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Wednesday, June 16, 2010
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the new website is here Watch the live dj show Tuesday nights featuring new music!!!! 10 - 12 pm every Tuesday
Tuesday, April 7, 2009
Miami Kaos Interview
When you see your favorite artist’s new mixtape; what is the first thing you notice? The cover art of course. I was given the opportunity to interview one of the best Graphic Designers in the game, Miami Kaos. If you are not familiar with the name, you are most likely familiar with the artwork. The unique style he possesses is out of this world. His services have been enlisted by everyone including DJ Clue. Now its time to meet the man behind the covers… Miami Kaos
DJ KidRelly: Could you give us at collegedj.net a little bit about your background?
Miami Kaos: I grew up with a background in art, I went to Art & Design and the School for Visual Art.
Other than that, I was that dude everyone in the are knew could draw.
DJ KidRelly: Where did you get the name Miami Kaos?
Miami Kaos: Miami was my nicknameand Kaos was a graffiti crew I was in (Krazy Artist Of Sin) started by my friend Web One. After awhile peole thought it was my name, my manager Isis said it sounded cool and every since it’s been MIAMI-KAOS.
DJ KidRelly: What was the first mixtape cover you did?
Miami Kaos: I think Dj Lex Killah Blendz vol. 2
DJ KidRelly: I heard you used to work for the Source, can you tell us what you were doing there?
Miami Kaos: I used to do the illustrations for STAR & BUCWILD’S “REALITY CHECK” column. Then after a few years Benzino gave me my own strip “PAST IMPERFECT”
DJ KidRelly: The internet has been a great networking tool for artists. Have there been any drawbacks that you’ve experienced?
Miami Kaos: There’s no one guarding the gates. For every 3 professional people using the net as a tool to successfully network, there’s 7 cornballs just on there wasting people’s time. Most of our business comes from phone calls and not from the internet. Most of our frustrations comes from the net.
DJ KidRelly: Can you name some of your favorite covers that you have created?
Miami Kaos: Almost anything I’ve done for Dj 2 MELLO, DJ DUB FLOYD . COOLBREEZE (LXG BOYS) or HEVEHITTA and UNEXPECTED. They give me the freedom to do what I do best.
DJ KidRelly: How many finished mixtapes do you get from DJs and Artist in which you did the cover artwork?
Miami Kaos: I can’t even count anymore it’s become real sporadic. Once EVERYONE sent us copies of the cds. Then I used to drop clients if they didn’t send me cds, then I just said forget about it and just put in work. SMH, there’s a huge lack of professional courtesy in Hip Hop right now. The above mentioned djs keep me up to date though.
DJ KidRelly: You always have exclusive images, where do you get your pictures?
Miami Kaos: Now if I answered that question, it wouldn’t be as exclusive would it? BONG!!!!!!!
DJ KidRelly: Are you finding a lot of biters in the game?
Miami Kaos: Yes I have a few stalkers that even try to quote scripture because they’ve seen I’m a God fearing man. But they tune (blurring and painting over photos) God blessed me with the ability to actually draw. Most designers love the biting culture, that’s why there’s so many designers that look so similar and they all working for the same djs interchangeable. I had biters thinking I was going to I guess co-sign them hit me up. SMH, that’s the worse thing they could do. That’s why in almost 6 years they only artist I found that was unique was my second in command ALI (WWW.MYSPACE.COM/HARDCOREWEST) HE HAS NEXT YALL.
DJ KidRelly: Just curious, do you turn down a lot of work?
Miami Kaos: About 20% used to be a bigger percentage until I grew as a businessman ( I used to think as solely an artist). If a dude approaches me just too corny or asks me to do anything religious that’s usually an immediate no.
DJ KidRelly: Anything else you'd like to say, any shout outs, upcoming projects that we should know about?
Miami Kaos: I thank the Lord God for blessing me with not only a talent but an arena to exhibit it. Shout outs to my protégé ALI, LXG: DJ 2 MELLO, DJ DUB FLOYD, WIZ HOFFA, DJ COOLBREEZE, DIMEZ & CHEW (RAPMULLET.COM), HEVEHITA, ALSO DJ UNEXPECTED,EVIL EYE, CAMILAINO & CCR, WICKED (every convo mad jewels are dropped) and to YOU Kid Relly, keep doing what you do and thanks for the interest sir, GOD BLESS.
Posted By: DJ KidRelly
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DJ Jazzy Jeff Presents: My Faves (Vol. 1)
If you don’t already know, we only roll with the finest and if your a DJ that doesn’t get down with the Legendary DJ Jazzy Jeff than download this superb tape of Jeff’s favorite tracks that he remixes including classics from Notorious B.I.G., Jay-Z, Nas and others. As well make sure you go check out these guys Mick and Terry they interviewed Jeff on this tape. Remember where you got this from. Thanks Phil.
1. Gimme the Doe
2. Loot
3. Moment of Clearness
4. Uno Amore
5. Passin By Me
6. Hip No Ties
7. Allow Me Too…
8. It Ain’t Hard
9. Da Orchestra
10. Dirty Shoulders
11. Kick the Door In
12. Bill the Top
13. Made U Peek
14. Dollatown
15. Hustle Knockin’
Posted By: DJ KidRelly
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Jadakiss - The Last Kiss (Stream)
Hey look, you can listen to The Last Kiss in its entiriety after the jump! ‘Pain & Torture’ is insane.
Don’t forget to pick it up on April 7th!
Posted By: DJ KidRelly
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When Stars Twitter, a Ghost May Be Lurking
The rapper 50 Cent is among the legion of stars who have recently embraced Twitter to reach fans who crave near-continuous access to their lives and thoughts. On March 1, he shared this insight with the more than 200,000 people who follow him: “My ambition leads me through a tunnel that never ends.”
Eric Gay/Associated Press
Those were 50 Cent’s words, but it was not exactly him tweeting. Rather, it was Chris Romero, known as Broadway, the director of the rapper’s Web empire, who typed in those words after reading them in an interview.
“He doesn’t actually use Twitter,” Mr. Romero said of 50 Cent, whose real name is Curtis Jackson III, “but the energy of it is all him.”
In its short history, Twitter — a microblogging tool that uses 140 characters in bursts of text — has become an important marketing tool for celebrities, politicians and businesses, promising a level of intimacy never before approached online, as well as giving the public the ability to speak directly to people and institutions once comfortably on a pedestal.
