Podcasts about Rostrum Records

Candyman and Cultural Contradictions: Grateful Dead's Egypt AdventureIn this episode of the Deadhead Cannabis Show, host Larry Mishkin highlights two key topics: a favorite Grateful Dead show and his recent experiences at Goose concerts. First, Larry talks about an iconic Grateful Dead concert that took place on September 16, 1978, at the Sun et Lumiere Theater in Giza, Egypt, near the pyramids and the Sphinx. This event is special not just for its unique location but also for featuring collaborations with Egyptian musician Hamza El Din, who joined the Dead for a jam session. The Egypt shows are remembered for their blend of American rock and ancient Egyptian culture, marking a historic moment in music history.Larry also reflects on the song "Candyman" by the Grateful Dead, exploring its themes of melancholy and contradiction within the counterculture of the 1960s. He discusses how the song portrays a sympathetic yet flawed character, and how it resonates with the complex dynamics of that era, blending elements of peace, revolution, and criminality.Switching gears, Larry shares his recent experiences attending two Goose concerts in Chicago. He highlights Goose's cover of Bob Seger's "Hollywood Nights" and talks about the band's growing popularity. Larry attended the concerts with family and friends and praises the outdoor venue in Chicago, noting its impressive atmosphere and the city's skyline as a backdrop. He fondly recalls his connections to Bob Seger's music from his youth and marvels at how younger bands like Goose continue to bring classic rock into their performances.   Grateful DeadSeptember 16, 1978  (46 years ago)Son Et Lumiere Theater (aka Sphinx Theatre)Giza, EgyptGrateful Dead Live at Sphinx Theatre on 1978-09-16 : Free Borrow & Streaming : Internet Archive Giza (/ˈɡiːzə/; sometimes spelled Gizah, Gizeh, Geeza, Jiza; Arabic: الجيزة, romanized: al-Jīzah, pronounced [ald͡ʒiːzah], Egyptian Arabic: الجيزةel-Gīza[elˈgiːzæ])[3] is the third-largest city in Egypt by area after Cairo and Alexandria; and fourth-largest city in Africa by population after Kinshasa, Lagos, and Cairo. It is the capital of Giza Governorate with a total population of 4,872,448 in the 2017 census.[4] It is located on the west bank of the Nile opposite central Cairo, and is a part of the Greater Cairo metropolis. Giza lies less than 30 km (18.64 mi) north of Memphis (Men-nefer, today the village of Mit Rahina), which was the capital city of the unified Egyptian state during the reign of pharaoh Narmer, roughly 3100 BC. Giza is most famous as the location of the Giza Plateau, the site of some of the most impressive ancient monuments in the world, including a complex of ancient Egyptian royal mortuary and sacred structures, among which are the Great Sphinx, the Great Pyramid of Giza, and a number of other large pyramids and temples. Giza has always been a focal point in Egypt's history due to its location close to Memphis, the ancient pharaonic capital of the Old Kingdom. Son et lumière (French pronunciation: [sɔ̃n e lymjɛʁ] (French, lit. "sound and light")), or a sound and light show, is a form of nighttime entertainment that is usually presented in an outdoor venue of historic significance.[1] Special lighting effects are projected onto the façade of a building or ruin and synchronized with recorded or live narration and music to dramatize the history of the place.[1] The invention of the concept is credited to Paul Robert-Houdin, who was the curator of the Château de Chambord in France, which hosted the world's first son et lumière in 1952.[1] Another was established in the early 1960s at the site of the Great Pyramid of Giza in Egypt. One of the Seven Wonders of the Ancient World and a star attraction in Egypt, the pyramids of Giza offer a completely different experience at night, when lasers, lights, and visual projections bring their history to life. Here's how to visit the pyramids after dark. The sound and light show at Giza takes place every night for 55 minutes by the Great Sphinx of king Kephren, it is a laser show with history narration of your own language.  Kyle FitzgeraldThe National Standing under a total lunar eclipse at the foot of ancient power by the Great Pyramid, the Grateful Dead were concluding the final show of their three-night run at the Sound and Light Theatre in Giza in 1978.His hair in pigtails, guitarist Jerry Garcia wove the outro of the percussive Nubian composition Olin Arageed into an extended opening of Fire on the Mountain. “There were Bedouins out on the desert dancing … It was amazing, it really was amazing,” Garcia said in a 1979 radio interview. The September 14-16 shows in Giza were the ultimate experiment for the American band – the first to play at the pyramids – known for pushing music beyond the realms of imagination. And just as the Grateful Dead were playing in the centre of ancient Egypt, a landmark peace treaty was being brokered in the US that would reshape geopolitics in the Middle East. For as the Grateful Dead arrived in Egypt as cultural ambassadors, on the other side of the world US president Jimmy Carter had gathered his Egyptian counterpart Anwar Sadat and Israeli prime minister Menachem Begin to broker the Camp David Accords that led to an Egyptian-Israeli peace settlement. “No show that they have ever done has the international significance of their three performances in Egypt,” said Richard Loren, the Grateful Dead's manager from 1974-1981. “When we left the stage on the last show, everybody was high on acid, and the first news that came on: They signed the Camp David agreement. Sadat, Begin and Carter signed the agreement in Camp David. This happened during those three days.” Loren, who produced the shows, credited his friendship with Jefferson Airplane vocalist Marty Balin, who had a keen interest in Egypt, for developing his own fascination with the country. “The lead singer for Jefferson Airplane is the seed that resulted in the Grateful Dead playing in Egypt,” he said. Loren recalled riding a camel around the pyramid site during a three-week visit in 1975. To his right were the pyramids. In front of him, the Sphinx. “And I look down and I see a stage, and a light bulb went off in my head immediately. The Grateful Dead ought to play in Egypt,” he said. Loren, associate Alan Trist and Grateful Dead bass player Phil Lesh formed a scouting committee that would be responsible for liaising with American and Egyptian officials, Secret Service members and Egyptian first lady Jehan Sadat to allow the Grateful Dead to play in front of the pyramids. After the mission to the proposed site, meetings in Washington and Egypt, discussions with government officials and a party for the consulate, the band still needed to convince officials the purpose of the show was to make music – not money. And so the Dead paid their own expenses and offered to donate all the proceeds.Half would be donated to the Faith and Hope Society – the Sadats' favourite charity – and the other to Egypt's Department of Antiquities. “It was a sales pitch by the three of us – Alan, Richard and Phil,” Loren said. A telegram was sent on March 21, 1978, confirming the Grateful Dead would perform two open-air shows at the Sound and Light in front of the Great Pyramid and Sphinx. They would go on to play three shows. Describing the planning, bassist Phil Lesh said, "It sort of became my project because I was one of the first people in the band who was on the trip of playing at places of power. You know, power that's been preserved from the ancient world. The pyramids are like the obvious number one choice because no matter what anyone thinks they might be, there is definitely some kind of mojo about the pyramids."[11]Rather than ship all of the required sound reinforcement equipment from the United States, the PA and a 24-track, mobile studio recording truck were borrowed from the Who, in the UK. The Dead crew set up their gear at the open-air theater on the east side of the Great Sphinx, for three nights of concerts. The final two, September 15 & 16, 1978, are excerpted for the album. The band referred to their stage set-up as "The Gizah Sound and Light Theater". The final night's performance coincided with a total lunar eclipse. Drummer Bill Kreutzmann played with a cast, having broken his wrist while horseback riding. The King's Chamber of the nearby Great Pyramid of Giza was rigged with a speaker and microphone in a failed attempt to live-mix acoustical echo.[12] Lesh recalled that through the shows he observed "an increasing number of shadowy figures gathering just at the edge of the illuminated area surrounding the stage and audience – not locals, as they all seem to be wearing the same garment, a dark, hooded robe. These, it turns out, are the Bedouin, the nomadic horsemen of the desert: drawn in by the music and lights... each night they have remained to dance and sway rhythmically for the duration of the show."[13] Kreutzmann recalls "Egypt instantly became the biggest, baddest, and most legendary field trip that we took during our entire thirty years as a band... It was priceless and perfect and, at half a million dollars, a bargain in the end. Albeit, a very expensive bargain."[14] The concerts weren't expected to be profitable (proceeds were donated to the Department of Antiquities and a charity chosen by Jehan Sadat). Costs were to be offset by the production of a triple-live album; however, performances did not turn out as proficient as planned, musically, and technical problems plagued the recordings.[10] The results were shelved as the band focused instead on a new studio album, Shakedown Street.   INTRO:                     Candyman                                    Track #3                                    2:54 – 4:50 From Songfacts:  the American Beauty album is infused with sadness. Jerry Garcia's mother was still seriously injured and her still fate uncertain following an automotive accident, while Phil Lesh was still grieving his father's passing. The melancholic aura comes through in "Candyman" as much as any other song on the album.The effect of the melodic sadness on the song's context is interesting, to say the least. It makes everything about the candyman character in the song seem sympathetic, when the lyrics suggest that he is anything but. Dead lyricist Robert Hunter said he certainly didn't resonate with the character's penchant for violence (more on that below).The Random House Historical Dictionary of American Slang defines the term "candyman" primarily as a drug dealer and secondarily as a man who is lucky in general and lucky with women in particular. The latter version seems to fit better with the song, as the character announces his arrival to all the women in town and tells them they ought to open their windows (presumably to let him in). While there's no evidence to suggest that Hunter was getting at anything too deep with the song, "Candyman" does provide an interesting perspective on the contradictions of the 1960s counterculture. Mixed in with all the peaceniks and flowers were hard-drug pushers, violent revolutionaries, and common criminals. By 1970, this stew had long since become so mixed-up that its attendant parts could no longer be cleanly extracted from each other. The fact that American Beauty came out in the midst of the Manson Family "hippie cult killings" trial says just about all that needs to be said about the complicated reality that had arisen out of the 1960s counterculture.Beyond all that, though, the outlaw song that romanticizes criminality is a long-held and cherished tradition in American music. With American Beauty, Jerry Garcia wanted the Dead to do something like "California country western," where they focused more on the singing than on the instrumentation.  So the sang Hunter's lyrics: Good mornin', Mr. BensonI see you're doin' wellIf I had me a shotgunI'd blow you straight to HellThis is an oddly violent line for a song by the Grateful Dead, who sought to embody the '60s peace-and-love ethos about as sincerely and stubbornly as any act to come out of the era. It always got a raucous applause from the audience, too, which seems equally incongruous with the Deadhead culture.Hunter was bothered by the cheers. In an interview published in Goin' Down the Road by Blair Jackson (p. 119), he brings this phenomenon up when asked if any of his songs has been widely misinterpreted. He mentions that he had first witnessed an audience's enthusiastic response to violence while watching the 1975 dystopian film Rollerball and "couldn't believe" the cheers.Hunter tells Jackson that he hopes fans know that the perspective in "Candyman" is from a character and not from himself. He stresses the same separation between himself and the womanizer in "Jack Straw." As far as the Mr. Benson in "Candyman," David Dodd in the Annotated Grateful Dead Lyrics makes a great case for that being Sheriff Benson from Leadbelly's "Midnight Special" (who may very well have been based on a real sheriff). If true, this might place "Candyman" in Houston, Texas (though Hunter might not have had anything so specific in mind). Almost always a first set song.  Often featured in acoustic sets, back in the day. This version features this awesome Garcia solo that we were listing to.  Maybe he was inspired by the pyramids or whatever magical spirits might have come out from within to see this American band the Grateful Dead.  