Monday, November 23, 2015
Thursday, November 12, 2015
Tuesday, November 10, 2015
Pusha T Named The President Of G.O.O.D. Music Big things are popping for Pusha T. Not only is he putting the finishing touches on his next album, King Push, he's also been named the President of G.O.O.D. Music. Billboard reports that the 38-year old rapper, real name, Terrence Thornton, will take the reigns of the Def Jam imprint, effective immediately. His longtime manager, Steven Victor, is the new A&R. The Virginia representative talked to Billboard about his new position. Check that out below. A big congratulations are in order. Just got word that you will be the president of G.O.O.D. Music. How was the offer presented you? Actually, I was flying home and I had just got into my car at the airport. ‘Ye had called me and he was like, "Tell me something. What do you think about being the president of G.O.O.D. Music?" And I was like, "Well, what are the things that you’re looking for?" And he was basically just like, to manicure the label, make it profitable and be very business-oriented about it going forward in a manicured type of way. What was going through your mind in those four months since? Any pros and cons that you were weighing? It wasn’t really any time to me. I always look at it as an opportunity to help the team and I think that artistically, me and Kanye have the same vision. He respects me as an artist, a really manicured artist. I’m not out here shooting in the dark, doing any and every thing. When it comes to albums and things like that, I have a very manicured process in which I get to take my time and I think he sorta respects that I get to take my time. It’s never no pressure simply because I think he looks at me and my other businesses and understands that’s why I have this luxury of time in whether it be my clothing stores, my clothing line, just things like that. He just notices me and him don’t ever have that type of pressure, tension, producer-artist relationship. I think he respects that a lot and not to mention, ever since I’ve been on G.O.O.D. Music, there’s been a host of artists that I’ve brought to the table, tried to sign, brought to his attention in trying to sign, whether something was super hot or I called it it’s not going to stand the test of time, it’s wack. I been pretty right in a few regards. Those are the things he keys on as far as I go and just as far as being a part of the culture. He knows I’m outside all the time. He knows that I’m of the people. He knows that I’m in those specific mixes of things that are bubbling up, whether it’s online or before it even really gets hot online. He knows I study those different avenues. In a perfect world, what would G.O.O.D. Music look like to you in the next five months? I just look at capitalizing on everything that I feel like G.O.O.D. Music brings to the music industry, our following, and the culture. First of all, we have incredible artists. It’s definitely about getting those albums out in a very manicured fashion. We have great artistic talent that sort of walk the lines of bringing that excitement back in regards to just the art that goes along with it like DONDA, the merch and things like that. Things that kids are really into these days. You see how fashion takes over and these pop-up shops take over and how the music business is a real touring business now, just the things associated with it. Just building it out to make sure that everybody on the label is really capitalizing off of all the assets that really come with GOOD Music, that we really started, that we’ve really been good at. Just really executing all the different avenues of music, art, culture and fashion as well
Tuesday, October 27, 2015
The Soul Superstar You've Never Heard Of Between 1968 and 1977 Mingering Mike recorded over fifty albums, managed thirty-five of his own record labels, and produced, directed and starred in nine of his own motion pictures. In 1972 alone he released fifteen LPs and over twenty singles, and his traveling revue played for sold out crowds the world over. How is it that such a prolific musician has gone under the radar for more than forty years? The answer is that all took place in Mike's imagination, and in the vast collection of fake cardboard records and acapella home recordings that he made for himself as a teenager in Washington, D.C. in the late 1960s. In 2003 two record diggers stumbled into the world of Mingering Mike at a flea market. There they discovered a collection of albums that were made solely of cardboard, each intricately crafted with gatefold interiors, extensive liner notes, and grooves drawn onto the "vinyl." The crates contained albums not only by Mingering Mike, but also other unheard of artists such as Joseph War, the Big "D," and Rambling Ralph, on labels such as Fake Records, Inc., Decision, Sex, and Mother Goose. There were even soundtracks to imaginary kung fu films and a benefit album for sickle cell anemia. Hadar posted pictures of the albums on the popular record collecting forum Soulstrut and Mike instantly became a cult hero. He tracked Mike down and eventually Mike revealed his story of how as a lonesome teenager he dreamt of being a soul singer, songwriter and producer, and how he lived out his dream by creating an amazing imaginary career for himself. The Mingering Mike Collection is comprised of well over 100 pieces of musical ephemera made between 1968 and 1976 by a self–taught Washington, D.C. artist who has consistently chosen to conceal his true identity. The collection consists of “vinyl” LP albums (made from painted cardboard), original album art, song lyrics and liner notes, 45 rpm singles, and more pertaining to the artist's youthful fantasy of being a famous soul singer/songwriter. The lines between reality and fantasy are fluid in this body of work—commercially produced tapes with Mingering Mike’s fabricated labels mingle with tapes and demo records holding his original music; made–up reviews supposedly written by real musicians (such as James Brown) dot the covers, and recordings are stamped with claims of having been made live in D.C. venues such as the Howard Theatre. Comprehensively, the uncanny detail of Mingering Mike's synthetic career powerfully evokes black America in the 1960s and 1970s. The collection, which was lost to the artist in the 1980s, was rediscovered at a D.C. flea market in 2004 by "record digger" and music advocate Dori Hadar. Hadar recognized that as a collection this body of material reflected an historical moment when D.C. played a pivotal role in music history and therefore held tremendous cultural significance. Black radio was new and musicians like Marvin Gaye, who grew up singing on D.C. street corners, were claiming national attention. Mingering Mike was among the countless kids who dreamed of being discovered. Untrained as either musician or visual artist, Mingering Mike nonetheless embodies a critical component of the American Dream, in which a poor black youth conquers tough circumstances by actualizing—to whatever extent possible—a world filled with fame, fortune, and happiness.