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DJ MARK for
DJ MARK for
DJ MARK for
DJ MARK for
|Tue, August 28, 2018 at 9:00 PM|Send Blog · Share on Facebook · Bookmark on Delicious
Our Mission is to always create new designs & continues to dress the Tshirt community with the edge it's been craving. The ultimate plan for the brand is to expand beyond Tshirts, creating a wardrobe found in closets across the country and around the world.
"CLASSIC" NEVER RUNS OUT OF STYLE, IT CREATES IT."
Classic Material is a T-shirt design firm created for New York's realest. Bringing it back to the "old" New York, when the people were the trendsetters, not trend followers. Creating a cutting-edge style for the underdogs that make the noise, and get their voices heard. Classic Material was founded in 2004 by Carlos Maldonado who was born in Manhattan and raised in Brooklyn, the epicenter of hip-hop and rap. Having these lifelong influences entrenched from the outset, he carries a deep love of old school RAP & HIP HOP.
He has been owner and operator a clothing store in Poughkeepsie, New York since 1997 where inspiration hit him to start Classic Material when an associate, DJ Kool Kirk came to Carlos to feature his T-shirt he sold on the road, at the store. The design sold by CMNY for DJ Kool Kirk was a hit with clients, and it became clear to Carlos NY lacked proper representation in the Hip-Hop T-Shirt community. This inspired him to design and create his own line of Tees with an urban swag. Starting with the "To LIVE AND DIE IN NY" line, echoing the inner attitude of so many New Yorkers. When that created a buzz, the idea of "I RUN NY" was born, and solidified the reputation of what Classic Material would represent.
The first of many loyal clients to show interest in the Classic Material line were, DJ Ted Smooth, DJ JS-1, DJ PF Cuttin, Scram Jones, Tony Touch, Big Jeff from Zulu Nation, Hannibal Stax, DJ G Bo, and DJ Premier. The DJs and artists wore Classic Material's line of shirts during radio shows, concerts, and special events, giving the brand the exposure for expansion, consistently growing in business and popularity.
Following "I RUN NY" Carlos conceptualized over a dozen designs, collaborating with graphic designers and artists, working closest with grade school friend P-Jay (Nef) of Born Kings NYC who took his ideas and turned them into masterpieces, redesigning "I RUN NY," touching up "KING OF NEW YORK" which was a sold with a CD of tracks by DJ PF Cuttin, and "MORE GUNS THAN ROSES" which was inspired by one of NYC's greatest rappers, Notorious B.I.G. In celebrating of Biggies death he collaborated with DJ Unexpected to create an original samples mix of his greatest tracks with the CD cover reflecting the Tee. In the same vein, Classic Material and DJ Unexpected also collaborated on the "SUPREME CLIENTELE" T with a mix CD of Ghost-face music and original samples.
Once the brand took off, Carlos needed to step it up to the next level. At a Guru memorial event where he met through mutual friends, Co-Founder / Web Business Manager Suzan Pinto of Magnetworx, teaming up with MW took CMNY from its beginning stages of the online world, making it what it is now the certainty of handwork & loyalty within a strong team.
IT WAS ALL A DREAM!
ADDRESS: 552 GRAND STREET
|Sun, August 5, 2018 at 4:32 PM|Send Blog · Share on Facebook · Bookmark on Delicious
Donald Trump's tweets are so relentlessly incoherent and offensive, they all start blending together like a racist, sexist Vitamix of bad takes. Last night, Trump tweeted a response to LeBron James' interview with CNN's Don Lemon. James told Lemon that he would never sit down with the president, and called him out for stoking racism and using sports to further divide the country. James has long been an outspoken critic of the Trump administration, as well as a political activist and philanthropist. Trump got all in his feelings and tweeted this:
"Lebron James was just interviewed by the dumbest man on television, Don Lemon. He made Lebron look smart, which isn't easy to do. I like Mike!"
