Waves Magazine Volume I by Waves Magazine

WAVES MAGAZINE

Volume I

Jay Hoggard ▪ LE1F ▪ The Rooks ▪ L.A. ▪ Josh Smith

Staff. Kyle Somersall director

McKenzii Webster senior editor

Iman Bright art director

Kevin Brisco art director

Sarah Burkett editor

Michael Lyn

Jay Sharma

Ryan Moye

Shane Bernard spiritual guide

Zach Scheinfeld

Derek Sturman

Djibril Sall ▪ Korrine Davis ▪ Taylor Harbison Malik Adan ▪ Derrick Holman ▪ Nicole Okai Miller Hartsoe ▪ Matt Fine 1

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C O N T E N T S Note From The Director

What Waves Is Listening To

History of Trip-Hop

The Mash

Student Run Studio

Alumni

Jay Hoggard Interview

Spotify vs. Pandora

The Electro Swing Revolution

R.A.W

GETTOKNOW: Project Sterling

Wes Events

Preview of our Next Edition

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Dj Kenzi Kenz spinning durng the Joey Bada$$ show @ Psi U Photo by Kevin Brisco

Pro Era Performs @ Psi U Photo by Kevin Brisco

Note From The Director I wanted to write about music. I enjoyed analyzing artists and figured I had some authority with the subject because my research was merely listening to songs, which I already did quite often. In my search for a music publication to contribute to, I realized there was a void in the Wesleyan publication circle. On a campus brimming with musical talent, there was no publication to document it. With the support and encouragement of Mckenzii Webster, Waves was founded in an attempt to fill the existing gap. We decided to commence with a focus on alumni involved in music because we wanted to acknowledge the great musicians that passed through Wesleyan. While we only feature a few of the brilliant musicians that once called Wesleyan home, this magazine is dedicated to all alumni that have helped to develop the music scene at Wesleyan and continue to share their talent and passion with the greater world. I am greatly appreciative of the dedicated group members that made the first issue of Waves Magazine possible. Waves hopes to continue to expand into a publication that is representative of the many musical tastes present at Wesleyan. Thank you for reading. Enjoy the issue, Kyle Somersall

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Rhys Podell & Derrick Holman of New School perform @ BuHo Photo by Zach Scheinfeld

What Waves is Listening To Lianna La Havas Is Your Love Big Enough?

Skizzy Mars Few artists can claim as inconspicuous of a rise to fame as Skizzy Mars. Hailing from New York City, Skizzy is a mysterious and yet undeniably talented rapper and self-proclaimed “douchebag.” The nineteen-year-old artist has only released a handful of songs – including a few notable features – and has yet to release an official mixtape or music video since tentatively signing to Interscope Records. Nonetheless, with a repertoire only a fraction that of most rap artists in his class, Skizzy boasts over 21,000 fans on Facebook and his highly-anticipated mixtape, Phases, has been in the works for almost two years causing appreciable impatience amongst his followers. An extraordinarily unique rap artist, Mars is known for taking often contrasting styles and influences from distinct genres to create a fresh and original sound that sets him apart from many other rappers, a sound that is uniquely his own. From electronic-infused jumpy synths to eclectic drum-beats

and a knack for smooth, laidback vocals and witty lyrics, Skizzy’s sound most certainly does not disappointment. His first hit song, ‘Douchebag,’ became an instant classic and made it around many of the nation’s top music blogs. Skizzy has since gained a dedicated following in the blogger community. Many have already plastered Skizzy Mars as the artist to watch going into 2013 and some anticipate that Phases may just be the mixtape of the year, whatever year it may be when it finally does drop, (we at Waves had the opportunity to hear a few snippets and may be inclined to agree).

Warm, whipped hazelnut. That’s probably the best way I can describe Lianne La Havas’ voice. Releasing her debut album Is Your Love Big Enough? on July 9th in the UK, this Londoner has already caught the eyes and ears of many, including Stevie Wonder, who apparently left Ms. Havas an unexpected voice-mail singing one of her songs.

After completing the full album, I was unable to figure out what genre I would place her in. Soul? Jazz? Indie folk? According to her, I guess I had the right reaction. Ms. La Havas states in her interview with the Los Angeles Times, “I almost wanted to create a genre. I just play guitar and sing what I feel – I’ve never thought about the genre it may fall into”.

Placing you in a dreamy, revolving state immersed in the never-ending light picks of Lianne’s fingers, Au Cinéma is probably my favorite from the album. Age is another great piece that is simple, showcasing her pure voice with the accompaniment of an acoustic guitar.

So listen to Is Your Love Big Enough?… Preferably somewhere cozy… In your PJs –Iman Bright

The first single off Phases, ‘The Come Down,’ featuring euphonic vocalist Conner Youngblood, was released recently and provides a slower, melodic vibe yet displays an evolution in Skizzy’s maturity and lyrical ability which can only mean great things are to come from this profound rapper. Stay on the look out for Skizzy Mars in the near future! –Derrick Holman

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Cities Aviv Black Pleasure A fairly under the radar artist, Memphis based rapper/producer Cities Aviv has released his second album, Black Pleasure, through (Mishka) Records. Not your “typical” rapper, Aviv’s Black Pleasure is very sample heavy, utilizing all sorts of crazy, warped sounds. Cities Aviv is especially talented at warping his voice and the sounds, giving the entire album a very grainy, strange sound. The album’s intro is interesting as hell, letting the listener know what’s up. It sounds like a tape skipping, until the second set of samples come in, delivering heavy bass and a transient, dreamy but still grainy sound in the background. There is a heavily warped audio track in the back, but if you listen carefully, it speaks about pleasure, and the creation of something. Foreshadowing, to be sure. The next track, Forever, has a sort of 80s wave to it. The lyrics are somewhat obscure,

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as Cities Aviv yells over the chorus “is it really forever, forever, for-eva-eva”. His lyrical content throughout the rest of the album can hardly be compared to most rappers, but it is clear that he remains much more focused on an overall sound as opposed to delivering some sort of deep metaphors for people to go around quoting all day, or even choruses that would get stuck in our heads as we try to go about our daily business (see: Kendrick Lamar). Each song on the album continues in this fashion- sample heavy melody, altered greatly to have an extremely grainy, dark sound. The production is always “trippy”, using “stuttering drums”, and “distorted, echoed vocals” (Cities Aviv’s bandcamp). Still, that’s not to say the album is boring in the least- each track is unique from most music that’s out right now, making this entire album worth a listen. One standout is “Escorts”, the album’s 5th track, produced by

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Cities Aviv himself (and possibly also another entity known as MUTED DRONE, who may, in actuality, be Cities Aviv himself under another name). The flow and sampling on this track combine more beautifully than any other on the tape, with Aviv describing a recent escapade with an Escort. The sample is fitting enough as well, spewing again and again the words, “Makes me feel… loved”. The distortion at the end is also a great fade out into the rest of the album. The album’s final track, Not that I’m anywhere, is the most “dancy” of the fifteen (15), seeming like a “release” from the rest of the album’s overall very trance-like feel. Overall, Aviv’s Black Pleasure, though very experimental, is definitely worth a listen. It’s not your typical… anything album, which makes it so interesting. The album title is fitting- the album does definitely deliver something to the listener, something pleasurable, yet something also quite dark (black? That’s pretty dark, right?) as well. – Michael Lyn

What Waves is Listening To Kids These Days Traphouse Rock The rock, soul, rap, blues, classical, hip-hop, indie funk is a combination you won’t often come across. With that said, I think it’s something everyone should listen to. Kids These Days mastered this in their second piece, the first official album. It’s free. Vic Mensa (who is also a solo artist), with his almost unreal network in Chicago, has come to be the face of the group and the man with rap lyrics that’ll have you thinking for a minute. His tone takes on many different forms in the album, but he has an unmistakable, seductive, hard Southside Chicago voice. Macie Stewart and Liam Cunningham are two very young-sounding singers who epitomize the group’s blues sound. The instrumentalists are unbelievably skilled— you would mistake them for classically-trained musicians but they’re just a group who played in high school. You’ve got the drums, a lingering trumpet and trombone, really creative bass lines, guitar, and keys. (Don’t miss the several mini-covers, samples and lines they wove into the album–so far I’ve caught James Brown, Funkadelic, Sam Cooke, Radiohead, Curtis Mayfield, Nirvana, Marvin Gaye, and Arcade Fire.)

