Justin Rose does a little bit of everything. The 23 year old from New York City started off rapping before gravitating to what he calls the “addicting” process of crafting beats. I met him this past year at SXSW while hanging out at the Illmore after-party, wondering how I was still awake. Since then we have kept in touch as Rose has spread his forward-thinking production across his scene and city, linking up with the likes of NYC up and comer Kris Kasanova which garnered him a track on Peter Rosenberg’s curated mixtape earlier this Summer, as well as doing in-house production for Nakim. When I met him on the front end of 2013 there were still a lot of question marks around both of our futures. Nearly a year later, Rose has found himself bouncing around the vibrant and bubbling New York scene that have many bloggers across the country learning how to spell the word ‘Renaissance’. The growth and uprise of that scene in New York is due in large part to progressive, hungry and cross-platform artists like Rose who are eager to find a way to push the music and culture forward without apology. I was able to catch up with Rose over the phone recently as he was leaving the studio from working on his debut project, RoseWaVve Vol.1. to talk about what the year has been like, what he’s been up to and where things are headed for the young crafter. In exchange, he sent over this video for his track, “PARTY4ME”, which we are premiering here on Ruby Hornet. Give the video a watch below and get to know Justin Rose.
Arsenio Hall welcomed Tyler, The Creator to his show last night and sat down with the Odd Future de facto leader to talk on a wide array of subjects, including the YouTube Music Awards, his latest music video as a director, and relationships. Tyler was very candid throughout the interview and dropped a few inspirational gems that are definitely worth listening to.
The post [Video] Tyler, The Creator on “The Arsenio Hall Show” appeared first on Ruby Hornet.
[Ruby Hornet will be attending the 49th Chicago International Film Festival from 10/10 - 10/24. Be sure to follow along as we bring you coverage from the longest-running competitive international film festival in the country. You can find all of our coverage from this year's CIFF here.]
La Jaula de Oro was one of my favorite films of this year’s Chicago International Film Festival. The story about three teenagers escaping Guatemala to achieve their dreams in America was a captivating look at the struggle many migrants face in their journey for a better life. It was recently awarded the Chicago International Film Festival’s Gold Hugo, which is given to films making their American premiere during the festival. I had the chance to meet with La Jaula de Oro‘s director Diego Quemada-Diez to discuss some questions I had about the film, the back story behind the film’s production, and his personal thoughts on American immigration policies.
The O’My’s have been a mainstay around the Chicago music scene for six years now. In that time they have done everything from shows to hip-hop production, and last Friday celebrated their latest album, A Humble Masterpiece, at a raucous release party at Subterranean and today on Ruby Hornet and iTunes. The core duo of Maceo Haymes and Nick Hennessy provide the backbone for the cross-genre group that blends the sounds better than anyone in the Midwest. I was able to catch up with Maceo for a few questions the other night, read more and listen to the full stream of the album below.
Jake: Tell me about putting together A Humble Masterpiece?
Maceo: The album was recorded over a year and some months, some of which is recorded with Blended Babies, a good portion was recorded at our own house. It was a pretty interesting process we went through a lot of different phases of what we were trying to do and deciding if we wanted to do a certain sound and then just saying fuck it and make it and figure out what songs, so as of right now we still have like eight songs that are already recorded.
Jake: Does that mean we can expect another release soon?
Maceo: More so we just have them. We’re just sitting on tons of fucking music, not a bad thing. It’s kind of hard, it’s like sitting on your hands.
Jake: Is it a quality control thing or just waiting?
Maceo: It’s less about quality control. All the other songs are songs that I think are great but they didn’t make it to the album because once we got the thirty-some odd songs we had to work with and then cut down, especially when putting together an album, you try to put together a sort of cohesive element or sound. That was mostly the reason for putting those eleven songs on the album and now we’re figuring out what to do with the other ones. Mostly because we just want to get them out, you know? I’m not afraid that that was all of our creative juices, I just want to put it out so it’s relevant, relevant to me personally. Just get it done and then I can move on.
Jake: Tell me about the production side of things with The O’My’s.
Maceo: We’ve been doing production, we collaborate with a lot of different groups in the city, a lot of rappers and all different sorts of musicians, singers. For us it just made sense. To A: collaborate with them, but also because we make our own music and it’s all live instruments and we have a sort of sound, producing for them has been interesting. We sort of stepped away from calling it The O’My’s on the production side, just because it’s terribly confusing, like ‘these guys make rap music too?’ It’s been cool, the summer especially was really fucking awesome because we have a home studio and that’s where we record everything and so the amount of talented people that were coming in from all around the city was a really cool thing to be a part of, I felt blessed to be a part of that.