Hopefully, it made those spirits grateful themselves. Played:  273First:  April 3, 1970 at Armory Fieldhouse, Cincinnati, OH, USALast:  June 30, 1995 at Three Rivers Stadium, Pittsburgh, PA, USA  SHOW No. 1:         Hamza El Din                                    Track #10                                    7:30 – 9:00 Hamza El Din (Arabicحمزة علاء الدين) (July 10, 1929 – May 22, 2006) was an Egyptian Nubian composer, oudplayer, tar player, and vocalist. He was born in southern Egypt and was an internationally known musician of his native region Nubia, situated on both sides of the Egypt–Sudan border. After musical studies in Cairo, he lived and studied in Italy, Japan and the United States. El Din collaborated with a wide variety of musical performers, including Sandy Bull, the Kronos Quartet and the Grateful Dead. His performances attracted the attention of the Grateful Dead, Joan Baez, and Bob Dylan in the 1960s, which led to a recording contract and to his eventual emigration to the United States. In 1963, El Din shared an apartment in the San Francisco Bay Area with folk musician Sandy Bull. Following his appearance at the Newport Folk Festival in 1964, he recorded two albums for Vanguard Records, released 1964–65. His 1971 recording Escalay: The Water Wheel, published by Nonesuch Records and produced by Mickey Hart, has been recognized as one of the first world music recordings to gain wide release in the West, and was claimed as an influence by some American minimalist composers, such as Steve Reich and Terry Riley, as well as by Grateful Dead percussionist Mickey Hart.[1] He also performed with the Grateful Dead, most famously during their Egypt concerts of 1978. During these three shows, Hamza El Din, performed as a guest and played his composition "Ollin Arageed" He was backed by the students of his Abu Simbel school and accompanied by the Grateful Dead.  After Egypt, hamza el din played with the dead in the U.S. On October 21st, back in 1978, the Grateful Dead were in the midst of wrapping up a fiery five-night run at San Francisco's Winterland Ballroom. This string of shows was particularly special for the band, as they marked the first shows played by the Dead following their now-legendary performances near the Great Pyramid of Giza in Egypt a month prior. n an effort to bring their experiences in Northern Africa home with them to share with their fans, the Dead's '78 Winterland run saw sit-ins by Egyptian percussionist, singer, and oud player Hamza El Din. On October 21st, El Din opened the show solo, offering his divine percussion before the Grateful Dead slowly emerged to join him for an ecstatic rendition of “Ollin Arageed”, a number based off a Nubian wedding tune, before embarking on a soaring half-acoustic, half-electric jam, that we will get to on the other side of Music News: MUSIC NEWS: Lead in music:                  Goose — "Hollywood Nights" (Bob Seger) — Fiddler's Green — 6/8/24 (youtube.com)                  0:00 – 1:10             Goose covering Bob Seeger and the Silver Bullet Band's Hollywood Nights, this version from earlier this year but Goose did play it Friday night in Chicago at the Salt Shed's Festival stage outside along the Chicago river with the Skyline in the background. Very impressive. "Hollywood Nights" is a song written and recorded by American rock artist Bob Seger. It was released in 1978 as the second single from his album, Stranger in Town. Seger said "The chorus just came into my head; I was driving around in the Hollywood Hills, and I started singing 'Hollywood nights/Hollywood hills/Above all the lights/Hollywood nights.' I went back to my rented house, and there was a Time with Cheryl Tiegs on the cover...I said 'Let's write a song about a guy from the Midwest who runs into someone like this and gets caught up in the whole bizarro thing.'" [1] Seger also said that "Hollywood Nights" was the closest he has had to a song coming to him in a dream, similar to how Keith Richards described the riff to "(I Can't Get No) Satisfaction" coming to him in a dream. Robert Clark Seger (/ˈsiːɡər/SEE-gər; born May 6, 1945) is a retired American singer, songwriter, and musician. As a locally successful Detroit-area artist, he performed and recorded with the groups Bob Seger and the Last Heard and the Bob Seger System throughout the 1960s, In 1973, he put together the Silver Bullet Band, with a group of Detroit-area musicians, with whom he became most successful on the national level with the album Live Bullet (1976), recorded live with the Silver Bullet Band in 1975 at Cobo Hall in Detroit, Michigan. In 1976, he achieved a national breakout with the studio album Night Moves. On his studio albums, he also worked extensively with the Alabama-based Muscle Shoals Rhythm Section, which appeared on several of Seger's best-selling singles and albums. A roots rock musician with a classic raspy, powerful voice, Seger is known for his songs concerning love, women, and blue-collar themes, and is one of the best-known artists of the heartland rock genre. He has recorded many hits, including "Night Moves", "Turn the Page", "Mainstreet", "Still the Same", "Hollywood Nights", "Against the Wind", "You'll Accomp'ny Me", "Shame on the Moon", "Roll Me Away", "Like a Rock", and "Shakedown", the last of which was written for the 1987 film Beverly Hills Cop II and topped the Billboard Hot 100 chart. He also co-wrote the Eagles' number-one hit "Heartache Tonight", and his recording of "Old Time Rock and Roll" was named one of the Songs of the Century in 2001. Which leads us to: Goose plays three nights in Chicago: Wednesday, Thursday and Friday night at the Salt Shed.  I caught the Thursday and Friday show.  Went with my wife on Thursday and hung out with good friends John and Marnie, her brothers Rick and Joel, Stephan and others.  Friday with my son Daniel and good buddy Kevin who got us rock star parking and even more impressively killer seats dead center at the bottom of the grandstands in the back of the floor, a few feet off the floor and dead center so we could see everything, hear everything and have a place to sit and rest for a few minutes when needed. I have to say, I've now seen Goose five times and enjoy them more and more.  Great musical jams, great light show, lots of good energy from the band and the fans.  Rick Mitoratando is a first class guitartist and singer, Peter Anspach on keyboard and guitar and vocals, Jeff Arevalo, percussionist, Trevor Weekz on bass and newcomer, Cotter Ellis on drums, replacing original drummer, Ben Askind. Began playing in 2014 in Wilton Connecticut so this is their 10 year and they are just getting stronger.  They really love what they do and its shows in their live performances. Great set lists in Chicago: Thursday night they were joined on stage by Julian Lage, a jazz composer and guitarist for the last two songs of the first set, A Western Sun and Turned Clouds. If you have not yet seen Goose you need to see Goose.  Soon.  Jane's Addiction Concert Ends Abruptly After Perry Farrell Punches Dave Navarro Onstage 3.     Jane's Addiction Offer ‘Heartfelt Apology' for Fight, Cancel Sunday's Show Phish announce 3 night run in Albany Oct. 25 – 27 to benefit Divided Sky Foundation A residential program for people recovering from drug and alcohol abuse. The Divided Sky Foundation, a 46-bed nonprofit recovery center spearheaded by Phish frontman Trey Anastasio, will be an abstinence-based, nonmedical residence, one of the first ofits kind in Vermont. The Divided Sky Foundation is a charitable nonprofit founded by Anastasio; it purchased the Ludlow location to create a substance-use disorder treatment center back in 2021.  Anastasio, Phish's lead guitarist and vocalist, has dealt publicly with his own drug and alcohol use and later sobriety, a journey that brought him under the supervision of drug court in Washington County, New York, in the mid-2000s. There, he met Gulde, who worked in the court system at the time, and the two have stayed friends since.  Together, Gulde and Anastasio used their personal experiences with treatment facilities to implement a vision for the Ludlow space, she said.   Very cool organization, deserves everyone's support.  Trey turned it around which is why he is now 5 years older than Jerry was when he died in 1995 and Trey and Phish are just getting stronger and stronger. SHOW No. 2:         Ollin Arageed                                    Track #11                                    13:10 – 14:42 Musical composition written by Hamza El-Din.  He and members of the Abu Simbel School of Luxor choir opened the shows with his composition Olin Arageed on nights one and two, and opened set two of night three with the song as well.  Joined on stage by the band.  Fun, different and a shout out to the locals. The Dead played it a few more times with Hamza and then retired it for good.  SHOW No. 3:         Fire On The Mountain                                    Track #12                                    13:00 – end                                     INTO                                     Iko Iko                                    Track #13                                    0:00 – 1:37 This transition is one of my all time Dead favorites.  Out of a stand alone Fire (no Scarlet lead in) into a sublime and spacey Iko Iko.  Another perfect combination for the pyramids, sphinx and full lunar eclipse.A great reason to listen to this show and these two tunes. MJ NEWS: MJ Lead in Song            Still Blazin by Wiz Khalifa:  Still Blazin (feat. Alborosie) (youtube.com)                                                                        0:00 – 0:45 We talked all about Wiz Khalifa on last week's episode after I saw him headline the Miracle in Mundelein a week ago.  But did not have a chance to feature any of his tunes last week.  This one is a natural for our show. This song is from Kush & Orange Juice (stylized as Kush and OJ) is the eighth mixtape by American rapper Wiz Khalifa. It was released on April 14, 2010, by Taylor Gang Records and Rostrum Records. Kush & Orange Juice gained notoriety after its official release by making it the number-one trending topic on both Google and Twitter.[1] On the same day, a link to the mixtape was posted for download on Wiz's Twitter.[2] The hashtag#kushandorangejuice became the number-six trending topic on the microblogging service after its release and remained on the top trending items on Twitter for three days.[  1.                   Nixon Admitted Marijuana Is ‘Not Particularly Dangerous' In Newly Discovered Recording2.                  Marijuana Use By Older Americans Has Nearly Doubled In The Last Three Years, AARP-Backed Study Shows3.                  Medical Marijuana Helps People With Arthritis And Other Rheumatic Conditions Reduce Use Of Opioids And Other Medications, Study Shows4.                  U.S. Marijuana Consumers Have Spent More Than $4.1 Billion On Pre-Rolled Joints In The Past Year And A Half, Industry Report Finds   SHOW No. 4:         Sunrise                                    Track #162:08 – 3:37             Grateful dead song written, music and lyrics by Donna Jean Godchaux.  Released on Terrapin Station album, July 27, 1977             There are two accounts of the origins of this song, both of which may be true. One is that it is about Rolling Thunder, the Indian Shaman, conducting a ceremony (which certainly fits with many of the lyrics). The other is that it was written by Donna in memory of Rex Jackson, one of the Grateful Dead's crew (after whom the Rex Foundation is named). The song is about a Native American medicine man named Rolling Thunder, who spent a lot of time with the Dead."'Sunrise' is about sunrise services we attended and what Rolling Thunder would do," Godchaux said on the Songfacts Podcast. "It's very literal actually. Rolling Thunder would conduct a sunrise service, so that's how that came about."Donna Jean Godchaux wrote this song on piano after Jerry Garcia asked her to write a song for the Terrapin Station album. She said it just flowed out of her - music and lyrics - and was one of the easiest songs she ever wrote.The drumming at the end of the song was played by a real medicine man. "We cut it in Los Angeles, and he came and brought the medicine drum, so what you hear on the end is the real deal," Godchaux told Songfacts. "It was like a sanctuary in that studio when he was playing that. It was very heavy." It was played regularly by the Grateful Dead in 1977 and 1978 (Donna left the band in early 1979).This version is the last time the band ever played it. Played:  30 timesFirst:  May 1, 1977 at The Palladium, New York, NY, USALast:  September 16, 1978 at the Pyramids, Giza Egypt                                   OUTRO:                   Shakedown Street                                    Track #17                                    3:07 – 4:35                                   Title track from Shakedown Street album November 8, 1978 One of Jerry's best numbers.  A great tune that can open a show, open the second set, occasionally played as an encore, but not here.  It is dropped into the middle of the second set as the lead in to Drums.  This is only the second time the song is played by the band. Played:  164 timesFirst:  August 31, 1978 at Red Rocks Amphitheatre, Morrison, CO, USALast:  July 9, 1995 at Soldier Field, Chicago, IL – opened the second set, the final set of music ever performed by the band.  Shout outs:             Karen Shmerling's birthday                       This week my beautiful granddaughter, Ruby, is coming to town to visit.  Can't wait to see her and her parents.  .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

