Christopher Ferrand, known by his stage name as Dash Flash, is not your ordinary rapper.
He has been in the U.S. Air force for the past 5 years where he decided to pursue his passion in music. He has a project titled Blessed releasing April 5th and his time in service is almost over. Now it’s time to kick into overdrive and make music is his full time career.
Stay tuned for nothing less than greatness from this young veteran. Blessed features the likes of major artist such as Rich The Kid, Zoey Dollaz, Riff Raff and Young Lito, who all who helped him put together his major project that he is anxious to share with us.
The highly anticipated mixtape from 1WayFrank is finally here.
After the success of “Aye Girl,” 1WayFrank took some time to develop his sound, strengthen his pen game and create an epic piece of work. His latest project Sunland Stunna, is a musical journey that will take you through the life of 1WayFrank and give you a taste of that broward county sauce.
With the lead single “Drippin Sauce”, 1WayFrank is ready to spice up the game. Sunland Stunna now available everywhere now.
A dream Tupac wrote about in a three-page open letter 21 years ago is about to become reality.
Powamekka Cafe is a concept that Pac wrote about, and his estate will be teaming up with the Nas and John Seymour-owned restaurant, Sweet Chick to make it happen. Powamekka Cafe will be up and running on April 7th-9th.
Sweet Chick is about community and culture at its core, and so was Tupac. As a restaurant, we embody everything he represents — music, style, food, and neighborhood. We are honored to be hosting the Powamekka Cafe pop-up at Sweet Chick, and help bring his vision to life with the dishes that he loved.
A post shared by Tupac Shakur (@2pac) on Apr 5, 2017 at 9:14am PDT
The cafe will include a “carefully curated collection” of personal photos, poetry, and music from the “Hit ‘Em Up” rapper. If you’re partaking in this historic moment, you can expect to enjoy a variety of Southern favorites including, gumbo, meatloaf, and Tupac’s cousin’s Jamala’s fried chicken.
Powamekka Cafe is now accepting reservations for this three-day event here.
John Mayer grooves his way though a vividly colored scene he previously described as a “disco dojo” in his bold video for “Still Feel Like Your Man.” Director Mister Whitmore fills the eye-popping clip with butterflies, kimonos, giant panda bear costumes and group choreography from Lisa Eaton.
The singer, who recently told The New York Times that his sleek soul-pop single reminded him of the non-existent musical style “ancient Japanese R&B,” anticipated a backlash for the video. “Do I think that someone is going to tweet that this is cultural appropriation? Yes,” he told the publication, while preemptively defending himself against the charge.
“Part of cultural appropriation is blindness,” he continued. “I’m on the right side of the line because it’s an idea for the video that has a very multiethnic casting, and nobody who is white or non-Asian is playing an Asian person … I think we were as sensitive as we could possibly be. We discussed it at every juncture.”
Mister Whitmore said he and Mayer “thought long and hard about how to approach” the clip’s “fantasy element” without offending anyone. “I hope there’s an understanding that we were sensitive to it,” he added.
In a playful tweet announcing the video release, Mayer focused not on potential criticism but on his long-suppressed dancing: “Fans have asked me for *years*, ‘John Mayer, when are you going to dance in a music video?’ I did this for them.”
[UPDATED] Once used almost exclusively by teens, Snapchat’s audience is now getting much older. According to an analysis by ComScore charted by Statista, people aged 35 and older accounted for nearly 46% of Snapchat’s adult user base in the US at the end of last year, up from 24% the year before.
Owing to issues of systemic sexism, it can often be difficult for women to break into the ‘boys’ club’ of audio production, despite obvious talent. Here we look at ten different women sound engineers who were able to do just that.
When it comes to technical jobs in audio, women often need to work twice as hard.
Not because they’re less capable. Rather, the boys’ club of audio production often doubts their talent to begin with.
Historically, girls have been denied or discouraged from pursuing technical jobs in STEM fields—science, technology, engineering and mathematics. When they do, they’re often held to a much higher standard and expected to continually prove their worth.
But the tables are now turning. How do we keep changing the imbalance—and give credit where credit is due?