Miguel Kaleidoscope Dream I’m hardly one to be critiquing but this group of (mostly) 18-year-olds has outdone a lot of bands I’ve heard in my music experience, in both recording and in a live setting (they are so live!). They’ve won competitions, appeared on Conan, opened at concerts and festivals, and are touring across the country right now. –Korrine Davis

Following Miguel’s 2010 debut, All I Want Is You, Miguel’s second studio album Kaleidoscope Dream manages to avoid the sophomore slump and deliver from both a production standpoint and in melody. Miguel’s piercing falsettos and pleasant harmonies complement the bass-heavy and ambient backdrops. Sonically reminiscent of the legendary Prince and void of the poppy formula that’s commonplace among today’s top 40’s, Kaleidoscope Dream is a refreshing R&B compilation. The album commences with the lead single “Adorn”, which is layered with trunk rattling bass, mellifluous oohs and aahs and airy samples. “Adorn’s” incredible composition challenges one’s ability to resist belting falsettos in public.After drawing in the listener, Miguel maintains the musical quality throughout the remainder of the album. The combination of his raw emotion and soothing melodies creates a unique sound that’s both stimulating and appeasing. Although unique in sound, Kaleidoscope Dream has the typical love songs we’ve come to expect from R&B artists. Highlights among those include the guitar heavy “Arch & Point” and “Do You…”, which includes Miguel asking his partner if she enjoys numerous activities before professing his adoration for them—do you like drugs?

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Miguel still leaves room to express his more introspective side through two of the standout tracks on the album, “Where’s the Fun in Forever?” and “Candles in the Sun”. On “Where’s the Fun in Forever?” Miguel inquires “if tomorrow isn’t promised, where’s the fun in forever?”, before exclaiming, “celebrate”—YOLO. As overplayed as this concept may seem, Miguel does a great job of taking listeners to church and emphasizing the fact that we are swimming in a sea of time. On an even more serious note, “Candles In the Sun”, raises some thought provoking questions and is filled with revelations. It seems Miguel was inspired by lyrics from Frank Ocean’s song, “Voodoo”, which states “our daughters and our sons are just candles in the sun… don’t let him see divide, don’t let her see divide”. Miguel’s lyrics correspond with those of Ocean’s, we’re just “candles in the sun blowing in the wind”. He stresses that although we are created equal, it is impossible to tell through the way we treat each other. Miguel’s message is clear as the album comes to a close: it is important that we practice love and compassion. “Will it be too late before we find out that we’re all that we’ve got?” Although the album closes on a heavy note, the build-up is comprised of much to raise the spirits, in case one wondered what a kaleidoscope dream felt like. –Kyle Somersall

HISTO

RY OF

TRIP H O P

by: Jay Sharma

he only way I can accurately describe trip-hop is by painting a picture in your mind’s eye. So, relax yourself and soak in the imagery. You are weightless, floating up from the earth’s crust in the middle of the night. You pass through the clouds and soon after—the atmosphere. You rise into space, into the ink black sea of brilliant diamond stars and soft-glowing planets. You continue to float steadily upwards, past the Milky Way, until you are in a sea of galaxies—purple and green galaxies, cosmic clouds swirling like whirlpools of ethereal liquid light. You wake up. It’s the middle of the night. You are weightless, floating up from the earth’s crust…. Listening to trip-hop is, as its name describes, reminiscent of a trip. This unique genre—with its heavy, slow bass-lines, sensuous vocal accents, and ambient soundscapes—erupted out of Bristol, a small, alternative, sea-side town in the United Kingdom. Bristol has a long history of involvement with the slave trade,

and as a result, it has one of the largest Black populations in England. Bristol’s Black roots had a profound impact on its culture and music; in the late 80’s, Jamaican dub-music was a staple of Bristol’s club scene. Around the same time, Hip-hop groups like Run DMC, the Beastie Boys, and KRS-One were making a name for themselves in the states, and soon enough, this music made its way over to Europe. Naturally, Bristol—being a bohemian, black, port-city—was one of the first places to receive American hip-hop. When Bristol’s dub and electro artists discovered hip-hop, they infused it with existing music, and TripHop was born. The musical response took hip-hop’s steady beats and smooth bass-lines and infused it with the slow break-beats and minimalist textures traditionally used in dub music. The experimental soundscapes and synthesizers of British electronic music were thrown into the mix as well. Another influence, which some music historians may discredit, was the spread

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of mind-altering substances to Bristol. As a port city, Bristol was a point of entry for marijuana and hallucinatory substances such as psilocybin mushrooms and LSD.

Volume I Tricky

The popularity of these substances among Bristol’s musical youth undoubtedly had an effect on the music scene—they must have contributed to the psychedelic textures and ambient mixing found in Trip-Hop music. When dub, electronica, and Anglo-african culture collided with hip-hop and mind altering substances, a fresh groove was born, and the dream world was brought onto the dance floor. Many DJ’s experimented with this new sound, including Tricky, Mushroom, 3-D, and Daddy G. These four artists came together and formed Massive Attack; and in 1991, they released Blue Lines— considered by many as the quintessential trip-hop album. With the use of syncopation, polyrhythms, heavy bass, and ambient, atmospheric sounds, the album took on a dark, edgy, sultry energy. The response to Blue Lines was overwhelming—it became a staple at dub and electronic clubs alike. The album sparked an entire wave of new trip-hop groups in Bristol. In wake of Blue Lines, groups such as Portishead, Smith & Mighty, The Wild Bunch, and DJ Shadow began to surface and solidify TripHop as a genre of its own. These artists defined Bristol as the international epicenter of Trip-Hop music. After the 1991-1997 era of true trip-hop, the genre began to bleed into the public eye, and the debilitating effects of mainstream music diluted its pure sound. Consequently, trip-hop diverged into a multitude of sub-genres, including drum-and-bass, chill-wave, ill-bient, dubstep, glitch-hop, and trance. Traces of trip-hop can be heard in the music of more recent and current groups, very obviously

with Bjork, MF Doom, Pretty lights, and Boards of Canada, and more subtly with Radiohead, Bassnectar, The Flaming Lips, and The Gorrilaz. Though Trip-Hop reached its crescendo around 1995, it still remains a defining aspect of Bristol’s culture, and its revolutionary sound continues to influence music today. I will leave you with a few quintessential tracks to open the door to this mysterious genre. So check the following tracks/albums, close your eyes, listen, and trip.

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Massive Attack

Portishead

Overcome Tricky Roads Portishead Music is Math Boards of Canada Mezzanine Massive Attack

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A L B U M S

T R A C K S

Dummy Portishead Blue Lines Massive Attack Maxinquaye Tricky 10

Mark Bennett drumming during The Mash Photo by Taylor Harbison

Evan Okun ‘13 Speaks on the Mash

Photo: Ben Traverse

by: Kyle Somersall On Friday September 7th Wesleyan had a day of music that highlighted the student music scene on campus. The event was officially titled the Mash and included 4 stages and 20 bands. I got the chance to speak with Evan Okun (’13) and hear his thoughts on the whole event. Okun played a large role in the organization of the Mash and also performed throughout the day. How did you get involved with the Mash? Last year I got an email about the Music & Public Life endeavor when it was just starting. So I went to a meeting and it was probably with like 14-15 students, plus Mark Slobin plus Pam Tatge plus Barbara Ally plus Erinn Roos-Brown and they basically said: “These are our ideas, vaguely, for what this whole thing could be.” But it was just starting out and they made clear that since this was a student oriented project, it needed to involve students in the creation of it, which was awesome…One thing led to another and I got invited to another meeting where it was just the CFA members, some other people outside the CFA, and I was the only student there and that was more logistics about Music & Public Life in general. The Mash was included and