But someone has to do all that writing, even if each entry is barely a sentence long. In many cases, celebrities and their handlers have turned to outside writers — ghost Twitterers, if you will — who keep fans updated on the latest twists and turns, often in the star’s own voice.
Because Twitter is seen as an intimate link between celebrities and their fans, many performers are not willing to divulge the help they use to put their thoughts into cyberspace.
Britney Spears recently advertised for someone to help, among other things, create content for Twitter and Facebook. Kanye West recently told New York magazine that he has hired two people to update his blog. “It’s just like how a designer would work,” he said.
It is not only celebrities who are forced to look to a team to produce real-time commentary on daily activities; politicians like Ron Paul have assigned staff members to create Twitter posts and Facebook personas. Candidate Barack Obama, as well as President Obama, has a social-networking team to keep his Twitter feed tweeting.
The famous, of course, have turned to ghostwriters for autobiographies and other acts of self-aggrandizement. But the idea of having someone else write continual updates of one’s daily life seems slightly absurd.
The basketball star Shaquille O’Neal, for example, is a prolific Twitterer on his account — The Real Shaq — where he shares personal news, jokes and occasional trash talking about opponents with nearly 430,000 followers.
“If I am going to speak, it will come from me,” he said, adding that the technology allows him to bypass the media to speak directly to the fans.
As for the temptation to rely on a team to supply his words, he said: “It’s 140 characters. It’s so few characters. If you need a ghostwriter for that, I feel sorry for you.”
Athletes seem to be purists. Lance Armstrong, only hours after breaking his right collar bone, tweeted about it, using his left hand. Charlie Villanueva, a forward for the Milwaukee Bucks, tweeted at halftime from the locker room on March 15 about how “I gotta step up.” (His coach, Scott Skiles, was not pleased with his diversion, but the Bucks did win.)
But for candidates like Mr. Paul, Twitter is an organizing tool rather than a glimpse behind the curtain. During the presidential campaign, said Jesse Benton, Mr. Paul’s campaign manager, “we assigned a staffer to each social network site. Each was used to generate the same message as a way to amplify the message and drive people back to our site.”
He said that in rare cases, however, supporters would read more meaning in the online relationship than was intended. “On a bunch of social-networking sites, we would get some sincere written notes that would say ‘thank you for letting me be your friend,’ ” he recalled.
Many online commentators are appalled at the practice of enlisting ghost Twitterers, but Joseph Nejman, a former consultant to Ms. Spears who helped conceive her Web strategy, said there was a more than a whiff of hypocrisy among critics.
“It’s O.K. to tweet for a brand,” he said, remarking how common it is for companies to have Twitter accounts, “but not O.K. for a celebrity. But the truth is, they are a brand. What they are to the public is not always what they are behind the curtain. If the manager knows that better than the star, then they should do it.”
In the last couple of months, the Britney Spears Twitter stream has become a model of transparency. Where the feed once seemed that it was all written personally by Ms. Spears — even the blatantly promotional items about a new album — lately it can read like a group blog, with some posts signed “Britney,” some signed by “Adam Leber, manager” and others by “Lauren.” That would be Lauren Kozak, social-media director of britneyspears.com. (Ms. Spears’s management team declined to be interviewed for this article.)
An unabashed user of ghost Twitterers is Guy Kawasaki, chief executive of alltop.com, an aggregation site. Mr. Kawasaki, with more than 80,000 followers, is full of praise for the two employees who enliven his Twitter feed, often posting updates while he is on stage addressing a conference.
“Basically, for 99.9 percent of people on Twitter, it is about updating friends and colleagues about how the cat rolled over,” he said. “For a tenth of a percent it is a marketing tool.”
Annie Colbert, a 26-year-old freelance writer from Chicago who is one of Mr. Kawasaki’s ghost Twitterers, said she judged her performance based on how often her postings for Mr. Kawasaki are “retweeted,” that is, resent by other users of Twitter.
Recently, she said, she had a coup when the actor Ashton Kutcher repeated her post about a YouTube video showing someone getting high from a “natural hallucinogen.”
“Facebook is like ‘Cheers,’ where everyone knows your name,” she said. “Twitter is the hipster bar, where you booze and schmooze people.”
She said she had been considering trying to get other ghost Twitter clients. “I don’t think I could ghost Twitter for 100 people,” she said. “More like 10 clients. I think I would have to get to know them.”
By NOAM COHEN
Posted By: DJ KidRelly
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Eric Gay/Associated Press
Those were 50 Cent’s words, but it was not exactly him tweeting. Rather, it was Chris Romero, known as Broadway, the director of the rapper’s Web empire, who typed in those words after reading them in an interview.
“He doesn’t actually use Twitter,” Mr. Romero said of 50 Cent, whose real name is Curtis Jackson III, “but the energy of it is all him.”
In its short history, Twitter — a microblogging tool that uses 140 characters in bursts of text — has become an important marketing tool for celebrities, politicians and businesses, promising a level of intimacy never before approached online, as well as giving the public the ability to speak directly to people and institutions once comfortably on a pedestal.
But someone has to do all that writing, even if each entry is barely a sentence long. In many cases, celebrities and their handlers have turned to outside writers — ghost Twitterers, if you will — who keep fans updated on the latest twists and turns, often in the star’s own voice.
Because Twitter is seen as an intimate link between celebrities and their fans, many performers are not willing to divulge the help they use to put their thoughts into cyberspace.
Britney Spears recently advertised for someone to help, among other things, create content for Twitter and Facebook. Kanye West recently told New York magazine that he has hired two people to update his blog. “It’s just like how a designer would work,” he said.
It is not only celebrities who are forced to look to a team to produce real-time commentary on daily activities; politicians like Ron Paul have assigned staff members to create Twitter posts and Facebook personas. Candidate Barack Obama, as well as President Obama, has a social-networking team to keep his Twitter feed tweeting.
The famous, of course, have turned to ghostwriters for autobiographies and other acts of self-aggrandizement. But the idea of having someone else write continual updates of one’s daily life seems slightly absurd.
The basketball star Shaquille O’Neal, for example, is a prolific Twitterer on his account — The Real Shaq — where he shares personal news, jokes and occasional trash talking about opponents with nearly 430,000 followers.