Get to know the women who are doing exceptional work—they exist and they’re killing it across genres. Give credit to the work of women working both in front and behind the scenes in audio production. Treat your females colleagues in the audio industry with respect—create a collegial environment. This will inspire a new generation of girls to enroll in audio engineering programs and make tomorrow’s hits.
Meet the visionary women behind the sound of Jay-Z, Prince, Aphex Twin, Brian Eno, Jamie xx, Pearl Jam, Sia, Timbaland and more.
WundaGirl showcasing her Roli sample pack for NOISE & BLOCKS
Ebony Oshunrinde a.k.a WondaGurl is a beatmaker and producer from Brampton, Ontario.
A video of Timbaland in the studio inspired nine year old Ebony to teach herself how to produce. After winning Battle of the Beat Makers at 16, she sent a beat to Travis Scott. Next thing she knew, the rapper was calling to let her know her production was going on Jay–Z’s record next record. WonderGurl became one of the youngest women to have production credits on a platinum hip-hop record— Jay-Z’s Magna Carta:Holy Grail.
Since then she hasn’t been resting on her laurels. She’s part of the crew who made Rihanna’s “Bitch Better Have My Money,” one of the Best Tracks of 2015. She produced two Travis Scott records: Rodeo and Birds in the Trap Sing McKnight. She also made SonReal’s “Money Money” and Jahkoy’s “Odd Future.”
Susan Rogers’ first sound engineering gig was with none other than Prince in 1983. After he came back from tour, Rodgers repaired Prince’s tape machine and got his studio up and running. The rest is history. She went on to work on Purple Rain, Around the World in a Day, Sign’O’The Times, The Black Album and others.
Rodgers worked as an engineer, mixer and producer for other artists like the Jacksons, Barenaked Ladies, Laurie Anderson, David Byrne, Violent Femmes and many more.
Recently, she pursued her dream of becoming a scientist. Rodgers got her PhD in music cognition and psychoacoustics from McGill University, exploring the subject of auditory memory. She now teaches at Berklee College of Music, where she runs the Berklee Music Perception and Cognition Laboratory.
Mandy Parnell is a British mastering engineer who gets visits from the Chemical Brothers, Max Richter and Brian Eno when they want to get that finishing touch on their records.
Parnell hasn’t had an easy time getting there. After running away from home at a young age, she lived on the streets for a while. One day, her friend took her to his workplace: Richard Branson’s Oxford studio The Manor. It clicked instantly, she wanted to be behind the console for the rest of her life.
Her credit list is nothing short of impressive: Syro by Aphex Twin, In Colour by Jamie xx, Vulnicura by Björk, Love Streams by Tim Hecker, Metals by Feist, Drums Between the Bells by Brian Eno, Coexist by The xx, and a whole lot more. Parnell runs her own mastering studio called Black Saloon Studios.
Shani Gandhi was born in Singapore and raised in Australia. When she found out about sound engineering as a field, it all clicked. “I can take my hobby and my scientific background and put that together” she told The Tennessean. She graduated from the Performance and Sound Recording Technology from Ithaca College.
Look into engineering credits of current bluegrass and Americana artists, and you’ll likely find Shandi Gandhi. Those include artists such as Alison Krauss and Parker Millsap, along with several Sarah Jarosz records. She also mixed Kelsea Ballerini’s hit single “Peter Pan.”
Gandhi’s work was nominated for ‘Best Engineered Album’ at the 2017 Grammys for Sarah Jarosz’s album Undercurrent. David Bowie’s Blackstar and Prince’s Hit N Run Phase Two were also nominated in the same category.
Karrie Keyes has been Pearl Jam’s monitor engineer for two and a half decades. What’s a monitor engineer? The person who adjusts the sound in the band’s monitors for live performances.
Over the years, Keyes’ adapted the design of the monitoring system to make sure the band hears exactly what they want.
As a teenager, Keyes was a punk fan who went to lots of shows. It was at a Black Flag show that she met a sound engineer who hooked her up with a gig.
The constant travelling and her passion for sound is what keeps her going. Her takeaway? “Everyone’s had a mentor, a teacher, a guide” she told NPR. Keyes recently co-founded Sound Girls, an organization that helps train and support women in audio production.
