Here is a sample of Dream Theater live, with a lot of focus on Jordan’s live performance.
Interviewer: Jewish Mayhem
Video: James Dowdell: http://www.bonetrigger.ca
Location: Pantages – Toronto, ON, CAN
date: fri, aug, 14th
Interview arranged by Christopher Buttner http://www.prthatrocks.com/ Representing the best in entertainment, talent, and technology since 1994.
Jordan Rudess is in my opinion one of most talented and innovative rock musicians alive today, which is a pretty bold statement to make, however as you will see this from the interview and from the youtube video of a Dream Theater performance, he is a very talented, intelligent, concise, and a very progressive, future-now kind of thinker.
Jewish Mayhem had the amazing opportunity to meet “The Wizard” and to interview him before the Dream Theater concert later that day at the Molsons Ampitheater, to a completely sold out, capacity crowd. He was very generous to Jewish Mayhem with his time and patient with my mayhem and gave to me and to you, a special, live performance and demonstration of one of his projects: the JR Hexatone Pro – a unique iPhone sound sequencing app, which you can acquire here: JR Hexatone Pro . Jordan uses the Hexatone live on stage during Dream Theater’s performances, which I was able to see live that night, and the entire capacity crowd was completely mezmerized by his masterful, 21st century musical performance from beginning to the end.
Here is Jordan’s promotional video for the JR Hexatone
I was blessed to get a very rich Dream Theater experience from sitting in the 3rd row, courtesy of Jordan himself, and then to go backstage after the show to the musicians lounge to thank Jordan again and to also meet rest of the band, and as it so happened, members of other bands such as Big Elf.
Enjoy! PART 1[pro-player width='400' height='400' type='video']http://jewishmayhem.com/video/JordanRudess1.flv[/pro-player]
PART 2[pro-player width='400' height='400' type='video']http://jewishmayhem.com/video/JordanRudess2.flv[/pro-player]
PART 3[pro-player width='400' height='400' type='video']http://jewishmayhem.com/video/JordanRudess3.flv[/pro-player]
“Albany” Lou Samberg, cousin to SNL’s Adam Samberg, is a hard working young Hebrew from New York State, who likes to bust out rhymes about his life and what’s important to him to the sound of hip hop beats.
JM: Who are the Jews in your family?
AL:Both Mother and Father are 100% Jewish. My Fathers last name is Samberg and my mother’s mother was Cohen. I had a crash-course Bar Mitzvah when I turned 13. I never did understand the tradition of tossing candy at the Bar Mitzvah Boy. My Father recalls me chucking it right back at people HARD…lol
JM: How do you define yourself? A rapper? A hip hop artist? Producer? AL: A rapper, entertainer, dogman, father, businessman. I havn’t realy dabbled in production aspect of Hip Hop. I believe I could do it, but I’m more about the verbal expression.
JM: Where did your “name” come from?
AL: Growing up in Albany NY, people knew me as Lou/Louie/Casino/White Lou/Lou the Jew/Snozz/Boss. The name Albany Lou came about when I started going out of town to get money. It was then that I started advertising my game-bred pitbulls in various dog magazines under the alias “Albany Lou”. When I began taking the music seriously, it was natural for me to keep that name.
JM: Are you signed to any labels? AL: I have not signed any papers at this point though I have had offers from some smaller labels. I’m a little uncomfortable with signing anything besides autographs. I am lucky that my cousin is an entertainment Lawyer that can help.
JM: How many CD’S/Albums have you released so far? AL: 3 released and one on the way SOON. I have only one actual album at this point. I feel the mixtape route is a much better way to accumulate a buzz. Once I’m in the public eye a bit more then I’ll start droppin more albums.
1. DEAD GAME(the album)
2.DEAD GAME vol 2 hosted by the mix-king DJ Life
3 Back in the box
4 comin soon
JM: Who were your biggest musical influences when you started? AL: I started listening to hip hop when the west was real popular (Snoop, Dre, Ice Cube, Cypress hill etc. Then came Wu, Biggie, Mobb Deep, Outkast, Big Pun, Twista, Jay Z, Dmx, The Lox, Eminem, etc. It would be hard to say which artist influenced me the most though.
