Today I want to talk about Marketing in terms of image. When you like a musical artist, you're not only liking the music. There is something about what they are conveying to you, unspoken, that appeals to you.
A great example is Kanye West. If he emerged on the music scene wearing a durag, a fitted baseball cap, and low sagging jeans, he probably wouldn't be as popular as he is today.Why? What would that image have conveyed to fans? What does his actual image convey to his fans?
Whether we like it or not, our world is inundated with images for us as consumers to buy into. These images communicate unspoken messages to the consciousness of the consumer to get them to pay attention to whatever it is that is being 'sold'. 'Selling' doesn't have to be through a product to get money. Selling can happen through an idea to get support. Take the 'Green' movement--an environmentally conscious approach to various aspects of life. If an institution, say, a corporation, wants to promote recycling to the nation, they begin a marketing campaign, filled with images to appeal to the 'consumer' so the corporation can gain support for the idea.
As an emerging musical artist, i am thinking about these things because I want to communicate an honest message with you, both in my music and through the images. I am doing a lot of self-research so I know exactly what I want to say. So keep ya ear to the streets and your eyes on the blog; you'll see how this vision develops.
Much Love,
GG
Thursday, September 15, 2011
Wednesday, September 14, 2011
Lenny Kravitz talks about Positivity and Optimism
Here's an article from NPR.org called Lenny Kravitz: Choosing Optimism.
For more than 20 years, Lenny Kravitz has defied the expectations of radio programmers with his mix of psychedelic rock and soul. His newest album, Black and White America, continues in that tradition, hopping between genres and featuring guest spots from Jay-Z, Drake and Trombone Shorty.
In spite of its diverse sonic palette, the album does adhere to a central theme of race in the U.S. Speaking with Weekend Edition Sunday host Audie Cornish, Kravitz says he wrote the title track in response to a TV documentary about negative reactions to President Obama's election.
"It was addressing the fact that these people, these Americans, did not like what America had become — they wanted America to be back the way it was 100 years ago," Kravitz says. "It was quite intense. They even spoke about assassination plots.
"We all know that racism exists, and it's out there, and we're going to bump into it from time to time," he adds. "But to hear people speaking about it with such rage and anger and ignorance ... I was like, 'Really? To that extent?' The song just naturally came out of me."
Taking a socially conscious approach in his lyrics has sometimes gotten Kravitz in trouble with critics who've accused him of putting the message before the music. He says he has never taken that criticism to heart.
"It's funny how, when you put out a positive message, people question it or don't like it, or think that it's old-school," Kravitz says. "I mean, look at the world we're living in — we need all of these things. I choose to be positive and optimistic."
For more than 20 years, Lenny Kravitz has defied the expectations of radio programmers with his mix of psychedelic rock and soul. His newest album, Black and White America, continues in that tradition, hopping between genres and featuring guest spots from Jay-Z, Drake and Trombone Shorty.
In spite of its diverse sonic palette, the album does adhere to a central theme of race in the U.S. Speaking with Weekend Edition Sunday host Audie Cornish, Kravitz says he wrote the title track in response to a TV documentary about negative reactions to President Obama's election.
"It was addressing the fact that these people, these Americans, did not like what America had become — they wanted America to be back the way it was 100 years ago," Kravitz says. "It was quite intense. They even spoke about assassination plots.
"We all know that racism exists, and it's out there, and we're going to bump into it from time to time," he adds. "But to hear people speaking about it with such rage and anger and ignorance ... I was like, 'Really? To that extent?' The song just naturally came out of me."
Taking a socially conscious approach in his lyrics has sometimes gotten Kravitz in trouble with critics who've accused him of putting the message before the music. He says he has never taken that criticism to heart.
"It's funny how, when you put out a positive message, people question it or don't like it, or think that it's old-school," Kravitz says. "I mean, look at the world we're living in — we need all of these things. I choose to be positive and optimistic."
So lenny Kravitz Has a new Album
I love Lenny Kravitz. I've been listening to him for years. Such a powerhouse of incredible talent. He finally has a new album out after some time. Here's an article from The Daily Collegian talking about "Black and White America":
It appears that 2011 is the year that all of the funky people in the music biz come back from seemingly indomitable half-decade hiatuses. First there was Incubus, then the Red Hot Chili Peppers, and finally, Lenny Kravitz’ long-awaited ninth studio album, the double LP “Black and White America.”
For the fans who have been hanging onto LK’s every word, “Black and White America” is Kravitz’ highly anticipated “funk album” that’s been in the works since before the impromptu songwriting sessions for 2004’s “Baptism.” The result is a hearty helping of a rocking cocktail mixed with funk, old-school soul and classic rock n’ roll.
