Tag Archives: Philly

Vitaminwater Uncapped | Recap

vitaminwater uncapped: Last Tuesday night [Sept 23rd] was the #Uncapped concert series hosted by Vitaminwater® at 2424 Studios in Fishtown.

Fans lined up early a block long into the street and when concert-goers arrived inside, the wood-floored room was dark and filled with pink and purple lights. The ambience of the room made guests feel at ease and took them away from reality for a bit.

Many people heard about this RSVP only event by word of mouth. “My friend is a local rapper, so he informed me about this event. If he never told me, I wouldn’t know about it,” said North Philly native Deeda. “I knew I couldn’t miss it mainly because Jhene Aiko was going to perform.”

While people waited anxiously for the show to begin, a Vitaminwater® bar was set-up. They served free cold bottles of their drink in a variety of flavors along with their newest product, canned energy drinks.

Next to the Vitaminwater® bar was a t-shirt making station, where guests could pick out a black or blue design for a white tee which was free. Also, there was a gif photobooth that allowed people to take a few second gif.

DJ Diamond Kuts was spinning out catchy beats and getting the crowd hyped for the three performers, Raury, Ty Dolla $ign, and Jhene Aiko. Most people sang along when the talented DJ played popular hits.

Raury was the first performer to hit the stage, wearing his famous hat. The young artist had no problem revving up the crowd. He sang with a full band some hits from his new mixtape, Indigo Child. He even covered some Rock classics from Nirvana and Queen. The entire crowd went wild singing along when he passionately sang the Queen classic “Bohemian Rhapsody.”

Ty Dolla $ign was next to perform. He came came on stage wearing a ski mask, some could say Kanye-esque. He took it off after the third song. Ty sang a mixture of his hit singles from his newly released mixtape, $ign Language.

The moment finally came that the crowd waited for all night — probably all week. The super-talented, Jhene Aiko, owned the stage to say the least. She performed strong ballads including her new single “The Worst” and “The Pressure.” Her new album “Souled Out” [Read Album Review] was released on September 9th this year.


Photos Daniel Wooden // Words Christina Dogas // Editor Aran Hart



DJ PHSH & SEDSO DESIGN present – PHSH TANK : PHOTOGRAPHY RETROSPECTIVE

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This year has been an exciting year for DJ PHSH and SEDSO DESIGN. Their collaborative effort, PHSH TANK, combines art shows with dance parties and presents new visual artists to the crowd every month.

This Saturday night (Nov.16) PHSH TANK invites you to relive those moments and create new ones with PHSH TANK: PHOTOGRAPHY RETROSPECTIVE at Kung Fu Necktie. PHSH TANK will be showcasing photographs by their talented photographers who have been documenting the collective’s growing success.

The art show will begin at 9pm and the dance party at 10pm. Thanks to Sailor Jerry Rum, there will also be drink specials. So be sure to get there early.

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DJ PHSH & SEDSO DESIGN present –
PHSH TANK : PHOTOGRAPHY RETROSPECTIVE
(sponsored by Sailor Jerry Rum)
Saturday, November 16th
Kung Fu Necktie (1250 N. Front St.)
9pm-2am
$5 cover//21+
SAILOR JERRY DRINK SPECIALS FROM 10:30-12:30!
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$5 for the exhibition & party

Gallery show starts at 9pm // Dance party starts at 10pm

CHECK OUT OUR PHOTOGRAPHERS ON INSTAGRAM :

Tim Blackwell – @shotsfired215
Kayleena Wood – @absolutelybarmy
Evan Kaucher -@redbeardsdelight

MORE INFO ON DJ PHSH
twitter/instagram : @djphsh

MORE INFO ON SEDSO DESIGN

Sedsodesign.com

WWW.PHSHTANK.COM

Photos: KAWS’ Opening Reception at PAFA

This past Friday, October 11, the Pennsylvania Academy of Fine Arts opened its doors to the Heineken Green Room hosted opening reception of KAWS largest exhibition to date. Guests were treated to complimentary Heineken beverages through out the evening in addition to a complete preview of the incredible exhibition. The man of the hour, KAWS, was in attendance and was happily chatting with those who attended.

