The movie begins the summer after Benjamin Braddock (Dustin Hoffman) graduates from college. He doesn’t know what he wants to do with his life, and his father (William Daniels) and his parents’ friends seem keen on making that decision for him, which becomes clear from the graduation party they throw him. Apparently plastics was a hot field in 1967. Benjamin is asked to drive the wife of his father’s law partner, Mrs. Robinson (Anne Bancroft), home where she tries to seduce him. He’s hesitant at first, but through the unwitting advice of Mr. Robinson who counsels Benjamin to enjoy his youth while he can, he goes ahead with the affair.

With the pressure to make major life decisions mounting, Benjamin’s father forces him to take Elaine, Mrs. Robinson’s daughter, out on a date to see if they might be interested in getting married. Mrs. Robinson warned Benjamin that as long as they were involved, her daughter was off limits, so Benjamin tries to make himself as unappealing as possible, hurts Elaine’s feelings, and winds up kissing her to make up for it. In his embarrassment and newfound connection with Elaine, he reveals the affair he had with her mother. In shock, Elaine takes off to Berkeley and cuts ties, so that when Benjamin comes to find her, she’s been made to think he raped her mother. Benjamin also finds out she’s betrothed to another man. Mr. Robinson finds Benjamin and threatens him to stay away from his family. Benjamin seems intent on doing just that, but in a last ditch effort to enjoy his youth as he was so prophetically advised, he drives to Santa Barbara where Elaine’s wedding is taking place, runs into the church a hair too late, and disrupts the whole affair with his Stanley Kowalski-esque bellows of “Elaine! Elaine!” His presence causes an all out fist fight, but he and Elaine escape, hail down a bus, and travel down a long and dusty road, no more sure of their future than they were months before.

As is typical of college graduates, most of the learning about life is done post-academia. Whatever Braddock learned in school (although he is not yet 21 when he graduates, a potential plot hole), it could never have prepared him to face the temptations of, well, a cougar, the pressure from his family to get a job or get a life, the ability to upend someone else’s life completely with one impulsive decision, or the pull of individuality and living according to one’s own standards over following the herd. These were all lessons Benjamin had to learn on his own through cold, hard experience.

Some may find it amusing that the father figure in this movie is none other than William Daniels—Mr. Feeny from Boy Meets World, the esteemed and wise educator. I’m not sure his philosophical powers were in as fine a form in his character in the movie, but it’s interesting to note nonetheless. When I first watched this movie, I watched it because of its fame and because of the illustrious soundtrack that brought Simon and Garfunkel to the forefront of the music industry. Their music makes this film as much as the themes and technical construction do. But I wasn’t all that intrigued with the plot. I found it slow, boring, and anticlimactic. I felt frustrated by the pace of the movie, and in my view what were failed expectations for a movie of such caliber and hype. It wasn’t until later when I was able to analyze the film that I realized the sense of frustration, that slow-going what-the-hell-is-happening feeling was intentional. Through the films construction, the audience is able to feel the palpable sensation of placelessness and confusion that Benjamin feels throughout the film. It isn’t until the pivotal scene when Braddock’s car runs out of gas just before he makes it to church and when he is banging on the glass in the church, that the viewer finally feels a sense of validation and excitement, which is the same trajectory Benjamin’s feelings followed.

 Of course, Dustin Hoffman strikes again in his earlier work, his awkward personality and unique vocal quality lending themselves perfectly to the characterization of Braddock. It is pretty much a one man show in the acting department, and the cinematic construction, while not revolutionary, certainly had its film noir moments reminiscent of Double Indemnity and Casablanca in the way shadows played up the drama, particularly where Mrs. Robinson was involved. In short, the movie is worth its hype, even if it may not seem like it upon first viewing. Good for a nostalgic look back at those days following college graduation, or for a Hollywood take on the experience that will resonate with college grads everywhere.

 To everyone who followed or enjoyed even one of my columns, I hope you learned a little bit about what makes great films, and maybe added a couple of gems to your viewing repertoire. I haven’t been able to cover all of the films on the American Film Institute’s list, but there’s nothing stopping you from embarking on the same challenge I have. Happy watching!

As you may have guessed, the title of this review is a spoof on A Whiter Shade of Pale, a popular Procol Harum song from 1967, the year in which we now find ourselves observing the lives of Don, Megan, Roger, Peggy, Betty, Sally, Joan, Peter, and the rest of the crew. The music will definitely be one thing to look forward to this season, especially given the potentially lack luster season premiere. And the clothes. We must pay attention to the clothes. The men will look ridiculous even though they think their haircuts and crazy suits are suave (Harry, anyone?), and the women will look fabulous in colors and patterns that electrify. Banana Republic has a Mad Men inspired collection, if anyone is interested in taking their fashion cues from the chic Megan Draper.

