I'm sure this video resonates with those that received their introduction to quintessential nineties rap through vinyl records and tape decks. My first rap album was Puff Daddy's No Way Out, on CD (fml), and it's a shame to Read more
I was in bed reading the The Movie Goer by Walker Percy the other night when "Dolores" came up on a recent playlist I made. I had to put down the American classic and listen a little closer to Chase Weinacht's Read more
Wordplay Saturday. You might be out in the sun, swimming or riding your bicycle, but I'm the house listening to rappers Toony Tunes and Captn Dan. I don't know where they came from, Earmilk.com put them in my ears, Read more
The last time I saw Tom Cruise in a movie was in Michael Mann’s stunning Collateral. Beyond Mann’s direction, the acting, writing, editing and cinematography was the integral role that music played in pacing and elevating the picture:
Boom, never gets old. I am not sure if Cruise’s latest film, Oblivion, will deliver the same symbiotic relationship between music and storytelling; however, with M83 doing the score I’ll be watching–or at least listening:
The original is fire. This remix, not too shabby. Anthony Gonzalez, the truth. Air Max 1′s, the dopest shoe. Ever. Puddles aka The Duck, so much swag I am forced to use the word swag. Portland’s cityscape at night, unparalleled. West coast, best coast. Organic cotton, so soft and so supple. Steve McQueen, they just don’t make ‘em like him anymore.
I am pretty sure that’s the message to take from this song.
Aisle or window seat? Window. Always. Air travel never ceases to amaze me. Anxiety meets excitement watching the tarmac turn from stubborn asphalt to rapids of gray and flashing yellow. Some trips more exciting than others, but there is something innately prospective about hopping on a plane and speeding towards takeoff.
In that split-second, when the front wheels have lifted off the ground, the hind wheels clutch the ground, asking, “are you sure?”