German producer Melanie Wilhelm a.k.a. Melbeatz came of age in the Berlin graffiti scene of 80’s and 90’s. Her love for music grew out of listening to Grandmaster Flash mixtapes and crate digging on her trips to the United States. Upon meeting rapper Kool Savas, she started getting the hang of hardware samplers.
Her beats ended up on Shadow, Fuat and Kool Savas’ records—all German rap classics. In 2004, she made the album Rapper’s Delight. It featured a mix of German and American rappers like Mobb Deep, Ol’ Dirty Bastard, and Tha Liks. It also included the track “Oh Oh” where a young Kanye West raps on her beats.
Her advice? “All you can do is produce, produce, produce. If you really want to be part of the scene, then you’ll make it at some point.” she told Broadly.
7. Crystal Caines
Credit: Crystal Caines
Crystal Caines is the Harlem producer behind A$AP Ferg’s early hits. Both connected on a deep level, and reversed the usual female singer/male producer dynamic. She engineered “Work” from A$AP Mob’s Lords Never Worry mixtape and “Shabba” from Ferg’s Trap Lord.
Caines produced tracks for T.I, Wale, B.O.B, and Maino with her production trio The Understudy.
Crystal Caines is now working on her own tracks, putting out records and collaborating with colleagues like Trakgirl and WondaGurl.
Her vision? “I focus on creating the new and not creating the old… I want to move the culture forward by being who I am” she told HipHopDX.
8. Marcella Araica
Credit: MS Lago
Marcella Araica is part of the select crew of producers, mixers and engineers that Timbaland works with on the regular.
She’s worked on Missy Elliott, The Notorious B.I.G., the Pussycat Dolls, Nelly Furtado, Britney Spears and so many more.
Acraica studied Audio Engineering in Florida, before interning at the Hit Factory in Miami and working her way up to Assistant Engineer. Meeting Missy Elliott and Timbaland was her big break. Engineer and mixer Demacio ‘Demo’ Castelleon took Araica under his wing and became her mentor.
Araica told Sound on Sound: “Recording is an art in its own right, but mixing is where it’s at for me. When I was an intern I would sneak into the studios when they weren’t used and I’d put up anything I could bring in, and I’d just practise and practise and practise. Then I’d go back to my car and listen and I’d learn from that.” Take note!
When it comes to Grammys, Lazar has been paving the way for women in mastering. She was the first female mastering engineer nominated for:
Album of the Year in 2012 for Foo Fighters’ Wasting Light
Record of Year in 2015 for Sia’s Chandelier
Best Engineered Album in 2016 for The Bird And The Bee’s Recreational Love
Lazar owns and runs a mastering studio in New York City called The Lodge. She’s worked on more than 2000 albums, with names such as David Bowie, Sonic Youth, Coldplay, Madonna, Lou Reed, Sia and many more.
When she’s not busy making top records sound amazing, she regularly speaks at colleges to inspire more young people, especially women, to pursue a career in the technical side of music.
The Tables Are Turning
It’s pretty obvious that there are tons of women in music who are crushing it on stage. But we hear less about the women doing the technical work behind the scenes.
Changing the male dominated world of audio production and sound engineering starts by highlighting the amazing work that women do in those fields everyday. These women gives examples to look up to for the next generation of girls. It shows them that this can also be you.
The message is clear: women have contributed to this field both in front of and behind the mixing consoles. We want to hear more of them!
Spotify hires about 1000 new workers each year; and CEO Daniel Ek says that he’s asked how to get a job at the music streamer so often that he tasked the Human Resources Department to write a guide, “How To Get A Job At Spotify”.
I quite often get the question on how to get a job at Spotify. So our HR team wrote a post about it https://t.co/emuWs68F1L
Would you like to be a Spotifier? There are certainly openings, right now we hire about 1000 people every year. We are growing in more than 40 offices all over the world.
Before we start, you should know that our environment is extremely diverse, fast-paced and ever-changing. At Spotify, all kinds of talented people work together and make wonderful things happen. And we love that. We learn and grow and get better every day, because that’s where the magic comes from and because that’s who we are.