For starters, Don doesn’t talk for a good portion of the beginning of the first episode. The guy’s in Hawaii, tan for the first time since his travels to California, drinking, smoking, and having sex with his gorgeous wife. What’s there to be silent about? Well, we later find out he’s on a business trip, so there may be something in maintaining propriety, even as Megan gets recognized by a fellow vacationer. She’s on the rise to fame. And Don doesn’t like it.

We got a hint of this at the end of last season as Don walked away solemnly from Megan, leaving her on the set of the commercial that would be her first big break, courtesy of his truly. Cut to Don in a bar (big surprise), getting attention from the ladies (big surprise), coyly debating whether or not to take one of them home (actually a bit of a surprise). With his marriage to Megan, some may have thought Don was turning over a new leaf, but we know his past haunts him in more ways than one, and maybe the big man at the advertising agency can’t cope with his wife’s fame overshadowing his importance. In fact, that’s exactly what happened when New Year’s Eve goes awry with a doctor friend of the Drapers getting a late night call and Don paying a late night call to said doctor’s wife. He says he wants to stop the affair, but can anything be taken seriously when it is said with half-hearted enthusiasm under a heap of twisted sheets?

Apparently not, as this week the affair continues after a somewhat awkward dinner between the mistress and Don that wasn’t supposed to be a date but turned out to be one anyway.

The drinking doesn’t seem to have died down any as Don has one too many before Roger’s mother’s funeral and throws up right in the middle of the service. This may not rival the insobriety of the soldier Don meets at the bar in Hawaii, who is preparing for his wedding. Don winds up giving away the bride—a decision made under rational consideration since Don was not drunk when he agreed. He did wind up going home with the soldier’s lighter which had a personal inscription etched into the metal. He throws it out, but like most things Don tries to discard, it winds up back in his possession and, in a softening of heart, he gives it to his secretary who he hopes can find the man.

Back to Roger. He’s dealing with his perpetual midlife crisis. Last season it was through experimentation with LSD, and this season it’s lamenting his plight on a therapist’s chaise lounge. Jane is gone. Mona is long gone. His daughter only comes to him for money. Joan ignored him, even when his mother died. His secretary seemed more upset by his mother’s death than Roger. That is until Roger’s shoe shine guy dies in the same week and he loses it in his weirdly sterilized/psychedelic office. You actually kinda feel bad for the guy.

This week we get very little by way of his storyline. But he does give Don a genuine smile and compliment after a meeting for Jaguar’s ad campaign ends with Don on top, as usual. It seems that Don’s display of his persuasive abilities may have sparked in Roger the initial taste for the tough sell he once loved about his job. It’d be nice to see Roger put all his negative energy back into his work, and with one quip about his mother and Munich that Don says came from Churchill, not Mrs. Sterling, it seems that Roger is dealing in his own way with his mother’s death and may just try channeling his feelings constructively.

Peggy makes an appearance as she continues her workaholic ways, finding out that she’s the new Don Draper of her ad firm. The people are scared of her. She accidentally lets slip that Heinz is on the prowl for new ad representation, a tip she got from Stan. She tries to refuse the research Ted forces her to do, after struggling to make a personal connection with her creative team. It seems that she’s finding the corporate life all she hoped it would be—power and authority—and that she doesn’t like it. She’s having to make moral compromises like Don once did, and we are definitely going to see this play out over the course of the season. I’d love to see a tearful phone call to Don or something like it, asking him how he juggled it all. The answer, of course, is that he didn’t. He just made it look like he did, and keeping up appearances seems to be a big theme of the opening episodes, and likely the season.

Betty never fails to shock as she gets a ticket for speeding, goes to the Village in NYC, hangs out with a bunch of squatters to find Sally’s friend Sandy, and dyes her hair black, after going on a rant to Henry about his fanatical obsession with Sandy and how she’d be totally okay if he raped her. She was joking. We think. It’s hard to tell sometimes what goes on behind those coy smirks and piercing eyes.

All in all a tepid opener to the season, but I’m not about to write the show off just yet. Though some of the story lines are going from tan to tanner—that is, blah to blah-er—there’s a lot of potential here. Sandy might wind up in the Haight-Ashbury. That could be cool. Peggy might have a breakthrough where she realizes life is not all about work. She might even embrace the radical culture swirling around her as she tries to hold onto the corporate ladder she’s climbing. Maybe Don will turn over a new leaf. Him and Megan could be a serious power couple. Their storyline is undoubtedly of most interest, because Don’s past is coming back for him again—we saw flashbacks of his childhood living in a whore house, and now he’s wrestling with the same questions of family or career wife that he probably confronted early on with Betty. The jury’s out on exactly where Peter, Joan, and Betty are headed, but all are enigmatic characters with some serious storyline potential. Peter seems to be wrestling with the “the mass of men lead lives of quiet desperation” issue that plagued pretty much his entire generation for a variety of reasons, the least of which is Vietnam. Joan is gonna have some devils to confront that can’t be met at the bottom of a glass as the sleazy Jaguar exec surprises her at the office (remember, it was a forced sexual act between the two that got her a partnership). Nonetheless, I’m staying tuned in, if for no other reason than the tunes. But there will definitely be more to this season than the music. It’s 1967, and it’s a mad, mad world.