“If I am going to speak, it will come from me,” he said, adding that the technology allows him to bypass the media to speak directly to the fans.
As for the temptation to rely on a team to supply his words, he said: “It’s 140 characters. It’s so few characters. If you need a ghostwriter for that, I feel sorry for you.”
Athletes seem to be purists. Lance Armstrong, only hours after breaking his right collar bone, tweeted about it, using his left hand. Charlie Villanueva, a forward for the Milwaukee Bucks, tweeted at halftime from the locker room on March 15 about how “I gotta step up.” (His coach, Scott Skiles, was not pleased with his diversion, but the Bucks did win.)
But for candidates like Mr. Paul, Twitter is an organizing tool rather than a glimpse behind the curtain. During the presidential campaign, said Jesse Benton, Mr. Paul’s campaign manager, “we assigned a staffer to each social network site. Each was used to generate the same message as a way to amplify the message and drive people back to our site.”
He said that in rare cases, however, supporters would read more meaning in the online relationship than was intended. “On a bunch of social-networking sites, we would get some sincere written notes that would say ‘thank you for letting me be your friend,’ ” he recalled.
Many online commentators are appalled at the practice of enlisting ghost Twitterers, but Joseph Nejman, a former consultant to Ms. Spears who helped conceive her Web strategy, said there was a more than a whiff of hypocrisy among critics.
“It’s O.K. to tweet for a brand,” he said, remarking how common it is for companies to have Twitter accounts, “but not O.K. for a celebrity. But the truth is, they are a brand. What they are to the public is not always what they are behind the curtain. If the manager knows that better than the star, then they should do it.”
In the last couple of months, the Britney Spears Twitter stream has become a model of transparency. Where the feed once seemed that it was all written personally by Ms. Spears — even the blatantly promotional items about a new album — lately it can read like a group blog, with some posts signed “Britney,” some signed by “Adam Leber, manager” and others by “Lauren.” That would be Lauren Kozak, social-media director of britneyspears.com. (Ms. Spears’s management team declined to be interviewed for this article.)
An unabashed user of ghost Twitterers is Guy Kawasaki, chief executive of alltop.com, an aggregation site. Mr. Kawasaki, with more than 80,000 followers, is full of praise for the two employees who enliven his Twitter feed, often posting updates while he is on stage addressing a conference.
“Basically, for 99.9 percent of people on Twitter, it is about updating friends and colleagues about how the cat rolled over,” he said. “For a tenth of a percent it is a marketing tool.”
Annie Colbert, a 26-year-old freelance writer from Chicago who is one of Mr. Kawasaki’s ghost Twitterers, said she judged her performance based on how often her postings for Mr. Kawasaki are “retweeted,” that is, resent by other users of Twitter.
Recently, she said, she had a coup when the actor Ashton Kutcher repeated her post about a YouTube video showing someone getting high from a “natural hallucinogen.”
“Facebook is like ‘Cheers,’ where everyone knows your name,” she said. “Twitter is the hipster bar, where you booze and schmooze people.”
She said she had been considering trying to get other ghost Twitter clients. “I don’t think I could ghost Twitter for 100 people,” she said. “More like 10 clients. I think I would have to get to know them.”
By NOAM COHEN
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Monday, March 23, 2009
Weatherproof releases "Metropolis".....an Underground Classic
Weatherproof creates an underground classic with their new album “Metropolis”. This album is phenomenal. I was astounded by the production, the beats and classic elements. Weatherproof consists of rhymers (NOT RAPPERS) “Remsa”, “Event” and DJ AppleJuice. DJ AppleJuice and company remind us of what hip hop is all about and their album is a true listening experience. The group hails from New Jersey and definitely represents the Alternative Hip Hop Movement that has originated in “Dirty Jerz” which traces its lineage to Queen Latifah, Naught By Nature and Poor Righteous Teachers. The album release is very timely because it is rare to find an album that one can listen to all the way through and enjoy from track to track. Weatherproof intertwines cutting and scratching (instead of wack hooks from the girl that lives downstairs) and true sampling excellence on each song. The beats are Pete Rock, 9th Wonder –ish…. and the album features guest appearances by Sam Doom and Napoleon Suarez among others. The Metropolis album includes witty interludes and sketches reminiscent of Wu and De La Sol. In short, Weatherproof does not “recreate the wheel, they put rims on it” (Celestine Chukumba circa 2005). Get the new Weatherproof album “Metropolis”. Check out some exclusive footage we caught when we attended the album release party.
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Friday, March 6, 2009
Advice on Writing Biographies
If you want to gain the attention of record labels, managers and media, you need to have an interesting story to tell about yourselves. An effective biography will therefore greatly increase your chances of getting that attention. The key to a good bio is to emphasise the points that make you a unique artist, which might include your background, life experiences, credits, a character description, and details of how you relate to your creativity and what your artistic vision is.
It is also important to state whether you have worked with someone who has a name in the industry, such as, for instance, a songwriter, producer, publisher, promoter, etc., or whether you have shared the stage with a successful artist. It is also a good idea to give examples of previous or upcoming achievements, such as a large fan base, independent record sales, airplay, contests won, press clippings, quotes etc. If you can deliver all of the above, then it is highly likely that A&Rs are going to be interested in you.
Put yourself in the position of people who read bios constantly, such as radio producers and magazine journalists, and who have to decide who is interesting enough to put on the show or in the paper. An interesting bio can make the difference between getting an interview or not, between getting airplay or not. A bio should always be genuine (over-the-top statements are easily recognisable), clear and original.
Upload your biography to www.hitquarter.com, the premiere website for all musicians who are looking to be heard by the top A&R's in the business.
Posted By: DJ KidRelly
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How To Kill The Music Industry
According to Per Sundin, CEO of Universal Music, the decline in music revenues in the past 8 years can be fully attributed to illegal file sharing. If this were actually true, many of us might even respect his decision to go after pirates as fiercely as the music industry is doing right now. However, the past 8 years have seen a lot more changes in the landscape of home entertainment than Per Sundin would like to admit, and some of those changes have had a massive impact on music profitability — much more so than any amount of piracy.
