September 1, 2014

Kanye West at Made in America, a set on Flickr.
Wasn’t one of the 10 photogs who got to shoot Kanye from the pit at Made in America this weekend, so I just took photos from the audience. My 70-200 works wonders, and his set was a freaking throwdown.

Kanye West at Made in AmericaKanye West at Made in AmericaKanye West at Made in America

Kanye West at Made in America, a set on Flickr.

Wasn’t one of the 10 photogs who got to shoot Kanye from the pit at Made in America this weekend, so I just took photos from the audience. My 70-200 works wonders, and his set was a freaking throwdown.

August 30, 2014
destroyed-and-abandoned:

Abandoned Kodak Factory. Toronto, Ontario Source: snorklebork (reddit)

destroyed-and-abandoned:

Abandoned Kodak Factory. Toronto, Ontario

Source: snorklebork (reddit)

August 29, 2014
complexmagazine:

Brooklyn.

I’m 35 years old and it’s 2014, meaning I should probably give Biggie a chance already.

complexmagazine:

Brooklyn.

I’m 35 years old and it’s 2014, meaning I should probably give Biggie a chance already.

August 29, 2014

tayyib:

S.T.S. takes us on a journey back to the heart and soul of hip hop in Philadelphia “Before they threw the ROC up …….. and shot the block up” with his release of How Philly Use to Sound produced by Steve McKie and Corey Bernhard. This soulful throw back features the magnificent DJ Jazzy Jeff and his timeless scratches along with the next generation of local superstars Dayne Jordan & Son Little ….. This song’s journey back will remind you why you fell in love with hip hop to begin with and leave you wanting to hear more of his newest project, WHITEGOLD scheduled for release in September.

Steve Mckie - Drums
Aaron Draper - Percussion
Corey Bernhard - Piano & Strings
Andre Pinckney - Bass
Anthony DeCarlo - Guitar
@DJJazzyJeff - Cuts
Son Little - Vocals

Mixed & Recorded By Steve MckieBeats @ StudioPine Philadelphia,Pa

August 28, 2014

I don’t wanna go to the beach. No fun.

nevver:

Wish you were here, Jersey Shore

(via dntsvwls)

August 28, 2014

egrizzly:

Never got a chance to record this song with NAH.  This is the only version.  One of those moments in time at Union Transfer in Philly. 

Pretty incredible. Wish I’da caught this show.

August 27, 2014

Tori Amos covered Hedwig in Orlando the other night.

August 23, 2014

The Robert Glasper Experiment at The Dell, a set on Flickr.
Last month I shot photos of The Robert Glasper Experiment at The Dell when they opened for Babyface. It was my first time at The Dell, and I wasn’t at all prepared for the traffic nightmare that getting there can be. I wound up only seeing half of their 30-minute set, missed the first-three-songs-from-the-pit window and didn’t publish a review because of that. But I got some pretty sweet photos from my seats all the same.
Unrelated note: Babyface kicked all kinds of ass.

The Robert Glasper Experiment at The DellThe Robert Glasper Experiment at The DellThe Robert Glasper Experiment at The Dell

The Robert Glasper Experiment at The Dell, a set on Flickr.

Last month I shot photos of The Robert Glasper Experiment at The Dell when they opened for Babyface. It was my first time at The Dell, and I wasn’t at all prepared for the traffic nightmare that getting there can be. I wound up only seeing half of their 30-minute set, missed the first-three-songs-from-the-pit window and didn’t publish a review because of that. But I got some pretty sweet photos from my seats all the same.

Unrelated note: Babyface kicked all kinds of ass.

August 23, 2014

abireimold:

140822

Mumblr

Skateboarders, a solid Philly punk band and a super-talented musician-photographer.

1:24pm  |   URL: http://tmblr.co/ZbTBCy1O-vPQA
  
Filed under: mumblr abi reimold 
August 23, 2014
Here’s why In On the Kill Taker is Fugazi’s best album

image

I wrote this essay while freelancing for Seattle alt-weekly The Stranger between 2005 and 2008; near as I can tell, they never published it. I came across it today while writing about Philly band Cassavetes, who shares its name with a song on the record, and thought I’d post it around these parts. Enjoy.

Historians of 90s rock tend to fawn over Fugazi’s strident independent ethic moreso than its actual music, and it makes sense why.

Even the most committed listener would admit it’s easier to admire a hard-held commitment to anti-corporate, fan-friendly business practices than an inscrutable stylistic mishmash of thrash, arty noise, funk, reggae, Flavor Flav-styled vocal interjections, and a general penchant for being – aw hell, let’s just say it – weird.

Which is what D.C. linchpin Ian McKaye became upon leaving the rigid repression of Minor Threat’s bare-knuckled punk. He and his newfound bandmates’ – in both the short-lived Embrace and the more prolific Fugazi – indulged their assorted musical interests in ways that invited non-descript adjectives like “angular,” or the all-telling “post” prefix (in Fugazi’s case, “post-hardcore”)…both of which are rock writer code for “FREAK.ING.WEIRD.”

Not to say that folks didn’t understand the band. Heads rolled to the slippery dirty groove of “Waiting Room” when it played on 120 Minutes, and hooks like “ONE!TWO!THREE!REPEATER!” had fists flying in the air. Those who heard, knew they were privy to something great. But by the time In On The Killtaker came out in 1993, the media had given up on crystallizing that greatness into much more than “yeah, these are the guys who won’t charge more than $5 a show.” A shame, since that’s the point where Fugazi got really interesting.

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