#pitchforkmedia

[kindabaddad]

The most trusted voice in music.

Another list i can’t ignore.

[helgegjerstad]

#Vinyl_HG // #VinylWednesday // James Dewitt Yancey aka Jay Dee aka Dilla Dawg aka J Dilla released "Donuts" on #StoneThrowRecords on February 7, 2006. On his 32nd birthday, just three days before he passed away. He had been in the hospital for a long time due to a rare heart disease and he was also diagnosed with Lupus. "Donuts" is an instrumental hip hop album and contains 31 songs ( 29 of which he produced while in the hospital ). The record was released to universal acclaim and was ranked #38 by #PitchforkMedia on their Top 50 albums of 2006 and #66 on their Top 200 albums of the 2000s. A lot of producers and hip hop artists call the album one of the greatest album in hip hop history and beats/samples from the album ( J Dilla used a lot of old #SoulMusic making the songs on #Donuts ) have been used later by artist like; #Nas, #GhostfaceKillah, #Drake, #MFDoom, #TheRoots, #TalibKweli, #BigSean, #LupeFiasco... You get the point! J Dilla was an excellent artist and producer and this album is a masterpiece. When it comes to the name of the album, his record company released a short statement saying: "Dilla likes donuts." His mom confirmed the statement saying: "Yes, he loved donuts. I just bought him two dozen a week ago." Last week his uncle opened a donuts shop in Dilla's hometown Detroit in honor of his nephews legacy. The opening was a great success and it sold out three times on the first day. I like donuts and I like #JDilla 🍩

[newdealcrew]

Chris Crack is blowing up in the Windy City in a major way. Regularly appearing on the blog roll locally and abroad, Crack has also been recently selected as a Red Bull Sound Select Artist.

Mark Ward

[circusmagteam]

Day 2 Crowds perusing through the Flatstock Fest!

[dailyhum-blog]

Why PITCHFORK Needs Me to Make them Not Suck: Hire me and let me save you from your own TERRIBLE MUSIC WRITING.

I’m just knockin this out as a grounder for the moment, so there is still time to intercept this idea and send it to first, taking me out before I embarrass myself. I’m about to write a bunch, yeah, but it’s mainly to gauge public opinion and hear positive AND negative feedback. I don’t exactly have the time to argue my case to pitchfork itself yet, but I want to take that first step. I will remember this with help of any DDD! readers who have an opinion on the matter), and then, magically, not flowing through will feel like an act of unforgivable cowardice on my part. The basic idea though is that I have a fully functional organic “bio-pitchfork” working inside me for free at all times…. What is it?

IT’S MY M**********NG BRAIN.

And while my brain is admittedly an immeasurably more rational, objective place than pitchfork, and lacks its immunity to self awareness, I do believe that a merger of the perfect critical machine pitchfork is trying to create, and the naturally occurring powers of critical thought that have existed within my brain since birth, would be beneficial to both parties.

dancedancedeath would bring a much needed earthly realism to the corporate advertising campaign pitchfork has become, and offer the megazine a chance to publish reviews written by someone who *doesn’t* have to study their 1980’s American indie label history before writing a review that compares The Men with the output of ‘83-‘85 SST artists for the hundred thousandth time, and pitchfork would offer dancedancedeath competitive pay in a full or part time position where working from home was acceptable. Why would I need to study what sounds like what, when from what era of what label’s golden years? That information is absorbed into my brain so effortlessly that I often surprise myself with how much I actually know about music. My whole life has been music, and lucky for pitchfork, I just plain know what’s going to be “cool” and what’s going to be forgotten. An encyclopedic knowledge of the history of badass music from Coltrane, Gershwin, and Thelonious Monk to the Kinks, Monks, Stooges, Velvets, Bats, Beefheart and Tom Waits, all the way trough the incredible ’80s, the conflicted ’90s, the almost pre-renaissance that was the jumbled early 00’s, and the cacophonous and unpredictable 2010’s, which are turning into a new beast altogether, as more “everymen” and “everywoman” use our unprecedented communication and media tools to make their talents known. Gone is the record deal age. Bands & artists are fearlessly creating new music, new ways to make music, and new ways to be known by the world without losing your identity. Since the rock star - no matter how genuine or compelling - is turning into a non-concept (or a “noncept” if ya like having fun with words, like I do); and the entire process of becoming a popular musician has changed so drastically, and we’re venturing into the unknown… Why not have someone on hand who can write a review without using an urban dictionary, and who, I don’t know, knows what the F**K they’re talking about? So I believe I could use my powers of music awesomeness and natural interest to turn pitchfork into something better than what it is, and to save it from being the laughing stock of the dusty record bin crate digging hipsters and aging punks who laugh at the lameness of the world’s foremost independent and/or ironic music tastemaker. Ok. so yeah it already is the laughingstock of those people. Heh. I shouldn’t say I can save it from becoming what it already is. However, I (dancedancedeath's editor, feature writer, copy editor, and HR department) may be able to bring pitchfork back down to Earth, where the music world is much crazier and more interesting than it is up in … I don’t know. Space, or wherever The Fork currently resides, eating grapes from Time/Warner’s niece’s stomach and slapping five with itself over it’s victory over Earth and it’s silly little humans. In short I’m making an overdue and grandiose (and kinda fun) attempt to convince pitchfork to hire dancedancedeath, for all intents and purposes), at least on a freelance basis. Because I have lived the life of the individual they cater to, and I want them to stop being such an embarrassingly bad multi-media publication.

Also because I believe I could write a better review on my death bed, in the final stages of brain cancer than their biggest hot shot could on his best day (which I assume would involve an awesome bagel, and some frisbee golf with the bros.

I’m getting older, and I want to be paid to be an expert on popular music, if only for a time. It was a childhood dream of mine that I might someday write about the music I need to live, and I don’t want to let it die.

Weirder things have happened on the internet and you all know it, so no negative Nancy bu***it, please.

Opinions of the@ non negative Nancy variety are absolutely essential. So if you’re out there… If anyone is out there… then c’mooooonn. Be a pal