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then they asked me if I wanted to be on the panel planning The Mash and I was like yeah. So we invited whoever came to that otriginal meeting and it all boiled down to me, Chelsea Green (’14) and Kevin Brisco (’13). So for the people who weren’t there to see it, can you just tell everyone what happened on that day? Three stages were set up across campus. One in front of Usdan, one in front of Olin and one in front of Westco. And these were super official - we contracted an outside sound crew so the audio was literally perfect. The days’ events started off with Michael Roth playing from 12-1pm with a faculty band (Mat-

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tabassett String Collective). From 2-5pm there was a constant stream of live music at the three stages that I mentioned. At each stage there was a drum set, 4 mics, amplifiers for instruments, and P.A’s for the microphones. The first half hour of every hour a booked student band; then for the last thirty minutes of every hour there was an open slot – the whole point of the event was not to say, ‘these bands are good at music’, but instead, “everyone should be playing music, and we’re giving you all the tools so come up and play.” At 5:30pm a student band, Treasure Island, one of my favorites on campus, opened at a fourth stage at the foot of Foss. They played until 6:30p, when Bear Hands, an alumni band, came on. This demonstrated that, not only do we have people at Wes making music, we have graduates doing it too…successfully. For sure, that’s awesome. So how’d you come up with the name the Mash? To be honest it was Barbara Ally. We had an idea for the event but no name. We started throwing around ideas, ‘blah blah blah’. I said a few horrible ideas, and then we were like alright we’ll just leave the decision for another time. Then the next day Barbara was like, ‘How about ‘The Mash’?’, and I was like alright…Not a good story. I was hoping it was an acronym.

people… How was hosting and performing at The Mash? Hosting was awesome. One thing I love to do is make people comfortable in spaces I’m in, and this was the first week of school, and you could see freshman walking around with nervous energy – wondering where they can click in, feeling like they the need to click in. But what I’ve always loved about Wesleyan is that you don’t need to fit anywhere—you are here and that’s your fitting in. That was represented by the stages having open slots… And performing was awesome. I love freestyling and I got to freestyle the whole time. Probably the most intensely positive energy I felt was when performing. In between Treasure Island and Bear Hands, I went on, introduced Bear Hands, and did a verse that I wrote about how I used to be nervous on stage or before a show. The verse is a dialogue I’m having with someone who is questioning my nervousness when I always preach about “flowing through life.” So doing that felt incredible. Having President Roth there listening was also pretty dope. It was the most “administrative” crowd I’d ever performed for, and getting positive response from faculty and administrators I respect was ill.

“ It was the most administrative crowd I had ever performed for, and getting positive response from faculty and administrators I respect was ill ”

Oh. Na, that works well. Umm, Music Always... So what was your take on the day? How did you feel about it? It was so successful—oh my god. I realized I had never been involved with planning such an extensive event, let alone an outside event…and it was scheduled to rain. Really, the whole week it was supposed to rain. It didn’t end up raining at all. It was perfectly sunny—it was a little hot but whatever. See, a whole weather system was coming through Connecticut, and our “raindate” was the following day. If the system had hit and it started raining Friday, it would’ve rained Saturday too. Literally, I don’t even know if the event would have happened. I’ve never been so dependent, my energy, so dependent on the weather. But it was perfect weather, which reflected the whole event. It was so successful. The bands were awesome. I heard there were significant crowds at all the venues. I performed and was hosting in front of the Olin one and there were so many

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How was hosting and performing at The Mash?

Hosting was awesome. One thing I love to do is make people comfortable in spaces I’m in, and this was the first week of school, and you could see freshman walking around with nervous energy – wondering where they can click in, feeling the need to click in. But what I’ve always loved about Wesleyan is that you don’t need to fit anywhere—you are here and that’s your fitting in. That was represented by the stages having open slots…And performing was awesome. I love freestyling and I got to freestyle the whole time. Probably the most intensely positive energy I felt was when performing. In between Treasure Island and Bear Hands, I went on, introduced Bear Hands, and did a verse that I wrote about how I used to be nervous on stage or before a show. The verse is a dialogue I’m having with someone who is questioning my nervousness when I always preach about “flowing through life.” So doing that felt incredible. Having President Roth there listening was also pretty dope. It was the most “administrative” crowd I’d ever performed for, and getting positive response from faculty and administrators I respect was ill.

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CASE FOR A STUDIO

s I step out of a supply-crammed Town & Country (courtesy of your local Hertz), I begin to quietly observe the ordered chaos of moving day. “So this is it,” I think to myself. This is where my high school career has led me – what every piece of pamphlet propaganda shows off and portrays in a harmonious glow: Wesleyan University. Lucky for Wes’ admissions office, they need not worry about the impact those fancy brochures actually have – students and alumni make enough creative noise around the nation to put it on the map. Numerous nationally-acclaimed music groups? Check. Multiple directors to take their works to the Hollywood big screen? Check. Such a large proportion of alumni make their way to the world’s biggest stages you’d forget this school has barely three thousand kids. While much of Wes

by: Derek S

basks in that pamphlet-induced glow, it took me three days to find a glaring bottleneck to the creativity. At present, only one recording studio exists on campus, located in the rehearsal hall. Due to heavy demand, juniors and seniors are the only students who have access. All other students are unable to record, produce, and arrange music in a professional music studio. For the past few years, this situation has proved to be a barrier for all creative musicians looking to record original compositions. According to Wes’ music department website, their goal is to “[provide] a unique and pioneering environment for advanced exploration committed to the study, performance, and composition of music from a perspective that recognizes and engages the breadth and diversity of the world’s musics and technologies.” In order to effectively live out this mission

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turman

statement, one of the university’s top goals this year should be to bring a studio to campus. The Rap Assembly of Wesleyan (R.A.W.) may have an answer to the problem: They have secured a vacant room on campus, and with some direction and (extremely minimal) funding, R.A.W. board members David Stouck and Izzy Coleman are looking to get the project off the ground. Want to help make this thing happen? Get in touch with either myself or any of the Waves staff. The more vocalized support, the sooner action will be taken. Stay tuned for more…

The Freestyle Collective Photo by Taylor Harbison

The Freestyle Collective cypering Photo by Taylor Harbison

WORDS FROM THE WISE: ALUMNI SUBMISSIONS

Anthony Edwards ‘10

Matt Schaff ‘11 Wes really allowed me to pursue something I previously knew nothing about...I simply bought a camera, and taught myself what to do with it. I say Wes allowed me to do it because I was surrounded by inspiring people who were chasing their creative aspirations as well. It’s a community that will let you be who you want to be, especially artistically. I always loved music videos and documentary film, and there were artists I met at Wesleyan who allowed me to start shooting with them. Soon as I had a camera, I started the most important aspect of making a music video, or any creative project, collaboration. Both parties, the director and artists, have to have similar visions and work together to achieve the look/feel they want. This is especially true when it comes to projects without a budget. There isn’t anything that can hold someone’s creativity back.

budget, and we do it for the love. When people see that, they want to help, and I am excited to see where direct-

ing and music videos will take me in the future. Today, most my work is premiered on one of the most respected hip hop blogs and YouTube channels, blowhiphoptv. Next year, I will be a represented director by a video production team that specializes in music videos, The ICU lab (they have worked with Kendrick Lamar, A$AP, Schoolboy Q, Danny Brown, Slaughterhouse, Sean Price, and several more to name a few). Working with them will give me the opportunity to direct projects with established artists and bigger budgets. Lesson of the story is, be creative and don’t let anything hold you back...I wasn’t afraid to make my own path, and next year I could be directing some projects I never would of dreamed of, who knows where it will take you.