Let us refresh our memories and take a look at what actually happened during and just before the past 8 years:
1. First, the explosive rise of computer and console gaming. This competitive ‘third element’ has appeared in the entertainment landscape, beaten both music and movies to the curb and taken a huge cut out of the music industry’s revenues. Consumers don’t have infinitely-deep pockets, and billions of ‘recreation dollars’ that used to go almost exclusively to music, are now going into gaming.
2. International trade agreements have allowed consumers to buy their music across borders, rather than accepting local prices on music based on the ‘relative wealth’ of nations, rather than the actual value of the product.
3. New forms of distributable media, most notably MP3s but also CDs, have become mainstream. These new media don’t degrade over time and rarely break at all, making music rebuys a thing of the past, and allowing the second-hand market for music to thrive and expand - both of which take a cut out of the music industry’s former revenues.
4. Radical technological innovation has taken place in the field of music creation, processing, mixing, and mastering. Recording hardware, CD burners, music software, and media encoders have evolved to the point where most artists can actually afford decent-quality equipment to do their own recording and producing. Furthermore, this has fostered literally thousands of smaller, specialized studios that are challenging the ‘Big 4′ with lower prices, better terms for artists, genre-specific expertise, etc. Successful artists can now leave the big labels and start their own recording outfits on relatively modest budgets. Naturally, super stars like The Beatles or Frank Sinatra have always had this option, but the recent technological advances have lowered the bar drastically. This development is depriving the ‘Big 4′ of many of their former cash cows, who now use the major labels for their advertising and distribution infrastructure alone.
5. The World Wide Web has become an omnipresent force in the world, allowing cheap, end-to-end distribution of digital music, increasingly cutting out the corporate music distributors, who deal in trucks and CD covers, rather than bytes and bandwidth. With iTunes leading the way (very successfully ‘competing with free’, I might add), billions of songs are now purchased digitally rather than physically, no longer necessitating the big labels’ distribution networks.
6. The total number of radio stations, music television networks and other ’streaming’ sources of music has grown exponentially, giving music fans a huge selection of free (and legal) music options. Satellite radio, DAB, and internet radio broadcasts have made it trivial for consumers to simply tune into a channel broadcasting the exact sub-genre of music that they feel like listening to (they can even have a stream created for them dynamically, e.g. on Pandora), making the *purchase* of music entirely optional for the casual listener.
7. A massive selection of entertainment alternatives (home computing, console gaming, mobile devices, etc.) have appeared in the home, effectively marginalizing music as an activity. 15-20 years ago, youths would regularly visit each other just to listen to music together; today, that is virtually unthinkable without some form of activity involved, such as playing Guitar Hero or Rock Band, or dancing at a concert.
8. And finally, the music industry itself has embraced the opportunities of digital media, at last letting consumers buy *single* tracks at a time rather than forcing entire albums full of ‘fillers’ on them. Looking at the RIAA’s own sales figures for the past 10 years, there is a *direct* correlation between the break-off in album sales and the introduction and increase in single track digital sales. Looking at the actual numbers, it is abundantly clear that the vast majority of consumers never wanted to buy full albums in the first place, but were merely forced to by the lack of affordable single-track media. Now that the digital revolution has arrived, countless millions of 16-track album sales are being turned into 1- or 2-track sales, *decimating* the former revenues on music. THIS is the real reason why the music industry is hurting.
In other words: The “it’s common sense” argument that the music industry is peddling in their attempt to tie the declining revenues to piracy, simply doesn’t hold. It is not as clear-cut as the industry believes; the true reason for the decline is something they are still unwilling to face, but will have to face sooner or later:
The fact is that the music industry’s revenues have been artificially inflated for decades because of limited consumer options. The last 15 years of innovation have lifted those limitations, effectively leaving the music industry with an obsolete, defective business model of monopolized production technology, forced album bundling, and almost nonexistent competition in the realm of home entertainment. What is happening now - the decline of music profits and the piracy witch hunt by the music industry - is merely the panicked struggle of a dying business model, a complacent industry’s refusal to accept its diminishing role in a digital world. The pirates are not the reason, and the decline is the not the disease. It is the cure.
Posted By: DJ KidRelly
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iTunes Norway Leaks Kelly Clarkson Album
Although fans were supposed to wait a few more weeks for Kelly Clarkson’s new “All I Ever Wanted” album, the Norway division of iTunes had mistaken leaked it onto the Internets.
Apparently, users of the Norwegian iTunes were able to initially first stream 30-second-clips of the new album, only to find out they could purchase the entire album! Before long the album hit P2P sites and message boards around the world.
DO YOU THINK the album was leaked — ON PURPOSE or JUST AN ACCIDENT?
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Saturday, February 21, 2009
The Roots To Record 200 New Songs For Jimmy Fallon's Show
As Jimmy Fallon’s house band for his new late night show, they have to record 200 new songs due to NBC’s cost-costing effort to avoid paying royalties on songs the band might have played on air. What’s funny to me is that they must expect this show to actually stick around long enough for them to need 200 songs. I wonder if they’ll pick up where Rising Down left off (142 w/ the bonus song) or will they do some other kooky numbering scheme.
If they were so worried about money, a common sense approach might have been to have them do like 50, enough to get through a month or so. If for some strange reason the show caught on, they could record some more. Then they wouldn’t have to try and hold onto all these new songs after the show is canceled. If the record labels can’t hold onto music, what makes a TV studio think they can do any better? Or maybe they’ll actually give them away for *gasp* free as promo for the show.
As a Roots fan, I’m not complaining, but how’s NBC gonna feel when the inevitable leaks start across the net? You know they’ve already got plans to sell a new mp3 or two everyday as soon as the show ends. Or maybe they’ll actually give them away for *gasp* free as promo for the show. Crazier things have happened and NBC does have Hulu? My only hope is The Roots got their money up front.
They reportedly have 55 in the can already and, for their hard work, they’ve been granted 10 weeks off a year to still tour on their own. I wonder if they’ll get paid for unused vacation days upon termination?
Posted By DJ KidRelly
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Snoop to Release Next Album Through MTV
In a move reminiscent of Jay-Z’s monumental deal with Live Nation, Snoop Dogg, who just split with longtime label Interscope Records, has announced that he will release his next album Malice In Wonderland, through MTV. He will also launch a new nighttime variety show called Dogg After Dark, and will leverage MTV’s popular Rock Band video game as a distribution platform. Deals like this speak volumes about the state of the majors. Or, at the very least, artists perceptions about the majors ability to effectively sell their music.