The tweet immediately caught fire on the internet, inspiring countless clapbacks. James was on Lemon's show to discuss the opening of his I Promise school for at-risk children in Akron, Ohio. Not only is the school designed to help students, but it also offers services for struggling families, which include counseling, job placement programs, and a food bank. James' work is nothing short of remarkable, and Twitter rightly trolled the president right back:
"Who's the real dummy? A man who puts kids in classrooms or one who puts kids in cages? #BeBest "
Ultimately, this is just another in an endless stream of racist, bitter garbage from the president. But, as we've learned from the psychology of bullies, underneath all this tough talk is insecurity and jealousy. And of course Trump is jealous of LeBron. LeBron James is a beloved athlete using his wealth and resources to make the world a better place, aka everything that Trump stands against. What a small, sad little man.
Ever since the day the Celebrity in Chief Tweeted alot of athletes, entertainers, politicians, journalists and Trump's own wife defended Lebron James.
FULL INTERVIEW WITH LEBRON JAMES AND DON LEMON
|Sun, August 5, 2018 at 4:27 PM|Send Blog · Share on Facebook · Bookmark on Delicious
s Randy Moss entered the Pro Football Hall of Fame on Saturday night, he made a societal statement without saying any words.
Moss wore a tie with 13 names on it. Those names were:
Greg Gunn, a 58-year-old unarmed black man who was shot and killed by white police officer Aaron Cody Smith, who is currently awaiting a murder trial.
Tamir Rice, a 12-year-old black boy who was shot and killed by a white police officer, Timothy Loehmann, while holding an airsoft gun. Loehmann was fired but not criminally charged.
Akai Gurley, a 28-year-old unarmed black man who was shot by an Asian-American police officer, Peter Liang. Liang was convicted of manslaughter and official misconduct and sentenced to five years of probation.
Paul O'Neal, an 18-year-old unarmed black man who was shot in the back as he fled a car he had stolen. Multiple officers shot at him but none were charged or publicly identified.
Eric Garner, a 43-year-old unarmed black man who was choked to death by white police officer Daniel Pantaleo during an arrest. Pantaleo was not charged.
Freddie Gray, a 25-year-old black man who died of injuries suffered while he was in the back of a police van. Caesar Goodson, the black officer who was driving the van, was charged with second-degree murder but found not guilty. Five other officers, three white and two black, were charged with lesser crimes but none were convicted.
Walter Scott, an unarmed 50-year-old black man who was shot in the back by a white police officer after a traffic stop. The officer, Michael Slager, pleaded guilty to deprivation of rights under color of law and was sentenced to 20 years in prison.
Sandra Bland, a 28-year-old black woman who committed suicide in a jail cell three days after being arrested during a stop for a minor traffic offense. The white officer who arrested her, Brian Encina, was indicted for perjury for making false statements about the circumstances of the arrest. The perjury charge was later dropped as part of a deal in which he agreed never to work in law enforcement again.
Akiel Denkins, a 24-year-old black man who was shot and killed in a struggle with white police officer D.C. Twiddy. Twiddy was not charged.
Alton Sterling, a 37-year-old black man who was shot by two white police officers who said he was reaching for the gun in his pocket. The officers were not charged.
Michael Brown, an 18-year-old unarmed black man who was shot and killed by white police officer Darren Wilson. Wilson was not charged.
Trayvon Martin, a 17-year-old unarmed black boy who was shot and killed by George Zimmerman, a 28-year-old mixed race Hispanic man who followed Martin around his neighborhood and called the police, reporting Martin as suspicious. Zimmerman was charged but acquitted under Florida's Stand Your Ground Law.
Brendon Glenn, a 29-year-old unarmed black man who was shot and killed by black police officer Clifford Proctor. Proctor resigned from the police department but was not charged.
"You ask me about my tie," Moss said on NFL Network after the enshrinement ceremony. "We all know what's going on. You see the names on my tie. Being able to use a big platform like the Hall of Fame, what I wanted to be able to express with my tie is to let these families know that they're not alone."