City Hall Presents: Philadelphia School of Circus Arts and Make Music Philly Day with Norwegian Arms and the Philadelphia Jazz Orchestra

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This week during our summer City Hall Presents series, CHP has got a little something extra coming your way. Tonight, the Philadelphia School of Circus Arts will be putting on what will most definitely be an awesome show. Everyone loves a good acrobat, am I right? This will take place from 5:30-6:30pm in the City Hall courtyard. Reserve your spot here.

While the series traditionally only takes place on Wednesday nights during the summer, an extra performance has been added for this coming Friday. As a way to celebrate Make Music Philly Day, the Philadelphia Jazz Orchestra and local favorites Norwegian Arms will be putting on performances you do not want to miss. Reserve here. PJO will play from 5-6pm and Norwegian Arms will play from 6:30-7:30pm in the City Hall courtyard.

Aside from the fact that these performances are absolutely, 100% FREE, we’ve decided to run a fun interview we had with Norwegian’s Arms’ lead singer Brendan Mulvihill to help further pique your interest.

Voted the Best of 2012 Emerging Philly Artist by the Deli Philly, Norwegian Arms consist of Mulvihill (vocals/mandolin), Eric Slick (drums/percussion), and Andy Molholt (everything else). Their unique, stripped down, complex, weird folk pop style of music is nothing short of awesome. Check out two of their songs “Wolf Like a Stray Dog” (the title track of their 2012 debut album) and “Tired of Being Cold.”

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Photos by Mark Likosky

two.one.five: So, the last time we chatted you guys were getting ready to head out on tour and play South by Southwest. How was that?

Brendan Mulvihill: It was just a really nice positive experience, really nice to get out of town. Played a bunch of shows with Grandchildren and Dangerous Ponies. SXSW was wonderful magical madness. It was great because I was there for my job and as a performer; there was professionalism mixed with debauchery. It’s the first time we’ve broken beyond the east coast. It was really nice to see places like Texas and various other states that I’ve never visited before, even if it was just for a night.

two.one.five: Have y’all started working on anything new?

BM: Yeah, we’re slowly putting together some new music.We’re finally assembling different parts of different songs which is exciting. I sort of experience this lethargy where I don’t actually work on songs for a while, but I’ll have pieces of songs that I’ve recorded or written. We’re hoping to have put together one or two completely new songs by Friday, but we’ll see. Definitely aim to roll more songs out through the summer. We recorded some stuff in March that we’re currently mixing. Maybe we’ll be able to put out a 7″ by late summer. Definitely striving to being the recording process for the new album by the end of the year. That’s a rough plan, but it’s what I’d like to do ideally.

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two.one.five: So Norwegian Arms is your baby pretty much, right?

BM: Yeah, it’s my baby.

two.one.five: How long have you been working on music for this project?

BM: Well, I guess it really didn’t start to take any sort of form until the summer of 2009, but at that point I wasn’t playing in any bands. I had at that time just broken up with the high school/college band I had played with for a while. You know how everyone has one of those bands from their late teens into their early twenties. Yeah, I had one of those. So, that band ended and I just thought, “Okay, I’m just not going to do that for a little while,” but I was still writing songs. Eventually, I met Eric Slick at a party and we were like, “Yeah, we should hang out and make music together at some point.” We started doing that and then the songs just started to take form. We only played about 2 or 3 shows in 2009, but shortly after we started playing together I received a grant to go to Russia for a year. So that’s where the bulk of the current material comes from, from that year while I was gone. I wrote a bunch of a songs while I was in Siberia and Eric joined Dr. Dog in that time and, once I came back, we got back together and started putting together what eventually became the album.

two.one.five: I think that’s so cool you were able to spend that time in Russia and continue writing. Weren’t you a Fulbright scholar?