Full press release after the jump.
New York, NY – February 10, 2009 – MTV and rapper, icon, record producer, entrepreneur and actor, Snoop Dogg today announced a first-of-its kind global deal that will bring the entertainers’ personality to television in a new variety talk show, “Dogg After Dark,” and his music to fans with a new album release and into the best-selling music video game Rock Band®.
Premiering on Tuesday, February 17th at 9pm ET/PT on MTV, Snoop Dogg will host “Dogg After Dark,” a new jam packed weekly variety talk show from Los Angeles hotspot Kress on Hollywood Boulevard. “Dogg After Dark” will bring his Doggystyle swagger to the airwaves with raw interviews with A-list celebrities and musicians, hilarious sketch-comedy segments and musical performances from the hottest artists. The show will air every Tuesday night for seven weeks and feature Snoop’s own in-house band, the “Snoopadelics.”
“When Van Toffler and I sat down Boss to Boss, a global quintuple threat takeover was masterminded. As the world of entertainment keeps changing, we felt it was the right time to let Snoop Dogg back on MTV so we could continue to run thangs with music, movies, DVDs and bring Hip-Hop to Rock Band.” said Snoop Dogg. “So screw ya wigz on tight and tune in on Tuesday nights for the first step to the next level of Snoop D-O double G. Dogg after Dark is the only nightclub tv show hosted by you know who. So take a journey with me through the mind, body, soul and musical mind state of the most prolific, authentic game spitter. And tha sh*t is funny, so show me da money!”
“Snoop has been a mainstay across MTV screens for over a decade by pushing the boundaries of hip-hop with his signature antics, incredible catalogue of music, legendary videos, larger than life personality and even a little controversy,” said Van Toffler, President, MTV Networks Music / Films / Logo Groups. “I can’t even begin to imagine MTV, my tumultuous career and several raging ulcers without the Dogg being such a big part of our history. He is an undeniable international superstar whose talent and work transcend music, tv and film and we look forward to launching this new multidimensional partnership with the Doggfather.”
“From iconic VMA performances to DoggyFizzle Televizzle and everything imaginable in between, MTV has always been a home for Snoop’s music and comedic expressions and will continue to be that through this exciting new partnership,” said Amy Doyle, Executive Vice President of Music and Talent for MTV.
The Grammy-Award nominated rapper’s unprecedented deal with MTV will let loose Snoop Dogg’s upcoming, new album, Malice In Wonderland, with global distribution, marketing and promotion. Featuring some seemingly unlikely musical guests, the album will feature tracks by Dr Dre, Pharrell and Lalo Shifrin, is scheduled to be released later this year. In addition, songs from Snoop Dogg’s impressive catalogue of hits will be released on MTV’s hot-selling Rock Band® music video game platform.
“Dogg After Dark” is Executive Produced by Snoop Dogg. Tony DiBari, Tim Healy and Karen Frank are Executive Producers for MTV. Matt Parillo is Executive in Charge of Production. Leslie Greif and Adam Freeman of the Greif Company are Executive Producers. Ted Chung and Constance Schwartz of Snoopadelic Pictures are Executive Producers.
Posted By: DJ KidRelly
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Music industry singing the blues at Grammys
Rockers, rappers and record executives gather in Los Angeles on Sunday for the annual Grammy Awards, but there is little to celebrate at the music industry's biggest night.
Album sales have tumbled for the past decade, last year's viewership was among the lowest ever, and now a recession is generating more layoffs at the major labels.
The top contenders are rapper Lil Wayne with eight nominations and British rock band Coldplay with seven. But the Grammys are starting to look a little dated in their 51st year. The top award is album of the year, but the industry these days is ruled by digital singles, ringtones and ringbacks.
"The Grammy celebration is a little bit ironic because the traditional business model it has always celebrated is on its way out. It would behoove them to adjust to modern times," said Steve Knopper, author of "Appetite for Self-Destruction: The Spectacular Crash of the Record Industry in the Digital Age."
Knopper and others believe the awards telecast needs to find new ways to reach fans who have long eschewed the mainstream music industry and events like the Grammys.
Last year's Grammys telecast drew 17.5 million viewers, off 12 percent from the prior year, and down 42 percent from the all-time high of 30 million in 1993.
"If the Grammys continue to hitch their wagon to the 'we're going to sell shiny little round pieces of plastic,' model they're going to find their way out of a business model like the rest of the industry," Knopper said.
The recession is just the latest woe for the industry, which has laid off thousands of workers and slashed artists during a years-long slump brought on by a faster than predicted shift to digital distribution. Like the industry it celebrates, the Grammys are also struggling with a declining audience.
"The Grammys need to be innovative, particularly with the decline of the album. There will be have to be a revamping of categories to remain part of the everchanging landscape," market," said entertainment attorney Kenneth Freundlich.
And while purchased digital singles have exploded on services like Apple Inc's iTunes, they haven't come close to offsetting the 33 percent slide in U.S. album sales since 2000.
Even EMI Group, which delivered one of this year's album of the year nominees: Coldplay's, "Viva La Vida or Death and All His Friends," which has sold over 7 million units worldwide, believes albums are becoming less relevant in some cases.
"We're moving away from the album cycle for some artists. The album isn't necessarily the most relevant mechanism for some artists to connect with fans on an ongoing basis," said Nick Gatfield, the British label's president of A&R (artists and repertoire) for UK and North America.
"It's conceivable we could get to a point of signing a 50-track deal with an artist and determine later how to bundle them (songs)," he said.
Also competing for best album is another British rock band, Radiohead, which bypassed major labels to distribute "In Rainbows" on its own Web site at a price to be determined by consumers. It later released the album through a small label owned by rocker Dave Matthews.
Another indie release is considered the favorite: "Raising Sand," an acclaimed collaboration between former Led Zeppelin rocker Robert Plant and American bluegrass singer Alison Krauss. It was released by Rounder Records, a label that specializes in roots music.
Two rappers are also vying for the prize: Lil Wayne with "Tha Carter III" and Ne-Yo with "Year of the Gentleman."
The album of the year is just one of 110 categories, with prizes to be given out in such genres as country, pop, reggae, bluegrass, polka, blues and spoken word. All but a dozen awards are hurriedly handed out before the main event kicks off at 8 p.m. EST.
