‘The Get Down’ is back for another round. But the Netflix series, which traces roots from its origins in the Bronx, isn’t what you think.

Contrary to popular belief, rap didn’t start in LA. Or Atlanta. Or even Brooklyn. It started in the ravaged slums of late-70s Bronx, where ‘The Get Down’ is set.

But instead of a gritty history, ‘The Get Down’ is actually a musical. That’s right, a musical set against burnt-out buildings, drugs, gang-banging, and dreams that seem hopeless. Yes, ladies and gentlemen, one of the most powerful movements in music emanated from a seemingly hopeless place. And that’s where ‘The Get Down’ takes its inspiration.

If you haven’t been watching this series, you might want to catch up. The first part is 1977, and part two picks up in 1978. Just keep an open mind, and give it a chance. Soon enough, you’ll sink right into this unusual approach.

Basically, ‘The Get Down’ follows four teenagers who have everything against them: Shameik Moore, Justice Smith, Jaden Smith, and Herizen Guardiola. This is their trek, their journey at the beginning.

And here’s a little taste of the musical soundtrack involved. It’s DJ Pho’s ‘The Get Down (The Mixtape)’. The mixtape, which has nearly 750,000 plays, traverses a bunch of different styles from the era.

posted by David Miller (via digitalmusicnews)

Justin Timberlake opened the 2017 Academy Awards with a euphoric performance of his Oscar-nominated hit “Can’t Stop the Feeling.”

Timberlake, in his best suit and tie, delivered the Trolls single as he sauntered down the aisles of the Dolby Theatre and took the stage, where he was joined by a slew of sharp-dressed dancers. The musician delivered the hit with a few special twists, notably tacking on a delightful cover of Bill Withers’ “Lovely Day” at the end.
“I know you know this, Denzel,” Timberlake cracked to Denzel Washington, as he transitioned seamlessly between the two songs.

“Can’t Stop the Feeling” marks Timberlake’s first nomination and the first time he’s performed at the Oscars.

Timberlake is up for the award alongside co-writers Max Martin and Karl Johan Schuster. The pop star executive produced the soundtrack, which features a few originals alongside the film’s stars covering classic songs like Lionel Richie’s “Hello,” Cyndi Lauper’s “True Colors” and Simon & Garfunkel’s “The Sound of Silence.” “Can’t Stop the Feeling” was Timberlake’s first single since his posthumous Michael Jackson collaboration “Love Never Felt So Good” was released in 2014, though he continued to debut singles off his 2013 album The 20/20 Experience — 2 of 2 until 2015.

posted by David Miller (via rollingstone)

DJ Excel makes his debut on Club Killers Radio this week! Excel has proven himself time and time again, drawing upon the rich musical heritage of his Philadelphia upbringing and a cultivated influence from the numerous DJ pioneers that Philly birthed into the culture.

Now based out of Los Angeles’ fast-paced expanse, Excel’s rich stock has kept him in high demand amongst tastemakers and corporate clients like Nike and HBO and Playboy, in addition to regular appearances spanning every nightlife market between the coasts, including residencies in Las Vegas, Chicago, and Atlantic City. Check out his full track list… Continue reading →

Featuring Penelope Cruz’s sister, Monica, the video features the model getting down on the dancefloor with Jay Kay before racing him in vintage cars down a picturesque stretch of highway.

The track has all the hallmarks of Jamiroquai’s future funk sound, anchored by a disco groove and sugar-sweet vocals.

‘Automaton’ is due out on March 31 with a world tour promoting the album to follow.

posted by David Miller (via mixmag)

So let’s take a look at the type of DJing out there. You could be a high flying, world-touring DJ/producer. Totally differently, you could be a high-class wedding DJ, or a more “all-rounder” mobile DJ. Or, maybe you’re the type of DJ who just loves playing in cool bars or lounges, specialising in setting the mood rather than getting people dancing. Then again, you could be a highly enthusiastic “play anywhere” type of DJ, just as happy rocking your office Christmas party as the opening of your local clothes shop. Maybe you could be a radio DJ, a club resident, or even taking care of the playlists for your local restaurant scene.

There are, indeed, many ways of earning some extra cash from programming and playing music for people to enjoy in public! And I’ll bet that among those there’s one type that you particularly feel you are, or at least, want to be.