BM: Technically yeah, I got a little Fulbright thingy. I got to go to Siberia which I don’t regret at all; that’s an irreplaceable experience. At the time when I was there, though, I did kind of hate everything about it. You know how it is, when you’re in one place you want to be in another, and when you’re in that other place you want to the other one. I consider Russia my nemesis a bit at this point because there are these things about it I can’t stand, but at the same time I admire and love those same things. It was awesome to have steady pay and the hours I worked were pretty flexible so I had a fair amount of time to myself. I also lived in an apartment by myself for the first time in my life; I had just moved out of a DIY art space called the Ox that I started with my friend. So, I basically went from this massive communal living experience that was a weird experiment with my friends and immediately got put into this town of half a million people but felt so isolated, especially socially. I’ve lived abroad before – I lived in Germany for a little while – but this was something I wasn’t prepared for; it was really the first time I ever experienced a culture shock. I wouldn’t say it was as much of a shock as it was me being slightly confused and really curious. In another language I always feel like I’m a different person. You could have an IQ of a hundred billion, but if you don’t know the language you sound like a stuttering idiot. I always find that amusing. I guess all those feelings crept into the material on the album.

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two.one.five: One of the songs that I really like is “Tired of Being Cold.” I mean, when I think of Russia I think of really, really cold temperatures. I mean, I would think if I were going to write a song about living in Russia that’d probably be one of the first songs I want to write.

BM: Yeah, you know, the funny thing is it really doesn’t get that much colder than Fargo, N.D. I mean, once you get into those landlocked, no bodies of water areas it’s about the same. I mean, when it’s 30 degrees here I feel just as cold as I did there. I guess the only difference is the duration and intensity of it. It’s funny because a part of me kind of resents that song a little bit because I’d definitely say it’s the most direct experience on that album, everything is kind of like a vignette to me on it and everything is based on a certain series of events; everything is a little more indirect in a way as an attempt to make the whole experience a little more universal. For example, on the song “Easy a Lover Goes West,” that song is about the two weeks I got to spend away from Siberia and I went to Europe: Berlin, Italy and Poland. It was so different and so refreshing. It wasn’t meant to be like, “Oh yeah, I went to Italy and it was fucking sick!” I wrote something about a more universal experience of being somewhere new. I like “Tired of Being Cold” but at the same time, I don’t know.

two.one.five: It was too obvious or something?

BM: Yeah! I remember the day that I wrote that song. I used to write everything on these sheets of printer paper, like 8.5 by 11, and I remember coming home from a class I taught that day. I stopped at a cafe where I’d meet with some friends – it was the only place in town where you could get coffee brewed with actual coffee beans, everything else was Nescafe mixed with hot water. It was March or April and it was a month where it shouldn’t be cold anymore, as far as my experience went. The snow started in October and it was long. I was just like, “I am so fucking over this.” I used to go home and write in red pen on these sheets of paper and tape them to my wall. I probably looked like an insane person, but when you live alone you can do this kind of stuff because you live by yourself and nobody cares. One of my Russian friends who now lives in Philadelphia came over to my place and said, “Is this your new song?” and I said, “Yeah?” He was like, “I can tell this is terrible because I can understand the lyrics.” It was really funny and we got into some weird argument about that.

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two.one.five: It may be one of the more obvious songs, but I think each song on the album is unique and memorable in its own way. Your sound is so unique, too. I can’t really think of a band that sounds anything like you. It’s very interesting and very different from what other people seem to be doing. It’s stripped down but there’s a lot going on. How did this come to be your style?

