoot

Nappy Roots, Yelawolf, Modern Skirts @ New Earth Music Hall

Sunday, July 25

Seu Jorge, Almaz @ Variety Playhouse

Friday, July 30

Light Pupil Dilate (final show) @ Drunken Unicorn

Ariel Pink, Magic Kids @ the Earl

Saturday, July 31

Attention System @ Criminal Records


The Physical Subscription Model – a New Model for 20Ten

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“The Internet is completely over”

For the past couple days, music journalists have had a field day with this somewhat controversial, but ultimately lukewarm statement by r&b/soul music icon Prince. However, the real controversy is that Prince is once again bypassing the brick and mortar record stores and releasing his album via a national newspaper. Prince’s 2007 album Planet Earth was released as a free cover mount with a British newspaper. And in the past Prince has given away free “purple tickets” in select records, these tickets function in the same way as a coveted pass to Willy Wonka’s factory.

However, the purpose of this article is not to address Prince’s beliefs surrounding the Internet. This is about whether or not giving away cds with newspapers and other printed media is a viable option for musicians- we will call it the physical subscription model.

In this transitional and digital era of the music business, many would call it career suicide to boycott digital download and distribution services. The majority of the music being purchased is being sold as singles via iTunes and thousands of albums are sold through iTunes and Amazon. Countless artists have restructured their business plans to go exclusively digital by offering their music through iTunes, their own websites and on other distribution outlets such as Cdbaby or Rhapsody.

But are we missing something by discounting the power of physical storage ?

If one takes a closer look at the physical subscription model, it makes sense that an artist can monetarily benefit from this kind of arrangement. I’ve never been a numbers person, but I can paint a very general picture. For instance – if you are an artist, such as Prince, with a very wide appeal and large fan base, you can secure a contract with a reputable newspaper that has a very large paid circulation i.e. the Wall Street Journal or NY Times. If this newspaper circulates around 2 million copies daily and the artist is making ten cents per copy, that artist can make around $150,000-200,000 over the course of two days. If the album is distributed with the paper over the course of a week, one would multiply those figures by five.

If you compare this to the current brick and mortar model, nowadays, most “major” artists are lucky if they can move around a quarter of a million records in a franchise such as Best Buy. In addition, these same artists will only receive 8-12% of the revenue generated from their physical cd sales. Once the first crop of records has been sold, the record is usually leaked and people either download it or stream it for free from various sources (if the album hasn’t already prematurely leaked).

The physical subscription model potentially gives artists a chance to have a “built-in” or “guaranteed” source of income for their record. Moreover, if this model is coupled with digital distribution services (something Prince has not done), music artists can make even more income. Nonetheless, we must assume that the album will always leak and find its way online. Some people will even seek out this material and download it for free even if it’s coupled with a newspaper as a complementary freebie. Either way, by giving the album away as a freebie, 1) the artist is publicly acknowledging the possibility for a leak, but 2) still engaging their audience by granting them a piece of their material via the circulation of another form of media. It’s like the fun and hidden prize within the Cracker Jack box, you can’t wait to open it and see what’s inside.

What lies in the future for the physical subscription model?

This is not something I can accurately predict. We are still in transitional times within the music business and several options are being tested and experimented. But I could picture smaller artists finding a way to tailor and couple their music with other forms of media. A regional artist could secure a deal to distribute their album with a local newspaper or include it as a freebie with the sale of concert tickets and dvds. Local artists from all artistic backgrounds of music, film, art and journalism can band together and create a media package that emphasizes a particular theme or brand. I would even be interested in seeing the sales of movie soundtracks with Netflix physical sales and downloads. A music fan could rent a Netflix movie and for an additional charge receive the film’s soundtrack.

Overall, there is no definite solution to how the physical subscription model can pan out. But it’s important for artists, managers, and label heads to realize that we must be fluid and think outside the box. Musicians will have to tailor and package their content in a way that is convenient for their audience, but also engages them. In addition, recognizing what works for one artist may not work you, but that’s ok – you can still create an alternative solution that is fun and may become popular amongst your fan base.

If the music industry becomes fixated on a one-dimensional belief that the Internet is the end all be all, then yes, the purple one was right – the Internet is completely over.


Written by shotfromguns

July 13th, 2010 at 10:03 am

In Rotation

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I have never been big into reviewing records. I don’t enjoy it and it always feels like some pompous way for me to push my opinion onto another artist’s product. Nonetheless, I am still a music lover and these records from local artists have caught my attention over the past couple months.

This Piano Plays ItselfAs the House…

Adair Park Recordings

www.myspace.com/thispianoplaysitself

Jungol – Over the Sun and Under the Radar

http://jungol.net

Knaves Grave – *??? (this is not the official title of their album, but I dig these guys)

http://www.myspace.com/knavesgrave

Odist – On the 49th Day

Stream here

Hot Breath – ??? (*I saw this band perform at Athfest and they blew my mind. Be on the look out for them in the near future)

http://www.myspace.com/hottbreath


July Show Calendar

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Wednesday, July 7

This Piano Plays Itself, Dirty Lungs, Hello Ocho @ 529

Saturday, July 10

Man or Astro Man?, Hawks @ the Earl

Wednesday, July 14

So So Death, Ralph @ 529

Thursday, July 15

Can Can (cd release), Matt Kurtz One, Romeo Spike @ the Earl

Letters Organize, Vegan Coke, 1994 @ Drunken Unicorn

Friday, July 16

Monstro, Bigfoot, Pinx @ Star Bar

Saturday, July 17

Hijacking Music Festival @ Lennys

Selmanaires, Adron @ Star Bar

Wednesday, July 21

Little Tybee, Mermaids, Nights Driving in Small Towns


Thursday, July 22

Joan Armatrading, Jamie Maclean Band @ Variety Playhouse

Saturday, July 24

MINT Benefit Concert @ WonderRoot

Sunday, July 25

Seu Jorge, Almaz @ Variety Playhouse

Friday, July 30

Attention System, Sonen @ Highland Inn Ballroom

*Mike White took the photo of Hawks at the top of the post. You’re the man Mike


Written by shotfromguns

June 28th, 2010 at 10:59 am

Jungol – “Two People” NEW Single

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Jungol has been performing around the local Atlanta and Athens areas for years and they have definitely paid their dues. Their new album Over the Sun and Under the Radar was released a couple months ago and I feel it’s one of the stronger releases coming out the Atlanta area.

One problem I’ve always had with local bands and their music is that it sounds just that – local. When you compare their songwriting and arrangements to major label groups or artists operating at a slightly higher echelon, the material doesn’t always stand out.  For me, it’s not an issue of recording quality or fancy Pro Tools tricks, but writing carefully structured and witty songs. Unfortunately, I may hear three or four truly talented local acts that share these traits amongst a heap of twenty other bands.

Jungol definitely falls in the first category. I feel they write catchy and smart tunes that can be played on both experimental college radio or mainstream rock radio. I would even go so far as to compare them to more mainstream acts such as Mutemath, Elbow, or Muse. I feel their new record Over the Sun has some serious potential and encourage readers to check out this innovative act in the near future.

To hear more of Over the Sun, click here

To buy Over the Sun, click here


Written by shotfromguns

June 11th, 2010 at 1:48 pm