RANDY MOSS-HALL OF FAME SPEECH
|Sun, August 5, 2018 at 4:18 PM|Send Blog · Share on Facebook · Bookmark on Delicious
For the past two decades, R. Kelly has consistently faced allegations involving predatory and/or abusive behavior toward women and girls. This ranges from his marriage to Aaliyah when she was 15 and he was 27, to years of alleged domestic abuse inflicted upon his ex-wife, to his 2008 criminal trial for child pornography charges, after police obtained footage of him urinating on a 14-year-old girl. (Kelly was acquitted, ultimately, because the jury was unsure about the identity and thus the age of the girl.) The public attention on the singer re-emerged in full last July, after Jim DeRogatis, the Chicago journalist who initially brought that footage to light, published a harrowing new report about Kelly's alleged "sex cult." This prompted more women to come forward with accounts of controlling and perverse behavior on Kelly's part-claims the singer has continually denied. In an April statement, his representative likened the outcry to a "public lynching of a black man," effectively casting Kelly in the role of victim rather than alleged transgressor.
In late July, Kelly released a song called "I Admit," 19 minutes of stream of consciousness in which he once again denies all claims. Prompted by the release of "I Admit," Color of Change, the nation's largest online racial justice organization, contacted Pitchfork with information regarding its conversations with RCA Records, Kelly's longtime label. A subsidiary of Sony Music, RCA has not made any kind of statement about the recent allegations against Kelly-not even as the Women of Color of Time's Up, joining the efforts of the online campaign #MuteRKelly, issued a high-profile open letter in April asking RCA and other companies to sever their ties with Kelly. Though there has been speculation as to why RCA has neither dropped Kelly nor commented at all, what follows is the first public account of an organization's talks with the label regarding the matter.
In July 2017, Color of Change say they sent top RCA executives a letter via email, writing, "We are calling on you to end your relationship with R&B singer and known sexual predator, R. Kelly." The letter continued: "We believe it is a great sign of corporate responsibility and decency for RCA Records to ensure that your continued relationship with R. Kelly is not interpreted as an endorsement for his depraved actions." This note also cited Sony's decision not to renew Dr. Luke's contract overseeing his Kemosabe imprint last spring, in the midst of the producer's acrimonious legal battle with Kesha over sexual assault allegations against him. "We saw this very important public response to Sony dropping Dr. Luke, and we wanted to call them on their values as it relates to the defense of black women and girls," Brandi Collins, a senior campaign director at Color of Change, tells Pitchfork. In August 2017, Collins says she-along with Color of Change's president, Rashad Robinson, and managing director of campaigns, Arisha Hatch-had a phone conversation with a "high-level VP" at RCA. Color of Change has asked to keep this person's name anonymous, but Pitchfork has reviewed their correspondence and confirmed the employment of said individual.
"In the course of that conversation, it was pretty obvious that they weren't going to take action steps around R. Kelly," Collins recalls. "When we drew comparisons between Kesha and allegations coming out from black women, the representative said, 'Well, you have to understand it took years of organizing around Dr. Luke [and #FreeKesha] before we took action.'" Collins says that Color of Change's response was, "Women have been sharing stories around R. Kelly for decades. You know that these allegations are going on."
When asked for comment on these claims, as well as others involving Kelly over the last 13 months, representatives from RCA Records have not responded to ongoing requests from Pitchfork.
"After that conversation, RCA actually hasn't responded [to us]," Collins adds. "We sent more letters, we've continued to push for a response from them behind the scenes, and they've chosen both privately and publicly to remain silent." The most recent of these letters, from May 18, 2018, highlighted how the movement to hold Kelly accountable has grown since their last conversation, citing the public support for #MuteRKelly by prominent figures including Lupita Nyong'o, Questlove, Ava DuVernay, and John Legend.
Collins points out that many of R. Kelly's alleged victims have been black women and girls, a number of them coming from low-income backgrounds. "They don't have the platform of Kesha or of the women who came forward with Harvey Weinstein allegations," Collins says. "Even with the Weinstein cases, he didn't refute any specific allegations until Lupita Nyong'o and Salma Hayek, two women of color, came forward with their own accounts Then he rushed to say, 'Well, obviously that's not true.' [Ed. note: Weinstein previously denied all allegations made in the New York Times and New Yorker investigations but did not single out specific actresses]. "There's this cultural acceptance of allegations when they come from one type of person, and a sort of automatic side-eying that's cast if they don't have the same level of power."
