Crazy Mixtape

[Orencio Suhag]

Afterhaving viewed the movie at a press release, the credits rolled, and immediately my attention went to an incredibly catchy and distinctive beat.

After being asked about the tune, Allen shrugged it off as something he just whipped out for the movie, as if it was no big deal.

Though he has numerous tracks under his belt, he is not yet ready to release his album. Slik, along with his production team is not willing to settle for less than perfect, and as a result spend countless hours re-recording and re-writing his music.

The choice of name for the mixtape and cd was no accident. Allen G pointed out that rap has no theme today. If the appetizer is the mixtape, then the album, which Slik describes as being about his hardships, is the main course.

Monster is the thirteenth mixtape by American rapper Future. It was released on October 28, 2014 by Freebandz Entertainment.[1] Along with Beast Mode and 56 Nights, it is considered one of "a trilogy of album-quality mixtapes" that Future released following Honest.[2][3] The mixtape was executive produced by producer Metro Boomin.

In Vice, Robert Christgau gave Monster a "B+" and described it as "strong like pop so seldom is. Vulnerable like pop so seldom is too."[5] Sam C. Mac from Slant Magazine gave Monster three-and-a-half out of five stars,[6] while PopMatters critic Colin McGuire gave it six out of ten stars.[7] Future explores a darker sound on this mixtape due to the help of producer Metro Boomin. According to XXL, Future shines on this mixtape even without the help of other rappers since the record only includes one guest verse from Lil Wayne.[8]

At 14 years old, Seventh Woods absolutely took the internet by storm with dunk after dunk. Woods is currently at North Carolina, entering his sophomore season, so he has a ton of his career ahead of him. But for now, he is best known for this insane highlight tape.

Hoophead Brandon Jennings is also famous for having one of the best mixtapes of all time. Everything is on display in this four-minute video, ranging from deep threes to ankle-shattering crossovers. Jennings always put on a show when he was out there at such a young age and helped pave the way for high school mixtapes to become as popular as they are today.

The images may be grainy, but it is as clear as day that Derrick Rose was worth all of the hype in high school. Rose was simply too quick for defenders on the perimeter and too explosive to be stopped once he took off.

You might not remember Gabe York, who played four solid seasons at Arizona, but his high school tape is something to behold. With dunks, jumpers and crossovers, he was dominant as a Southern California prep prospect.

At 16 years old, Harry Giles drew comparisons to Kevin Garnett. With this highlight package, could you say disagree? Giles was a do-it-all big man who seemed to be playing a different game than the other guys on the court.

At 5-7, Kiwi Gardner dazzled crowds with his ball-handling and bounce. The electric point guard committed to Providence College, but never earned eligibility. After playing for the Warriors G-League team, he headed overseas this past year.

While his music may leave the listener perplexed, his true claim to fame is his insane mixtape covers and titles, many of which have become internet memes in their own right. Perhaps the most commonly used is Kill Urself My Man, a pretty safe way to leave a death threat without getting banned.

NB: A lot of these covers have been repurposed as internet memes, especially ones like Kill Urself My Man and U Are Inferior 2 Me. What did you think when you see them used in the wild like this?

Then, the mixtape. Listening to it took me on an emotional rollercoaster of confusion. The first half only fueled my desire to get back together. To feel that level of love again. If we felt it then, maybe we could feel it again?!

Before radio play, the internet and social media, there were mixtapes, and they were key in transforming hip hop from subculture to mainstream. Lil Wayne, Jadakiss, KRS-One, DJ Khaled, 2 Chainz, DJ Clue, N.O.R.E. and more tell the story of hip hop's underground origin in the new documentary Mixtape.

I was just having dinner with a pretty big NYC DJ on Friday night, DJ Chachi, who was apart of the infamous "Tapemasters Inc." mixtape crew back in the day. I told him about this movie coming out and we got to discussing and reminiscing just how MASSIVE the mixtape era was for hip-hop and how many artists owe their careers to it.

You can see just from the trailer that Lil Wayne, Fat Joe, and Jadakiss attribute much of their success to mixtapes, but the list of rappers who would have never gotten a shot if it weren't for them exploding on the mixtape circuit is long, and surprising. Guys like 50 Cent and Fabolous were established in the streets via mixtapes well before landing record deals.

