Day: September 25, 2016

  • Production Notes: DJ Khaled’s “Major Key”

    “Major Key” is DJ Khaled’s ninth studio album, and the first DJ Khaled album that I haven’t rolled my eyes and turned off within the initial period of listening.

     

    There’s a lot of interesting things happening in this album…. No, really. This album’s production is on point: The loudness of the percussion rivals Dr.Dre’s “2001, The Chronic”, the autotune isn’t abused, and the album actually has theme, rather than just a slew of club bangers. Which is 500% more than I would ever expect from the living meme himself.

     

    The third track on the album, “Nas Album Done” features Nas (duh), with Khaled, and Cool & Dre on production. If you’re a fan of Lauryn Hill (you should be), then you’ll love this track. The pitched-up sample of “Fu-gee-la” isn’t abused at all—surprisingly. Hill’s voice mixed with the 808 bass and stuttering hi-hats works so well that I’m inclined to feel that I traveled to another dimension where The Fugees were a Chicago drill group.

    The DJ Khaled ad-lib alert starts in the intro of the track (“Classic shit”, “timeless”, “iconic”), but once

    you realize that Khaled is talking about the much-respected Nas, and not himself for once, you realize these adlibs aren’t the most corny thing in the world. In fact, they actually compliment the instrumental, along with Nas’ lyrical murder.

     

    Another highlight is “Holy Key”, featuring Big Sean, Kendrick, and Betty Wright. The instrumental begins with the main horn sample under enough DAW effects to make it sound like an excerpt from a post-rock album. This quickly transitions into the main base of the beat.

    The cymbal crashes from the original sample are adopted to keep the high intensity of the track moving. The beat repeats every 2 bars, you would think that it becomes monotonous rather quickly. It doesn’t. The horn/synth line is catchy enough to warrant repeated listens, and the track remains extremely dense with a busy sample, sliding 808’s, and panned choir voices. The hook of this track is the type you don’t want to sing along with, because your voice will never match the powerful pipes of 70’s soul star Betty Wright. This was done well enough to make me think that this wasn’t just recorded in a booth. Surprisingly, DJ Khaled’s voice is also in here, and actually works as an aid to this unforgettable track.

     

    Other key tracks include: Jermaine’s Interlude, Work for It, Don’t Ever Play Yourself.

     

    DJ Khaled has heavy involvement on almost every track on this album, compared to his last album that he was only involved on a handful of tracks. This album surely surpasses his previous efforts, but does this mean that Khaled actually has some studio chops? Eh, maybe. I can at the very least say that the next Khaled album will have me listening, even if it is only for the memes.

  • The Art of Failure: Winning @ Losing

     

     

    The art of failure is not like most other mediums. Those who have talent for it find it accidentally. They decide to write for the Ath and end up face planting on their keyboard, and still try to hand all those pages of the letter “u” to their editor. They buy rust buckets without knowing they need car insurance or registration for the hunk of junk they just drove home. They are wholly inebriated before an early morning meeting with their advisor. Rightfully you ask :“why is this art?”

    The point of art is to enrich the human experience—to feel something that someone else created. I don’t believe that failures are entirely at the fault of people experiencing them. As such, I conclude that failure is a kind of reverse performance art. As it happens, you are opened to new ideas, experiences, and emotions. The power that failure has to elicit these feelings is beyond any other medium. Your failures stick with you far beyond your emotional attachments; to your favorite music, show, movie, or any other medium of art. Failures are turning points; they usher in growth, and catalyze change. As such: failures must be art.

    Today we live in a postmodern world. Postmodernism is built around the key idea that no idea, no media, no art – is inherently more valuable than any other. It’s the ultimate equalizer for the human condition. Once you see your life as an art, you can easily make the claim under postmodernism that the time you totally botched the multiple choice section has the same inherent value as the entirety of the results when you do a Google image search for “funny images”. Subjective value rules in a postmodern society. This article doesn’t have value because its published, it has value because you’ve read it, connected with it, you gave it value, and that is all it has.