As usual, the broadcast will be performance-heavy. Among the expected artists are all the album nominees; best new artist nominees Adele and the Jonas Brothers; and veterans such as Paul McCartney and U2.
Posted by: DJ KidRelly
(Reporting by Sue Zeidler)
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Tuesday, February 17, 2009
The Most Wanted Rap Albums of 2009
Now that 2008 is well behind us and we've shaken off the hangover of New Year celebrations, it's time to look ahead at what 2009 has in stock for hip-hop. This year promises a very exciting lineup of rap releases, including albums from Eminem, Jay-Z, and (*fingers crossed*) Dr. Dre. Here are the 20 Most Anticipated Hip-Hop Albums of 2009.
20. Chamillionaire - 'Venom'
Grammy-winning rapper Chamillionaire is gearing up his third major label effort, Venom, scheduled for an early 2009 release via his new home at Universal Republic Records. The much-buzzed about follow-up to 2007's Ultimate Victory is led by the single "Creepin' (Solo)," which features a powerful guest verse from Ludacris.
19. Slim Thug - 'Boss of All Bosses'
© Koch RecordsA distinctly voiced rapper with an imposing figure to match, Slim Thug established a huge following in such a short time. That's also because he's business savvy -— mixtapes released on his own Boss Hogg Outlawz label circulated throughout the Houston region. Slim's not-so-prophetic debut album, Already Platinum, dropped in 2005, while his group the Boss Hogg Outlawz released Serve & Collect and Serve & Collect 2 consecutively on KOCH Records. Now Slim is back on Koch to release his long overdue sophomore effort, Boss Of All Bosses, tentatively slated for March 2009.
18. Joe Budden - 'Padded Room'
© Amalgam DigitalAfter securing a release from his Def Jam contract in 2007, Joe Budden immediately became a much sought-after free agent. Though he was approached by several major labels, Budden didn't want to jump from frying pan to fire. Rather, he decided to go against the grain by signing with upstart web-based distributor, Amalgam Digital. Amalgam will release Padded Room with exclusive hidden bonus tracks later this year. Budden's erstwhile adversary, The Game, appears on Padded Room's lead cut, "The Future."
17. Jadakiss - 'The Last Kiss'
The Last Kiss is the final entry in Jada's Kiss trilogy, which began way back in 2001 with Kiss tha Game Goodbye and continued with 2004's Kiss of Death. Of course, a lot has transpired since then. Kiss left Ruff Ryders and joined Def Jam, at Jay-Z's beckoning. The Last Kiss is led by the Ne-Yo-assisted single, "By My Side." It also boasts guest appearances by Jay-Z, Faith Evans, Lil Wayne, Styles P, and Ghostface Killah.
16. Busta Rhymes - 'Back on My B.S.'
© UniversalIf you've been anywhere near a radio lately you've probably heard the trunk-rattling Busta single "Arab Money." Busta is taking no prisoners on this go-round. Busta kicked off his B.O.M.B. campaign by dropping the poignant street anthem, "Don't Touch Me." He then followed it up with the dancehall favorite, "Arab Money." Not bad for a senior citizen rapper.
15. Saigon - 'The Greatest Story Never Told'
© Henry Adaso/About.comSaigon's major debut has been delayed so much that I'll have to see it to believe it still exists at this point. Despite the cloud of uncertainty hovering around Sai-Giddy's album, one thing's for sure: with Just Blaze manning the boards and Sai on the mic, anticipation for The Greatest Story Never Told remains at an all time high.
14. Wale - TBA
© Getty ImagesFew new MCs have resonated with hip-hop heads as strongly as Wale. His 2008 mixtape, The Mixtape About Nothing, was superior to many of the hip-hop albums that dropped last year. Imagine the damage he could do if he can parlay those same skills to his full-length debut, due out this year via Mark Ronson's Allido Records.
13. 50 Cent - 'Before I Self Destruct'
© Bryan Bedder/Getty ImagesEven if 50 Cent never sells another CD in his lifetime, he'll still have no trouble making his mortgage payments. After all, he's the richest rapper alive. That said, 50 has watched his popularity plummet over the last couple of years. Before I Self Destruct, the Queens, NY MC's fourth solo outing, gives him ample opportunity to win back some admiration from hip-hop heads. The album's lead single, "I Get It In," hearkens to bouncy bangers like "In Da Club" and "Candy Shop."
12. Lil Wayne - 'Tha Carter IV'/'I Can't Feel My Face'
© Getty ImagesLil Wayne has a very busy 2009 ahead of him. In addition to a rumored Carter III re-issue, the New Orleans rapper is also hoping to keep our iPods fully employed with the following:
- I Can't Fell My Face (a joint album with Juelz Santana)
- An untitled collaboration with T-Pain under the moniker T-Wayne
- Tha Carter IV, and
- A "rock" album
11. Big Boi - 'Sir Luscious Left Foot'
Photo © Scott Gries/Getty ImagesSir Luscious Left Foot is Big Boi's first solo album. In a 2008 Billboard.com interview, Big revealed that the album is "Big Boi to the extreme." "It’s like a recession special," Big Boi says of the album. "I'm talking about what’s going on in the world, with everything from rising gas prices to the election. It’s just my insights on life up to this point." Look for more guest appearances and production from Andre 3000, who helped make "Royal Flush" the best hip-hop song of 2008.
10. Clipse - 'Till the Casket Drops'
© Re-Up/Zomba Label GroupWith the Clipse's disappointing Re-Up Gang mixtape behind them, brothers Pusha T and Malice have now turned their attention to the upcoming Columbia debut, Till the Casket Drops.
The production cast includes The Neptunes, Justice League, Sean C and LV, Dame Grease, and DJ Khalil. Till the Casket Drops is Clipse's third full-length and a follow-up to the brilliant Hell Hath No Fury.
The production cast includes The Neptunes, Justice League, Sean C and LV, Dame Grease, and DJ Khalil. Till the Casket Drops is Clipse's third full-length and a follow-up to the brilliant Hell Hath No Fury.
zSB(3,3)
9. Raekwon - 'Only Built 4 Cuban Linx II'
Whether Only Built 4 Cuban Linx II, the sequel to Raekwon's '95 street classic, will see its release this year is still anyone's guess. However, fans of the rap elder statesman may be pleased to hear that RZA will return to man the boards for Cuban Linx 2. Expect some viscous beats and witty, intelligent narratives.