For anybody in middle school, high school, or college during the late 90s and early 2000s, there is a strong strong probability you knew the names DJ Clue, DJ Kay Slay, Green Lantern, DJ Whoo Kid, Funkmaster Flex, DJ Screw, DJ Envy, and Sickamore, to just name a few.

Everybody back then was riding around with either "official" mixtapes they bought from one of the places mentioned above, or ones they burned off the internet 1.0 or Limewire, blasting "Wanksta" with DJ Kay Slay screaming "DRAMA KING!" over it every 30 seconds. Or Funkmaster Flex stopping the song a minute into it and yelling, "run that shit back, run that shit back, and rewinding it to start it over from the beginning."

There was a mini doc all about G-Unit radio that came out that shines light on just how big these special series mixtapes were and how brilliant the minds behind labels like Aftermath and G-Unit were for capitalizing on them

Thanks for this celebration of the one and only Willie Nelson! As a Willie fan, a record collector and someone who enjoys tracking their favourite musicians across their careers, I really enjoyed the text and will be checking out the playlist.

No other artists started me on my journey through music more explicitly than Bob Dylan and Willie Nelson. Willie was first, even though it\u2019s crazy (haha) to consider their debut albums were released within a year of each other, and they both have recorded for Columbia. (Unlike Dylan, Willie\u2019s debut was all self-penned, so there.)

From the age of 11, I devoured any and all things Willie-related. I joined his fan club. (Remember fan clubs?) I held on to issues of Life and People magazines that had him on the cover. I even commandeered my uncle\u2019s issue of High Times because it had a profile on Willie.

I would write and illustrate my own tour programs, make set lists, and create \u201CTV specials\u201D around Willie, all in several notebooks I still have somewhere. He was the first concert I ever asked to go to, and my dad - who loved Willie, too - was kind enough to take me, even though it was on his birthday.

Finding a way into the Willie canon can be daunting. I like to point newbies to the era that represents the sweet spot for me: from \u2018Red Headed Stranger\u2019 to his \u2018Greatest Hits (and Some That Will Be)\u2019. That\u2019s where I came in, and everything that came before and after is judged by those \u201870s Columbia records, for better or worse. His Atlantic era is unequaled in its groundbreaking contributions to \u201870s progressive country, and I dearly love his early records on Liberty and RCA, even with all their Nashville Sound accouterments. The slickness of their productions somehow makes the devastating lyrics all the more haunting. From \u2018Always On My Mind\u2019 through the rest of the \u201880s, however, the quality dipped, at times dramatically, even though he had become a superstar. I chalk it up to outside producers stepping in with studio musicians, just as they did in his pre-outlaw days.

He hit his stride again in the \u201890s with the magnificent Don Was-produced Across the Borderline, later with Daniel Lanois behind the board on Teatro, his self-produced, Spirit, well into the 21st century with Let\u2019s Face the Music and Dance, and on his last several records with Buddy Cannon. The constant formula to his best work over the decades has been the use of the Family Band. You can dress Willie up with orchestras, pair him with big rock or hot country producers, or fill the studio with A-Teamers, but he truly shines with some iteration of sister Bobbie, Mickey Raphael, Bee Spears, Jody Payne, and Paul English behind him. (After all, they, along with the mighty Booker T Jones, were all that was needed to make the transcendental, and timeless, Stardust.) Sadly, only Mickey is left from that lineup, but between Lucas and Micah Nelson, Waylon Payne (Jody\u2019s son - an amazing artist in his own right), Billy English, and others, the Family lives and plays on.

So to celebrate his 91st year this week, here\u2019s a 91-song-strong deep dive into the wonderful world of Willie. It\u2019s a mixtape filled with many of my go-to\u2019s; some are well-known, others are deep cuts. Over the years, Willie has recorded and re-recorded his classic early songs many times, with varying results. I\u2019ve tried to give the best overview of his deep catalog as possible. I honestly could write an in-depth essay on each of these tracks, but who has the time for that? And, more importantly, who\u2019d want to read it?

Happy birthday to this peerless songwriter, world-class guitarist, and unrivaled vocalist from Abbott, Texas. Long may he continue to make music with his family band while on the road again \u2026 and again \u2026 and again \u2026

On a late-summer morning, Rice and a fellow Minneapolis College of Art and Design faculty member met with Bellshop senior manager Mark Skeba and Hamburger Helper representative Amber Benson for coffee at a local caf. Skeba and Benson explained that they were planning a nationwide contest where anyone could submit a song to potentially be featured on the mixtape.

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