"From Steel Pulse to Wu-Tang: A Festival of Musical Diversity"Larry Mishkin discusses a review of various experiences and performances, starting with a cannabis event called "Miracle in Mundelein," which took place over the past weekend. The main focus of the review is a discussion of a Grateful Dead show from September 9, 1987, at the Providence Civic Center in Rhode Island. The show was notable for being the second night of a three-show run, marking the opening of the Grateful Dead's 1987 East Coast fall tour.Key highlights include:"Hey Pocky Way" Performance: This was the first time the Grateful Dead performed the song "Hey Pocky Way," which is originally by the Meters, a New Orleans funk band. The song became a fan favorite, primarily due to the influence of Brent Mydland, the band's keyboardist. However, the song fell out of rotation after Brent's death in 1990."Jack Straw" Performance: Another song featured was "Jack Straw," a Grateful Dead classic written by Bob Weir and Robert Hunter. It was originally performed in 1971 and became a staple in the band's setlists. The song was performed in the second spot of the setlist during the 1987 show, indicating the band's tendency to feature it early in their concerts.Music News Segment: The transcript also includes a segment on music news, which starts with a brief history of the band Cheap Trick, particularly their song "I Want You to Want Me."Review of the Miracle in Mundelein Festival: The review shifts to discussing the recent "Miracle in Mundelein" festival, where several acts performed:Steel Pulse: A roots reggae band from Birmingham, England, who delivered a lively and energetic performance.The Soul Rebels: A New Orleans brass band known for their energetic live shows and collaborations with major artists. Their set featured Raekwon and GZA from the Wu-Tang Clan, adding a strong hip-hop element to the performance.Wiz Khalifa: The headliner of the event, Wiz Khalifa, is praised for his stage presence and connection with the audience. The review notes his strong advocacy for cannabis and how his music resonated well with the crowd.Overall, the review captures the blend of nostalgia with the Grateful Dead's classic performances and the fresh, dynamic energy of the Miracle in Mundelein festival, highlighting both the music and the culture of cannabis.https://www.cheaptrick.com/ Grateful DeadSeptember 9, 1987 (37 years ago)Providence Civic CenterProvidence, Rhode IslandGrateful Dead Live at Providence Civic Center on 1987-09-09 : Free Borrow & Streaming : Internet Archive Second night of a three show run, the opening shows of 1987 East Cost fall tour.  INTRO:                                 Hey Pocky Way                                                Track #1                                                :35 – 2:03 First time ever played Hey Pocky Way was written by George Porter Jr., Leo Nocentelli, Art Neville & Joseph Modeliste, founding members of The Meters, an American funk band formed in 1965 in New Orleans by Modeliste (drums), Porter Jr. (bass), Nocentelli (guitar) and Neville (keyboards). The band performed and recorded their own music from the late 1960s until 1977 and played an influential role as backing musicians for other artists, including Lee Dorsey, Robert Palmer, Dr. John, and Allen Toussaint. Song was released on Rejuvenation the band's fifth studio album in 1974. In 2003, the album was ranked number 138 on Rolling Stone magazine's list of the 500 greatest albums of all time,[6] and 139 in a 2012 revised list. Beginning with this show, the Dead began to feature Hey Pocky Way, usually as a show opener.  Sung by Brent who really got into it with both his keyboard playing and strong singing, it  became a fan favorite.  But as a Brent influenced tune, it died when he did. Played:  25 timesFirst:  September 9, 1987 at Providence Civic Center, Providence, RI, USALast: July 22, 1990 at World Music Theatre, Tinley Park, IL, USA (Brent's second to last show)  SHOW No. 1:                    Jack Straw                                                Track #2                                                4:00 – 5:50 "Jack Straw"  written by Bob Weir and Robert Hunter. The track first appeared on the album Europe '72. The song was first performed in concert on October 19, 1971, in Minneapolis, Minnesota at new keyboardist Keith Godchaux's first appearance with the band. In the song's earliest performances (c. 1971–72), Weir sang all of the vocals. By the time the 'Europe 72' version was recorded, (at the Olympia Theater in Paris on 5-03-72), Weir and Jerry Garcia were switching up the vocals - as they had on April 26th when 'Hundred Year Hall' was recorded. The song appeared in both the first and second sets until the band's short hiatus in 1974-1975. After re-forming, the song almost exclusively appeared in the first set. After Brent Mydland joined the band in 1979, the song almost exclusively opened the band's first set. The band also often extended the jam after the second verse after Mydland's joining, often extending the song to over six minutes. Dead and Company have also further extended the song, often adding an abstract opening jam prior to the song's first verse.[1] Bob Weir stated in a 2004 interview that the song's lyrics were partly based on John Steinbeck's novel Of Mice and Men.[2] The song's themes include riding the rails, the Great Depression, and hobo (homeless) camps of the era. Jack Straw is also—perhaps coincidentally—the name of the original plantation owner, who lived controversially with his gay lover, Peter Ochello, in Tennessee Williams's play Cat on a Hot Tin Roof.[3] Always a great song to hear in concert, the fans loved it and it was always an omen of good things to come in the show. Played:  477 timesFirst:  October 19, 1971 at Northrop Auditorium, Minneapolis, MN, USALast:  July 8, 1995 at Soldier Field in Chicago MUSIC NEWS Miracle In Mundelein – second year of the festival in Mundelein a suburb northwest of Chicago.  Missed last year with JRAD but made it this year on Saturday with my sons Jonathan and Daniel, Jonathan's fiancé, Bella and Daniel's buddy AJ.  Different theme to this year's music focusing on hip hop and rap, not part of my regular music, but certainly a key genre for Daniel and AJ who filled me on details during the show. Acts:Steel Pulse - Steel Pulse are a roots reggae band from the Handsworth area of Birmingham, England. They originally formed at Handsworth Wood Boys School, and were composed of David Hinds (lead vocals, guitar), Basil Gabbidon (lead guitar, vocals), and Ronald McQueen (bass); along with Basil's brother Colin briefly on drums and Mykaell Riley (vocals, percussion). Steel Pulse were the first non-Jamaican act to win the Grammy Award for Best Reggae Album. They were initially refused live dates in Caribbean venues in Birmingham due to their Rastafarian beliefs. During the popularization of punk rock in the mid-1970's, Steel Pulse began to play punk venues such as the Hope and Anchor in London and The Electric Circus in Manchester in 1976.[1] Aligning themselves closely with the Rock Against Racism organization and featuring in its first music festival in early 1978, they chose to tour with sympathetic elements of the punk movement,[1] including the Stranglers and XTC. Eventually they found a more natural home in support slots for Burning Spear, which brought them to the attention of Island Records. Fun set that was in progress when we arrived, great sound and lots of energy that kept the crowd moving. The Soul Rebels - The Soul Rebels (also Soul Rebels Brass Band, Soul Rebels or The Rebels) are an eight-piece New Orleans based brass ensemble that incorporate elements of soul, jazz, funk, hip-hop, rock and pop music within a contemporary brass band framework.  Starting out as a local New Orleans favorite, The Soul Rebels have evolved into collaborating live with major artists in all worlds of music including:Katy PerryNasMetallicaGreen DayTrombone ShortyProdigyString Cheese IncidentUmphrey's McGeeGalacticSuzanne VegaEurythmicsLettuceGov't Mule                                               And many more The band has built its career around an eclectic live show that harnesses the power of horns and percussion in a funky party-like atmosphere. The band routinely plays over 250 shows a year. They have been described by the Village Voice as "the missing link between Public Enemy and Louis Armstrong.  The Soul Rebels consist of percussionists and founding members Lumar LeBlanc and Derrick Moss, trumpet players Julian Gosin and Marcus Hubbard, trombonists Corey Peyton and Paul Robertson, saxophonist Erion Williams, and sousaphonist Manuel Perkins Jr.                                                 On Saturday, they featured Raekwon and GZA from Wu Tang Clan.                                      RAEKWON - Corey Woods[2] (born January 12, 1970),[3][4] better known by his stage name Raekwon (/reɪˈkwɒn/, ray-KWON), is an American rapper. He rose to prominence as a founding member of the hip-hop group Wu-Tang Clan, which achieved mainstream success following the release of their debut album, Enter the Wu-Tang (36 Chambers), in 1993. Raekwon would subsequently pursue a solo career, releasing his first solo album, entitled Only Built 4 Cuban Linx..., in 1995. The album received critical acclaim, and is regarded by many critics as one of the greatest hip-hop albums of all time, as well as a staple of 1990s rap.                                     Raekwon attributes the name Raekwon to the Five-Percent Nation, an offshoot of the Nation of Islam, when he was a "young kid."[11] He converted to Islam in 2009.                                     Growing up, he witnessed his mother being hit and abused by different men, an experience which he said "affected [him] a lot."[10] As a young man, his mother kicked him out of their Park Hill home when Raekwon got into an argument with her boyfriend and his mother sided with the boyfriend. During this time, he spiraled into a pattern of hopelessness and violent behavior.[8] He became addicted to cocaine and crack cocaine until he became aware of how the crack epidemic was affecting those around him, at which point "it was an automatic stop."[10]Raekwon and rap partner Ghostface Killah attended junior high school together on Staten Island.[14] Raekwon attended New Dorp High School, where he befriended rappers Remedy, Method Man and Inspectah Deck.[15]             Woods first rapped as Sha Raider. In 1992, he joined the Wu-Tang Clan, an originally nine-member rap group drawing mainly from the Staten Island but also from the Brooklyn boroughs of New York City. He rapped as Raekwon The Chef, and also used the aliases Lex Diamonds, Shallah Raekwon, and Louis Rich. After being caught in a crossfire and accidentally shot four times, Raekwon began rapping in earnest. He later described being shot as an "important eye opener." In September 2009, MTV ranked Raekwon tenth among "hottest" rappers. In December, HipHopDx's 2009 awards named Only Built For Cuban Linx... Pt. II album of the year, calling it "the Hip Hop equivalent to The Godfather 2, with Rae as revitalized as Marlon was". Raekwon won Emcee of the Year—the prior year, Nas won—while HipHopDX staff explained, Raekwon brought it back to lyrical, dope rap. He released an album that spoke to teens, twenty-somethings, thirty-somethings, and beyond. Without compromising, the Chef made an edgy Hip Hop record that refused to bastardize the catalog he laid down 15 years ago. On top of that, Rae (along with Ghostface) was a go-to for numerous rappers making albums, ranging from the Playaz Circle to Jadakiss to BK One. That's beyond real, as was a year filled with performing in arenas, clubs and even churches. When it came to mastering the ceremony, Rae had 'em all following the leader.[28]— HipHopDX GZA - Gary Eldridge Grice[2] (born August 22, 1966), better known by his stage names GZA (/ˈdʒɪzə/JIZ-ə) and The Genius,[3] is an American rapper. A founding member of the hip hop group Wu-Tang Clan, GZA is the group's "spiritual head", being both the first member in the group to receive a record deal and being the oldest member.[4] He has appeared on his fellow Wu-Tang members' solo projects, and has maintained a successful solo career starting with his second album Liquid Swords (1995). His lyrical style often dismisses typical rap story lines in favor of science and wide-ranging philosophies and has been characterized as "armed with sharp metaphors and a smooth flow".[5][6][7][8] An analysis of GZA's lyrics found that he has the second largest vocabulary in popular hip hop music.[9][10] He teamed up with an education group to promote science education in New York City through hip hop. In 1992, GZA joined the Wu-Tang Clan, a group of nine, formed by his cousin RZA. GZA had some high-profile appearances on the group's debut album, Enter the Wu-Tang (36 Chambers) (1993), including a solo track, "Clan in da Front".[22] This, combined with appearances on other Clan members' albums such as Return to the 36 Chambers: The Dirty Version (1995) and Only Built 4 Cuban Linx... (1995) brought him much recognition. According to Method Man, "we form like Voltron and GZA happens to be the head".                         