BM: There was a point when I had one of those epiphanies where I wanted to be classically good at the instrument I played. I studied mandolin for a long time and became very technically oriented. That sort of carried over into the music, but it eventually became less about how well you could play or how fast you could play and more about how you could create sort of swabs of textures. I brought my mandolin with me to Russia because it was the most portable instrument I could carry with me; I hadn’t played for like 5 or 6 years. Basically, the idea was to re-imagine my approach to the mandolin. Also, the fact that I was by myself you sort of have to fill the space. You can’t just sit down and play a melody and feel completely emotionally fulfilled. What it came down to is that I still like polyrhythm and I still like complexity but I really like good pop song writing. So, the idea was that I wanted to write songs that were accessible yet a little left of center. At the same time, I want to make music that makes you feel a groove. I feel like music is a social thing; it wasn’t invented for one person to keep all to themselves. It was a collective, tribal experience — it’s meant to evoke a certain emotion and move you in some way. For me, I think that’s very important. When things lock in, it feels really good. I don’t want to be Taylor Swift or anything, as much as I like some of her songs…I have a big soft spot for “We’re Never Ever Getting Back Together.” The more I try to own my love for Taylor Swift in front of other musicians, the more they become open about it, too.

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two.one.five: Yeah, we’re all there with you.

BM: So, basically, yeah, I wanted to create rhythmic space that kind of has a weird elasticity. When I would write the songs, I really had a solid idea of what I wanted the end result to sound like. Obviously, Eric is an insanely talented drummer and has been able to take it far beyond anything I had ever imagined…but yeah, the biggest influence definitely was me wanting to approach playing the mandolin differently. I don’t want to say non-traditional because that makes me sound like some sort of douche bag or something, but the way I play it now is different. It may be because I’m an idiot for playing it the way I do now, but who knows. It’s definitely not for purist who love playing mandolin and have a very rigid perspective toward the instrument. I kind of want to give those people a hug.

Be sure to also catch Norwegian Arms perform on Wednesday, July 10, at Morgan’s Pier. They’ll be playing a free show with Work Drugs. For more information, click here

Janelle Best and her Desert Stars

Janelle Best decided to take a keyboard home with her a few years ago. Instead of paying for it, she found it in a trash can on her way home. According to Best it was “rich people trash,” so the keyboard was in pristine condition, of course. During this time, she also had decided to make a commitment to quitting drinking and drugs and was in the market for a new hobby. Little did she know that this trash to treasure scenario would provide the foundation for Desert Stars, a project Best started with a friend of hers.

While Best plays the keys and sings in her band, she is no stranger to making music. She grew up playing in orchestras and taking violin lessons starting at the age of 2. The groundwork for Desert Stars began with Best and a friend of hers, then a few more friends of hers, and then a few more jumped in. Five years and many members later, the band– Best (lead vocals/keyboard), Carrie Ashley Hill (guitar/vocals), Eric Altesleben (guitar), Tim Edgar (bass), and Gregg Giuffré (drums/percussion)– has gained a following in Brooklyn (where they are based) and recently recorded a full length album. Their debut album, Habit Shackles, will be released on July 16.

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The music has a dream pop quality to it that can be likened to Beach House, early Doves, and My Morning Jacket through atmosphere, harmonies, and looped, repetition driven mellowness. Tracks like “With the Bears” and “Boys I Like” are great examples of these aspects. Best and Hill provide gorgeous harmonies while Edgar and Giuffré lay down the foundation to the songs. Then you have Altesleben chime in with some killer, pedal fused, shoegazey style guitar playing that’s pretty awesome.

two.one.five magazine had a great time kicking it with Desert Stars at PhilaMOCA just last week. The band provided an intimate performance under low lighting and had stock footage from a music video they made recently projected in the background. Their friends Heaven provided a fantastic set beforehand.

two.one.five: So, how did Desert Stars come to be?