JM: Whose music influences you today? AL: Honestly, the people around me that I grew up with are all worthy Mc’s and they probably shape me more than anyone else. We all kind of build off each other, although at this point they dont realy persue the music the way I do. As of lately, the rappers outside my circle that I listen to are Necro and ill bill, I’m feelin that new Hellraiser and Shabazz album, but not a lot of rap I hear inspires me the way it used to.
JM: Where did you grow up, where were you raised and where is home for you? AL: I was born in Chinatown (NYC) but my family moved to long island a couple years later. My mother and I went through some really tough times and tough years. I stayed with my grandfather for a couple of years and then moved to Albany myself. Albany is definately my home. I’ve been here since I was ten and I know everyone.
JM: Is Tupac really alive? AL: Josh your a jerk(smile).
JM: Whose music rubs you the wrong way? AL: I don’t really ever get rubbed the wrong way by music, even when maybe it should at times. I’m a little mad at Eminem for not putting on another talented white rapper. Em, we are out here and yes we had it hard too!
JM: How did you get to where you are now? What were the big breaks and events? AL: Haha, I’m still lookin for that big break.
JM: Has there been anyone who has mentored or really helped you along the way? AL: I have great support through friends and family, but my answer has to be no. I do it mostly on my own even when they say it’s not possible!
JM: When did you first start getting into the performance side of music? AL: When I was eleven, three of my friends and I performed Bobby brown’s “Get away” in the school lip sink contest., after that it was house party. I think performing is somthing that has always been in my blood.
JM: Who do you hang out with, anyone noteworthy? AL: My 1st Cousin Andy Samberg is real popular on SNL. I’m also close with DJ Life (Blockburners/streetsweepers/BLACKFOOT ENT. He’s like Albany’s Kayslay and his name is known heavy in NY, and in Jersey.
JM: What song has had the biggest impact on you personally? AL: What song of mine? I would say my Dead Game song because of the creativity that went into makin it and because of the effect that it had on other people. It gave me my original fan base.
JM: What do you write about in your songs?
AL: Life in general. I’m not the type of artist that sticks to the script. No one is one-dimensional. If I feel happy then I make a happy song and if Im angry it also shows in my music.
JM: What bothers you about the music business? AL: The same thing that bothers me about Life. Not enough loyalty, too much ego, and very little truth. Plus, its’ all about a buck. Deserving artists that make real authentic music are the ones who should be reaping the benefits.
JM: How has being a Jew or in other less popular words, has having Jewish blood in your veins made a difference in your life? AL: It’s made all the difference in many ways and yet no difference at all in others. First of all, let me say that I did not grow up around Jews. My mother and I celebrated Hanukah every year. When I was young I used to get into fights because I was constantely ridiculed for being Jewish but I was always proud. I was never afraid to stand up for myself the same way my grandfathers did when they were alive. I also got a lot of love from certain people. My friends often said “Lou ain’t white, he’s Jewish.” When I was young that phenomenon made me feel accepted.
JM: Is being a Jew important to you? Please explain. AL: Absolutely. Although I am not religious, being Jewish is a big part of my identity.I wouldn’t want to be anything else. A part of me feels very special to be a part of something so ancient and strong!
JM: What do you do for beats? AL: My brother Legacy from the Dead Game video, he also produced the track, and my dawg Damian. Both childhood friends and both great producers. Other than that I jack other peoples beats for my mixtapes.
JM: Do you play any instruments? AL: No, but I can sing.
JM: What is your favorite city? AL: Vegas is the shit, NYC is mind blowin, Atlanta is beautiful, Beacon is quaint, but Id have to say I’m the most at home in Albany.
JM: Have you been to Israel? AL: I had the opportunity to go when I was younger but I was so rapped up in my own chaotic life to accept the offer. Now i regret it. I do plan to go one day as I have family in Israel.
JM: Do you know what tribe you are from? Levi, Judah?
All I know is my grandmother was a Cohen.My family came from Russia, Lithuania, and poland to the united states in early 1900.
JM: Do you pay attention to what is going on with Israel?
To be truthful I hardly watch American news or Tv at all for that matter.I am behind my people 100%, though,I would really like to visit Israel and see it for myself.
JM: What’s coming up for you?