Since Wesleyan, I have had the opportunity to work with a variety of artists in New York City. I pick projects that I can be passionate about, songs that I like, with people I like. We rarely have any 17

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I always had somewhat of a “side hustle” throughout my career at Wes. Although we are traditionally told to follow the path of, “HEY, go to college, get a job, it’s time for graduate school, etc.,” I wasn’t satisfied and knew that there was more for me... more for me to be inspired by, more for me to inspire others, and to quite simply follow my passion despite what is seen as the traditional road. I’m sure that sounds a bit cliché, but truthfully, it is what it is. Wes is truly the home of some incredibly talented and creative individuals who have made significant impacts throughout the arts and I hope to join the likes of them. While at Wes I sold some beats, put together instrumental mixtapes, and worked on a bunch of independent artists’ projects until I was introduced to my current managers, Eric Nicks and Azar Bogan for Alpine Music Group. Since then, I have had the opportunity to work with some of the most talented musician’s I know, and they have helped me step up my level of play within the game. Most notably, I have had the opportunity to Volume I

work with R&B artist Joe on his album “Signature,” I produced about 5 or 6 songs on “Gentlemen Don’t Survive” for Jaicko (Capitol Records), have had the opportunity to produce and develop my own artist and partner Pastele (www.cityofpastele. com), as well as starting my own production company System - 88. I think Wes has prepared me to accept and get my hands dirty in many musical genres, and getting involved in several subcultures - as there are so many different people that I was and still am influenced and inspired by. I am blessed to have the continued support of my family, close friends, management, and collaborators who help me to cultivate my vision. My goal is to have a positive impact that challenges people to just go out and do what they LOVE doing. If you have a dream, don’t just chase it - GO GET IT! It’s been an incredible ride so far filled with many ups and downs - and although I haven’t reached my peak yet, I wouldn’t trade it for the world.

histories of rap, and experimental music, etc. I definitely reference quite a few old class projects. You seem to work with a lot of friends who are Wesleyan alums. Who are the one or two Wesleyan alums you would like to work with in the future?

Le1f (Khalif Diouf ’11) How did you find yourself at Wesleyan? Crazy. Has Wesleyan played a part in your music and your career? If so, how much and in what ways? Through friendships, definitely. In my junior year of high school, I had made real-life friendships with two Wesleyan campy white rappers called Mirror Boiyz via myspace. We collaborated and the brunette, Christopher, really inspired and aided my production skills on a technical level. When I started rapping, I was playing shows with Jeremy Lewis-Arlet, aka J-La a DJ-producer J-La and Wesleyan grad. He introduced me to Himanshu and Victor of Das Racist, two members of Bear Hands, and many of my current friends. As a dance choreography major at Wesleyan, I had the opportunity to work with a lot of young creatives whom weren’t necessarily dancers. My work often

ended up beingmixed-media collaboration. Wesleyan classrooms seem to have a trend of these kind of projects, and that culture has definitely been adopted by many alumni. My first music video ‘Wut’ had a crew of talented Wesleyan grads all contributing creatively, and I’m blessed to be a part of that community. How have things changed or stayed the same since you left Wesleyan and your career really started to take off? At Wesleyan, I was preparing myself as an artist. I was already writing and performing raps, producing and DJing. I tried to imagine myself as an apprentice to the music industry and focused my education on it. I had many unfortunate failed attempts at getting through music theory courses at Wes, but found myself taking many classes that discussed Pop Art, interactive video programming, postmodern and African dance, the

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Santigold asked me for beats once. Maybe one day I’ll produce something for her, fingers crossed. I would really like to work with dancers at Wesleyan, both from the dance major as well as from crews like Precision and Terpsichore. I could definitely use the crew team in a music video. Who would you say are your influences and inspirations for your music? There are too many. Missy Elliott, Timbaland and Aaliyah. Bjork and Tim Hecker. Fela Kuti and Peaches. I’m inspired by musicians who write culturally aware witty rhymes and bassy progressive compositions. What can we expect from you in the future? A lot of new music.

WORDS FROM THE WISE: ALUMNI SUBMISSIONS L.A. (Latasha Alcindor ‘10) Josh Smith ‘11 Without my experience in the Wesleyan music scene, I don’t even know what my music would sound like. There’s a song off Doomtree’s latest album where Sims raps the line, “I built more than a rap career / I got my family here.” That’s what I found at Wes: my musical family, so many new musical influences, and an artistic community where almost everyone is genuinely interested in each other’s art and wants to build and collaborate all the time. Not to mention some seriously raucous crowds that are hungry for dope new music. The scene isn’t perfect, but it’s by far the best college scene I’ve ever come across. Wesleyan is a place where you can play in 3 bands at once, book your own shows, and go from playing 50 person house parties to rocking stages in front of hundreds of people all in a single semester. If you’re a current Wesleyan musician and you’re reading this, know that you have the ability to make these things happen for yourself. Get out there, jam with people, find friends you love to play with, set up some shows and build your audience. Playing music at Wes made me a better rapper, a more effective songwriter, and more dynamic live performer, but most of all it gave me the 19

desire to keep doing this for the rest of my life, and the belief that I can pull it off. There’s really no greater praise I can give than that. I’m living in Brooklyn writing new songs in prep for my next full-length album on which I’ll probably be rapping over a fusion of sampled beats and live instrumentation. I hope to start really working on that at full speed later this winter. I’m also putting together a new configuration of my live band, which will almost certainly include members of The Concert G’s and The Rooks, and will be playing shows in NYC and beyond. We’ll be going for a harder sound that combines the soulful energy that made The Concert G’s so much fun with a harder, more explosive edge that may incorporate some triggered samples and electronic drum sounds. Think Soulquarians meets Doomtree. There will be bangers galore. And of course Mel Hsu (’13) and I are still promoting our album Analogue, which came out last May. We’ll be playing some shows here and there, and we’re about to release a new live video of the two of us playing a song on Indian Hill just as the sun is setting. We shot that a few weeks ago with Reid Hildebrand (‘15). Waves Magazine

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What is Hip Hop without discussion? More than anything Wesleyan allowed me to build enough information contextual to give my music a twist. On the surface the music can seem like basic hip hop but diving deeper into my lyrics you will find a metaphor in many of the music. Currently, I am working on my next project LALytes: Revelations of Life Addict where I discuss my life story in a spiritual and social science stand point. I’m truly excited about it because of the creativity being processed in the work. Due for February 2013.

The Rooks Formed in 2011, The Rooks are six alums that met while performing together in a variety of different on-campus bands throughout their years at Wesleyan. Drawing from an eclectic catalogue of influences-- from the melodic impressions of Stevie Wonder, to the staggered hip-hop backbeats of J Dilla, to the vocal intricacies of the Dirty Projectors-- The Rooks unite their individual musical tastes in Soul, Funk, and R&B, while also absorbing Pop and Indie sensibilities, to find their home in a sound as diverse as the Wesleyan music scene itself. This vibrant live music community at Wesleyan was crucial to The Rooks’ beginnings. The incredibly creative student population demanded and supported the band’s music in a way that continues to encourage their current work. Early on in their college careers, the members of The Rooks were influenced by the work ethic and musical stylings of

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previous student bands like Kinky Spigot and The Welders and Buru Style. They drew further inspiration from the critical and commercial success of groups such as MGMT, Das Racist and Bear Hands, all of which managed to maintain a strong connection with Wesleyan while progressing far outside of the “bubble.” With that in mind, The Rooks aspired to take their music off campus and into the big wide world. In their post-graduate endeavors, The Rooks have played a number of shows in and around the New York City region, including sets at The Highline Ballroom, Sullivan Hall, and The Bitter End. They have opened for acts such as Talib Kweli and George Watsky, and have shared the stage with fellow Wes band Ishmael. This winter is sure to be a busy one for the band as they return to Sullivan Hall for a performance on January 5th and head to the studio shortly thereafter to record their first EP. Volume I

JAY

HOGGARD A Journey Through Music

by: Kyle Somersall & Kevin Brisco

Brisco and I spoke to vibraphonist, Wes alum and Wes music professor Jay Hoggard about his lifetime experience with music. Born in Washington D.C and raised in Mount Vernon, New York in a religious family, Hoggard was constantly surrounded by music. He graduated from Wes in 1976 and returned years later as a graduate student and soon after as a Professor. For over 20 years, Hoggard has been the director of the Wesleyan Jazz Orchestra.

hat was the music scene like when you were at Wesleyan?