Janelle Best: It started about five years ago with a friend. I was cleaning up my act and I quit drinking and doing drugs so I got really anxious and my friend told me to get a hobby. I actually played classical violin for about 17 years and my family had a piano and organ in my house growing up, so I was like, “I guess I could start playing music again.” I played in orchestras and all that. So I was walking up a street one day and there was this pile of rich people trash, which in New York it’s all over – rich people always throw away useful shit– and there were just these printers and a keyboard in the trash. So, I thought, “Holy shit, I bet that works since it’s in a pile of rich people trash.” I just pulled it out, got the little cord, and it totally worked. I’m not a pianist or anything, but I just locked myself in my room for two or three months and seriously started writing some music because I was going through some serious mental shit, you know? I got some friends to come play along and most of them were non-traditional musicians who were just winging it, like, dumpster diving music where you’re going to make something sound good out of an old tire iron or something. That’s how we got started, we got shows and it started attracting other musicians who were beginners. Eventually our line up shifted to what it is now.

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two.one.five: I really love that story.

Best: Yeah, we just recorded a fucking album, I can’t even believe it. We played Bowery Ballroom which is the mecca of all the music I go to see. When we got up on stage I seriously teared up. That’s the place where I get to see all the bands that I love so when we got up there I was really emotional.

two.one.five: You got your time to shine on that stage — that’s really exciting.

Best: This is our first time playing in Philly. I went to college at this place north of Pittsburgh called Edinboro University; they have a really great art program there. I moved there from Macon, Ga. Before that I went to College of Charleston for a little bit. Carrie is also a southerner from Texas.

Carrie Ashley Hill: Yeah, I was coming from a similar place before the band…I was just going through a hard time. I had written a couple of songs right before I started hanging out with Janelle and then we realized I could harmonize well. Now I’m playing guitar, too. It’s been great because the band gave me a chance to learn I could actually play. Desert Stars began with a lot of girls who weren’t really trained as musicians necessarily but really liked music and we just started playing music we liked. And then it morphed and the guys joined. Gregg is so good at drumming – it really just takes having a great drummer to lay down the foundation. We played a show at Webster Hall with him and we were blown away. We were like, bam! We turned into a real band.

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two.one.five: With your classical training, do you like to follow any particular type of theory?

Best: No. There are a lot of things I like about classical music – lately that’s all I’ve been listening to. I like composers who use a lot of repetition. I like to include lots of harmonies too, so when Carrie came into the picture we were able to include that more…I played violin for 17 years and I also played cello and viola when I was in art school, but that doesn’t transfer to the piano. I know what a chord is when I hit it and I just build from there. I’ll bring the band in when I put something together and it gets a little frustrating sometimes because they’ll be like, what chord is that? And I’ll be like, I don’t know!! You tell me!

two.one.five: So when you make songs you come up with the idea and the band chimes in later?

Best: Yeah, I’ll start something and bring the band together to jam on it and we just roll from there. It’s really laid back and we just have fun with it.

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two.one.five: Do you have any particular influences you like to note?

Best: I mean I was a kid of the ’90s so I listened to a lot of radio, especially radio in Atlanta. Macon was a dead place. My dad used to live in Philly so I’d come up and visit when I was a kid and he’d take me to Tower Records and I’d get all the indie magazines and read about the bands that sounded fun. This was before the Internet and all that shit. I’d send a check to these bands and get an album sent to me – mostly bands from Washington state and that area. I collected a really wide range of albums and artists that a lot of people even today wouldn’t even know. I had obscure taste but I also really love your shoegaze, blissed out, reverb washes – I think that stuff sounds beautiful. The whole goal when I write music is to write something that I want to listen to. I really think when our guitar player Eric rolled in, who is the pedal master, the sound changed…playing with these guys has been really awesome. I couldn’t ask for anything more.

Wall Ball-in’ Out!

Photos by Kim-Thao Nguyen

Last Thursday, some of Philadelphia’s finest creators, movers and shakers congregated at the Vie on North Broad Street for one of the city’s most highly anticipated events: WALL BALL.

In its 9th year, The Mural Arts Program strived to bring an array of entertainment and excitement to its biggest annual fundraising affair. Not to be outdone by last year’s star-studded event honoring State Senator Vincent Hughes and his wife, actress Sheryl Lee Ralph as well as The Legendary Roots Crew, whose mural on South Street will be formally unveiled this upcoming Friday, this year’s swanky soiree put the spotlight on City Council President, Darrell L. Clarke and Philadelphia’s favorite big baller, former 76er, Julius “Dr. J” Erving, whose iconic mural on Ridge Avenue is a favorite in this acclaimed “City of Murals”.