Knowing that sustained public pressure is what led to Sony distancing itself from Dr. Luke, Collins suggests the public directs its Kelly boycott efforts toward terrestrial radio. "What we think continues to be important is for people to call their radio stations," she says. "I think RCA can continue to hide behind blanket economic arguments [privately]: 'Well, he continues to sell records, so that's worth more than the stories, bodies, lives of these black women.' By telling your radio stations to remove R. Kelly from rotation, it makes an important statement that it is no longer beneficial for the business to turn a blind eye." Nationally syndicated morning show host Tom Joyner has already vowed on-air to no longer broadcast Kelly's music, but widespread boycotts have not taken hold across the airwaves the same way they have online.
While radio remains an important medium for major labels to reach the masses, streaming services have become the industry's dominant revenue stream and thus a key fighting ground. In May 2018, Spotify announced that it had partnered with Color of Change, along with several other rights advocacy groups, to develop a Hate Content & Hateful Conduct policy. The controversial aspect of the policy: artists who have done "something that is especially harmful or hateful" would no longer be promoted by Spotify on its original playlists, at the discretion of Spotify employees and partners. R. Kelly was one of the few artists targeted, and his music was quickly pulled from prominent R&B playlists. (Apple Music and Pandora also stopped promoting Kelly's music around this same, though the companies did not announce comprehensive strategies.) The policy was criticized, particularly by powerful industry figures; Top Dawg Entertainment CEO Anthony Tiffith threatened to pull his label's music from the streaming service. Spotify stepped away from the policy weeks later, writing in a statement: "While we believe our intentions were good, the language was too vague, we created confusion and concern, and didn't spend enough time getting input from our own team and key partners before sharing new guidelines. We don't aim to play judge and jury."
"We were talking to Spotify about white nationalists and hate music that was being streamed, and then also around R. Kelly," Collins says of the organizations' partnership. "We saw them step up and take a really important industry stand. But then we saw them kind of waffle, after black men and other prominent people defended the right to stream this music, to the detriment of these girls who remain unprotected. Again, this comes down to whose voices matter."
Since Color of Change's 2017 conversation with RCA, a number of Kelly's shows have been canceled, including a hometown show in May; meanwhile, his recent shows in Greensboro, Minneapolis, and Detroit were met with #MuteRKelly demonstrators. "Leveraging R. Kelly's shameful 'I Admit' gives us one more tactic to hold RCA accountable for its complicity in his sexual abuse and exploitation," Collins says. "Our members will continue pressuring RCA by circulating our petition and joining together with Time's Up's #MuteRKelly campaign. We won't back down until we are confident that RCA is ready to work with us in good faith to drop R. Kelly. At this time, we're looking at other tactics, but to keep RCA on their toes, we're not going into details."
R. Kelly - I Admit
|Sun, August 5, 2018 at 4:12 PM|Send Blog · Share on Facebook · Bookmark on Delicious
While many weirdly have only just been getting to know Travis Scott as Kylie Jenner's baby daddy, the rap faithful have been anticipating Scott's Astroworld since before he dropped 2016's Birds in the Trap Sing McKnight. After constant delays, last-minute updates, false-start release dates, and a stop-gap collaborative album (Huncho Jack, Jack Huncho with Quavo), Scott's long-teased third album finally arrived today-and it's bigger than anyone could've imagined. If you're taking on this 17-song, guest-packed thrill ride, here's what you need to know going in.
Shoutout to Texas
Astroworld is far more indebted to Scott's hometown than any of his previous records. The album takes its title from a Houston theme park originally intended to complement the Astrodome, before it was purchased by Six Flags in 1975. The park closed in 1999. "They tore down AstroWorld to build more apartment space," he told GQ Style. "That's what it's going to sound like, like taking an amusement park away from kids. We want it back. We want the building back. That's why I'm doing it. It took the fun out of the city." The album positions itself as a pleasure-filled playground for a star-studded cast, but it should also be considered a tribute to the Texas rap community.