With the nice weather this past week has given us, most of us are ready for it to be summer. Beaches, barbeques, and of course, parties. “Perros Salvajes” which translates to “wild dogs” is a great party song to add to your summer 2013 playlist.

Daddy Yankee’s newest album Prestige has been received with positive reviews. However, I’ve been frustrated with some of his work lately. It’s been very pop-like and not true to his style. This might be an unfair assessment since I’m a fan of the old style Reggaeton of 2004 to about 2008. Hits such as “Gasolina,” and “Rompe”  made Yankee one of the most popular “reggatoneros” out there. However, “Perros Salvajes,” one of the songs on his newest album, has a deep bass and tempo similar to that of his older music. This song, which cautions listeners to be careful because the wild dogs have arrived, has a good beat that keeps you wanting to dance all night!

As far as the video goes, I’m not a fan. This type of video is very typical in the Reggaeton world, featuring scantily clothed females who dance seductively in cages and on poles. But come on Daddy Yankee, when are you going to come up with something more unique and respectful to women?

Although I’m critical of the choices he’s made musically in recent years, in terms of his appearance, I’ve got to say, I’m prefer his newer classy look. Keep it up Daddy Yankee!

Keep Slurpin’ Suckas!

Playlist:

1. Fire Burning- Sean Kingston
2. Fireflies- Owl City
3. Picture to Burn- Taylor Swift
4. Firework- Katy Perry
5. Burn it Up- Jessie James
6. Crash & Burn- Jesse McCartney
7. Burned- Hilary Duff*
8. Set Fire to the Rain- Adele
9. Slow Dancing in a Burning Room- John Mayer
10. Burnin’ Bridges- Jessie James
11. Firecracker- Josh Turner
12. Springsteen- Eric Church                                                                                                                                              

As a celebration for the opening of the Now Scream! exhibit, the Cornell Hip Hop Collection has invited Afrika Bambaataa back to Ithaca to perform tonight! The original MC of Hip Hop is sure to get the crowd dancing and play some amazing beats. The Now Scream exhibit is the Hip Hop collections first exhibit and is celebrating the cultures 40th birthday!

The show starts at 9, the doors open at 8 and the dancing goes on till late!

Be there!

For fans of: Two Door Cinema Club, Bloc Party

I recently stumbled upon Capybara, an indie rock band hailing from Kansas City on one of the many music blogs I constantly check, and their newest album, Dave Drusky, is fast becoming a favorite of mine. Their style is very surfer rock, with tinges of synth and eighties pop thrown in for good measure. It’s mellow, airy music definitely, but it has this inviting, warm vibe to it which is something I found really endearing and leads me to gravitate towards their music. Their track Ruby Eyelids has been on many of my playlists for the past few weeks, and there music generally makes me feel really calm, and I like feeling that way. Plus, there’s a maturity in their music that I found interesting, especially for a sophomore effort and very little obnoxiousness, which is always good. Late Night Bikes is another stellar song off the album, and I think it’s a good representation of their overall style – big vocals with a lot of guitar usage. Plus, I feel like it’s the kind of song that belongs to the Lion King Soundtrack, and I really think we all need a little more Lion King in our life anyway, so it’s a win-win situation in my book. This is definitely geared towards those of us with a more eclectic taste in music, but the album has enough variety to garner the attention of those in the middle of the spectrum.

Also, as a testament to their obscurity, I couldn’t find a Youtube link for any of their music, so their Soundcloud has to suffice in this case:

I have had the misfortune of using OKCupid and meeting a friendly dick on it. That came to an end over Spring Break, and I turned 21. Without a doubt, year 20 sucked. From the unfortunate meeting in a Princeton dinning hall kitchen, to the not successful positions, my year has been filled to the brim with disappointments. And now I can’t force myself to put pants on.

I wanted to write this post for anyone out there who was in a tropical island over break, came back to school only to realize that it was the same here. Thankfully my sister’s fiance told me to look into Flume this week and that’s been my savior.