8. Rakim - 'The 7th Seal'
© Peter Kramer/Getty ImagesWhen I interviewed Rakim in 2006, he was almost certain that Seventh Seal would be out in 2007. To the disappointment of many, that album is still in limbo. All hope is not lost, though; word on the street is that the eagerly anticipated Seventh Seal may finally drop this year.
7. Mos Def - 'The Ecstatic'
© Getty ImagesPropelled by the brilliant "Life In Marvelous Times," The Ecstatic marks Mos Def's long-anticipated return to pure rhyming. The album finds Mos as poetic and confident as ever. It's his first full-length since 2007's half-baked True Magic.
6. Kanye West - 'Good A** Job'
© Getty ImagesKanye West was hoping to complete the college-themed series with Good A** Job, but he placed that project on the burner to focus on 808s & Heartbreak. With 808s & Heartbreak and all its eccentricities now behind him, 'Ye can re-direct his focus to the final installment of the college series, tentatively titled Good A** Job.
5. OutKast - TBA
OutKast's critically acclaimed double album Speakerboxxx/The Love Below was originally intended as two separate LPs. Apparently, packaging them jointly wasn't a bad idea, as that set went on to sell over 10 million units. There's no arguing that Big Boi and 3000 have been contemplating their respective solo albums for a long time. Thankfully, the two have confirmed that they're working on their respective solo projects, after which they'll reunite for another OutKast album.
4. Lupe Fiasco - 'LupEND'
© Getty Images/Donna WardHow do you go out with a big bang on your final album? If you're Lupe Fiasco, you make it three discs long. Lupe's third album, LUPEND, is further divided into three sections: Everywhere, Nowhere, and Down Here, respectively.
Lupe is a talented MC, and Food & Liquor and The Cool deserve to be mentioned among the best hip-hop music of this decade. However, the cynical bastard in me is skeptical about a 3-disc rap album. Hip-hop double albums have been disappointing in the past, with a couple of exceptions. So, imagine how much of an uphill task he has created for himself. I'll be more than happy to eat my words if he delivers 100% pure quality on every disc, every verse, every track, every beat on L-U-P-END.
3. Jay-z - 'The Blueprint 3'
© Matt Cardy/Getty ImagesAsk any Jay-Z fan and they'll tell you that his 2001 CD, The Blueprint, remains one of his best albums ever. Jay has been trying to recreate the brilliance of that album ever since. The first Blueprint follow-up, 2002's Blueprint 2: The Gift and The Curse, marked a low point in Jay-Z's catalog, as the album suffered from excessive filler material and forced collaborations. Cross your fingers and hope for Jay to recapture the magic on Blueprint 3.
2. Dr. Dre - 'Detox'
Photo © Michael Buckner/Getty Images1. Eminem - 'The Relapse'
© Bill Pugliano/Getty ImagesAny hip-hop fan who isn't looking forward to Eminem's new album either needs to check his pulse or find a new hobby. Or both. A few missteps here and there notwithstanding, Em is still one of the nastiest MCs of our time. His fifth major album, The Relapse, is undoubtedly the most eagerly awaited rap project of 2009, rivaled only by Dr. Dre's Detox. Speaking of Dre, word on the street is that he's manning the boards on The Relapse. This is a welcome development because Eminem is a better rapper than he is a producer. It's a good idea to let Dre work the knob so that Slim Shady can focus on his rhymes. "Crack A Bottle," a mid-tempo collaboration with Dre and 50 Cent, is expected to be the first single from Relapse.
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Interscope Fires Many
The suits at Interscope who ruined America’s music business are now seeking to ruin America’s economy by adding 24 people to the unemployment pool.
Says Billboard:
Roughly two dozen staffers were cut at Interscope Geffen A&M on Friday, according to sources. The layoffs hit the A&R, marketing and promotion departments and impacted mostly mid- and entry-level staffers, according to one source. The layoffs come as Interscope plans for highly anticipated albums from 50 Cent, U2 and Eminem in the coming months.
I’m sure the layoffs had something to do with Jimmy Iovine’s depleted retirement funds, because seriously who can survive on $250 million a year? At least, they’ll have more money and less personnel available to help make Eminem’s Relapse LP a success.
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Kid Relly on Artist Management
Managing an artist or bands career is a tricky process which you will dedicate most of your time to. A manager is not like most normal jobs, you do not have set work hours and you do not have set vacations, etc. You basically will be an extension of the artist doing a lot of the work that isn’t as much fun at some times but at other times is greatly rewarding. To be a manager you should know the in’s and out’s of the industry or at least have basic knowledge of business and law. The manager will be responsible for day to day duties keeping the artists career running smoothly and soliciting any projects that may gain more money and exposure for the artist. Being a manager is a job like many where you get better with experience, going through many different situations and learning how to make the outcome of those events a positive one for you and your artist.
The pay of the manager depends on the salary of the artist as most manager’s payments go by percentage. The industry standard for a manager is 20% of the gross monthly income of the artist meaning for every hundred dollars the artist makes you take $20 of that. The manager is not a booking agent, as many people think - the manager is not responsible for getting an artist or band shows and tours. The manager is supposed to help in negotiating and the process of getting the tours and shows set up, but the manager is not responsible for booking. This job is for the talent agent or booking agent or agency. In some states such as California it is illegal to be either the talent agent or booking agent and the manager.
As for artists, many ask us when is the right time to get a manager. Most of the time, the artist should get a manager when they can no longer do it by themselves because of too many shows and recording sessions to keep all of their business straight. Many other reasons are if you get a large independent or major record label deal then you should have a manager before you sign the contract with the label, and also if you are putting a lot of money behind your project then you should find a manager to make sure everything runs smoothly especially if you do not have a lot of knowledge of the music industry. A good manager will be able to find marketing, public relations, and more for you at a good price.
For those who are interested in becoming a manager there are many ways to start. The best way to prepare for the career is by reading books pertaining to music management, general business, and business and music law. Some managers pursue degrees in business law, business administration, and music law. If you are interested there are schools with degrees just for music careers at places such as Full Sail based in the Orlando , FL area.