Jake: Do you feel as though being in Chicago, eventually working with hip hop is inevitable?
Maceo: I don’t think it’s inevitable for everybody. It depends on the type of music you make and also the community you’re a part of or connected to. Like, me and Nicholas are both super hip hop heads since the beginning, since before I sang or did any of that stuff. I’ve always been involved in hip hop, whether it was break dancing, DJ’ing, producing Nick threw graffiti. So in terms of who we’re friends with in the scene, we’re definitely way more close with the hip-hop community Lots of the live music scene in Chicago, we definitely have connections there but our roots are in hip-hop, at least community-wise.
Jake: What’s next for The O’My’s now that the album is out in the world.
Maceo: Next is gigging. Now that the album is done we’re going to do a couple shows in the city but also go out east and west coasts. We’ve got a little East coast tour at the beginning of December and then probably West coast beginning of the year. Just gonna gig around with the album. The past year we’ve been gigging, but our focus hasn’t been on performing, it’s been on mostly just recording. Live shows are an integral part of our sound. What made the release show so fun for us was being able to play all these songs that we’d recorded with the band because most of the recordings, the band wasn’t all there at the time. Different members of the band had different relationships with the album. It’s cool to transfer that sound and make it something live. The project then takes on a whole other life, which is a lot of fun.
Highly refined yet ever-evolving, the work of this photographer started with portraiture, moved through landscapes and seascapes, and has for a time now focused on architecture, capturing even conventional structures in amazing ways.
WebUrbanist recently asked Joel Tjintjelaar of BWVision more about his history, process and transition from taking photographs to also teaching photography and post-processing techniques. The resulting interview follows below.
While the results of his recent work may look like a fine stylistic stopping point to some, Joel states: “My workflow has changed gradually over time and will continue to change. It will never stop changing and it should never stop changing. The day I stop evolving is the day I should quit creating images.”
In part, the evolution of that work is tied to the teaching he does in at workshops in real life and also online via master classes and videos like this one on long exposure workflow. Teaching, he notes, “forces me to be critical at my own work as well and to try to understand my own photography better, and more importantly: what drives me to create the pictures I [take] …. I teach them that fine art photography is not so much about technical qualities and skills but more about being able to express who you really are in a way that offers a completely new point of view for the viewer and leaves him changed.”
[ By WebUrbanist in Art & Photography & Video. ]
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American indie-pop band, Passion Pit, have been on the road nonstop since the announcement of their fall tour. The band has gotten considerable backlash due to some canceled shows. Amongst the reasons, Passion Pit has canceled a show due to weather conditions that were just totally unforeseeable (ie: blizzard). Today, the band offers a quite condescending letter firing back to the backlash titled, "WHY BANDS CANCEL SHOWS (AND WHY IT SUCKS FOR EVERYONE)". In the open ended letter, Passion Pit voices their reasons why they have cancelled shows as well as the notion that they are looking forward to year where they cut the losses they have made because of these cancelled shows. Peep the letter below and share with us your thoughts on the open ended letter.
WHY BANDS CANCEL SHOWS (AND WHY IT SUCKS FOR EVERYONE)
We try to be very forthcoming about information regarding touring. However, sometimes it feels as though it just backfires. But we understand the confusion. We try to remain very positive, open, and incredibly apologetic to everyone who bought tickets in advance only to have to get refunded with no show. All of us being big fans of music our entire lives, we know how much of a bummer it can be, and it upsets us greatly because we truly empathize.
It's been hard to sit back and realize that people really don't understand how complicated it can be canceling a show, or how detrimental, even.
There are many reasons bands or artists cancel shows. Here are a few of them, many of them have applied to us:
1) General Illness. Though many bands play through illness, sometimes it's absolutely necessary to take a night off to ensure that the rest of the tour survives instead of beating your body up only to have to risk canceling more shows in the future. This is how so many singers lose their voices, or people develop long-term illnesses. It's just not worth it.
2) Mental illness. Most of our fans know about my condition but this only hurt us a few times, and it was well over a year ago, and I work my ass of to make sure I can get out on stage and tour. More on how we made up all of these shows later.
3) Weather. Outdoor stages that are built into muddy grounds have caused death (so many examples of this). Rain and electronics, as we all know, also really don't mix. Sometimes, other stationary stages are said to be “rain or shine” but do not actually have the capability of fully protecting the gear. As some of you may know, we lost SO much gear and money a few weekends ago due to a storm, and we're not about to mess it up on our final trek for “Gossamer.” That could potentially end an entire tour and then that'd be it. No more touring. See you maybe in 2014. Not fun.