This year, it was obvious that The Mural Arts Programs wanted to wow guests and contributors with fun and fantasy:  from fancy face-painting to scatting stilt-walkers to the elaborate array of light bites, Wall Ball 2013 left little to be desired from its content attendees. Mike Jerrick of FOX 29 News was the evening’s emcee and opened the floor for the live auction by dancing to Wild Cherry’s “Play That Funky Music” followed by some impressive sales in the name of charity.

After the last bid and before handing out awards, Mural Arts Program founder, Jane Golden, shared a story about a young Michael Whittington from the organization’s Restorative Justice Program before introducing him to speak briefly on behalf of its participants. With a testimony and an expression of gratitude extended to the guests, Whittington reminded everybody what doing this work is all about.  Jane Golden and the Mural Arts Program also posthumously honored the late local real estate developer, Tony Goldman.

In an effort to engage younger patrons of Mural Arts, the organization also incorporated an Off-The-Wall Ball at the neighboring Alla Spina Restaurant. This abbreviated party was an amazing amalgamation of muralists, artists, and mural-lovers having fun and making a contribution to art and its restorative power.

The City of Philadelphia Mural Arts Program is the nation’s largest mural project and provides programming for over 100 communities, including at-risk teens and adult offenders. For more information about the Mural Arts Program, visit www.muralarts.org or follow on Twitter @MuralArts.

Interview: Gilbere Forte is on the rise

Gilbere Forte has spent the last two and a half years pouring himself into his newly released, ten track mixtape PRAY, and it shows. Between the production skills of engineer mastermind RAAK and the definitive, newfound confidence in Forte’s performance, PRAY is easily a hit.

It’s no wonder that the young, Temple made emcee recently caught the attention of L.A. Reid, who quickly signed him to Epic Records. With all of the buzz going on around Forte, we wanted to catch up with him on his journey to superstardom to discuss the PRAY mixtape, his feelings on rising to fame and his vegan cooking skills.

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(photo by  Nikko La Mere)

Two.one.five magazie: You’re being deemed by everyone from XXL to MTV as an artist that’s well on his way to hip-hop domination. Can you feel yourself rising to stardom? What does that feel like?

Gilbere Forte: Honestly, I can. I just look at this as a huge step for me from where I started. I’m happy about the growth I’ve had and the time I’ve had to educate myself on how I want to make my music and how I want it to be heard. I’m happy that I’m at the position now where I can speak globally and more to the masses. People are really receiving the risk that I’ve decided to take. I’m able to expose myself emotionally and expose what I’ve been through. It feels really good.

215: The track “Nolita” really embodies everything that you feel when going through a breakup. When you finished the song, did you feel relieved of all of the pain in your system? 

GF: That particular record allowed me to have a lot of clarity and to dig deep into a space that I was in for a very long time. It allowed me to develop and move past these emotions that I was holding onto.

We all hold onto these things that we can’t get rid of or move past or move forward from. I wanted to allow people to step into my environment and see that I’m just like them. We all go through terrible situations like this… and my issue was super fucked up.

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(photo by Tim Blackwell)

215: It’s often hard for male emcees to portray their feelings without being labeled as “weak”. Did you feel nervous about revealing so much about yourself and unleashing so many different emotions to the public?

GF: Not at all. I felt like “this is the moment that I’m going to give myself to my passion”. My dream is be successful to the sense that I can inspire people through my work. So, the way that I see it is that I want people to get to know who I am. It’s important to be able to understand who the artist is and that they too are just like you. That’s imperative.   

215: “Down for the ride” is a track that gives listeners a sense of encouragement to keep doing what they’re doing. Are there any artists or songs in particular that have given you that push to keep moving forward even when you felt you like didn’t want to anymore?