From the song “Bring You Down” to “Left Alone” Flume’s debut comes on the heel of the recent rise in popularity of Chill wave music.  A little over two years ago, I got the chance to see Flying Lotus live at Coachella, one of the genre’s pioneers. I use the term loosely because no, he is not the first one of them but he is the man that brought the genre to the forefront of the Indie music world. Yet, when I saw him I remember being confused by the hectic nature of his music. A cool guy I knew loved him so I pretended to dance, but I could not find the rhythm. I was into some of the beats but at times they were lost to me. The beats that I love are present in Flume’s effort but the beat is so clear that it’s easy to dance to.

The Australia native kind of fell into his career. At a young age he was eating cereal and found a CD rom in the packaging (we should all be wondering what kind of cereal he was eating because mine don’t have prizes like that!). Since then Harley Streton has been fascinated with music. His fascination has paid, his use of sampling is inevitably the highlight of the album. Though some reviews have paned the instrumental tracks on the album, I like how they add to the overall flow of the album and give me a break from my fist pumping.

If you’re a fan of those drop beats, hip hop samples, and some female vocals then Flume is the way to go. His debut single, “Sleepless” featuring Jezzabell Doran is a highlight of the album and is the singers first number one hit, knocking out One Direction in Australia.

Well, I’ve been listening to the new album on repeat for the past week literally, so I can tell you with confidence that it’s great, and J.T. did just about everything right. Like the Harry Potter book series, and unlike Madonna’s music, Justin Timberlake knows how to make his work mature with his audience. This album has real soul behind it, and should probably be recognized as a sort of pop/R&B/soul crossover, rather than just pop or R&B. Many of the songs surprisingly use real instruments and pay tribute to the music of our parents’ and grandparents’ generations (e.g. “Pusher Love Girl,” “Suit & Tie,” “That Girl”). Production by Timbaland keeps it still modern, and more importantly keeps me dancing to it, though not necessarily in the sweaty-grinding-at-a-frat-party type of way. That is how I think he manages to stay relevant among the Justin Bieber and One Direction-saturated media– he no longer tries to squeeze into the teeny-bopper market, he claims his own niche.

One thing I really liked about The 20/20 Experience is that the songs have just enough reminiscence of his old hits to make me feel warm and nostalgic about his older hits, and growing up with them. “Let the Groove Get In” is like a latin-inspired, second coming of Justified’s “Señorita,” which is great because I can’t listen to “Señorita” without wanting to throw up from hearing it so many times back when it was big. Beat-driven “Mirrors” could actually fit seamlessly into 2006’s FutureSex/LoveSounds, which is probably why he chose it for his second single, even though I think he should have probably tried to shy away a little more from his old sound.

Where this album goes wrong is that, as you can probably assume based on its first two singles, is that this album doesn’t have the potential for huge smash hits like his last two did. Where FutureSex/LoveSounds went right, this one went wrong, and where FS/LS when wrong, this album went right. On his last album, J.T. attempted to make a real album, not just a collection of singles, and he did it by recording a bunch of super long tracks with interludes. And while the songs on that album were phenomenal (Remember “SexyBack,” “My Love,” and “What Goes Around…Comes Around?”), I still often have to constantly press the “next track” when listening to it because everything just drags on. The 20/20 Experience got the interludes right, I can listen to it straight through and the songs flow into each other smoothly. You really get lost in the music, but J.T. traded the quality of the specific songs when taking the album apart for the quality of the album when treated as a whole, and these two things shouldn’t have to be a trade off. When an album is only made up of ten ultra-long tracks, there shouldn’t be weak songs like “Spaceship Coupe” that feel like filler to transition between stronger songs.

So basically, The 20/20 Experience will probably be a great album that doesn’t do so well in sales or radio-play, or at least not as well as his last efforts. When new songs come out, it will leave a lot of fans disappointed or confused, because they just aren’t as catchy and are not radio-friendly at all, but if you buy this album and really listen to it, I swear it really is good. J.T. described it as “music you can see,” and he’s right.

Best track: “Don’t Hold the Wall.” This song is sexy and fantastic, and I urge you all to listen to it right now.

If you’ve not yet listened to a Bat for Lashes track, I urge you to resolve your problem immediately. Bat for Lashes, also known as British ladysinger Natasha Khan, recently released her third album The Haunted Man, and has also dropped a string of fantastic music videos. The newest is “Lilies,” featured above, which mixes gorgeous visuals with lyrical imagery. The song itself is also just so wonderfully executed, and I swoon when Khan belts “Thank God I’m alive / Thank God I’m alive!”

The video is quite dreamlike, as Khan stands in front of a wall of stars and faces a group of creatures who appear straight out of “Where the Wild Things Are.” Yet we soon learn the monsters are friends, not foes, and her surroundings are less like a nightmare. It’s still pretty bizarre, but Khan’s face displays pure joy in moments throughout, and the video ends with her smiling and dancing with her new creature friends.