If you are now thinking “Yes, that’s me too! I’m the one you’re looking for!”, here is a blog post just for you. Here is how to get a job at Spotify:
Be great at the job we want to hire you for
This is absolute key. Sometimes I hear people saying that “you have to know someone at Spotify to be able to land a job there”. This is false. While we do appreciate when Spotifiers share jobs to their networks and recommend great people, referrals have to go through the same recruitment process as other applicants. Once you are in the process, everyone is assessed the same way.
But we do get a lot of applications. And many of them come from mindblowingly awesome people. We are in the very humbling and fortunate position of pretty much always having many excellent candidates to choose from. So while knowing someone here is definitely not a prerequisite, being great at what you do is.
Have a little patience
We will look at around 350.000 résumés this year. That’s a lot of résumés. Most of them come from people who have put a lot of effort into their applications. So we need to give each application the attention and respect it deserves, and sometimes that takes a little longer than we (or you!) would like. Not hearing back very fast doesn’t mean we don’t care about you, it means we care about giving every résumé a fair chance before we make up the shortlist.
Focus on what you are great at
Sometimes we get 15 or 20 applications for different jobs from the same person. And while we do appreciate the love that comes with that, it also makes us wonder if you really know what you want and what you are good at? Only apply for the job where the job description makes you excited, and where you really think you are a great match!
Make it easy for us to see how great you are
Oldest trick in the book, but it’s still true: Make your résumé to the point and easy to read. Don’t hide your best achievements and most interesting qualities behind piles of less important information. A short summary (bullet points put into context) of who you are as a professional as an intro on your resumé is always helpful. Also make sure that your application is in English.
It’s more important to stand out in your résumé than to have your résumé stand out
Sometimes people get really creative with their applications. We’ve gotten résumés in the shape of raps, music videos, and playlists. We get them delivered with cupcakes or through social media campaigns. Someone once sent us a disco ball to explain who they were. All this creativity makes us smile, and feel warm and fuzzy on the inside which is nice. But you should know that it doesn’t make any difference in the process. Once in the process, everyone gets treated the same. And to get in the process you need to submit an application where we can read who you are, what you can do, and where you want to get to. No more, and no less.
One of India’s greatest classical vocalists, Kishori Amonkar, died peacefully in her sleep on April 3 at home in Mumbai, aged 84. She was known for singing khayal and thumri, both forms of vocal music requiring considerable skills in improvisation.
Amonkar was born in Bombay (now Mumbai) and lost her father when she was aged just six years old. She learned to sing at an early age from her mother, Mogubai Kurdikar, also a well-respected classical singer. Taught according to the Jaipur gharana, she had a vocal range of three octaves, but saw the finesse of singing in the emotion and micro-tonal details. Amonkar was someone who took her art very seriously and received two of the country’s highest civilian awards. She was more of a musicians’ musician, hugely respected in India, rather than an international star.
All the same, Jay Visva Deva of Sama Arts worked with her in London several times, notably for an all-night concert at the Royal Festival Hall and a Navras recording at the Kufa Gallery in 1998. “Her journey was a spiritual one in search of her inner soul,” says Visva Deva. “She had the capacity to exude the emotion laden beauty of her chosen raga unfolding note by note with words, expressions and phrases very well laid out, so you could simply absorb the music without really understanding it. She made sure the listener felt her music.” She last performed in London in 2007.
Her performance was unquestionably one of the highlights of the Bengal Classical Music Festival in Dhaka in 2014, where I saw her. Cradling her swaramandal zither, she looked slightly witchy and cast a spell that made time stand still. We were led by her voice along a weaving and beguiling path until two hours had suddenly vanished.
In Bhinna Shadja, a documentary about Amonkar by Amol Palekar and Sandhya Gokhale, tabla player Zakir Hussain says: “Her music is like a painting that embodies every detail of someone’s life. There is great happiness, great sadness, great anger, frustration, the desperation. It all comes concentrated in a little piece.”
She recorded many concerts for Navras and her double album Divya (2007) was particularly well reviewed in Songlines.