As per usual, Kravitz is wearing his influences on his sleeve – in turn he once again proves he’s got some of the best taste in mainstream rock. Painting with a palette that includes flavors of James Brown, the Rolling Stones, Prince and everyone in between, “Black and White America” finds sublimity in celebrating the best things about mid-20th century popular music all in one big, groovy package.
While the album incorporates a multitude of genres, Lenny is at his best when he brings the funk – after all, this is the funk album, as he so claims. The album-opening title track sets the tone perfectly for the entire album. Lyrically, it’s an assessment of the progress of social and racial issues through personal spirituality and love. Musically, it’s a straight ahead funk-rock romp, complete with a pop-slap bassline and Kravitz’ trademark stellar rhythm guitar work.
As the album continues, Kravitz consistently proves he can’t miss with the funk, no matter how diverse the approach. In “Superlove,” he deftly melds the R&B funk of The Brothers Johnson with the sensual approach of Barry White, and essentially defines what sexy sounds like by gently laying 12-string acoustic guitar work over a gyrating slap bassline. Later, he faithfully channels The Meters in the New Orleans style funk of “Life Ain’t Ever Been Better Than it is Now,” punched up a notch with a jazzy horn solo by Kravitz’ friend Troy “Trombone Shorty” Andrews.
While the album is clearly dominated by Kravitz’ strong grasp on the compelling power of funk, he flies his rocker flag plenty as well. This is aided greatly by his longtime collaborator/songwriting partner Craig Ross, who lays down excellent lead guitar work across the board. Hard-rocking lead single “Come On, Get It” is not only enough to make you bang your head, but also a worthy tribute to the legends of the virtuoso riffing and string-shredding solos, evoking the influence of guitar gods such as Paige and Hendrix. “Rock Star City Life” and “Everything” are just a couple more examples of riffing hard first and asking questions later.
While Kravitz mostly sticks to his funk-rock guns, he goes outside the box here and there as well on “Black and White America.” The bluesy desperation of “Looking Back On Love” not only sufficiently changes up the pace of the album, it also features an eyebrow-raising minute-long keyboard solo that sounds plucked right out of Pink Floyd’s Dark Side of the Moon sessions. “In The Black” features a synth-textured, almost New-Wave-meets-modern-soul drive, slightly reminiscent of Kravitz’ late 90’s/early 2000’s work. While the quirky “Liquid Jesus” may not be the strongest number, it is perhaps better that Kravitz errs on the side of quirkiness than stagnancy.
Lenny’s softer side shows up as well, and in strong form, on the second half of the album. As he shifts the focus from gritty, guitar-based tunes to piano-based ballads, he notably varies up the influences he’s sporting. The heart wrenchingly melodic strains of “Dream” and the gospel-infused “The Faith of a Child” show his obvious affinity for John Lennon by combining delicate melody with optimistic conviction and a hope for change. The power ballad, “I Can’t Be Without You” almost sports a Muse-like tone, merging rock solid rhythm with a desperate but soaring vocal line punctuated by twinkled piano counterpoint.
The one upsetting thing about “Black and White America” is it momentarily goes wrong where Kravitz has done exceedingly well in the past. While past guest artist collaborations range from rock legend Slash’s blistering guitar work on 1991’s “Mama Said” to Jay-Z’s rapid-fire contribution to the track “Storm” on 2004’s “Baptism,” the two tracks featuring guest musicians on “Black and White America” unfortunately fall flat on their face. “Sunflower,” featuring Drake, feels like a hollow pop song, without the added benefit of having a substantial hook. And “Boongie Drop,” featuring a return visit from Jay-Z, comes off as an uninspired attempt at modern R&B/hip-hop. It’s not that pop and modern R&B are outside of Lenny’s arsenal – it’s simply a swing and a miss here, perhaps breaking a tad too much with the otherwise throwback feel of this album.
Overall, “Black and White America” more than lives up to the expectations that have been building for this album since nearly a decade ago, and that is not an easy task. Lyrically, the album both challenges and reposes within a modern society’s ability to rectify social issues through the spiritual redemption of love. Thus, it is conceptually able to match the lushness and expressiveness found in the accompanying music’s amalgamation of rock n’ roll, soul, classic R&B and of course, funk.
Dave Coffey can be reached at dscoffey@student.umass.edu.
It appears that 2011 is the year that all of the funky people in the music biz come back from seemingly indomitable half-decade hiatuses. First there was Incubus, then the Red Hot Chili Peppers, and finally, Lenny Kravitz’ long-awaited ninth studio album, the double LP “Black and White America.”
For the fans who have been hanging onto LK’s every word, “Black and White America” is Kravitz’ highly anticipated “funk album” that’s been in the works since before the impromptu songwriting sessions for 2004’s “Baptism.” The result is a hearty helping of a rocking cocktail mixed with funk, old-school soul and classic rock n’ roll.