Well I sent Necro my Cd i havnt heard back fro him yet.i kinda want o do a song or two with phsycological.im supposed to be touring with Gym class heroes next summer. Right now its about sellin cds and tryin to get more shows
JM: What’s your favorite piece of musical equipment? AL: Microphone hands down.
JM: Which one of your songs do you like the most and why? AL: Their are so many that I love but iI would have to say Only Human, because it was from the heart. I listen to it for inspiration and it reminds me that I can do, it if he can do it. I also like Electricity, its the opposite of Only Human, but somehow has the same effect.
JM:Have you been in the media yet, and if so, how so? AL: Well right now The PETA people are on my ass.
JM: Are you a spiritual or religious person? AL: Definitely spiritual, not religious, for some reason I only pray when I’m High though (4:20).
JM: Where can people buy your music? AL: http://MYSPACE.COM/ALBANYLOU I have a paypal. Other than that, come to Albany and I’ll sell you one personally.
JM: Who made your videos? AL: I made every single one! I must say that for the limated resources I have they came out Damn good. All I have is a digital camera SRAIGHT RAW !
JM: Any shoutouts? AL: First of all JEWISH MAYHEM MAGAZINE!!! Second of all my Mother (the strongest woman alive!) my Father, my Son who is my everything and my Fiancé, and of course everyone that I consider family!! .
Agent: Mike Landers – modelinamanagement@yahoo.com
Photographer: John Graf www.JohnGrafPhotography.com et2nite@aol.com
We’re happy to introduce you to this issue’s Judaic beauty, Yael. Originally born in the Jewish State, like thousands of Israelis Yael’s parents moved to the US for greener pastures. Yael has a serious desire to work in the entertainment industry and she has been working hard at doing just that. So far she has been successfully obtaining serious work in various medias such as in television and in print.
According to her website bio, “Upon arriving to United States, Yael and her family lived in Queens, New York before relocating to Fort Lauderdale, FL. Yael grew up in South Florida and when she graduated high school she studied Makeup Artistry at Joe Blasco School of Makeup in Orlando, FL. After graduating from Joe Blasco, Yael launched her makeup artistry website – www.makeupbyyael.com- and decided to move to Los Angeles, CA to pursue a career as a makeup artist. When Yael arrived to Los Angeles she began working as a makeup artist on award shows, fashion shows, television, film,music videos, and photo shoots. Yael loved being behind the scenes but had always wondered what it is like being in front of the camera so when a photographer said he wanted to do a test shoot with her…Yael was thrilled. Since then Yael has started modeling full time, signed with a modeling agency, and launched a modeling website – YaelMarkovich.com”
Ht: 5’5 “
Hair: Long Brown
Wt: 115
Eyes: Brown
Measurement: 34B-24-34
Nationality: Israeli
Ethnicity: Syrian, Turkish, and Polish
Yael has a growing portfolio with some impressive credits thusfar:
TRADESHOWS/CONVENTIONS
Curve expo Lingerie model
AMP energy drink Promotional model
Dreamgirl Lingerie model
Leg Avenue Lingerie model
Chevy Motors Promotional model
SPOKESMODEL
Hawaiian Tropics Brand ambassador/ promotional Model
Playboy Golf Los Angeles Girl of Golf coordinator/Girl of Golf
TELEVISION
CSI Miami (3/09, 09/09) Lineup suspect, Pianist
Entourage (4/09, 6/09) Entourage girl
Lie To Me* Atmosphere
PRINT
Hawaiian Tropics Model
Askmen.com Featured Model
Maxim 2009 hometown Hotties semi-finalist
Macenstein.com Miss September 2009 Mac Chick of the Month
Trashy Lingerie Model
FILM
Couples Retreat Featured Atmosphere Vince Vaughn
RUNWAY
Paris Hilton fashion show Model
Foreplay Lingerie Show Lingerie Model
COMMERCIAL
Budweiser Cocktail Waitress
MUSIC
Mary Mary Runway model “God in me”
Pitbull Model “Blanco”
Lil Rob Model “summer nights”
John Nash Model “shine”
LANGUAGES
Hebrew Fluent
Spanish Semi-Fluent
Sign Language Semi-Fluent
TRAINING AND EDUCATION
A.A., Business Santa Monica College
B.A., Business USC
Playboy Mansion West Food Server
SKILLS
Belly dancing, Cheerleading,Salsa Dancing, Hip Hop dancing, Burlesque Dancing, Go-Go Dancing, Jazz Dancing, Loves Animals, professional makeup artist
Hiphoperization and Blingification: The Commodification of all Things Hip-Hop
Sandra Zichermann- Doctoral Candidate, University Professor
Hip-hop/rap can be traced back to New York City block parties in the 1970s, and N.W.A. (acronym for Niggas With Attitude) was one of the first popular groups that changed the face of rap, by exposing a new, incendiary, in-your-face brand of rap, which was quickly labelled “Gangsta.” Guns, drugs, and anti-police rhetoric became the favour of the day, a stylistic viewpoint that still persists to this day (Dyson, 2007, p.v-vi).