    As you begin to see your failures as an art your life changes. You see yourself less as the director and more as the audience. Which is what you really are. You have some control, but you’re calling in requests, you aren’t the disc jockey. This shouldn’t be a reason to let off the effort you put in, because goddamn it you want to hear ‘Everybody’ by the Backstreet Boys and you can goddamn request it. If it happens: you didn’t make it happen, if it doesn’t: you didn’t fail to make it happen. Your part is limited to the request; the result is far from your hands. All you can do is grab life by the collar and yell into the abyss: “This is what I want, you bastard!”

    So the next time you nearly trip on those stairs that are the wrong size for you to comfortably take two at a time, the next time you hit “reply-all”, and the next time you think you fucked up beyond all repair. Take a second, lean back in your chair, and probably fall off it (because it’s just one of those days), and think about this article. About how you aren’t even sure if it makes sense, about what kind of idiot doesn’t know about car insurance. Then think to yourself: “Well shit, at least I’m not THAT bad.”

  • Aesthetic: And Where to Find It

     

    One of the terms you familiarize yourself with when you begin to decorate your own house is ‘aesthetic’. I have yet to make out a coherent idea of what it means for a living space to be aesthetic. Scouring Pinterest until my eyes glazed over left me even more aimless in imbibing the Nirvana-esque harmony that only living in such an environment could provide; however, I do think that I have a weak grasp of the guiding principles that can make your living space aesthetically pleasing.

     

    1. I) Throw everything out! Including yourself

    If there’s anything minimalism has taught me, it’s an irrational urge to get rid of any clutter that passes my vision. There is an interesting dichotomy between the things you should get rid of in your home and the things you shouldn’t: you should keep objects that are visually unappealing and inconvenient to move, in order to achieve a look that is in direct contrast to what a ‘cultured’ or ‘normal’ person is accustomed. What do those louts know about comfort anyway? An ardent minimalist refuses to take the opinion of any plebeian that refuses to sleep on a bed made from pallets and crushed milk packages. An uncluttered space is an uncluttered mind. Believe me: you’ll never miss the color wheel once you decide to permanently switch to a monochrome color palette.

     

     

    1. II) Be practical! (unless being practical is unaesthetic)

    There are many changes that can be made around your home to increase practicality and functionality. Take your refrigerator for example: it’s big, it’s bulky, and the thing manages to take up an obscene amount of space in a room that could be used for other activities. Is this really a price worth paying to keep your Cheetos cold? Of course not! Rip its doors off, and put it in your bathroom. Boom! Instant second bathtub!

     

    III) ABC: Always Be Cleaning

    Let us assume that you have created the perfect aesthetic for your home. Your primary goal should be to sacrifice any shred of dignity you have (even after hollowing out your refrigerator to make a bathtub) and spend the rest of your miserable life cleaning the space! Aesthetic demands complete subservience to the state (or the idea of a ‘clean’ house)

     

    At this point, there may be an idea developing in your head of what “aesthetic” is. Well, you should completely erase it from your memory. As Pinterest explains it: aesthetic is supposed to be evanescent and nondescript. An aesthetic mind should be filled with blurs of pallets, string lights, vinyl players, and potted plants whizzing rhythmically to the tune of a pothead banging Djembes in a Swedish Post-Punk Fusion band. If you know and understand that orange and blue are opposites in the color wheel, you’re a lost cause. You might as well settle into a life of culture and comfort in conforming peasantry.

     

    But at the end of the day, decorate your house the way you want to. Don’t go scouring Pinterest or Instagram for inspiration. Don’t spend your time creating someone else’s vision; live in your own one.

Betzillo positions itself as a versatile gaming hub where structured bonuses and adaptive gameplay mechanics support both short sessions and extended play.

Built with a focus on innovation, Spinbit integrates modern casino architecture with rapid transactions, appealing to players who value speed and digital efficiency.

Ripper Casino emphasizes bold entertainment through high-impact slot titles and competitive promotions crafted for risk-oriented players.

A friendly interface and stable performance define Ricky Casino, offering a casual yet reliable environment for a wide spectrum of gaming preferences.

King Billy Casino channels classic casino spirit into a modern platform, delivering recognizable themes supported by contemporary reward systems.

Immersive visuals and layered slot mechanics are at the core of Dragonslots, creating a narrative-driven casino experience.

Lukki Casino appeals to players seeking direct access and minimal friction, focusing on fast loading times and intuitive controls.

Casinonic provides a structured and dependable gaming framework, blending modern slots with transparent operational standards.