Don’t forget to also check out recent Bat for Lashes videos “A Wall,” in which Khan and her beau get sloppy at a party, “All Your Gold,” in which she twirls around alone on a beach, and “Laura,” a video with a strange cast of characters and a haunting mix of vocals and piano.

The Cornell Glee Club directed by John Rowehl began the concert with a few short pieces. Although the first song consisted of repetitive phrases, the various dynamics took this song to another level. The layered voices swelled, one of the signature abilities of this glee club. Dressed smartly in black suits with black bow ties, they continued with a traditional sounding Georgian folk song. Then varying the pace, The Hangovers, a subset of the Cornell Glee Club, took center stage singing Smashmouth’s Allstar. Serious personas and melodic phrasing infused with energetic beat-boxing created an interesting rendition of this popular song, quite enjoyed by the audience. The next song featured two soloists whose voices supplemented the exquisitely-blended background vocals. Cornell ended their set with a soulful selection, featuring Ryan Smith. Beginning in a low voice, he captivated the audience with his smooth notes and left the audience hungering for more melodies.

The Morehouse Glee Club directed by David Morrow delivered just that after literally running to their respective spots on the risers. They made quite an appearance, standing at attention in black suits and white bowties as the audience quivered in the pews, in eager anticipation of their first notes. Beginning with a short selection, it soon became apparent their ability to create a multitude of sounds. Their blending was impeccable. A signature feature was always the last note; when holding onto the fermata, the purity of their voices could clearly be heard. The third song expressed such a fervor of sound that one could imagine an impending storm while the next song began with one synchronized intake of breath and ended with many voices swelling as one. A piano was added to the next song which also featured dynamic hand-clapping and snapping as the glee club broke into two groups. They ended their set with a passionate piece featuring loud, commanding voices warmed by the opening piano trills.

Following the intermission, the Morehouse College Quartet, a subset of the Morehouse Glee Club, performed two songs. The second provided comic relief as they whipped out colorful handkerchiefs and sang as a barbershop quartet about Coney Island. Their performance recalled an era gone by, yet they succeeded in engaging the audience. Their fellow members joined them in the front and unleashed an even greater array of songs in the second half of the night. The first piece featured more instruments to supplement the glee clubs’s vocal instruments but didn’t overpower the voices. Betelehemu, the second piece, was the pinnacle of their portfolio and was rewarded with many hoots and hollers from the audience. It was incredible how one song could be such an intense and powerful experience. Shakers, cowbells, and drums established a rhythm that was echoed as the singers marched from side to side. Tambourines flashed as the players dipped down and swirled them in the air. Singers clapped in large, controlled motions from side to side. At the end, I overheard a woman say, “… and ain’t nobody broke a sweat.” The atmosphere remained electric with some fast-paced songs and others of a spiritual nature highlighted with soloists. Their last song proved the strength of their voices as the thunderous sounds announced their presence to all.

To conclude the night, the two glee clubs combined their talents for two songs.  Ave Maria could only be described as magical as the Cornell Glee Club sang from the back of Sage and the Morehouse Glee Club sang at the front. Their sounds spanned the entire chapel and floated on the air in between. Then, the Cornell Glee Club approached the front and sang from the aisles, surrounding the entire audience with beautiful notes. There was nothing electronic about this surround sound; it was purely human and perfectly blended. The Cornell Glee Club continued up to the front to join the visiting choir. Members were squeezed in amongst the others, creating a quilt of alternating white and black hues all united in song. The audience was transfixed. The ending song Got a Mind to Do Right was powerful yet controlled. Voices reached such a volume that they echoed around the corners and moved the audience to their feet with captivating applause. The Morehouse College Glee Club and the Cornell University Glee Club created nothing short of a spectacle tonight.

For fans of: Foals, Ra Ra Riot

Swedish band Shout Out Louds were always a band that I was always a bit iffy about. I discovered them back in the day when the OC was still on the air, and one of their songs played on the show…speaking of which, does anyone remember that show? I really, really miss it. In fact I kind of want to marathon it now but I digress, back to the original point. A lot of their songs felt very hit or miss for me, so I was apprehensive of their new album, Optica. Known for their quirky alternative style, there were definitely some tracks on this album that intrigued me, mainly because they use a lot of different sounds and beats on their tracks (the track Circles being a prime example) There is an element of childishness on this album, but rather than being obnoxious and annoying, it makes you (or…well, me in this case) really happy and upbeat, which I think is really needed with prelim season taking place currently. I felt like the album, as a whole, made for really good study break/paper writing music cause their mixture of dream pop and alternative make it peppy without being irritating, and puts you in a good mood…which is nice, considering the dreary weather currently facing us all here in Ithaca. Plus, I really like the fact that they have a male and female vocalist, cause their voices really complement each other, and their song arrangements are really interesting, each track definitely has its own unique vibe to it to keep the listener’s attention.