I haven’t thought about that in years. I was an undergraduate from 1972 to 1976 and you were born 19 what 90? 91 Okay so you’re a year younger than my daughter. So that was 15 years before you were born. So for instance, the point of reference would be in 1976 if you told me that someone graduated—okay I was born in 1954—so if you told me someone graduated in 1939, which was 15 years before I was born, they might as well have been born in the 1300’s. Right? So discussing it in that sense I don’t know where it’d lead except to say that, yes, I was an undergraduate from 1972 to 1976, and the program it was not very dissimilar to what it is now. But there are certain things that there are more of and certain things that there are less of. But I haven’t really thought it through as to what they are. Okay, so is there any way that it influenced your music or your path with music after?

Oh yeah! When I was a first year student they had something called African American music as opposed to jazz because there’s always been this issue of the name. What does that name mean? But there were a number of people who taught here—great artists—Sam Rivers, who is a saxophonists, Ed Blackwell, who is a drummer, and Jimmy Garrison, who is a bass player…and a fella’ named Clifford Thornton… and there had been a few people before that. Ken McIntyre was here before that, who is a saxophonist. Then Bill Baron came when I was a junior, and Bill Barron was a saxophonist also. He kind of set a certain template for how the program has developed over years…I taught high school, and then, I was basically a free lance musician in New York for 15 years…I came back up here, and I was kind of teaching and getting my masters. And then it worked out. They hired me, and I stayed here. You want to talk about your musical background and what your influences are?

so I am who they purport me to be… You’re asking me in a very straightforward manner, which I can relate to, a very complex question. Like what am I influenced by? A simple answer is everything, but a complex answer—I say I’m an indigenous practitioner of the various African American music traditions as well as other music systems that were contemporary with my personal life experiences, and I’ve done a lot of study of African marimba musics…The marimba is a instrument that’s found all over the continent of Africa. It is a traditional instrument related to traditional musics throughout the continent of Africa, and I’ve done a lot of study on that. So when I came back and did my masters, that’s what I was studying. That was the topic of my masters thesis. Nice, so are there any artists that have been a big influence on you? You want me to say like Tu-Pac? *laughs*

Well I play the vibraphone…I’m a jazz guy. I come out of the church; I grew up on every aspect of African American music as well as American music,

“You choose it, but I say music chose me.”

“So that’s how I look at the music, as a manifestation of consciousness that also can be studied in the institution”

No, I don’t know. Are there any artists? Well, zillions of them. Everyone that played the vibraphone. Lionel Hampton, Milt Jackson, Bobby Hutchinson and all the jazz guys. John Coltrane, Duke Ellington—all of them. I did a record that’s a tribute to Lionel Hampton…I’m a carrier of a very long tradition of which there are many practitioners. Do you consider your music secular? You said you made a jazz Christmas album recently. Sort of like religious based music, but then jazz music obviously is seen as a secular form of black music in the past. Yeah. Well, that’s kind of what that theme is. That’s exactly why I call that course Sacred and Secular African and African American Musics cause that’s kind of my take on the history—but not history like in the sense of in 1915 this happened, in 1950 this happened—but 23

more on a conceptual basis. The way they do stuff here at Wesleyan, and combining the methodology of ethnomusicology where we’re kind of putting the anthropology and the sociology side and then the history side. So we’re looking at it as a totality, so the reality is that all of those musics are part of one language in my opinion. There are many languages or many dialects of a range of languages. So the connection is, although everyone thinks that hip hop started at “X” point in the Bronx, it actually is part of a long trajectory going back the same as any other line or genres of African American musics. And you could basically apply that concept to any music… So there’s no one single trajectory, and there’s no one single intention. It’s more like language. That’s how I look at music, as language. So you can use certain words and say, ‘okay, well that’s sacred’ and then certain other words, ‘that’s secular’…I wish you guys had been in my class man. Waves Magazine

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Speaking of your class, how’s your experience been teaching at Wesleyan? When I get people like you, it makes it worthwhile. Put it that way. I mean, but you’ve been doing it for a while, so what have you enjoyed about it? What are some drawbacks? Don’t misunderstand. I don’t judge things based on identity or ethnicity. I embrace anybody. My big complaint is I talk all this shit, but the black kids don’t come in my classes. Sometimes. Over 20 years you know how many times I heard “well I don’t play any instruments” Oh Man! I heard that before, but that’s why I teach these other courses…But each year not as many African American students come, so that’s always an issue for me. That’s always a drag.

Yeah, if the class is on African American tradition, it would be nice to have more African American students. Well, yeah. I mean, shit. That’s a big part of the problem…It’s complex because you come to a school like this. Whatever it costs or whatever the various kinds of ways that people have to finance it and the adjustments that you have to make, you want to come out of here doing something where you can make cash, money. That’s what everyone’s kind of attitude is. “Okay that’s nice to study all that culture stuff, but I’m going to be a blank because I’m going to make some money”. You know? You were a music major here. Did your parents ever worry about you being a music major? Well, I grew up in the church. My father was a bishop, and my mother was an elementary school teacher and a very talented musician, so it was kind of a natural flow. A lot of people don’t go in that direction because of that. That was kind of the hand of God on me from the beginning [saying] that’s what you are going to do. You choose it, but I say music chose me. What were sort of the musical inclinations of the student body when you were here? It was not dissimilar. So basically, if you imagine your parent’s friends, that’s who I went to school with. So the way some people were into old school R&B, like the stuff y’all discovered when you discovered the Funk Mob or any of the old school R&B, that was our hip-hop. And then you had people who were into other permutations of the various styles. So it was the same kind of thing. Jazz was sort of at a margin in a similar way that it is now. It’s more entrenched in the institution now than it was then, but it’s the same kind of margin. Any last things that you want to say about your transition through life with music? Yeah, music is a blessing. The idea of how you learn about it in the institution and how it exists in real life. I used to go up to a place on Gun Hill Road (Bronx, NY) where George Benson used to play. The little neighborhood places. The way I learned about the music. I learned some things institutionally, but I learned about it in its kind of setting. So that’s something that I talk about a lot—the difference between learning music by second, third stance through recordings versus experientially. And when it’s a part of culture—that’s the whole thing that I was saying with the choir—in that sense, the music is alive. It’s not something that’s some objective study. It’s a part of life. For the choir or in the sacred tradition, it’s a form of worship and a form of manifestation of consciousness. So that’s how I look at the music, as a manifestation of consciousness that also can be studied in the institution.

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SPOTIFY

PANDORA to a new playlist or artist. It can be good background noise for cleaning or working or hold its own as the music entertainment for a party. However there are times when Pandora is hit or miss. Sometimes Pandora reads my mind and delivers gem after gem. Classic Beyoncé, a little J Kwon, then old Alicia Keys? Yes please, you are too good Pandora. But other times a station is dominated by the same 3 generic artists, or they throw in Justin Timberlake on my Brian McKnight slow jams station. Not what I want (sorry JT). Perhaps the biggest setback is that if I’m not vibing to the song, I better be pretty sure that skipping it is worth it. Because the user is only allotted a certain number of skips per hour, if I use my last skip on an average song and the next one is terrible, I have to sit there wishing more than anything to undo my skip, cringing through the entire song. I’m liable to

by: Miller Hartsoe

’m a broke college kid on a tight budget. But I love music. Piracy makes me feel guilty, yet I cannot afford to shell out the money to buy every song and album I want. Fortunately there are companies who sympathize and have developed free music services, namely Pandora and Spotify. Each has revolutionized online music. I’d be lost without either, my Internet lifeless and boring. Pandora has been around for over a decade and the idea is simple- stop listening to radio stations you don’t really like with advertisements and instead pick and choose quality stations without interruption. The beauty of Pandora is that by typing in an artist, song, or theme, it delivers the goods without me having to work at all. One click and I’m set for endless music without worrying about having to change the song, or shuffle