The combination of the Soul Rebels beat and Raekwon's and GZA's rapping made for an exceptional set of music that caught me off guard but was worth the price of admission.  With lots of cannabis references scattered throughout their lyrics and stage talk, they were a perfect match for this festival. Wiz Khalifa - Cameron Jibril Thomaz (born September 8, 1987),[2] better known by his stage name Wiz Khalifa, is an American rapper from Pittsburgh, Pennsylvania. He signed with the local independent label Rostrum Records to release his debut studio album, Show and Prove (2006). His contract entered a short-lived joint venture with Warner Bros. Records the following year. His Eurodance-influenced 2008 single, "Say Yeah" received urban radio airplay and entered both the Rhythmic Top 40 and Hot Rap Songs charts, becoming his first minor hit.[3] Outside of music, Thomaz has delved into acting with television roles in Dickinson and The Eric Andre Show, the lead role alongside Snoop Dogg in the 2012 stoner comedy film Mac & Devin Go to High School, and voice roles in the animated series American Dad!, Duncanville, and Big City Greens. Thomaz founded the record label Taylor Gang Entertainment in 2008, through which he has signed artists including Juicy J, Ty Dolla Sign, and Berner. Known for his abundant usage of cannabis, Thomaz launched his own cannabis brand, Khalifa Kush, in 2016, which expanded for release in nationwide dispensaries in 2022. His stage name is derived from Khalifa, an Arabic word meaning "successor", and wisdom, which was shortened to Wiz when Khalifa was a young boy.[10] Khalifa stated to Spinner.com that the name also came from being called "young Wiz 'cause I was good at everything I did, and my granddad is Muslim, so he gave me that name; he felt like that's what I was doing with my music." He got a tattoo of his stage name on his 17th birthday.[11][12] By the age of 15, he was regularly recording his music at a local studio called I.D. Labs.[13] Impressed by the young teen's talent, E. Dan, the owner of the studio offered Khalifa an intern job at the studio in exchange for free recording time. Dan, being a veteran of the Pittsburgh hip-hop scene, would help develop and mentor the young artist early on in his career. He was the headliner and lived up to the billing.  Great tunes, great stage presence, great spokesperson for cannabis.  My first experience with his music and it was very positive. A great musical education for me with my tutors, Daniel and AJ. More in MJ News  Herbie Flowers  RIPJerry Miller  RIPGoose this week at the Salt Shed, Thursday and Friday   SHOW No. 2:                    Greatest Story Ever Told                                                Track #9                                                3:25 – end                                                 INTO                                                 Devil With a Blue Dress                                                Track #10                                                0:00 – 1:33 Greatest Story – written by Hunter/Bobby/Mickey, originally called “The Pump Song” on Mickey Hart's 1972 album Rolling Thunder.  As the opening tune of Ace, it is called Greatest Story Ever Told.  But this isn't about that song.  Here, it is the lead-in to a first set couple of “extras” thrown in for some fun. "Devil with a Blue Dress On" (also known as "Devil with the Blue Dress") is a song written by Shorty Long and William "Mickey" Stevenson, first performed by Long and released as a single in 1964. A later version recorded by Mitch Ryder and The Detroit Wheels in 1966 peaked at No. 4 on the U.S. Billboard Hot 100.  "Devil with the Blue Dress" was originally released as Shorty Long's debut single on Motown in 1964, but the single failed to chart. The song describes a femme fatale in a blue dress and not an actual devil.[2] Two years later, Mitch Ryder and The Detroit Wheels recorded the song at Bell Sound Studios in New York City[3] as a medley with an original arrangement of Little Richard's "Good Golly, Miss Molly". Their version, released on their album, “Breakout . . . . !”,  was notably more up-tempo than Long's more blues-influenced rendition.[2] Reaching No. 4 on the Hot 100, their version of the track would end up becoming their most well-known and highest charting hit in the United States. Rolling Stone Magazine ranked it No. 428 on their list of Top 500 Songs of All Time. Basically, another great cover to showcase Brent's singing and keyboard skills.  This was the first of 3 times the Dead covered the song.  Another fun diversion by the band that kept the Deadheads guessing and not wanting to ever miss a show. The transition out of Greatest Story is seamless and makes it so you can't hear the end of Greatest Story without hearing the signature beat of Devil making it a “natural” fit. Played – 3 timesFirst:  September 9, 1987 at Providence Civic Center, Providence, RI, USALast:  October 4, 1987 at Shoreline Amphitheatre, Mountain View, CA, USA  SHOW No. 3:                    Good Golly Miss Molly                                                Track #11                                                0:00 – end                                                 INTO                                                 Devil With a Blue Dress                                                Track #12                                                0:00 – 0:51"Good Golly, Miss Molly" is a rock 'n' roll song first recorded in 1956 by American musician Little Richard and released in January 1958 as single on the Specialty label, and later on the album, Little Richard in July 1958.[1] The song, a jump blues, was written by John Marascalco and producer Robert "Bumps" Blackwell. Although it was first recorded by Little Richard, Blackwell produced another version by the Valiants, who imitated the fast first version recorded by Little Richard, not released at that time. Although the Valiants' version was released first (in 1957), Little Richard had the hit, reaching No. 4.[2] Like all his early hits, it quickly became a rock 'n' roll standard and has subsequently been recorded by hundreds of artists. The song is ranked No. 92 on the Rolling Stone magazine's list of the 500 Greatest Songs of All Time. Little Richard first heard the phrase "Good golly, Miss Molly" from a Southern DJ named Jimmy Pennick.[4] He modified the lyrics into the more suggestive "Good golly, Miss Molly/You sure like to ball." Little Richard himself later claimed that he took Ike Turner's piano intro from his influential 1951 rock and roll song "Rocket 88", and used it for "Good Golly, Miss Molly".[5] "I always liked that record," Richard recalled, "and I used to use the riff in my act, so when we were looking for a lead-in to 'Good Golly, Miss Molly', I did that and it fit." In 1966, Mitch Ryder and the Detroit Wheels incorporated "Good Golly Miss Molly" into their version of "Devil with a Blue Dress On". Their version scored a major hit, not only in Ryder's native Detroit, but nationwide, placing at No. 4 on the Billboard Top 100. As with Devil, a Brent thing.  Unfortunately, it was only around for a month.  Then vanished from the Dead's playlist thereafter.  Played:  3 times, makes senseFirst:  September 9, 1987 at Providence Civic Center, Providence, RI, USALast:  October 4, 1987 at Shoreline Amphitheatre, Mountain View, CA, USA  MJ NEWS:             Miracle in Mudelein – a great event sponsored by Rise Dispensaries and Rhythm cultivators.  Second year, featuring great music, excellent food and drink and too many booths for dabbing from various types of rigs including a Studenglass Gravity Bong – my first time using one and it is not your father's four foot Graffix bong!  Daniel and AJ were all over it and as it turned out, the wait in line was well worth the experience.  Rather than try to explain it to you, just Google Gravity Bong and see for yourself!  Great high.             Miracle is that Lake County, a more conservative leaning county, and Mundelein permitted the event.  Attendees can bring in their own flower or extracts (supposedly only if purchased at an Illinois dispensary), smoking accessories, etc.  Rise also was selling products at the show.             A wonderful thing to attend an event and not have to hide and smuggle in your cannabis.  People lighting up everywhere, offering to share, talking strains, etc.  Police were there to keep order and otherwise let it all go on.  Very professional.             Excellent mellow crowd (what else would you expect?).  Well run.  Shot joints out of a canon.  A wonderful day and experience for those who enjoy cannabis, especially not having to hide it or pretend you don't have any when everyone knows attendees are smuggling it in anyway.             A great way to promote cannabis and help normalize it within the community.  And a fun event to be able to share with my boys, Bella and AJ.  Fun had by all.  SHOW No. 4:                    Not Fade Away                                                Track #24 (NOTE – this song is listed as Track #23 AND #24, be sure to use #24)                                                0:00 – end "Not Fade Away" is a song credited to Buddy Holly (originally under his first and middle names, Charles Hardin) and Norman Petty (although Petty's co-writing credit is likely to have been a formality[3]) and first recorded by Holly and his band, the Crickets. Holly and the Crickets recorded the song in Clovis, New Mexico, on May 27, 1957, the same day the song "Everyday" was recorded.[1] The rhythmic pattern of "Not Fade Away" is a variant of the Bo Diddley beat, "Not Fade Away" was originally released as the B-side of the hit single "Oh, Boy!" on 10.27.1957 and was included on the album The "Chirping" Crickets (1957). The Crickets' recording never charted as a single. In 2004, this song was ranked number 107 on Rolling Stone's list of "The 500 Greatest Songs of All Time". The song is closely associated with the Grateful Dead as one of their signature tunes—one which the band transformed from Holly's 1950s boy/girl romanticism to one reflecting the 1960s' more spiritual universal love. Their 1971 recording of the song is included on their second live album, Skull and Roses, paired with Going Down The Road Feeling Bad, a regular happening in the early ‘70's. Primarily a second set tune that used to show up in the second half of the second set after Drums-Space.  Beginning in 1983, the Dead began to play it as the second set closer, trailing off with “Love is real will not fade away” as they exited the stage.  A few years later, the Deadheads starting chanting the line as the Dead left the stage and in some cases, kept it up until the band reappeared for their encore, when the band would pick back up on the beat and play it for another minute or so before their encore tune, such as with this show.    Great example of the Deadheads making their mark on the show and the band being tuned in enough to play along with it.  Although sometimes if the Dead took too long to come out for the encore, the chanting would start to fade off.  And sometimes even when the chant made it all the way to the band's return on stage, the band would ignore it and just dive straight into their encore.  Fun when it all came together like this show. Played:  561 timesFirst:  February 19, 1969 at Fillmore West, San Francisco, CA, USALast:  July 5, 1995 at Riverport Amphitheatre in Maryland Heights, MO (St. Louis) OUTRO:                               The Mighty Quinn                                                Track #25                                                2:11 – 3:48 Bob Dylan wrote and first recorded the song in 1967 during the Basement Tapes sessions, but did not release a version for another three years.  The song's first release was in January 1968 as "Mighty Quinn" in a version by the British band Manfred Mann, from their album Mighty Garvey, and became a great success. A demo of 14 of the 1967 Basement Tapes recordings, including the first of two takes of "Quinn the Eskimo (The Mighty Quinn)", was produced in 1968, but was not intended for release. Recordings taken from the demos began appearing on bootlegs, starting with Great White Wonder,[7] a double-album bootleg that came out in July 1969. The first official release of the song was in 1970 on Dylan's Self Portrait album,[14] a live recording from 1969's Isle of Wight Festival. The live version (titled "The Mighty Quinn (Quinn the Eskimo)") was also selected in 1971 for the second compilation of Dylan's career, Bob Dylan's Greatest Hits Vol. II. Covered by:  the Hollies, Leon Russell and Phish, among others. Although they never played the song with Bob Dylan, the Grateful Dead started playing "The Mighty Quinn" in concert in 1985. It became a favorite encore among the Grateful Dead's fans, and remained so to the end of their career. Last verses, end with, “when Quinn the Eskimo gets here, everybody's gonna want to doze” but the Deadheads heard it as “dose” and always gave it a big cheer. Played:  59 timesFirst:  December 30, 1985 at Oakland-Alameda County Coliseum Arena, Oakland, CA, USALast:  July 2, 1995 at Deer Creek Music Center, Noblesville, IN, USA  Shoutouts: Lary Vinocur – birthdayElena Mishkin – birthday .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