Keep Slurpin’ Suckas!

1. You Make My Dreams- Hall & Oates
2. Mr. Brightside- The Killers (Hot Fuss album)
3. Somebody Told Me- The Killers (Hot Fuss album)
4. Hot Mess- Ashley Tisdale
5. Cold as You- Taylor Swift
6. Fix You- Coldplay
7. Tonight Tonight- Hot Chelle Rae
8. Angel of Darkness- Alex C
9. Left Right- Inna (Hot album)
10. Hot Stuff (I Want You Back)- PCD
11. Away from the Sun- Three Doors Down                                                                                                                                                                                                                                      

Slope: Where are your right now?

Chester Watson: Um I’m In the car. I’m in georgia.

S: Where are you based out of?

CW: Well I’m mostly based out of Florida.

S: What’s the rap scene like over there?

CW: Where I live there’s a lot of like “rappers”, like that’s what they call themselves.

S: Are the Nu-Age kids based out of Florida or are you guys all over??

CW: Most of us are based out of Florida, Caleb [Crowe] is based out of Georgia

S: How did you get started with rapping and producing?

CW: I started producing like, the summer before 9th grade. I started rapping around the same time. When i was rapping…my songs got deleted so i had to start over so ya i started over when ninth grade started and i started recording.

S: How is it being this young and being a rapper? Becoming well known and stuff?

CW: Well it’s weird, like it’s pretty tight sometimes because people like know who I am, they know my words and everything. I haven’t really discovered a negative side, but I’m sure I will when I start doing shows.

S: Who’s your favorite producer on phantom?

CW: The only person I worked with personally was Caleb from Nu Age. Everybody else, I just got the beats, heard em’ and used them.

S: Have any of them reached out to you?

CW: Not like big rappers.. but there have been people trying to collab and stuff

S: Who’s your favorite artist right now?

CW: Well I listen to a lot of MF Doom, Earl..I listen to a lot of Mos Def, and myself a lot, more than I should probably.

S: Who did you listen to growing up?

CW: I didn’t really listen to rap when I was growing up. You know i listented to R&B and stuff… But when I started listening to music, I started listening to Earl and Tyler…

S: Ya you sound a lot like earl…do you get that a lot?

CW: Ya….I sound like him voice wise

S: What was your thinking behind the “Phantom” video?

CW: Well I didn’t really do anything for Phantom…I just shot it. I filmed myself rapping in front of a wall, and I sent it to Tulsie and she edited it and she did everything. She’s like magic. Prettywhores [Tulsi]

S: Are you gonna do another video?

CW: Ya actually there’s a video dropping tomorrow (3/12) at 6 EST for “Shapeshifter”.

S: What’s your favorite song on Phantom?

CW: Probably “Kudo”, it’s pretty short. Ya I like that beat a lot.

S: What’s the goal with Nu Age?

CW: Well um, eventually we want to have our own label…and basically do what we do now but on a more official level…and we want to make clothes one day. I wouldn’t say I’m that big into fashion..other people in new age do that…it’s pretty tight.

S: Do you like rapping or producing better?

CW: I like producing better than I like rapping…I don’t know it just comes more naturally sometimes. For rapping you kind of have to overthink you know?… sometimes it just doesn’t come. I like producing more but you know I really like rapping, I love rapping… it’s just a fine line between which I like more.

S: So you like the process of just sitting down and producing a beat versus the process of thinking about lyrics and writing a whole verse?

CW: I mean like if you get some good lyrics and you’re feeling them then you just keep on going…and you know. same with producing though, it’s just like rapping.

S: What do you think of Pro Era, ASAP Mob and the big rap movements happening right now?

CW: They’re dope, I mean I listen to Joey sometimes, A$AP sometimes, Odd Future…I mean they’re dope. I’d work with them for sure…I listen to their music all the time.

S: If you could work with one person who would it be?

CW: I think it’d be MF Doom. I’m really into him.

S:How do you get through writers bloc?

CW: I just wait, sometimes it takes two weeks, sometimes it takes a day. When inspiration comes it’ll come.

S: So what’s next for you? Rapping or producing full time?

CW: Well I gotta finish school, that’s not even an option. I just gotta finish it, get my diploma and everything. Um and then I just want to make music period, doesn’t matter if I’m rapping or producing.

S:What else is in the works? new tape soon?

CW: Well I got a tape coming out soon I’m co producing and what I’m working on right now…some people ask me for collabs so I gotta do those. and I’m in school right now so I gotta make sure I get out of here first.

S: What’s up with the cover for Phantom?