As per usual, Kravitz is wearing his influences on his sleeve – in turn he once again proves he’s got some of the best taste in mainstream rock. Painting with a palette that includes flavors of James Brown, the Rolling Stones, Prince and everyone in between, “Black and White America” finds sublimity in celebrating the best things about mid-20th century popular music all in one big, groovy package.
While the album incorporates a multitude of genres, Lenny is at his best when he brings the funk – after all, this is the funk album, as he so claims. The album-opening title track sets the tone perfectly for the entire album. Lyrically, it’s an assessment of the progress of social and racial issues through personal spirituality and love. Musically, it’s a straight ahead funk-rock romp, complete with a pop-slap bassline and Kravitz’ trademark stellar rhythm guitar work.
As the album continues, Kravitz consistently proves he can’t miss with the funk, no matter how diverse the approach. In “Superlove,” he deftly melds the R&B funk of The Brothers Johnson with the sensual approach of Barry White, and essentially defines what sexy sounds like by gently laying 12-string acoustic guitar work over a gyrating slap bassline. Later, he faithfully channels The Meters in the New Orleans style funk of “Life Ain’t Ever Been Better Than it is Now,” punched up a notch with a jazzy horn solo by Kravitz’ friend Troy “Trombone Shorty” Andrews.
While the album is clearly dominated by Kravitz’ strong grasp on the compelling power of funk, he flies his rocker flag plenty as well. This is aided greatly by his longtime collaborator/songwriting partner Craig Ross, who lays down excellent lead guitar work across the board. Hard-rocking lead single “Come On, Get It” is not only enough to make you bang your head, but also a worthy tribute to the legends of the virtuoso riffing and string-shredding solos, evoking the influence of guitar gods such as Paige and Hendrix. “Rock Star City Life” and “Everything” are just a couple more examples of riffing hard first and asking questions later.
While Kravitz mostly sticks to his funk-rock guns, he goes outside the box here and there as well on “Black and White America.” The bluesy desperation of “Looking Back On Love” not only sufficiently changes up the pace of the album, it also features an eyebrow-raising minute-long keyboard solo that sounds plucked right out of Pink Floyd’s Dark Side of the Moon sessions. “In The Black” features a synth-textured, almost New-Wave-meets-modern-soul drive, slightly reminiscent of Kravitz’ late 90’s/early 2000’s work. While the quirky “Liquid Jesus” may not be the strongest number, it is perhaps better that Kravitz errs on the side of quirkiness than stagnancy.
Lenny’s softer side shows up as well, and in strong form, on the second half of the album. As he shifts the focus from gritty, guitar-based tunes to piano-based ballads, he notably varies up the influences he’s sporting. The heart wrenchingly melodic strains of “Dream” and the gospel-infused “The Faith of a Child” show his obvious affinity for John Lennon by combining delicate melody with optimistic conviction and a hope for change. The power ballad, “I Can’t Be Without You” almost sports a Muse-like tone, merging rock solid rhythm with a desperate but soaring vocal line punctuated by twinkled piano counterpoint.
The one upsetting thing about “Black and White America” is it momentarily goes wrong where Kravitz has done exceedingly well in the past. While past guest artist collaborations range from rock legend Slash’s blistering guitar work on 1991’s “Mama Said” to Jay-Z’s rapid-fire contribution to the track “Storm” on 2004’s “Baptism,” the two tracks featuring guest musicians on “Black and White America” unfortunately fall flat on their face. “Sunflower,” featuring Drake, feels like a hollow pop song, without the added benefit of having a substantial hook. And “Boongie Drop,” featuring a return visit from Jay-Z, comes off as an uninspired attempt at modern R&B/hip-hop. It’s not that pop and modern R&B are outside of Lenny’s arsenal – it’s simply a swing and a miss here, perhaps breaking a tad too much with the otherwise throwback feel of this album.
Overall, “Black and White America” more than lives up to the expectations that have been building for this album since nearly a decade ago, and that is not an easy task. Lyrically, the album both challenges and reposes within a modern society’s ability to rectify social issues through the spiritual redemption of love. Thus, it is conceptually able to match the lushness and expressiveness found in the accompanying music’s amalgamation of rock n’ roll, soul, classic R&B and of course, funk.
Dave Coffey can be reached at dscoffey@student.umass.edu.
Tuesday, September 13, 2011
DJ Mehdi, French DJ/Producer, Dead At 34--MTV News
Hip-hop/dance producer/DJ reportedly died from fatal injuries on Tuesday after roof of his Paris home collapsed.
By Adam Murphy
French hip-hop/dance producer DJ Mehdi, who began his career on the underground Parisian hip-hop scene, died on Tuesday (September 13). According to several reports, the DJ/producer (born Mehdi Favéris-Essadi) was fatally injured when the roof of his Paris home collapsed. He was 34 years old.