As you likely recall, in Season 5, we moved to posting new episodes of Fostering Change bi-weekly. Well, we've just met so many amazing humans that we thought we'd make an exception during National Foster Care Awareness Month, so we have four episodes running this month! Before we get on to today's show with the amazing Benjy Grinberg, just a suggestion to visit the Comfort Cases website - www.comfortcases.org, and see all of the programs we are working on this month, with some genuinely unique organizations. Thanks.And now, as they say… “On with the Show!”On today's episode, Rob Scheer speaks with Benjy Grinberg - yes, a GOOD HUMAN.Benjy is the Founder and CEO of Rostrum Records, an independent record label known mainly for developing artists early in their careers and championing their vision. Grinberg started in the music industry at Arista Records as an assistant to record executive Antonio “L.A.” Reid. A career-long champion of the indie community, he leads the labels' well-recognized, innovative, artist-centric approach driven by his commitment to ensuring the long-term success of his artists. Over the course of two decades, the label has had a diverse roster of chart-topping artists, including Mac Miller, Wiz Khalifa, DC The Don, The Bird and The Bee, 24hrs, Mod Sun, Rockie Fresh, Problem, KT Tunstall, and more. How does this relate to Foster Care? Well, Benjy recently became a CASA (Court Appointed Special Advocate)! CASAs are everyday community members appointed by a judge to advocate for children in need of care. On today's show, Benjy speaks with Rob about why he chose to become a CASA and what it means to him.Definitely an inspirational conversation.To learn more about becoming a CASA, please visit https://nationalcasagal.org/To learn more about Benjy:Instagramhttps://www.instagram.com/benjybenjyLinkedInhttps://www.linkedin.com/in/benjy-grinberg-ba85653/Our next episode will air on May 21. You can also catch up on previous episodes of Fostering Change by visiting www.comfortcases.org/podcast or your favorite podcast outlets.If you have any comments, questions, or guest suggestions, we'd love to hear from you! Please write to us at info@comfortcases.org.As always, thank you for listening! Hosted on Acast. See acast.com/privacy for more information.