Hayes (2006) argues in his dissertation that hip-hop has become more mainstream through the process of being taken up by white, suburban audiences and has been integrated into television programming, movies, and other genres of music and literature. The dominance and power of hip-hop music as a cultural phenomenon is evident in fashion trends created by artists, in the design of cars, and even in political/consumer activism such as the ONE campaign espoused by artists such as Diddy. The MAC campaign to fight HIV/AIDS, which is supported by Mary J. Blige, is an example of many other initiatives that have been taken.
Davis (1992), Richardson & Scott (2002), Lusane (2004), and Dyson (2007) all argue that hip-hop/rap represents the voices of alienated, frustrated, and rebellious Black youth who are aware of their vulnerable, marginal positions in post-industrial America. They are forced to struggle to find their voices.
I see parallels between these researchers’ arguments, and the history of hip-hop/rap music in the sense that hip-hop can be traced to the need of young people to find an avenue of expression and to engage in resistance to white hegemony through the establishment of their own identities.
The argument about whether hip-hop/rap is a form of resistance, a form of service to white hegemony, or a combination of both, cannot be answered in a simple way, since various critical theorists have differing opinions. Ice Cube who explains his fondness for hip-hop/rap in a conversation with Angela Davis (1992) by stating, “Hip-hop/Rap is a culture, a school system and one of the best school systems that we have” (Davis, 1992, p.189). Richardson & Scott (2002) argue, “As offensive as some lyrics may be, they speak the ‘truth’ as constructed by an isolated black urban youth culture in a land of plenty” (p.188). I see similarities between the comment by Ice Cube in Davis’s work (1992) and the argument by Richardson & Scott (2002) in the sense that both believe that rap enables youth from the street to learn life lessons and express those experiences in their music.
Richardson & Scott (2002) argue, “Rap music, just one entertainment form, represents a small segment of the multi-billion dollar entertainment media industry” (p.176). Yet this “small segment” is still viewed as a powerful and dominant player in the overall music industry. These organizations do not just produce and distribute the music of artists; but they also shape the artists’ identities and, arguably, shape the perceptions of the listener and consumer (Binkowski, 1996; Cohen, 1997).
Hiphoperization and Blingification: The Commodification of all Things Hip-Hop
I have coined the term hiphoperization to specifically address the growing consumerism and commodification of hip-hop culture by Whites, Blacks and the “Other.” “White” refers to two groups of individuals: the White consumers, who can afford to consume the music, and the White executives (producers, distributors, record label heads), who create the image of the artist, package it, and distribute it via the media. Black people are also represented in one major group and two minor groups. They have more visible representation through the use of their labour as hip-hop/rap artists than members of any other minority group or any White individuals. Black consumers also play a role in hip-hop/rap, but their socioeconomic class does play a role in decisions about whether or not they can afford to purchase the music. Research has indicated that the majority of hip-hop/rap consumers are white youth. Therefore, the assumption may be made that these youth have higher socio-economic positions (class) than Black youth.
The emergence of Black executives directing hip-hop/rap labels such as Interscope/Death Row Records is becoming more visible. However, this movement into corporate positions has been slow. Even when Black individuals make the move into executive positions, they are usually with “smaller labels” (Kitwana, 2005, p.46) and the move may not be permanent. Frequently, such labels are taken over by larger enterprises.