Another weather issue is that if it rains, the amount of gear we use to play proper Passion Pit shows is not only put in jeopardy but so is the entire band and crew that manage the 60-75min show. Our system is very complicated, hand-built, and utilizes synthesizers and gear that has been customized for the show we pay money to put on and you pay money to see. It is not in our fan's best interest or ours to compromise this. We did it once, we DJ'ed a few times, just to stay positive, and we mostly just got heckled, even just for trying. So, we learned our lesson: damned if you do, damned if you don't.
4) Conflicting schedules. There are many things that happen on the road that are scheduled that are not made public because it is no one's business. Clearly, it must be something serious enough to merit losing money to clear a show. We do not take this lightly and because we all have private lives, certain things are unavoidable and some people will simply be left with a statement that doesn't fully satisfy. We're sorry, but we are entitled to our privacy to a certain degree. This is one of the most frustrating things that you cannot always predict, which brings us to my final point.
We lose the most. We lose the trust of our fans because of innocent naiveté, an ignorance in regards to how these things are done. WE lose the trust of those who don't understand how many people are involved in our show, from our touring crew to local crew, how much planning goes on for months and months to prep, how much money is spent to keep the tour rolling, and how much we need to tour to make sure we can afford to put on the show we want to do and still end up being able to pay our bills and continue to do this for a living.
We actually HAVE played in the rain before. Many times, actually. But the stages have been covered and we've compromised the show. Some of those shows were amazing (it's always raining in the UK, but for some reason they figured it out). The bottom line is that every day a band tours and doesn't play a show, they hemorrhage money. This is a costly, tricky business, and all we want is for everything to go smoothly and to have fun. But tour doesn't always work that way and we apologize for things that are completely out of our control.
I want to close this chapter now and remind people that we have made up all of the shows we had to cancel in 2012, save for the Apollo Theater in NYC for our CD release show. I was in a hospital, kind of hard to get out of that one.
For 2013, we're now forced to take losses in these situations as we moving towards finally getting real time off and prepping a new record to continue doing what we do.
Please understand that if Passion Pit cancels a show, it's canceling a show for a damn serious reason, and we're not messing around with our fans. We're trying our hardest and we are so sorry for the inconvenience. There's only so much we can do.
Thanks to all of you who have been understanding and we very much look forward to making up these shows to you at 100% next time around. There's no better remedy than an amazing show.
Trust us, we're the most disappointed.
Chance the Rapper delivered one of the best mixtapes of the year with Acid Rap. Some shady businessman even pressed up some copies of the tape and sold enough to land it on the Billboard charts. While that story opens up a whole other can of worms about the business of music, it is also a testament to the support that the mixtape has garnered. Complex caught up with Chance the Rapper to breakdown Acid Rap track by tack. Check out the analysis below.
01. "Good Ass Intro"
02. "Pusha Man (featuring Nate Fox & Lili K.)
02. "Paranoia (Hidden Track)"
03. "Cocoa Butter Kisses (featuring Vic Mensa & Twista)"
05. "Lost (featuring NoName Gypsy)"
06. "Everybody's Something (featuring Saba & BJ the Chicago Kid)
07. "Interlude (That's Love)"
08. "Favorite Song (featuring Childish Gambino)"
09. "NaNa (featuring Action Bronson)"
10. "Smoke Again (Featuring Ab-Soul"
11. "Acid Rain"
12. "Chain Smoker"
13. "Everything's Good (Good Ass Outro)"
SZA was formally introduced as part of the Top Dawg Entertainment family earlier this month. Now, she discusses the benefits that have come from aligning herself with the talented collective. Anthony "Top Dawg" Tiffith, the CEO of TDE, recently opened up in an interview about the vision behind the brand. He built his empire right. TDE has put itself in the position to continuing rising for the foreseeable future. While we wait for SZA's debut release through TDE, check out the songstress's HYPETRAK Essentials by clicking here.
Nardwuar's latest interview is with the Scottish DJ/producer Hudson Mohawke. The Human Serviette pulls out his usual barrage of obscure information on Hud-Mo, including the fact that his dad was a rapper in 1987, his concert with MF DOOM in Russia and his work with Kanye West. Our next glimpse of Hudson Mohawke's innovative production style will be on Drake's upcoming album Nothing Was The Same, which is due out September 17.
Elliott Wilson caught up with Earl Sweatshirt at NYC's A-1 Record Shop to discuss his upcoming album Doris. The two browse records while talking about RZA, first impressions of Odd Future, Tyler, the Creator's self-deprecation and more. While trailers seem to be Earl's preferred form of promotion, it's nice to hear the young rapper explain details of his project in a more formal way. The wait is almost over. Earl Sweatshirt's Doris hits stores on August 20.