Here we are with Erica Wei. She has worked as the EA to the CEO at Rostrum Records where she did a lot of A&R and management responsibilities. Here, we will get to hear her college experience going to Wash U in St. Louis and then coming back to LA to pursue her dreams of working in the music industry.

No matter where you are in your career, you'll benefit from listening to 3Q. 3Q provides a window into the careers of some of the best in the music business. Every episode is an insider's view of the realities of life as a music executive. Topics include issues of empowerment, uncertainty, trust, finances, etc; issues that will impact you both personally and professionally. The executives we interview represent every aspect of the industry including but not limited to A&R, Marketing, Music Supervision, Artist Management, Promotion, and more.  About Nicole: Nicole Plantin was most recently General Manager of award winning television and film producer and director Kenya Barris' joint label venture Khalabo Music/Interscope. Previously she was head of A&R at Rostrum Records, an independent label born in Pittsburgh and known for launching the careers of both Wiz Khalifa and the late Mac Miller. While an undergraduate student at NYU, Plantin cut her teeth in the industry as an intern in the A&R admin department at Elektra Records, then helmed by Sylvia Rhone and whose roster included Busta Rhymes, Missy Elliott and Ol' Dirty Bastard. Nicole's professional journey crystallized at Star Trak in 2001, where she joined president and CEO Rob Walker in managing the day-to-day operations of a label partnership with Arista Records, as well as the management needs of artists and producers like The Neptunes and Kelis. As the A&R coordinator for all of the label's releases, Plantin is credited on notable projects such as Clipse's ‘Hell Hath No Fury', Kelis's ‘Tasty', N*E*R*D's ‘Fly Or Die', and more. Following five successful years at Star Trak, Nicole was enlisted by super producer Rich Harrison to help launch his joint venture with Atlantic/Richcraft Records. Shortly after the label folded, Nicole was offered a role at BMI as the Director of Writer/Publisher Relations in Los Angeles, where she was responsible for discovering new talent such as Jhene Aiko, Schoolboy Q, Nipsey Hussle, Joey Bada$$, T-Minus (Nicki Minaj, Drake), Illangelo (The Wknd) and more, and signing them to their roster—a position that reflects one of the most important parts of her career. As a multidimensional executive with both a flair for tastemaking and a mastery of the business of the music industry, Plantin “connects the dots” in ways that align nurturing artist's creative talents with the promise of success. While at BMI, Plantin brought a much-needed showcase to the west coast with Next Fresh Thing, a series whose stage was graced by L.A.-based artistsMiguel, Dom Kennedy, Big Sean, Priscilla Rhenea (now Muni Long) among others. After five years at BMI, Nicole returned to working on the label side of the business with the desire to work more intimately with artists and their projects. As VP of A&R at Rostrum, Nicole worked alongside President and founder, Benjy Grinberg to oversee the curation and growth of the label as it entered into its next phase. While there, she took on the projects of existing artists Mod Sun and Vali (now Emotional Oranges), and signed a variety of talent reflective of the many diverse sounds emerging from regions throughout the US and the UK. Her signings included DC rapper Inannet James who was deemed “one of the best new talents in hip-hop” and whose album Keep it Clean “one of best projects, front to back of the year” by the lifestyle publication Hypebeast. Other signings included UK R&B singer-songwriter Taliwhoah, DC rapper Kelow Latesha, Atlanta based multi hyphenate Natalie Lauren and Baton Rouge rapper Caleb Brown. Nicole sits on the board of the Recording Academy. In her spare time, Nicole volunteers as a Grammy NEXT and Next Gen Femme mentor, travels and collects art. Nicole is also the creator and host of the podcast Soeur Lab which highlights creative womxn who drive culture and set trends from behind the scenes.