I have developed the term “blingification,” which is defined as the commodification of bling culture. For the first time, this term gives a meaning to how “bling” (jewellery, cars, and material objects) are consumed and promoted in hip-hop/rap culture. Blingification is the over-arching use of “bling” to provide an image of wealth, power, prestige, and control (Boyd, 2002). The results of this promotion of “bling” within the hip-hop/rap music industry can differ in various circumstances. It can be seen as both empowering and disempowering; the paradox lies in the fact that the interpretation of experience may vary. One could view the promotion of “bling” as an overdue assertion of individual identity that signals emergence from the ghetto (empowering). Another observer might view the glorification of “bling” as an excessive valuation of products, which are used simply because they are prestigious and part of the “ideal” culture (disempowering). Dyson (2007) argues, “We can’t hypocritically condemn the younger generation for their bling and their materialism, especially since those are staples of American culture” (p.82).
Interview with Steve Martin, President of Nasty Little Man
By Dustin Herlich
Jewish Mayhem had the opportunity to chat a bit with the Beastie Boys recently before their concert in Brooklyn, New York. The press conference was organized by Nasty Little Man. Nasty Little Man is a New York based public relations firm that represents a pretty impressive set of clients. From Jimmy Eat World to Beck, The Foo Fighters and of course, the Beastie Boys, musical acts big and small know they can turn to Nasty Little Man.
Steve Martin is the founder and president of Nasty Little Man and guess what, he’s Jewish too! Jewish Mayhem was lucky enough to secure a little of Steve’s time for an interview. You can read it all right here.
Jewish Mayhem: For the record how about your name and position at Nasty Little Man?
Steve Martin: Steve Martin. I started and own the company. Not really big on titles but I guess that makes me president.
JM: Can you tell us a little bit about what you do there, and what your company does overall?
SM: I run the place basically. I sign the clients, come up with the strategies and targets for the campaigns. As for what we do overall, my company’s function is to look after the media profile of my clients. This means pitching and/or deciding what they do in the magazines, newspapers, weeklies, zines, blogs and late night tv shows. JM: Nasty Little Man is an interesting name for a PR firm. How did you come up with that?
SM: It was something really ridiculous that someone said to me at the first and only record label job I ever had. The company had been purchased by Sony and was starting to put out a lot of crappy music. I was getting grilled about why the crap wasn’t getting as much positive press coverage as the good stuff that I’d been working on before. I told them in all honesty: because it was shit. Someone said “you don’t like anything! You’re just a nasty little man!” Which I thought was hilarious because I knew for a fact that I had a bigger and more diverse knowledge and collection of music than anyone in the room. So I quit really soon after that, sort of drifted a little, played some music for money here, did a bit of writing there and ultimately started getting excited about a few artists who were up and coming–this was pre-Nevermind, mind you–like Helmet, Ween, Smashing Pumpkins and Guided By Voices. I incorporated under the name nasty little man when the company became a full time thing. JM: Your client list is fairly impressive. Beastie Boys, Rammstein, Beck, Radiohead… why do you think such big ticket names turn to you for your services?
SM: Some turn to me, some I chase. Honestly I never go after the biggest flavor of the month or whatever. You mention Rammstein. I went after them in 1997. I had no idea their first U.S. record would sell so much.
I think at this point whenever I sign a new client, which isn’t that often, it’s because they know that they’re one of a kind on my roster. Know what I mean? They also know that my firm does really quality work for a select few clients. It might sound elitist but I only want the best. I’m honored to work with Radiohead, Beck, Beastie Boys and all my clients. That has a lot to do with why I have no interest in working with the “next” Radiohead, Beck or Beastie Boys when people try to pitch me clients as such. JM: Can you tell us a little bit more about how you got involved with the Beastie Boys in particular? I understand they were with you from very early on.
SM: I would say beastie boys were the pivotal client that turned Nasty Little Man into a full time enterprise for me. I knew those guys in a couple of different contexts. I would see them around when I used to play music back in the New York hardcore days. Then, when I was writing, I did a few major pieces on them. Finally, in the Check Your Head days, Mike D just called me at home one day and asked if I was still doing the PR thing. They were looking for an indie firm. The company that had been repping them was run by a mutual friend who was folding her company. So anyway, we met up during that tour, like ’92-93 and before I knew it, things were in full swing. Working the set-up for the ill communication record, Luscious Jackson, Ben lee, the whole grand royal label and magazine. Crazy busy times… JM: What’s the best part of what you do? What keeps you doing it day in and day out? Is it still fun?