A source told MTV News that Mehdi was celebrating his 34th birthday with friends on his rooftop when the tragic accident occurred.
Click for photos from the life and career of DJ Mehdi.
After working his way up to premier producer status, Mehdi linked up with French electro-house DJ/producer Pedro Winter (a.k.a. Busy P), whose label, Ed Banger Records, rose to international prominence with acts like Mr. Oizo, and SebastiAn and Justice. Mehdi's 2007 single "I Am Somebody," featuring Chromeo, enjoyed Stateside success, including placement in a commercial for XM Radio.
But Mehdi was equally well-known for his remixes, memorably reworking tracks by Architecture in Helsinki, New Young Pony Club and Miike Snow, among many others.
On Tuesday morning, his fans, friends and collaborators took to Twitter to express their condolences. The Bloody Beetroots' Bob Cornelius Rifo tweeted, "R.I.P. Dj MEHDI. The void he has left behind is unbearable. Love you, Sir Bob Cornelius Rifo."
Just Blaze was in shock, writing, "I'm literally shaking right now. We just played together last week. Heart goes out to his family and loved ones. RIP mehdi."
Steve Aoki tweeted that he was "devastated," before following that up with a simple message: "Rest in peace to my brother forever here and in the after life djmehdi. i love u and miss u."
A rep for DJ Mehdi had not returned requests for comment at press time. MTV News will continue to cover this developing story.
By Adam Murphy
French hip-hop/dance producer DJ Mehdi, who began his career on the underground Parisian hip-hop scene, died on Tuesday (September 13). According to several reports, the DJ/producer (born Mehdi Favéris-Essadi) was fatally injured when the roof of his Paris home collapsed. He was 34 years old.
A source told MTV News that Mehdi was celebrating his 34th birthday with friends on his rooftop when the tragic accident occurred.
Click for photos from the life and career of DJ Mehdi.
After working his way up to premier producer status, Mehdi linked up with French electro-house DJ/producer Pedro Winter (a.k.a. Busy P), whose label, Ed Banger Records, rose to international prominence with acts like Mr. Oizo, and SebastiAn and Justice. Mehdi's 2007 single "I Am Somebody," featuring Chromeo, enjoyed Stateside success, including placement in a commercial for XM Radio.
But Mehdi was equally well-known for his remixes, memorably reworking tracks by Architecture in Helsinki, New Young Pony Club and Miike Snow, among many others.
On Tuesday morning, his fans, friends and collaborators took to Twitter to express their condolences. The Bloody Beetroots' Bob Cornelius Rifo tweeted, "R.I.P. Dj MEHDI. The void he has left behind is unbearable. Love you, Sir Bob Cornelius Rifo."
Just Blaze was in shock, writing, "I'm literally shaking right now. We just played together last week. Heart goes out to his family and loved ones. RIP mehdi."
Steve Aoki tweeted that he was "devastated," before following that up with a simple message: "Rest in peace to my brother forever here and in the after life djmehdi. i love u and miss u."
A rep for DJ Mehdi had not returned requests for comment at press time. MTV News will continue to cover this developing story.
Saturday, September 10, 2011
Just a word on something....
...Not relating to music. I wanted to share this idea with you, and I might be throwing some unfamiliar terms at you, but I believe that the majority of human beings have a calling that helps them find their place in the world, and they have degenerative habits. The first is called Dharma; the latter is called karma. With that said, I'll proceed on an insight I had into relationships:
Many people confuse love with codependency--person 1 needing someone to feed their insecurities because person 2 in turn needs them to feed their insecurities. It's draining on both people's energy, and actually suppresses each person's light to evolve, resulting in the slowing down of each person's growth (negative karma). The only way to create a truly free relationship is to cultivate strength within yourself to allow another person that you share yourself with to be just as free as you are to evolve in their own way. If they stubbornly resist, and refuse to be on their own path, and are adamant about draining you, get 'em off you! It may seem you are being mean, but you are actually freeing yourself and the other person from the tyranny of co-dependency. Straight up.
Many people confuse love with codependency--person 1 needing someone to feed their insecurities because person 2 in turn needs them to feed their insecurities. It's draining on both people's energy, and actually suppresses each person's light to evolve, resulting in the slowing down of each person's growth (negative karma). The only way to create a truly free relationship is to cultivate strength within yourself to allow another person that you share yourself with to be just as free as you are to evolve in their own way. If they stubbornly resist, and refuse to be on their own path, and are adamant about draining you, get 'em off you! It may seem you are being mean, but you are actually freeing yourself and the other person from the tyranny of co-dependency. Straight up.
Monday, September 5, 2011
Hey y'all
I've been off the map for a few days, workin, and not really having adequate access to a computer to make new posts. I've been grindin, but took a rest this weekend. I'm also in class, so will take a day or two to blend into that. More to come, much love.
Peace.
GG
Peace.
GG
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