On today's episode of American gypC Podcast we're talking to Award-winning filmmaker Evan Kidd about his new film "Panda Bear It". Evan Kidd is an award-winning filmmaker based in Raleigh, North Carolina. Raised in NC, he fell in love with film at an early age eventually turning his passion for storytelling into a career, creating works screening globally for Rostrum Records, Film Independent, Cucalorus Film Festival, New Orleans Film Festival, XXL, Mass Appeal, BET, and MTV Jams. Evan currently hosts Convincing Creatives, a video podcast on intuitive creativity. Panda Bear It is his latest project. A surrealist feature film shot in just seven days across Kidd's home state of North Carolina is now streaming on Amazon Video & Tubi TV. Guest Link: http://rocksetproductions.com Trailer: https://www.youtube.com/watch?v=7wFIgUP2nJ0 Amazon Video: https://www.amazon.com/Panda-Bear-Damien-Elliott-Bynum/dp/B08FFGJCWM Stream Free on Tubi: https://tubitv.com/movies/594192/panda-bear-it http://www.facebook.com/RockSetProductions http://www.imdb.com/name/nm5820721 American gypC Podcast Website: http://americangypc.com Donate: https://www.paypal.com/paypalme/klaccikcarpenta IG: https://www.instagram.com/americangypcpodcast Music: https://open.spotify.com/artist/0m40c7gVhMJQVqrRmtRi3E --- Support this podcast: https://anchor.fm/american-gypc/support

We're back from a much needed break and kicking down 2022's door with a super dope episode. - This week, I sit down with MyFavoriteColor to speak on all kinds of things. We chop it up about everything from how he got started into music, the Sopranos, what it's like going from an independent artist to getting signed by Rostrum Records, how he got linked up with Innerview Q, and a lot more. This episode is exactly how I wanted to get the new year started. The whole thing is dope. I know you're gonna enjoy it as much as I did.   - WWW.ILLCALLYOURIGHTBACK.COM - THIS PODCAST IS PROUDLY SPONSORED BY TURNER DAIRY FARMS - Intro Music created by Ryan Drish (@realdrish) Follow us on Instagram - @illcallyourightback Follow us on Twitter - @ICYRBpodcast Like us on Facebook - I'll Call You Right Back Podcast

In this episode, I talk to award-winning filmmaker, Evan Kidd. His work has been screening globally for Rostrum Records, Film Independent, Cucalorus Film Festival, New Orleans Film Festival, XXL, Mass Appeal, BET, and MTV Jams. Evan currently hosts Convincing Creatives, a video podcast on intuitive creativity. Panda Bear It is his latest project. A surrealist feature film shot in just seven days across Kidd's home state of North Carolina is now streaming on Amazon Video & Tubi TV.We talk about the DIY filmmaking mindset that making work outside the Hollywood system requires... and the way they did it during a pandemic once their original distribution gameplan went out the window. Now streaming on Amazon & Tubi.Connect with Evan:Website: https://rocksetproductions.com/Instagram: https://www.instagram.com/mrevankidd/Trailer: https://www.youtube.com/watch?v=7wFIgUP2nJ0Amazon Video: https://www.amazon.com/Panda-Bear-Damien-Elliott-Bynum/dp/B08FFGJCWM Convincing Creatives Podcast: ​​https://convincingcreatives.com/

Benjy Grinberg is the founder of indie label powerhouse, Rostrum Records. He got his start in the music business working for LA Reid at Arista Records. He was instrumental in the breaking + establishing the careers of both Wiz Khalifa and Mac Miller. In 2017 Benjy wrote a 3 page article in Billboard opening up on his battle with OCD titled “We Have To Erase The Stigma of Mental Health Issues.” He is based in Los Angeles, married and a father of two. EPISODE HIGHLIGHTS // + How did you first meet Mac Miller + Mac's exponential growth between each project + What made Mac so unique in his artistry? + Mac Miller's influence on his peers and next gen artists + Finding out Mac passed: where he was and the emotions he worked through + Pharrell's impact on Mac's artistic direction and what he saw early in him + Going #1 for most albums sold with “Blue Slide Park” and garnering acclaim for doing it independently + Will the pandemic have a lasting positive impact on humanity? + What caused Benjy to open up about his mental health struggles, being diagnosed with OCD + The often ever-present façade of the “music business” not being conducive to opening up + How a lot of calls stopped getting returned after Benjy left LA Reid's office + Why we should not bottle up and keep our challenges to ourselves + Benjy's fledgling new career as an artist and plans to release his own music soon!

Benjy Grinberg is the founder of indie label powerhouse, Rostrum Records. He got his start in the music business working for LA Reid at Arista Records. He was instrumental in the breaking + establishing the careers of both Wiz Khalifa and Mac Miller. In 2017 Benjy wrote a 3 page article in Billboard opening up on his battle with OCD titled “We Have To Erase The Stigma of Mental Health Issues.” He is based in Los Angeles, married and a father of two. EPISODE HIGHLIGHTS // + Difference between superficial and REAL connection + Growing thicker skin and becoming more resilient in music biz over time + Benjy's very 1st job in the music industry + Reason people should take internships seriously + Benjy's early days at Arista with LA Reid + Leaving Arista and the scary / humble beginnings of Rostrum + Passion can numb fear when taking risks + Discovering and signing Wiz Khalifa + Wiz label + team having no clue “Black & Yellow” would be a #1 smash + Wiz getting dropped from their first major label deal + Learning hard way you can't solely rely on a label once signed + Almost leaving his music business path when things got rough + When lucky breaks we could never predict happening happen

Benjy Grinberg, founder and CEO of Rostrum Records, looks back on his journey—how he left what others might consider a dream job to start his own music label. Rostrum has helped put Pittsburg on the map with artists like Wiz Khalifa and Mac Miller. Benjy reveals what it has been like to work with those two artists, giving us a snapshot of how their careers took off. Tune in until the end to learn about some of the philanthropic things he has done. If you want to know what it's like to start your own label, this is the episode for you! Episode Highlights: ( 02:40 ) About Pittsburg's music scene ( 03:24 ) Benjy's transition from L.A. Reid's assistant to independent music producer ( 07:05 ) How he met Wiz Khalifa and their trajectory to success ( 11:40 ) On handling different duties at the same time ( 17:41 ) The challenges of releasing mixtapes on streaming services ( 25:52 ) On doing deals with artists and major labels ( 37:40 ) The importance of giving back and mental health awareness Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSS Host: Dan Runcie, @RuncieDan, trapital.co Guest: Benjy Grinberg, @benjybenjy, Rostrum Records Trapital is home for the business of hip-hop. Gain the latest insights from hip-hop's biggest players by reading Trapital's free weekly memo.