SM: The best part of what I do is achieving the biggest goals. Getting a client their first major feature or magazine cover, or TV show. Saturday Night Live in particular. Growing up watching that show and being turned on to so much great music by it, there’s a magic about seeing my people up on that stage in that studio that never goes away. JM: I understand that you yourself are of Jewish heritage (which is a big reason for this interview in particular). Do you feel that this has factored into your success in any way? Some of the people claim that having Jewish heritage is part of the “required street cred” for your side of the business. Some joke that if you’re a star and you’re not Jewish yourself, your agent has to be.
SM: [[laughing]] that’s something of a cliché’ I’m afraid. Sure there are plenty of Jewish people in high places in the entertainment business. But, in my experience, it hasn’t really been a factor. The majority of the members and managers of Radiohead, Foo Fighters, AFI, Spoon, The Strokes aren’t Jewish, neither are Ryan Adams, Damon Albarn (Gorillaz, The Good The Bad & The Queen). So honestly that stereotype has never held true in my professional experience. JM: Any other thoughts on your heritage, or how it affects your life? I hear a lot that growing up immersed in Jewish culture taught them the values of hard work, learning, etc. Any thoughts on that?
SM: I can relate to that. There was definitely a big sense of Jewish work ethic in my family, emphasis on education and so forth.
I’d say the biggest impact it had on what I wound up doing with my life was the sense of being the underdog. Maybe some of that came from just being an outsider altogether, which I definitely was in my musical tastes. I think the Jewish experience played into that as well–like being in Hebrew school on Saturday mornings when the goyim were watching cartoons! Whatever the case, I’ve always felt most comfortable on the fringe; doing my own thing, not working for anyone else’s corporation, not letting anyone tell me what music I have to work. JM: You’re probably saturated with music day in and day out, do you ever actually listen to music any more?
SM: Oh hell yeah, I listen to music all the time. Whether it’s discovering new stuff and rediscovering classic stuff, I’m always listening to music. I choose the clients I choose because I love their music so you’ll always catch me listening to them and going to their shows. As for what I’ve been listening to lately… Over the last few days, on these flights and at the hotel: Bob Dylan, Beatles, Ryan Adams, Steve Reich, Uncle Tupelo, e-40, Arcade Fire, Beck, Modeselektor, Blitz, Ulrich Schnauss, Spoon, Beastie Boys and advances of the new Foo Fighters, Jimmy Eat World and PJ Harvey, among other things I’m sure I’m forgetting. I guess I have musical ADD and I guess that’s a good thing. JM: You’ve got your share of A-list clients, but what about the “little guy” do you still work with any lesser known bands? Do you still find it fun to work with them?
SM: Oh sure. One of the most gratifying parts of my job is that discovery process, then taking someone from total or relative obscurity to some kind of profile. There’s usually one a year, give or take. This year I’d say it was Andrew Bird. In the past it’s been Sigur Ros, Rammstein… JM: Any words of advice for inspiring musicians out there?
SM: Just be yourself. Don’t try to be someone else or some hybrid of some other artists. Do what comes naturally. And do it for the love of music, do it because it’s all consuming and the only thing you can do. Otherwise you shouldn’t be doing it at all. JM: Have any advice for those out there who’d like to get into the business side of music?