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throw my computer out the window and that’s not the effect I want from my music. Quite recently, a new figure emerged in the free online music industry- Spotify. It is a music streaming service with over 18 million songs in the database, all for free. The subscription-based service with a monthly fee, Spotify Premium, delivers unlimited songs without advertisements and the ability to access your library from your cell phone. Spotify may be one of the best innovations in recent memory, but I still have yet to bite the bullet and upgrade to the ad-free premium. The sacrifice of being a broke college student. Still, the free Spotify is great. If I’m feeling like exploring the discography of a newfound band, or streaming my favorite albums in their entirety, Spotify delivers big time. No more endlessly searching Google to find a free website to stream certain songs, or sitting through 30 second YouTube commercials before every song I want to listen to. It’s like the endless iTunes library I always strived for. But for all its glory, Spotify is not perfect. For starters, Spotify makes you sign up with Facebook- not cool for those abstaining from social media or who would prefer their music choices kept private. I recently received a text from a friend with a picture of their Spotify “news feed”, revealing I had just listened to “Bump N’ Grind” by R. Kelly. Not exactly what I want my 1000 closest Facebook friends knowing. The biggest shortcoming for Spotify is the advertisements. Just as I’m five songs deep into a great album, anxiously anticipating the transition into the next track, all of a sudden the most annoying voice comes on trying to sell me a mediocre Disney star’s album or a Spotify

Premium upgrade. I understand the business model demands they make money off of this product, but the last thing I want when I’m jamming out is an unforeseen break from the great music. I feel like I’m getting the wind knocked out of me and can do nothing but stare at the screen, hoping the music will return quickly before I freak out. And if you even think about turning the volume down to mute out the commercial, think again. Spotify will pause their ad and wait for you to turn the volume back up and resume playing the ad right where you left off. Sneaky move. The major selling point for me is Pandora’s lack of advertising. But is it worth the possibility of sitting through a song I don’t really want to hear? That is a tough call. There is honestly nothing worse than hanging out and feeling great with the music, only for it to be interrupted by an advertisement for something I could not be less interested in. With Pandora, although I have less control, my vibes will only be interrupted by a subpar song selection. Pandora can’t be perfect with picking songs, but sometimes that sacrifice is so much better than the Spotify advertisements. In the end, it comes down to my mood. If I have a specific artist I want, or a definite couple of songs I’m trying to hear, then Spotify is hands down the way to go. But if I just get in a mood and want a general type of music, and I’m feeling easy to please, Pandora is the best choice. Hopefully the next online music innovation will combine the best from both services.

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THE

ELECTRO

SWING

R E V O L U T I O N

o many people give me crazy looks when I tell them I listen to “Electro swing”. You yourself might be wondering, “What the heck is that? Sounds like hipster music.” Well, in order to shed some light on the subject, I created this ‘little’ piece as an introduction to the Wonderful World of Electro Swing! Also, for those of you who would like to keep up with references I make to certain artists, Spotify or Sound Cloud would be a great tool!)

BY: RYAN MOYE In the late 90′s into the early 2000′s, there was a “Swing revival” that saw the popularization of Swing and Ragtime music alike, as well as a revival of swing dances like Lindy Hop. Along with this, there was also a revival of the Burlesque show. These things coupled together gave rise to contemporary entertainers such as Dita Von Teese and also inspired a new appreciation for vintage clothes. The electro swing genre is a product of this

“swing revival”. Electro swing is a fusion genre, formed by the combination of swing style music and house music techniques. Most forms of music begin as experiments by aspiring artists trying to find a new, better sound, and this genre is no exception. It actually began with experimentation in the genre of Nu-Jazz, which is merely an inclusion of jazz elements into other forms of music, such as rock and funk. These ‘proto electro swing’ records where numerous but were not connected

< Parov Stelar “The Father of the Electro-Swing genre”

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by any particular sound. It wasn’t until around 2004, that the genre began to fully form thanks to the work of a man named Parov Stelar. Stelar, a man I commonly refer to as ‘The Father of the Electro-swing genre’, worked as a DJ in various nightclubs in Paris. It was here that he started his recording company Etage Noir and began recording original tracks. His first release under the label, KissKiss, became the first recorded, undisputed example of electro-swing. This man seamlessly combines the smooth, yet jaunty vibe of swing-music, with the vibrant, hard beats of house-music, creating a classy yet powerful music phenomenon. It’s almost ironic that the combination of these two strikingly different genres could produce such a wonderful sound. In any case, Stelar became the foundation for the genre, and later released singles such as Booty Swing and Baska Brother, which

T R A C K S

were the first two songs I listened to from the genre. From this foundation, an explosion of electro-swing artists and DJs sprang forth and the ‘Electro-swing Revolution’ was born! For those of you who might be intrigued by this style, some very popular artists include Caravan Palace, Waldek and The Chinese Man. Some more indie artists, such as Jamie Berry, can be found on Sounds Cloud! CHECK HIM OUT! There are also as many different sounds in the ‘electro-swing world’ as there are artists. As an example, Parov Stelar tends to have a very steady beat throughout each of his songs and the house music infusion is very apparent, while artists such as Caravan Palace tend to be a lot less conventional, and are much subtler in the inclusion of house elements in their work. Regardless, Electro-swing is an A-M-A-Z-I-N-G genre, and everyone should check it out! ENJOY, and keep it classy

DIXIE BISCUITS (JAMIE BERRY REMIX) Tape Five Ft. Henrik Wagner SHOOT HIM DOWN (JAMIE BERRY REMIX) MSTR Alice Francis JAZZ HANDS WHITE GLOVES Skeewiff & Dick Walter THE WITCHING HOUR Odjbox SPECIAL ART Odjbox HOLD THE NIGHT Lyre Le Temps M.A.B (ORIGINAL MIX) Jamie Berry ROCK IT FOR ME Caravan Palace SUZY Caravan Palace Waves Magazine

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T R A C K S 28

Derek Sturman of New School performs @ BuHo Photo by Zach Scheinfeld

WES ARTISTS

R . A .W The Rap Assembly at Wesleyan prepares to release their new compilation album

by: Zach Scheinfeld

n Saturday October 6th, Wesleyan’s hip-hop coalition gathered for the first time to discuss initiatives for the upcoming year. The Rap Assembly at Wesleyan (also known as R.A.W.) is a goal and growth-oriented network of motivated artists seeking collaboration within all aspects of Wesleyan’s hip-hop culture. Before attending the meeting, members were asked to complete a survey describing their particular “craft” in relation to rap music, and provide a brief summary of their previous experience and work. As a lifetime hip-hop enthusiast, I eagerly attended the first meeting seeking a way to somehow contribute. The meeting opened with remarks from co-president Ismael “Izzy” Coleman 15’, who explained how the club has greatly evolved from a small collection of freshman united by a common passion for HipHop and free styling, into what is now intended to function as an independent label. He and the other co-president, David Stouck 15’, expressed a demand for members interest-

ed in almost all mediums of art and the music industry, which the club will utilize throughout the year to accomplish an all encompassing production of artistic output. R.A.W. provides support to students interested in career opportunities including but not limited to: singing, production, graphic design, MC’ing, DJ’ing, artist management, show production, promotion, dance, photography, visual media, journalism and more. This news was very relieving to me, clearing whatever doubts I had about my lack of ability to freestyle interfering with my will to participate. As the meeting progressed, it developed into a more open formatted discussion, and I grew increasingly impressed with the variety of talent and hip-hop perspective the club had attracted. The conversation escalated when several representatives from each “craft” introduced ideas and visions they had for the upcoming year. Some of the announcements included: organizing and hosting a HipHop festival, planning weekly

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student run production workshop series for those interested in learning programs like Logic and Reason, recruitment for a Hip-Hop and R&B super group, and a club-wide collaborative mixtape. The last suggestion aroused a great deal of enthusiasm among the club members. All across the conference room, students immediately began brain storming potential names for the collection. When I looked around, almost everyone was smiling at the idea of this project, and it seemed we all knew we had come across something special. After discussion between the presidents and many participants, a unanimous decision was made to construct a team of members willing to dedicate a significant amount of time to organize this collaboration.

Ari ___ and ____ jamming in on a cold night

Ari Ebstein, David Stouck and Sam Sontag hosting a R.A.W freestyle cypher

The club agreed that the project would provide an opportunity for all members to contribute in a way that emphasizes their specific strength. Ideas for the yearlong effort include a full mixtape featuring work from all the label’s rhymers, musicians, and producers, some sort of culminating celebration that might include a live performance, and finally a visual art release including album art, posters, photo sets, and music videos. Although this task may seem quite ambitious, I am confident that the members of R.A.W. are both passionate and talented enough to succeed. However, no amount of assistance is too large, and R.A.W. is

constantly looking for new and passionate members to aid its many endeavors. If the student compilation project (or any initiative mentioned above) has gained your attention, don’t hesitate to contact Ashley Arkhurst (aarkhurst@wesleyan.edu) and feel free to attend the next meeting (weekly meetings are held in 41 Wyllys 115 on Saturday afternoons at 3). Stay tuned for more information about R.A.W.’s latest activity and progress throughout this school year.