Most notably, there is a song called "R.I.P Screw," an homage to the legendary Houston DJ who invented screw music. Scott honors Texas hip-hop staples DJ DMD (Port Arthur), the late Fat Pat (Houston), and Lil' Keke (Houston) by sampling their 2001 collab, "25 Lighters," on "Can't Say," a song that cedes quite a bit of space to Houston upstart Don Toliver. Dallas rapper Big Tuck drops in for a monologue on "Carousel," which also samples his song "Not a Stain on Me." There are nods, name drops, and interpolations of the late Houston rappers Big Moe and Big Hawk, Screw's collective the Screwed Up Click, and UGK's Pimp C. And what some may clearly recognize as a sample of Goodie Mob's "Cell Therapy" on "5% Tint" might actually be Lil' Keke's "Peepin in My Window," which samples, screws, and distorts "Cell Therapy." Of course, Texas rap guru Mike Dean-who produced albums for Geto Boys, UGK, Scarface, Willie D, and many more-serves as Astroworld's executive producer, alongside Scott. This is the first time Travis Scott has really traced his musical lineage beyond his own solipsism, the carefully crafted cult of personality propagated by those directly in his orbit.
Just How Big Was the Budget?
When Travis Scott convened a cabal of hitmakers and producers of the moment in Hawaii earlier this year, it had whiffs of the My Beautiful Dark Twisted Fantasy sessions. No one could have predicted just how stacked Astroworld's roster would be, though. So stacked, in fact, there wasn't any room for "Watch," a recent loosie featuring Kanye and Lil Uzi Vert, which Kanye himself asked to be released.
Frank Ocean and Drake anchor back-to-back tracks, "Carousel" and "Sicko Mode." There are background vocals and bridges sung by Pharrell, Kid Cudi, Swae Lee, and Sheck Wes; condensed rapped verses from 21 Savage, Takeoff, and Nav; hooks from the Weeknd, Quavo, Gunna, and Juice WRLD. The production team is an all-star roster featuring Hit-Boy, WondaGurl, Boi-1da, Frank Dukes, Murda Beatz, Cardo, Sevn Thomas, Nineteen85, Sonny Digital, and Tay Keith. And those are just the collaborators you might consider "rap adjacent." There's also Tame Impala, Stevie Wonder, and John Mayer.
The songs are richly layered, weaving live instrumentation with samples including Beastie Boys' "The New Style" (on "Carousel"), Guy's "Piece of My Love" (on "One Deep"), and Luke's "I Wanna Rock" and Biggie's "Gimme the Loot" at various points of the three-part "Sicko Mode." Some moments are so subtle, they take a few listens to reveal themselves. Like all of Scott's albums, Astroworld looks and sounds expensive, but where its predecessors have struggled to be more than big-ticket compilations with Scott's name rubber stamped on them, this one is a tightly woven tapestry.
Scott has considered himself the heir apparent to Kanye West for some time now, adopting the pose of the master orchestrator compiling all-star ensemble casts. He has been building up to the improbable creative decisions on Astroworld since his debut 2013 mixtape, Owl Pharaoh, where he scored uncredited vocals from Justin Vernon and Popcaan, slapped a Toro y Moi interlude in the middle of the trap-heavy project, and paired together high-fashion rapper Theophilus London and grill-bearing Swishahouse poster boy Paul Wall.
But where an album like Rodeo made Scott seem like a glorified DJ Khaled, Astroworld actually makes a strong case for his skills as a connector of worlds. "Who put this shit together? I'm the glue," he sings on "Sicko Mode," and it shows across the album: Pharrell and the Weeknd croon atop production from Tame Impala's Kevin Parker ("Skeletons"); James Blake's disembodied wail and Kid Cudi's seismic hums are matched with Stevie Wonder harmonica solos ("Stop Trying to Be God"); Thundercat and John Mayer worked on the same psychedelic beat ("AstroThunder"). For the first time, the epic moments on a Travis Scott album feel largely indebted to his supervision.