SM: Not really, other than that my advice to aspiring musicians goes for would-be businesspeople too. The business is changing, shrinking. It can’t afford to support the number of fair-weather types it once did
Here are some select campaigns nasty little man has run:
1992-1993 Helmet: Meantime Smashing Pumpkins: Siamese Dream Luscious Jackson: In Search of Manny Guided By Voices: Propeller, Vampire On Titus Jawbox: Novelty Shudder To Think: Get Your Goat
1994-1995 Beastie Boys: Ill Communication Foo Fighters Helmet: Betty Luscious Jackson: Natural Ingredients Shudder To Think: Pony Express Record Sick Of It All: Scratch The Surface
1996-1997 Foo Fighters: The Colour & The Shape Beastie Boys: Aglio e Olio Cibo Matto: Viva la Woman Luscious Jackson: Fever In Fever Out Sick Of It All: Built To Last Atari Teenage Riot: Burn Berlin Burn
The Tibetan Freedom Concert
1998-1999 Beastie Boys: Hello Nasty Foo Fighters: There Is Nothing Left To Lose Rammstein: Sehnsucht Rancid: Life Won’t Wait DJ Shadow: Brain Freeze Asian Dub Foundation: Rafi’s Revenge Joe Strummer & The Mescaleros: Rock, Art & The X-Ray Style
Rockstar Games
The Tibetan Freedom Concert
2000-2001 Radiohead: Kid A, Amnesiac, I Might Be Wrong: Live Recordings Jimmy Eat World: Bleed American Sigur Ros: Agaetis Byrjun At The Drive-In: Relationship Of Command Alkaline Trio: From Here To Infirmary Rammstein: Mutter Aphex Twin: Drukqs Supergrass BS 2000: Simply Mortified Dark Days
The American Astronaut
2002-2003 AFI: Sing The Sorrow Foo Fighters: One By One Radiohead: Hail To The Thief Coheed and Cambria: In Keeping Secrets Of Silent Earth: 3 The Mars Volta: De-Loused In The Comatorium Sigur Ros: ( ) DJ Shadow: The Private Press Alkaline Trio: Good Mourning Cursive: The Ugly Organ Rancid: Indestructible Sparta: Wiretap Scars Supergrass: Life On Other Planets The Directors Label: The Works of Spike Jonze, Michel Gondry and Chris Cunningham Andrew W.K.: I Get Wet (Island-Def Jam)
2004 Beastie Boys: To The 5 Boroughs Jimmy Eat World: Futures The Blood Brothers: Crimes The Comas: Conductor Junior Boys: Last Exit Rammstein: Reise, Reise Probot DJ Shadow: In Tune & On Time Live Sparta: Porcelain The Good Life: Album of the Year Now It’s Overhead: Fall Back Open Beep Beep: Business Casual Son, Ambulance: Key
2005-2006: Foo Fighters: In Your Honor, Skin and Bones Beck: Guero, Guerolito, The Information Gorillaz: Demon Days, Demon Days Live shows and DVD, Slowboat to Hades DVD AFI: Decemberunderground, I Heard A Voice DVD The Strokes: First Impressions of Earth Thom Yorke: The Eraser The Mars Volta: Frances The Mute, scabdates, Amputecthure Jimmy Eat World: Stay On My Side Tonight EP Alkaline Trio: Crimson Mates of State: Bring It Back Bob Mould: Body of Song At The Drive-in: This Station Is Non-Operational – Anthology deadboy & the Elephantmen: We Are Night Sky Shooter Jennings: Electric Rodeo Alexi Murdoch: Time Without Consequence Phoenix: It’s Never Been Like That Peeping Tom
Blood Brothers: Young Machetes Rammstein: Rosenrot DJ Shadow: The Outsider THE DIRECTORS LABEL (Series 2): The Work Of Directors ANTON CORBIJN, JONATHAN GLAZER, MARK ROMANEK & STÉPHANE SEDNAOUI Beastie Boys: Awesome… I Fuckin’ Shot That Cursive: Happy Hollow
CURRENT CAMPAIGNS 2007:
Arcade Fire: Neon Bible Ryan Adams: Easy Tiger Spoon: Ga Ga Ga Ga Ga Andrew Bird: Armchair Apocrypha Beastie Boys: The Mix-Up The Good, The Bad & The Queen
Albert Hammond, Jr.: Yours To Keep Dax Riggs: We Sing of Only Blood or Love Cortney Tidwell: Don’t Let Stars Keep Us Tangled Up Rammstein: Volkerball
COMING 2007-2008:
Blaqk Audio
Foo Fighters
Jimmy Eat World
Radiohead
Underground Hip Hop Albany Style
JM: Who were your biggest musical influences when you started?
Hip-hop/rap can be traced back to New York City block parties in the 1970s, and N.W.A. (acronym for Niggas With Attitude) was one of the first popular groups that changed the face of rap, by exposing a new, incendiary, in-your-face brand of rap, which was quickly labelled “Gangsta.” Guns, drugs, and anti-police rhetoric became the favour of the day, a stylistic viewpoint that still persists to this day (Dyson, 2007, p.v-vi).