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R.A.W COMPILATION ALBUM SET TO RELEASE MARCH 26th 2013

Project Sterling performs @ Psi U Photo by Kevin Brisco

GETTOKNOW

Party Raps with Project Sterling

by: Michael Lyn Last semester, Wesleyan was graced with the presence of Joey Bada$$ and the ProEra crew, thanks to the efforts of McKenzii Webster (’13), and the folks over at Ujamaa. Joey of course had a terrific set, but the opening acts certainly could not be ignored. One of these acts was Wesleyan’s own rapper Project Sterling (Eric Wilson, ’15), who delivered an, albeit short, electrifying set to energize the crowd. I got the chance to sit down and talk with the Brooklyn-born rapper and talk about how he felt about the show, his musical influences, and his goals for the future.

So let’s start with the usual, who you are, where you’re from- the basics. Brooklyn, New York. 5 siblings, one brother. Favorite rapper of all time, Lil Wayne. Favorite album of all time, 50 cent’s Get Rich or Die Trying, huge huge basketball fan. My favorite song right now… damn that’s hard. Patiently waiting, 50 cent? That shit was dope. So how would you describe your style, who you are, what Project Sterling is? My style… I don’t know. I’m not on some deep Kendrick Lamar type stuff. I do write and make what I feel at the time. I feel like with music, every beat has a story. Like when you hear an instrumental or whatever, when you hear it for the first time,

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you just write whatever you feel. You write what’s going on, basically. So I guess my style changes depending on the type of vibe I’m getting from the music. And the “project” in Project Sterling, what’s that about? Well you know like lil bow wow and lil romeo and them, how they drop the lil when they get older. So “project” would be that to my name. Sterling is my father’s last name- my mom just decided to give all of us her last name. I don’t know why. So my name will be Sterling but the project will be me working on myself as an artist, until or if I actually become something.

“ once I’ve reached the top, the pinnacle of my success, then I’ll be ready to drop the Project.”

And when do you think you’ll be “ready” to drop the project from your name? At what point, what milestones signify success for you? When you win a Grammy. Like honestly. When you win a Grammy or you’re on world tour. Those are pretty big aspirations… But that’s when I’ll feel like I’m ready. That’s when the project will be dropped. I feel like that’s the top. It’s the goal. Not everyone wants to admit it, but that’s the goal. So once I’ve reached the top, the pinnacle of my success, then I’ll be ready to drop the project. I see. So let’s talk about the Joey Bada$$ show, which you absolutely murdered. How did you feel, performing in front of what seemed to be your biggest crowd to date? Haha like honestly, that’s probably the happiest I’ve been since I’ve been here. If you’ve been on stage, doing what you love, you feel it. The crowd was definitely feeling it, I was feeling it, I mean it was at the Xi, like that’s my house! Haha every-

thing played out perfectly. And in a year, Joey’s gonna be at the level of where A$AP is, like how A$AP is on that new level, that’s exactly where Joey’s gonna be. You think he has that much potential? Oh most definitely. I definitely think he does. Absolutely. Because it’s just the way people blow up. I mean he’s blowing up a little slower but he’s definitely going to blow up. And to open for somebody like that… Exactly. And big ups to Mckenzii for that (Mckenzii Webster, ’13). She could’ve picked other people, but she gave me the opportunity, which I appreciated a lot. So let’s talk about your outfit… do you think it reflected your personal style? Haha was it? Bad? I didn’t say that… Hahah. I like clothes a lot. I say, throw on what you want, like why care about what other people think about the way you dress. So I put

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on some loafers, orange chinos, and a new shirt. Did it work? I don’t know… It was pretty dope Yeah. Ngina (Ngina Shillingford, ’15) was there, so we were trying to coordinate something. One of my big things is not wearing clothes twice, which isn’t possible haha. If I could, I’d wear different things everyday. So when you performed on stage, we got to see you and Ngina perform, and we heard a song that you haven’t released yet. What was that? It’s a cover to “Touch me, Tease me”. I was chillin in her room at the beginning of the semester, we were just chillin, vibing to music or whatever, and she was telling me how she can not only sing, but rap too. So she played me some stuff she had done back home, and I was like oh man, you’re really dope. She has like a Lil’ Kim, Foxy Brown type flow. She played the “touch me, tease me” song, and I really liked it. So we just wrote. We were in my room a countless amount of times, on the mic, just trying to record and

get a good sound. That was basically the process. So I told her I was opening for Joey Bada$$, and since she was coming anyway, I just said “why don’t you come on stage and perform?” The song was already recorded, so why not? That’s cool, that seems real organic, real smooth. Yeah. I mean when she told me she rapped and sang that did it for me. At first she was just gonna sing the chorus and I was going to write two verses, but then I was like yo, you can just rap on the track. And I liked the song a lot, so I guess everything worked out. Did you like it? I liked it a lot. Yeah I mean we talked about concepts for it like every day. Like I was listening to some old Drake stuff or whatever, and one of his songs, (say what’s real) it has a line like, “I just see my ex-girl standing with my next girl standing with the girl that I’m fuckin right now”, so like when I heard that I was like damn that could be a good chorus if someone switches it up a little bit, you know? So I was talking to Ngina about it and she was like word, so we tweaked it a little so she could sing it. And we tried it and it was just like…yes. That was it. Can we expect a recorded version of that anytime soon? I have the file. I still want to tweak a couple of things but most definitely, it will be released soon. We’re planning to get a lot of songs done together before the end of the school year, hopefully. Or at least set up things for the summer. Have you been talking to any other producers, any other collaborators? I’ve been talking to Izzy (Izzy Coleman ‘15), he raps, Coral (FXWRK, Coral Foxworth ’15), she’s been trying to produce and stuff, so I’ve been talking to her, and Brewster (IGBEE, Brewster Lee ’13) of course, and this freshman named Derek (Derek Sturman ’16), he makes beats as well so I’m just trying to connect, do as much as possible you know? Because why not?

That’s very true. So do you have any upcoming projects? A mixtape or an album in the works? You said you were working with Ngina a lot, will that lead to a collaborative album? It probably wouldn’t be an album, we’ll definitely have a lot of collaborative songs though. Some of the songs she’ll sing, some she’ll rap, you know. I’m a part of RAW also (Rap Assembly of Wes), we’re all working on a collaborative album or mixtape or whatever, and I’m going to have a couple songs, possibly with people from RAW. Right now I’m trying to get a feel of everyone’s type of music they produce (in terms of working with producers) before I actually settle down and actually crank out this mixtape. Because I mean beats from YouTube are cool but after a while… I need to take that next step.

apart. It’s difficult. But if you can tell a story in your song, it makes it 10x better. That’s why I liked GKMC, because everything just flowed so well. I agree. Anything else you want to get off your chest? Thank you to everyone who is supporting me on this journey. Shout out to my family, friends and loved ones. Get ready. I am truly blessed. Peace in the middle east.

Yeah, I feel like anyone can pull up a YouTube beat that they like but having a real connection with your producers is definitely a step in the right direction towards being a successful artist. Exactly. Like 40 and Drake. So let’s talk musical influences. I know a big one for you is Drake… Yes of course. And (A$AP) Rocky. Rocky has one of the best flows in the game. His lyrics are “ehhh” but his flow… it’s a big part of him, that’s what I mess with. Rocky’s flow, Drake’s lyrics, Kendrick’s lyrics. That’s what I like, basically that ‘Get Rich or Die Trying’ old 50 Cent. So is that what you’re going for? Oh no no. I’m just going for just me. I’m not trying to copy anyone. I have a real laid back and chill style. I talk about girls, clothes… shit that I like. What makes Drake and Kendrick so good is that they tell a story in their songs, and that’s what sets them

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Sterling got the people going and was quite provocative, to say the least.