Now, what I’m asking you to do here as well as chase THAT type of gig is pick another type of DJing, and make damned sure you chase some gigs in that one, too. If you’re a club resident, try some mobile work. If you’re a party DJ, try some web radio. If you’re a wedding-style DJ, try a gig where you’ll be expected to beatmix, and so on. Be imaginative. But give it some thought. You will help yourself hugely in your DJing by doing this. Here are just a few reasons why…

Why you should play more and varied gigs

1. You’ll get more gigs – Stands to reason that the more flexible you are as a DJ, the more gigs you’ll end up getting. Especially early on in your career, think hard before saying “no” to anything. Apply what I call the “10% rule”, which says that if even 10% of you wants to do a gig, do it! Dreamers talk, doers do. Doing it makes you right. Gigs make you a DJ, not practising in your bedroom

2. You’ll earn more – Again, stands to reason: The more gigs you play, the more money you’re able to earn. Also, some types of gigs pay more than others, and so if you try and introduce a balance in what you go for, you can considerably improve your earning potential. Do you play great underground basement clubs for less than 50 people, that earn you nothing but that let you play the exact music you love? Why not take some mobile bookings that pay you hundreds but mean you have to play music you don’t, too? It’s all DJing…

3. You’ll learn more – “Earn more, learn more.” Got a nice ring to it, hasn’t it? Fact is that unless you’re pushing yourself outside of your comfort zone, you’re not growing as a DJ – and standing still is actually going backwards – to succeed in anything, you have to be getting better all the time. Scared of playing pop music? DJ a commercial bar. Can’t set up equipment? Learn how to play mobile gigs. Can’t mix? Take a club warm-up. You get the idea. Booking unfamiliar gigs has a strange knack of making you do the work you need to do to improve (read: to stop yourself making a fool of yourself)

4. You’ll get referrals – You want to know why nobody gets booked from giving out mixtapes (they don’t, by the way)? It’s because a mixtape proves nothing about you. It doesn’t show how you behave, how reliable you are, how well you can read a crowd, whether you know what volume to play at, how easy going you are (or otherwise). Watching you DJ tells someone all of those things. Just ‘cos it isn’t your preferred type of gig doesn’t mean you won’t start chatting to people who may well be able to give you work more in line with what you want

5. People are expecting you to anyway – When you tell people you’re a DJ, they take you at face value. They think, y’know, that you’re a DJ. So it’s only natural that when someone wants a DJ, you may end up getting asked. So it goes something like this: “You’re a DJ, aren’t you..” “Yes…” “My cousin needs someone to play her birthday party, would you be interested?” “Er no, actually I’m a deep house DJ, I don’t do parties” “Oh”. Wouldn’t it be better to take a few of those gigs, if only to make the people around you happier and get them telling their friends that you’re the real deal?

FINALLY…

This goes further than just playing a wider choice of gigs than any narrow definition you may have, than any exclusive idea you have about yourself as a DJ. UK veteran DJ Mr C, who has had a long and successful career in DJing and the music industry, puts it better than I ever could:
“If you want to become a DJ, you have to be the full package and dedicate yourself 100% to the art. This includes making music, running your own events, running your own record label, having a strong image, being social, and enjoying the riches of our wonderful community. “.
Can’t manage all that just yet? Then start by just taking one more type of gig than the one you like best. Baby steps.

Posted by Phil Morse (via digitaldjtips)

As this pop-up also serves as a mini museum of sorts, an unprecedented number of set pieces, props, wardrobe, photography and artwork are also on display, offering a unique experience for Daft Punk’s loyal following.

With the shop being established in Los Angeles, it poses an issue for many looking to get a glimpse at Daft Punk’s most fabled items. That said, the good people at Highsnobiety took a film crew inside and captured a bit of the action.

Along with revealing the legendary gear to the public, the shop also showcases numerous merch items, including limited edition apparel from artist Gosha Rubchinskiy among others, plus the D.P.O.M. online product range with New Era Hats, action figures, KWay Jackets and more.

Watch the video below to see what’s going down at the Daft Punk pop-up and be sure to head down there soon as the store closes this weekend.

posted by David Miller (via mixmag)

The Roots kicked off the NBA All-Star Game in New Orleans on Sunday (Feb. 19) with a star-studded basketball musical called The Evolution of Greatness.

With the help of Hamilton actor Daveed Diggs, DJ Jazzy Jeff, actor Michael B. Jordan, Jidenna, Run D.M.C.’s Darryl McDaniels and others, the Roots took over the Smoothie King Center to examine the history of the game.

“We live in a culture that has always been obsessed with one age-old question: who’s the best?” the Roots’ Black Thought said opening the number — which the band created — setting up an era-by-era look at basketball’s greatest players and the sport’s development over time.

McDaniels spoke with Billboard about the performance, highlighting its educational value for a younger generation who may not know about the NBA’s rich history.

“[The Roots] wanted to do something that wasn’t just based on the entertainment value,” he said. “While you’re entertaining people, you should be able to educate, inspire, motivate and teach, which is the basis of hip-hop.”

Posted by David Miller (via billboard)

Renowned around the world, Dimitri Vegas & Like Mike are no strangers to the spotlight, and putting on the biggest shows every year. Through their House of Madness residency in Ibiza or their mainstage set’s at Tomorrowland, fans all over the world travel far and beyond to witness the Belgian brothers in action themselves.

