Wednesday, April 16, 2014

How are you gonna deny this man?

Tuesday, April 15, 2014

(Source: connorcoverism)

Love this joint. You gotta peep the Chance The Rapper remix though.

Monday, April 14, 2014

Play this while you awkwardly stare at shawty across the room.

Thursday, April 10, 2014

Last words.

This looks damn near what my dream house looks like in my head - except they forgot the balcony garden and the giant treehouse out back…

This looks damn near what my dream house looks like in my head - except they forgot the balcony garden and the giant treehouse out back…

reach

what is true will be shared.

what is worth anything at all, will be sought.

what is unworthy will be found.

what is wrong will be attached.

Tuesday, April 8, 2014

crispinbest:

altlitgossip:

Cean Gamalinda reading a sweet ass poem in Chicago

cean

Monday, April 7, 2014

Excerpt from “It Gets Better”

Flowers

This project marked the first step in Asaad’s rise to public acclaim and represents a huge stepping-stone in his development. “Flowers” marks the height of his experimental music – seeming to be heavily influenced by Jazz and spoken word artists like Gil Scott Heron. After the project circulated a bit he began receiving many comparisons to Common – not a bad place to start. Admittedly I haven’t listened to this project many times (I do however recommend “Pimp See The Fuchsia/Darkless” if for no other reason than the ultra smooth production) as it came out before I was introduced to his music. In order to get a better insight into this project I reached out to rap artist, Paul Pesci (Jeremy Dionson) who gave me a fantastic account of the recording process and insight into their relationship.

To tell you how I got on Flowers I would have to go back to how I met him. I was invited out to Philly to see him perform by my brother. Asaad and my brother were really good friends, and I was in the car with them going through the performance. After he performed I believe it was In Silk City, we ended up going back to my brothers where I played him my first tape Yellow Fever. He liked my shit and started bringing me to the studio he was at which was near Drexel at the homie Trackniques crib. He was cool enough to split his studio time with me and let me record some of my work there and we built chemistry from that. Every Tuesday and Sunday we would go over there and record. One night when were out he borrowed my phone, I didn’t know what for, and he typed the words “life was dark until I smiled at her” and I didn’t end up reading this until I got home. Once I read it I just continued it to make it a chorus. I got to the studio that week and I said it out loud to a beat Track was playing and Asaad liked it, and that ended up being the chorus for Real (Real) Love. He asked if I would do a verse and we just wrote and recorded that night. It was a dope experience working with him on it, because I was a solo artist at that point, didn’t work with any other artists and especially none like him. We saw eye to eye on a lot of things and we fucked with the same shit, not just music. We would chill damn near every day during those times and I think that carried out through the music and our relationship. He was definitely ahead of his time with that album; Section 80 was a tap back into that mind state when I heard it. The music speaks for itself; it was crazy. Even more so because he was 16-17 when recording and releasing it, I never heard anything like that from artists that young. It made it easier for me to work with him because it gave me no limits to how I wanted to write and what I wanted to write about. Our relationship changed after that period of Flowers, we would still be homies and hang out but it wasn’t as much because we both just got busy doing our own thing. Then he lived in my house in Jersey for on and off 2 years during New Black History and the newer projects, and I was there to see the process of that, definitely different from the process of Flowers, even 19 which was never released. Its like history repeated itself, we were close during Flowers then did our own shit, he moved in for a couple years and now its back to us just doing our own thing. Keeping to ourselves working on our own shit, no bad blood between us, we’re just busy with life and we have that understanding. The future looks bright, nothing else to say about that, Asaad knows what it is.”

Shout out to the best live band to ever do it.

666deathwish666:

My only intent is for me to succeed,

I do not care whether you fail or not

That isn’t my decision to make

Sunday, April 6, 2014
666deathwish666:

Number (N)ine by Takahiro Miyashita

666deathwish666:

Number (N)ine by Takahiro Miyashita

(Source: dominikhalas)

(Source: petererik)