That said, the lushness of Astroworld still can't completely hide the flaws in Scott's verses. A small sampling of his witless one-liners:
"Was off the Remy, had to Papoose" ("Sicko Mode")
"Chopper gettin' screwed/I told her it's B.Y.O.B.: that mean buy your own booze" ("No Bystanders")
"What's that smell? It's heaven-scent" ("No Bystanders")
"Me and my bitch, I swear we like the same sex/Fuck with all my chains on, let's have chain sex" ("NC-17")
"Chicago baby, she just wanna drill" ("Can't Say")
"I smack that ass she threw it back in self defense" ("Who? What!")
"Handin' out the E! to the entertainment/You know I'm the saddest poppin' and it's dangerous" ("Houstonfornication")
"Pop a seal like it's Chris, make it look Breezy" ("Houstonfornication")
The Money Shot
Astroworld didn't arrive without controversy: Trans model Amanda Lepore was removed from an earlier version of the alternate cover (see below), shot by David LaChapelle and depicting a Travis-themed amusement park. "It was great being part of @david_lachapelle s incredible photograph of @travisscott s album cover but I'm curious why I'm not on the picture @travisscott posted," Lepore wrote in the caption of her Instagram post, as many speculated about the role of transphobia in this decision. Scott's camp denied removing Lepore from the cover, while LaChapelle responded vaguely in an Instagram comment: "Everybody wants to explain everything with some phobia or whatever. This is a case of something else she can't seem to control lol. Ain't nothing to do with hating." The famed photographer and music video director, known for his hyper-real style, later clarified the reason: "Amanda was taken out because she just upstaged everyone." That response seemed to satisfy the model, who edited her original IG caption to add, "A girl can't help it! Too distracting for the eyes! Upstaged everyone in the photograph!"
Courtesy of Pitchfor
|Sun, August 5, 2018 at 3:53 PM|Send Blog · Share on Facebook · Bookmark on Delicious
"Adventures of Floyd: The Brave Hornet" is a wonderful book for children ages 3 to 8 years old. The illustrator Sudipta Steve Dasgupta did an awesome job capturing the eye of the readers using colorful illustrations, and vivid expressions of each character and scene. Author Kenise Taylor really has a way with words by using a musical rhyming scheme throughout the entire book which she admits she received help from her spouse who is CEO of MilliUP LLC and works with music daily. "It is always good to bounce ideas off different people when writing. I mean, I even asked my son for help when creating Floyd, he was only 7 years old at the time and gave me some great pointers."The photos are packed with magic and each page leaves you wanting to know what is going to happen next, is Floyd okay? Will he make it home safe? A series of nail biting text for teachers, parents and kids to enjoy reading. Read this book to your little ones and/or let them look at the colorful pictures. I believe "The Adventures of Floyd"series is "THE" house hold name that will continue to entertain kids for years and years to come.Years ago, Author Kenise Taylor began to write poetry. She would see or watch something that inspired her and out spewed words that formed sentences in perfect harmony. She started submitting her poems to contests in North Carolina and won first place prizes. She went on to be awarded with the Muse of Fire Trophy in Las Vegas Nevada and she also received recognition from the Who's Who Society while in High School. Her first poem was published in the Anthology of Poetry by Young Americans at age 13. She took different interest after high school and begin to pursue a career in Modeling. She went on to be a published Jet Beauty, Mercedes Benz Runway model, MilliUp Model and most recently Fleet Model. She also modeled for Old Navy, Hype Hair Magazine, Hair N Motion Magazine and many more. When asked what made her get back into writing this is what she stated "My grandmother asked me why I didn't write anymore, she was like Kenise you are good at it, you should get back into it. So that is exactly what I did. Plus, I want my legacy to live on after I am gone, and other than music, a book can accomplish that. My son has something he can call his own after I have long left this earth."Make sure you continue to follow the story of this amazing little hornet and his author Kenise Taylor on Instagram @whereisfloyd and on Facebook @whereisfloyd. You may purchase the book on Amazon, Ingram Spark, Barns & Noble and many other outlets. Please submit photos of you and/or your little ones with the book toFloydtheHornet@gmail.com. ( by submitting photos you are authorizing Adventures of Floyd promotions to use your photo for promotional and advertising purposes.) Thanks for the read and remember, make everyday an adventure