GF: Well, one important thing that I feel as a musician is that you need to be your own inspiration. I felt like I encouraged myself and moved myself forward. That’s why it sounded so strong and mood driven. I was able to inspire myself to frame my words and dig deep into my project. Overall I basically want the project to help me restore faith and confidence in myself musically. Me being able to touch on these issues and subjects gave me the sensitivity to accomplish my goals.

215: If you had to convince someone to download PRAY with one song, which would you recommend and why? 

GF: I would have to choose “The Streets Are Crashing”. Musically, for me, that particular song is one of my favorite records on the project. I had the most fun making it. It was so refreshing and brand new and it felt like a brand new day for hip-hop music.

I was inspired to even work on a track like that and just turn on the reality of things. I am at the point where there is no turning back. I just have to go for it now. Everyone wants to see me win, I’ve got to go do it.

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(photo by Tim Blackwell)

215: From 87 Dreams to PRAY, what has changed the most about you and your style?

GF: I’ve really just grown as a human being between that point and where I’m at now. I was given an opportunity to go through some major things that made me stronger; issues that broke me down and made me want to be stronger. It really just gave me an opportunity to become this person.

For me music is a diary, it’s a journal. I’d like to share that with the world and get my point across, that’s really what I want to accomplish. From that space I gave myself the chance to really learn about what I want to make and how I want people to perceive it.

215: When you need a break from writing, rehearsing and recording. What do you like to do to blow off steam? 

I like to hike. Meditation is very strong vice for me. It keeps me thinking very clearly and it keeps my mind empty when I need to get back to work. When I want to get back into the studio I have such a clear state of mind and my approach is never influenced by anything but myself.

GF: I hear you’re a great cook. Do you ever cook vegan dinners for your friends (specifically lady friends)?

Absolutely. Vegan food is the happiest meal you can make for anybody. I love to cook.

215: What’s the best piece of career advice you’ve ever gotten?

Honestly, I’d have to say – “It’s important to not confuse who you are with what you want and what you’ve attained so far.”

I’ve carried that thought with me and applied it to any form possible. Whether its music, fashion, cooking, or making friends, you don’t want to lose what made you perfect. You always have to remember that the thing that makes you an individual is what makes you stand out among the rest… no matter what.

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Download PRAY at GilbereForte.com 

Check out the visuals for his single “Pray” below:

Mike Stud on the Rise: Breakthrough Album and Headlining Tour

Topping the iTunes hip-hop chart at #1 and #2 on overall albums chart, breakout recording artist Mike Stud introduced himself onto the scene with his new digital album entitled Relief. The album, available across digital retailers, presents 12 original tracks and includes production from Brian Lee (Carly Rae Jepsen, Lady Gaga) and Luke Walker (Sugar Ray, Korn).

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reminiscences on Stud’s journey from when he was an All American pitcher at Duke, to his ultimate career ending injury, to his rise as a rapper and the daily struggles he has encountered. Carrying you through an array of his emotions, ranging from his gratitude toward his loved ones in the opening track “Thank You,” to the catchy, positive feel of “Kids,” to the inspiring lyrics of “Past Gone,” which discusses believing in someone when they need it the most, this album deeply embrace his passion.  Mike Stud promotes an easy-going flow, smooth hip-hop prose and truthful narratives, all with a modern, pop-infused twist.

Following the release of Relief, Stud will embark on his 10-city tour, entitled The Relief Tour, kicking off on June 18, 2013 at the Greene Street in Greensboro, NC and ending on June 30, 2012 in Pittsburgh, PA. Tickets for The Relief Tour are on sale now via Etix and also venue box offices.  As more tour dates are expected to be added, fans should keep checking Mike Stud’s official website, for additional information and up to date ticket information.

Be sure to check out Mike Stud as The Relief Tour takes Philadelphia at the Note, located at 142 E. Market Street in West Chester, PA  on June 22, 2013, with opening acts Kurt and MTK.

You can stream Mike Stud’s album Relief here.

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