CW: Well I don’t know….I just made that cover. I just really like eyes…I don’t know why. So I just got an eye and cut them out, that’s actually Benjamin Franklin’s eye and just pasted it everywhere.

Thanks so much for talking to us! We really appreciate it.

[manager adds] Chester has a 3.77 or a 3.8, he’s a smart kid, don’t let him fool you about the school thing!

UK band Daughter

Sounds like: The xx, Of Monsters and Men

Daughter is one of those artists I can listen for hours. Their previous two EPs were on constant repeat for me when I first heard them, and I foresee the same for their debut full length album that just released. Daughter has this ability to distill these big issues that plague us like unrequited love, and fleeting youth into these gorgeous folk-pop ballads without sounding self-pitying and trite. Their new album, If You Leave has this signature style of theirs, mature yet soulful. Their first single, Still is probably one of the best tracks off the album, a fantastically written track about being in a fight with someone you love. The rest of the album touches on these quintessential themes of breakups, falling in love and loneliness, but there is this underlying feeling of hope within these songs, as weird as that sounds. The subject matter for a lot of their songs is definitely angsty, and on the dark and emotional side, but most of the time I found myself thinking, “wow, I never thought of it that way” while listening to the lyrics, rather than getting depressed and bummed out. Their music that gets you thinking, and especially their track Youth encompasses a lot of familiar feelings that I’m sure many of us have gone through at some point or another. Not gonna lie, the only caveat I really had with the album overall is the length of the tracks (some of them span seven, eight minutes) which was a bit difficult with my (non-existent) attention span, but if you power through, this album is definitely worth a listen!

There aren’t any particularly weak tracks, but a good amount stood out.  Opening with “While I’m Alive”, the album kicks off with a hard pop-funk vibe that you can’t help but bump your head to. The songs work well together weaving easy going beats with electronic tracks like “Atlantis” and “Leave it All Behind”.

“Fortune’s Fool” has a repetitive guitar twang that transitions fantastically to the track “Kahlil Gibran” with its dreamy, psychedelic riffs.  It’s a song about contemplation: “Even with the lights on, I’m still feeling nervous; Keep it to myself, I can’t afford this.” It brings the relaxed, summer break vibe to the crunch weeks of Prelims.

Other key tracks include “I Don’t Want to See”, “Last Words”, and “Say to You”, which is reminiscent of “German Love” from their 2008 self-titled album, Starfucker.  The album is an interesting soundtrack to brighten your walk through the grey, or if the snow has not yet turned to slush, white campus.

Similar Artists: Miike Snow, Coconut Records, Future Islands, Matt & Kim

Keep Slurpin’ Suckas!

Playlist:

1.   Save Tonight- Eagle Eyed Cherry
2. Behind These Hazel Eyes- Kelly Clarkson
3. Goodbye in her Eyes – Zac Brown Band
4. Eyes of Black- Darkness of Light
5. Deju Vu- Mike Posner
6. Blue Eyes- MIKA
7. Light in Your Eyes- Sheryl Crow
8. Brown Eyes- Lady Gaga
9. Dancing with Tears in my Eyes- K$sha
10. Wipe Your Eyes- Maroon 5
11. MMMMbop- Hanson*
      

Thank you Chrome Sparks for the dope track that is “Marijuana”

I hope you are as into Fleetwood Mac and the song “Dreams” as I am, because I promise you I can listen to the original and remixes for hours.

This week I thought it would be nice to lighten the mood and listen to some music that just makes you want to jump up and dance and will have you lip-syncing along.

Belinda—all grown up! We all remember Belinda from her Cheetah Girls 2 days and from when she was a child star in the series Amigos X Siempre!, but in her video for “En la Obscuridad,” which was dropped last week, Belinda shows off her body while wearing an outfit that could have her easily mistaken for Lady Gaga. But its not just her outfits which are provocative, the lyrics to the song are suggestive as well, one line translating to “give me a little more in the dark.”

While I found the video to be little over the top and disjointed, I found the song itself to be catchy and one of those songs whose chorus will stay stuck in your head and make you want to dance! To those who are familiar with her other work, Belinda’s signature raspy voice is present throughout the song.

Although the song itself was good, I find myself wondering, what will Belinda do next? It was rumored that she had a nose job, but she commented via Twitter that the procedure she underwent was for medical reasons. She has changed a lot from her The Cheetah Girls 2 days and only time where she takes her career and her look.

Sharon Van Etten’s voice is stunning. It’s that hollow, windy, whispering tone that always raises the hair on the back of my neck and makes me hold my breath when I hear it. In her songs, she also perfectly says the things I would like to say in a way that doesn’t sound forced at all. Listening to Sharon Van Etten is like listening to a beautiful conversation where you’re told everything you want to hear, even if the content is sad.