With their performing character funnelled through their annual concept show, Bringing The Madness, its latest edition across four nights at the Sportpaleis Antwerp, they saw over 80,000 fans join the brothers for arguably the biggest party of the year. Now online in its full uncut form, the HD release of the official Bringing The Madness set is now online.

Reflecting their pulling power, even with the loss of their No.1 ranking on the DJ Mag annual Poll, the show itself was the biggest LED production in the world. Partnering with their closely associated Tomorrowland family, the show itself featured guests appearances from the likes of Lost Frequencies, Afrojack and Steve Angello.

The two and half hours of unadulterated, dance-floor insanity, utilised some of the most impressive LED combinations the electronic dance music scene has seen.

posted by David Miller (via weraveyou)

Jidenna is broke but “fresh as hell” in his new video for “The Let Out.” The singer-rapper hops in his clunky Honda Civic and cruises to a nightclub where the party is in the parking lot. “Heard the shit was jumpin’ like the wall that border Mexico,” he sings over a booming trap beat.

Jidenna – one of Rolling Stone’s “New Artists You Need to Know” from 2015 – emerged that year as the first signee from Janelle Monáe’s Epic Records imprint, Wondaland Records. He broke out with Monáe collaboration “Yoga” and his debut solo single “Classic Man,” which President Obama featured on his eclectic summer 2016 playlist.

posted by David Miller (via rollingstone)

UK duo Disclosure announced today that they will be taking a break from music in 2017.

Revealing the news via Twitter, Guy and Howard Lawrence shared a written letter thanking their fans for their support during the past seven years.

Aside from a few special appearances, including the next edition of their Wild Life festival, the pair are “going to be taking some time out and enjoying some much needed rest.”

Fans don’t need to fret, however, as the hiatus won’t last for long. The brothers finished off the letter reassuring their following that they will be back soon.

Read their letter in full below.

posted by David Miller (via mixmag)

The 2017 Grammy Awards took place at the Staples Center in Los Angeles tonight. Adele was this year’s big winner, taking home Album of the Year and Best Pop Vocal Album for 25, while “Hello” won Record of the Year, Song of the Year, and Best Pop Solo Performance for “Hello.” Chance the Rapper won the first big award of the night—Best New Artist—as well as Best Rap Album for Coloring Book, and Best Rap Performance for “No Problems.” Beyoncé won Best Urban Contemporary Album for Lemonade and Best Music Video for “Formation,” but was shut out in the Album of the Year, Record of the Year, Song of the Year, Solo Pop Performance, Rap/Sung Performance, Rock Performance, and Best Music Film categories.

David Bowie’s Blackstar won all of the five awards for which it was nominated, including Best Alternative Album and Best Engineered Album. Art director Jonathan Barnbrook won Best Recording Package for his ever-enigmatic Blackstar design, while the title track won Best Rock Song and Best Rock Performance.

During the pre-show awards, Drake won Best Rap Song and Best Rap/Sung Performance for “Hotline Bling.” Solange’s A Seat at the Table song “Cranes in the Sky” won Best R&B Performance. Sturgill Simpson won Best Country Album for A Sailor’s Guide to Earth, while Kirk Franklin won Best Gospel Album for Losing My Religion. On another note, Justin Timberlake and co-writers Max Martin and Shellback won Best Song Written for Visual Media for their insipid Trolls theme song “Can’t Stop the Feeling!”

Short list:

Album of the Year:
25 — Adele (winner)

Record of the Year:
“Hello” — Adele (winner)

Song of the Year:
“Hello” — Adele Adkins & Greg Kurstin, songwriters (Adele) (winner)

Best Rap Album:
Coloring Book — Chance the Rapper (winner)

Best Urban Contemporary Album:
Lemonade — Beyoncé (winner)

Best Pop Duo/Group Performance:
“Stressed Out” — Twenty One Pilots (winner)

Best Pop Vocal Album:
25 — Adele (winner)

Best Pop Solo Performance:
“Hello” — Adele (winner)

Best Dance Recording:
“Don’t Let Me Down” — The Chainsmokers feat. Daya (winner)

Best Dance/Electronic Album:
Skin — Flume (winner)

Best Rap/Sung Performance:
“Hotline Bling” — Drake (winner)

Best Rap Song:
“Hotline Bling” — Aubrey Graham & Paul Jefferies, songwriters (Drake) (winner)

Best Rock Performance:
“Blackstar” — David Bowie

Best Metal Performance:
“Dystopia” — Megadeth (winner)

Best R&B Song:
“Cake By the Ocean” — Hod David & Musze, songwriters (Maxwell) (winner)

Best Country Song:
“Humble and Kind” — Lori McKenna, songwriter (Tim McGraw) (winner)

posted by David Miller (via spin)

Months after the release of his third album 24K Magic, Bruno Mars made his return to the Grammys to perform “That’s What I Like.” The singer will embark on on the 24K Magic World Tour next month.

posted by David Miller (via spin)