Joey Bada$$, Project Sterling, & E.Oks @ Psi U On November 9th, Joey Bada$$ and his Progressive Era (Pro.Era) crew took over Psi Upsilon Fraternity house. Before the Pro.Era take over, Project Sterling and E.Oks initiated a take over of their own.

beat. Sterling ended his set with “Fossin at Wesleyan”, which is over Jay-Z & Kanye’s “Niggas In Paris” beat. Overall, Project Sterling got the people going and was provocative to say the least.

Eric Wilson ‘15, musically known as Project Sterling, graced the stage first. The crowd immediately erupted in cheers as Project Sterling took the stage. He opened his set up with a smooth, melodic jazz heavy track entitled “Shapes of Jazz”. The audience was loving Wilson’s energy and vice versa. With his next track entitled “Big Spender”, which is over Theophilus London and A$AP Rocky’s single, the audience was fully turnt up. Sterling, then, performed “Touch and Tease”, which featured Ngina Shillingford ‘15- musically known as Gin Mason. This new track seemed to be one many in the audience had been anticipating. It was definitely worth the wait as they both held their own over the 90s

Next up was Evan Okun ‘13, musically known as E.Oks. E.Oks is no stranger to the stage and always seems to be a crowd favorite. Evan started his set off with an acapella freestyle. He then performed “Parking Lot Pimpin’”, which got the audience vibing. Next, E.Oks performed “Tropicana” with vocals by Victoria Mathieson ’13. If you have ever seen E.Oks perform, you know how much he enjoys interacting with the crowd and vibing off their energy, which was no different during this set. With the audiences assistance on the chorus, Evan performed “Nasty Mind”. Next assisted by Will Fraker ’14, Evan killed “Your Day”, one of the tracks from his latest project Sleep On It. To pick the energy

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back up, E.Oks performed the favorite “Rehab” with the help of Gianya Breland ’14 on vocals. My favorite track performed during this set was “Teke Teke”, which he brought Jillian Roberts ‘15 on stage to bring a little dance flava. This was a new track E.Oks heard during his summer experience in the Dominican Republic. To close out his set, Evan ended with another track from his latest mixtape entitled “Cataract”, where everyone who had performed with him during his set returned to the stage. By the end of Evan’s set, they had definitely taken over! Though everyone was expecting Joey Bada$$ to hop on stage right after Project Sterling & E.Oks, that was not the case. Pro.Era. affiliates A La Sole, Kirk Knight, and CJ Fly took the stage to give the crowd a taste of what they could do, which was just an added bonus.

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Even though much of their music was not familiar, that didn’t stop the crowd from digging them. Then again, I’m sure many people in the crowd thought one of them was Joey Bada$$. Joey took the stage soon after to accompany CJ Fly with a couple of his tracks and then gave the audience a full dose of Joey Bada$$. Joey performed “Waves”, “Hardknock” accompanied by CJ Fly, “FromdaTomb$” accompanied by Chuck Strangers, and “Funky Ho’$”. He evengave a Wesleyan student the opportunity to beatbox while he and Kirk Knight spit a freestyle. Joey and the Pro. Era crew’s performance lived up to the hype. With the buzz surrounding the entire Beast Coast movement, this young squad is definitely on the up and up. –Mckenzii Webster

DIIV & PAINTED ZEROS @ ECLECTIC The last night before fall break proved to have more than a quiet and empty campus. Eclectic’s last show featured opening act and friend of Bobby Burvant, Eclectic member and organizer of the show, Painted Zeros and DIIV, formally known as DIVE. Painted Zeros is composed of Vassar alums: Katie Lau ’12 on guitar and lead vocals, bassist and vocals Andy Dymond ’12 and drummer Jordan Kaye ’12. According to Bobby Burvant ‘13, show organizer and friend of the band, Vassar alum and lead guitarist, Katie Lau ’12 “is very attractive and very good, I’m afraid she may be even bett er than me at the guitar.” Lau was previously quoted on how she too has anxiety before performing. “There’s always a little bit of anxiety before you go onstage, knowing that you’re about to present yourself to an audience and show them something that you made, but the moment I start playing it vanishes;” Lau says that “[she] feel[s] most comfortable when [she’s] playing music.” When asked to describe PZ’s style, he replied “they are a psychedelic, reverb classic, rock-esque, less polished version of DIIV.” Another student described them as sort of early ‘90s alt rock. When I first arrived, the stage was set, the neon blue and purple lights illuminated the few apathetic looking faces who managed to arrive before 10:30pm. Despite their looks of boredom they also seemed to be quite anxious for the music to begin.

ZONGO JUNCTION & MEN w/ BAD MANNERS @ BuHo accurately, the handful of students spread about the massive space slowly began to grow as the less-polished alternative sounds filled the room. Supposedly, there was a fair amount of technical difficulties (Katie Lau was supposed to have some sort of vocal effects overlay) and at times had to even restart a couple of songs. “A little Diddy about Murder,” their last song topped off the Painted Zeros’ set on a high note with the crowd in full sway and head nodding. Overall, it felt more like a high-grade garage band practice than an opening act but still you could tell they have some serious underrated talent. Matt Fine ’15 said they [Painted Zeros] “were really really good, especially for an opening band, they were really sick.” When DIIV finally hit the stage, the crowd had according to Alex Turner ’14 “exponentially grown.” All of a sudden, DIIV was onstage leading the crowd of over 200 in fist pumping, crowd surfing, and pit moshing. One student who was somewhat familiar with them said that they played the majority of the material on their debut LP, Oshin. Their chill mellowed out semi-electro rock tunes seemed to entrance the crowd to follow DIIV’s every move and seemed especially keen to kick off the fall break with a bang. –Sarah Burkett

The “crowd” or more

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Saturday night at Buddhist House, Zongo Junction and Men with Bad Manners created one of the most intimate, feel-good concert environments that Wesleyan has seen all year. MWBM kicked off the show with their deep, mellow reggae grooves. The group’s lead vocalist and rhythm guitarist, Immanuel Lokwei ’12, brought a roots-reggae vibe to the show with his passionate and vibrant voice. He animated the crowd with wild jumping and dreadlock swinging; his energetic movements and bright vocals seemed to emulate the remarkable stage presence of Bob Marley and Peter Tosh, two legends in the world of Reggae. Julian Gal ’14 carried the rhythm sections with his traditional dubstyle but distinctively complex bass lines. The horn section consisted of Andrew Pfeiffer ’13 on trombone, Noah Rush ’14 on trumpet, and Jeremy Keim-Shenk ’12. These guys and their bright brass sounds brought rays of [musical] sunshine into the room and embodied the band’s warm, Jamaican sound.

mean). The combination of all of these musical styles results in the unique genre of Afrobeat. The Afrobeat style, or more specifically, their unique take on the genre, created a big band feel. The tight rhythm section and the five-person horn section also contributed to this big band vibe. What was most impressive about Zongo Junction though, was their consistent expertise and tightness. Despite the complexity of their songs and the absurd length of their set, I cannot recall a moment in which they messed up. All of this—the infectious, warm reggae of MWBM, and the tight, jazzy jams of Zongo Junction— made Buho’s Halloween show a night to remember. –Jay Sharma

Zongo Junction certainly upped the ante when they stepped on stage. Their jazzy rhythms enlivened the crowd and fueled the skankin‘, jumping, and dancing. Their bright, energetic jams featured a distinctive blend of jazz, funk, and soul music, with palpable West African influences in the rhythmic patterns. These rhythms drew upon the heavy syncopation and polyrhythms inherent in West African drumming (for those of you in Abraham Adzenyah’s class, you know what I

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Joey Bada$$ performs @ Psi U Photo by Kevin Brisco

Up Next We have the senior issue of Waves Magazine, featuring some musically involved members of the class of 2013. We hope to have this issue in print, in addition to the digital copy. Look out for this in late April. Thanks for reading.

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â&#x20AC;&#x153;Remind yourself, nobody built like you, you designed yourself.â&#x20AC;?

Senior issue coming soon, featuring igbee and others.

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