Here’s a song from Van Etten’s 2009 album Because I Was In Love. This song, “Holding Out,” starts with the beautiful lyrics:

“I was floored
by your humble outlook on the world around you,
who and all you are.
I was floored
by the way you take me seriously,
even when I’m joking.”

After these words, Van Etten releases a wail that is just her singing “Damn” in a stunned kind of way. This moment is heart-breaking. The pain and confusion in her voice is palpable. Additionally, the fondness she feels for this person and for his or her unassuming demeanor is apparent. As someone who has just lost a great friend, I am right there with her. Sharon Van Etten’s voice, and this song on repeat, is something that speaks to me right now, and really, all of her music has that personal grit to offer to her listeners. Please listen, enjoy, and check out her most recent release, Tramp, a gorgeous album as well.

I pressed play on  “Breath Of Life” by Florence and the Machine with a sense of skepticism. I knew the band, and I could listen to songs like “Shake It Out” and “Dog Days Are Over”, but they weren’t exactly my first choice of music. Although I liked their indie pop-rock sound, I found their music bombastic and their sound disorganized and random in nature. It was a little too loud for me to listen to while doing homework, yet a little too irregular and sporadic to work out to. However, what I found in “Breath of Life” was certainly unexpected. While it does retain the same dramatic choir and vocal peaks, they come at a softer and steadier pace. Before I knew it I found myself pressing replay on Spotify twice, and eventually ended up downloading it. For all of you who, like me, are skeptical of this band, try out this side of them.

Darwin Deez

Sounds like: Mystery Jets, The Black Keys

Darwin Deez is definitely more…experimental than any of the other stuff I listen to, but in a good way. I felt like their album was just this really eclectic mix of indie pop and rock with witty lyrics like “a career track to the fridge and back” (which kind of describes my life right now, unfortunately or fortunately) Hailing from the UK, this is their second album and it’s chock full of catchy songs and beats, the kind you tap your foot to when you’re listening to them…assuming you’re sitting down, but you get what I mean. The album is unabashedly fun, but the happy tunes are coupled with lyrics about not so happy parts of life, like breakups (the track No Love comes to mind), more breakups (Moonlit), crushes (All In The Wrist) and hanging out with exes after an awkward breakup (Good To Lose) among other things. The chipper beats of the song go well with the darker themes of the lyrics. I like it when songs make me happy and make me think all at the same time. One of my favorites from the album so far has to be You Can’t Be My Girl, an ode to unrequited love – a girl who likes to discuss Gorbachev while drunk. With lyrics like that, how can you not find Darwin Deez’ music incredibly intriguing and endearing?

Their music can be found on their website: http://darwindeez.com/

Their single, You Can’t Be My Girl:

The remainder of their self-titled album, The Lone Bellow, that quickly followed the release of their single did not disappoint. Just take a listen to “Teach Me To Know” or “Green Eyes and a Heart of Gold” to see for yourself.

Leading male vocalist Zach Williams may have just about one of the best male folk voices I have ever heard. His complementary vocal harmonies with band mates Brian Elmquist and Kanene Pipkin might make you cry, especially on my personal favorite on the album “Two Sides of Lonely.”

Slowly making a name for themselves on tour this spring, keep up with their latest on Twitter (@TheLoneBellow) and instagram (thelonebellow).

For any other folk, soul, country fans like myself out there, check out their music video for “Two Sides of Lonely” below:

In lieu of this evening’s INSANE news that Kendrick Lamar will be performing on Slope Day, I have decided to share some of my all-time favorite K.dot songs.

For those of you who may not know, Kendrick Lamar is THE rapper right now. A native of Compton California and a member of West Coast hip hop supergroup, Black Hippy, Kendrick dropped his first studio album ‘good kid, M.A.A.D city’ in late October 2012 and it BLEW up.

Read more about Kendrick’s m.a.a.d city HERE. But for now JUST LISTEN…..

Rigamortis off Kendrick’s 2011 mix-tape Section.80 is in my opinion one of the best songs he’s even dropped…

I realize I’ve set myself up with an unrealistic task… It is impossible to go through good kid and pick out “favorites” because the entire album is a MASTERPIECE.

I had to choose Money Trees (Feat. Jay Rock) because its incredibly well produced, the chorus is impossible to get out of your head and YA BISH listen for yourself…

Below is Bitch Don’t Kill my VIBEEEEEEE, so unavoidable even lady gaga covered it

M.A.A.D City is one of the darker tracks on the album but also one of the most brilliant….

and OF COURSE I had to include A.D.H.D. This song CATAPULTED kendrick’s career…..

and guess what…..WE GET TO SEE HIM MAY 3RD ON THE SLOPE.

Look out for next week’s Hip-Hop Memorandum