DJ KidRelly aka Kid Come Up
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Digital Sales Surpass CD Sales at Atlantic Records, Overall Sales Down
Yep, it finally happened. One label has come forward and admitted that, for the first time, digital sales of its music has surpassed CDs. While many pundits asserted that loosing tunes via tiny downloadable files would instantaneously cause the deep-pocketed record labels to crumble as piracy ran rampant, the numbers tell a different story. In fact, music sales overall have declined from $14.6 billion in 1999 to $10.1 billion this year, and it's expected to shrink further. But for Atlantic, moving tracks on the information superhighway has proven quite successful; last quarter, digital sales accounted for 51% of its revenue, while CD sales still make up over two-thirds of all music sales industry-wide. There's no real indication as to why Atlantic seems to have that digital charm while everyone else is still clinging tight to old world business models, but it's sure nice to see this side of the equation thriving. Now, about those DRM-free downloads across the board...
Courtesy of Darren Murph from Engadget.com, a cool site for technology news
DJ KidRelly aka Kid Come Up
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CDJ News: SiriusXM Price Increases Coming in March
Well, satellite radio lovers, we have good news and bad news. The good news is that the positive stipulations to the Sirius XM merger deal will finally begin to bear fruit and a variety of new programming packages will be available. The bad news is that many current subscribers will see their fees increased. First and foremost, the basic subscription fee for the current programming package will not budge - as the providers stated during the merger battle, the core subscription will stay fixed at $12.95 per month with lump sum discounts intact. The primary change is one that will affect subscribers with multiple radios, as additional subscriptions will jump from $6.99 per month to $8.99 per month. The variety of new packages and a la carte plans revealed during the merger deal will be available as well however, ranging in price from $6.99 per month to $16.99 per month. Let’s have a look at all of the offerings:
- Sirius Everything (basic subscription): $12.95
- Best of Both (Sirius Everything plus Best of XM): $16.99
- A La Carte (50 Sirius channels a la carte): $6.99
- A La Carte Gold (100 Sirius and/or XM channels a la carte): $14.99
- Mostly Music: $9.99
- News, Sports and Talk: $9.99
- Family-Friendly: $11.95
- Family-Friendly plus Best of XM: $14.99
Plans that combine Sirius and XM programming will of course require a new radio. The other big change is the removal of the free internet streaming option. Currently, paying subscribers can enjoy free low-quality streaming over the internet or pay $2.99 for a high-quality 128k stream. The former will now be removed and all subscribers must pay $2.99 to enjoy programming via the internet. Of course that’s not a bad deal at all; a year of streaming will run $35.88 which is comparable to both Pandora and Last.fm ($36 each), and 25% cheaper than Slacker. These changes will take place on March 11 and users are invited to prepay for service prior to that date in order to be locked in at the current pricing for up to three more years. What say you satellite radio subscribers - happy, sad or indifferent?
Posted By: DJ KidRelly
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College DJ News: Jermaine Dupri Out As Head Of Island Records Urban Division
Atlanta-based producer Jermaine Dupri’s tenure as President of Island Records Urban Music has come to an end. A formal announcement of his departure from the position, which he has held for nearly two years, may come as early as Thursday (Jan 8).
Speaking on condition of anonymity, a source close to the situation confirmed to AllHipHop.com that Dupri has in fact been terminated effective immediately.
The Island Records Urban Division was created within the Island Def Jam Music Group a short time prior to Dupri’s hiring in February 2007. In the position, he oversaw the label’s entire urban music operations, reporting directly to label Chairman Antonio “L.A.” Reid and Steve Bartells, President of Island Music and COO of the Island Def Jam Music Group.
Having enjoyed tremendous success with Island Records songbird Mariah Carey on The Emancipation of Mimi, Dupri’s duties also included providing production for the Music Group’s entire roster.
In April 2008, Island/Def Jam announced the creation of TAG Records, a new venture with Procter & Gamble’s TAG brand to be helmed by Dupri. The partnership created a new marketing module that allowed for new talent, like So So Def/TAG artist Q, to be cross-promoted in conjunction with TAG body sprays through print, television, radio, and digital advertising.
No word on how Dupri’s departure will affect TAG Records, nor the roster of artists on So So Def, which has been distributed through Island Urban since 2007.
Sunday, February 15, 2009
The Mixtape Portable DJ Mixer
And there goes another blow to soon to be extinct art of DJing…. We feel your pain Vinyl enthusiast! Now a first glance this apparent throwback cassette looks like your run of the mill tape that’s been 24-karat gold plated of course, but looks can be deceiving. The tape is actually a pocket-sized audio mixer for combining your favorite joints and jams from a pair of audio devices… That’s right, you can get the party cracking anywhere now. The Mix Tape Portable DJ Mixer lets you mash up tracks from any two iPods or any arbitrary portable music devices, and it’s duo 3.5mm stereo inputs and a single stereo output let you fade between two sources like that of an professional DJ mixer. You can find this exclusively from Urban Outfitters for just bucks, and you can also catch a better look at the gadget in the gallery after the cut
…dp
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Killahbeez.com: Arts, Beats, Fashion and Lifestyle
I recently had a quick e-terview with our friends at www.killahbeez.com. David Thai filled me in on the origins of the site: Killahbeez.com
David Thai:
"The summer of 2007 gave birth to Killahbeez.com. We felt that there were a lot of street culture blogs out there that were fairly one-dimensional, specializing in just music, fitteds, clothes or art and gearing specifically to one gender. We wanted to bring all of those offerings under one house and cater to everyone and talk about everything that influences the streets and vice versa.
Our Killahbeez.com family consists of members located out on the East Coast and the West Coast of North America. This helps gives us a diversified look at the culture and all that encompasses it.
We've conducted interviews with Bloc Party, Dave1 from Chromeo, Black Kids, Lykke Li, Clinton Sparks, Boys Noize, DJ Mehdi and fashion designer Erin Magee to name a few.
We also do concert reviews: http://www.killahbeez.com/category/music/concert-reviews/
But overall we generally write about stuff we genuinely like. Unlike other blogs that blog about every piece that comes out or song that comes out, we try to blog about stuff we like and provide some actual content to the writing. Definitely look up to magazines like Format Mag."
Make sure you check in with them from time to time, the site has cool stuff every dj should keep up with.......-dp
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