Taleban Dooda is one of the most promising young rappers coming out of Florida right now. With his debut album under Rostrum Records dropping in May we got to catch up with the rapper to talk about the album as well as his collab “Trappin Ain't Dead” with 42 Dugg + a whole lot more. Follow Gabe on IG: https://bit.ly/3cpvsEMFollow On The Radar On IG: https://bit.ly/3n3tP1QFollow On The Radar On Twitter: https://bit.ly/2VYj8lmFollow On The Radar on Facebook: https://bit.ly/2VWjJnBFollow On The Radar on Tik Tok: https://bit.ly/2JNPcWIFollow On The Radar On iHeartRadio: https://ihr.fm/39UZUW1Follow On The Radar On Apple Podcasts: https://apple.co/370ITYD#TalebanDooda #Interview #OnTheRadar

An update on the recent interview with Quando Rondo on King Von's death, Young Thug dropping Slime Language 2 album, Rich The Kid signing a new deal with Rostrum Records and Coinbase IPO and what it means for the future of cryptocurrency. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

My Favorite Colors music is as unique as his name. The California born artist just released his debut project “Velma” under the legendary Rostrum Records who have birth the likes of Mac Miller and Wiz Khalifa. The project which features singles “Funeral” & “Dale” is a mixture of different sounds from the new artist who has been waiting to release this project for nearly two years!!!Follow On The Radar On Instagram: https://www.instagram.com/ontheradarradio/

Evan Kidd is an award-winning filmmaker based in Raleigh, North Carolina. Raised in NC, he fell in love with film at early age, eventually turning his passion for storytelling into a career. Creating works screening globally for Rostrum Records, Cucalorus Film Festival, New Orleans Film Festival, XXL, Mass Appeal, BET, and MTV Jams. Evan currently hosts Convincing Creatives, a video podcast on intuitive creativity & hosted How We Human Podcast.In 2014, Kidd graduated from East Carolina University, earning his degree with honors in Cinematic Arts and Media Production. While still in college, Kidd directed “Spazz Out!”, a 35-minute documentary on the annual Spazz Fest musical festival in Greenville, NC. The following year, Kidd wrote and directed the narrative feature Son of Clowns, which has garnered multiple awards on the film festival circuit in 2016 including selection at the Cucalorus Film Festival and distribution on Amazon Prime Video. Kidd has also directed multiple music videos, including the video for Justin Garner's “Love Strikes Twice,” which rotated on MTV Jams and VH1 Soul in early 2016.In 2017 Evan was awarded a documentary research grant from The New Orleans Video Access Center to create his short documentary “Flooded With You” on the historic Baton Rouge, Louisiana floods of 2016, shedding light on personal & environmental causes. Later that year Kidd wrote, directed, and distributed Home Remedy, an independant television show through Amazon Prime Video.From documentary to narrative and corporate Evan's understanding of all genres of filmmaking gives his work a diverse and impressive understanding of the medium.Sons of God (Feature Film)https://www.youtube.com/watch?v=qMa-VvOqUCgYou can view his work and all other links here: https://rocksetproductions.com/films/If you liked this podcast, shoot me an e-mail at filmmakingconversations@mail.comAlso, you can check out my documentary The People of Brixton, on Kwelitv here: www.kweli.tv/programs/the-peopl…xton?autoplay=trueDamien Swaby Social Media Links:Instagram www.instagram.com/damien_swaby_video_producer/Twittertwitter.com/DamienSwaby?ref_src…erp%7Ctwgr%5Eauthor

Zak Waters (born January 22) is an American musician, singer-songwriter, DJ, and record producer from Los Angeles, California, also known as Pretty Sister. Waters began his music career forming the band Blueskyreality. After the group disbanded, Waters started his solo music career, releasing his debut extended play (EP), New Normal (2011). He featured on Madeon's 2012 multi-platinum single "The City", to positive acclaim, charting at No. 20 on the US Hot Dance Club Songs chart and No. 16 on the UK Dance Chart. He released his debut studio album, Lip Service, on September 9, 2013. The following year, he released his second EP, Now // Later on June 17 on Rostrum Records and his studio cover of Ginuwine's "Pony" to critical acclaim. He collaborated on Adventure Club's gold-certified single "Fade", which further prompted Waters to international recognition. He also collaborated on other popular singles including Adventure Club and David Solano's "Unleash (Life In Color 2014)" and Alex Gaudino and Manufactured Superstars's 2015 single "Lights Go Out". As Pretty Sister, he has released three extended plays; Z Funk Era, Vol. 1 (2018), Poolside Vibe (2019), and 20 (2020). He has featured on other artists' singles including Nause's platinum-selling single "Dynamite" and Keljet's "Love At First Site". He featured on LDN Noise's "Tears", which was released in August 2016. He has collaborated and produced for various other music artists including Betty Who, Breathe Carolina, Nathan Sykes, Superfruit, and JoJo, among others.

Zak Waters (born January 22) is an American musician, singer-songwriter, DJ, and record producer from Los Angeles, California, also known as Pretty Sister. Waters began his music career forming the band Blueskyreality. After the group disbanded, Waters started his solo music career, releasing his debut extended play (EP), New Normal (2011). He featured on Madeon's 2012 multi-platinum single "The City", to positive acclaim, charting at No. 20 on the US Hot Dance Club Songs chart and No. 16 on the UK Dance Chart. He released his debut studio album, Lip Service, on September 9, 2013. The following year, he released his second EP, Now // Later on June 17 on Rostrum Records and his studio cover of Ginuwine's "Pony" to critical acclaim. He collaborated on Adventure Club's gold-certified single "Fade", which further prompted Waters to international recognition. He also collaborated on other popular singles including Adventure Club and David Solano's "Unleash (Life In Color 2014)" and Alex Gaudino and Manufactured Superstars's 2015 single "Lights Go Out". As Pretty Sister, he has released three extended plays; Z Funk Era, Vol. 1 (2018), Poolside Vibe (2019), and 20 (2020). He has featured on other artists' singles including Nause's platinum-selling single "Dynamite" and Keljet's "Love At First Site". He featured on LDN Noise's "Tears", which was released in August 2016. He has collaborated and produced for various other music artists including Betty Who, Breathe Carolina, Nathan Sykes, Superfruit, and JoJo, among others.

The Rap Geek's retrospective review on Wiz Khalifa's stoner classic mixtape, "Kush & Orange Juice". Originally released on April 14th, 2010 on Rostrum Records and Taylor Gang Entertainment.

Benjy Grinberg, founder of Rostrum Records (Wiz Khalifa, Mac Miller), and Latif Tayour deep dive into Spotify, streaming, and today's music business. For bonus episodes, rewards, and extra interviews join our Patreon page: https://bit.ly/its-sb-patreon   If you're enjoying the pod please leave us a review and subscribe!   YouTube: https://bit.ly/3cuh6j3 Apple Podcasts: https://apple.co/3cAfx35 Spotify: https://spoti.fi/3eFmeTJ

“How did you get your start in the music business?" "What's one of the biggest lessons you've learned so far?" "What are you most curious about in terms of the future of the business?" — This week we switch things up a little and interview each other. From getting our starts at Def Jam together to Jamal now heading up Rostrum Records and myself running Studio Talk full time, we cover everything that got us to where we are today and hopefully we dropped a couple gems for you guys! Enjoy!

On Free Range this week we have the Vice President of A&R at Rostrum Records, Nicole Plantin.  She has been a part of some of your favorite artist's releases of the past decade+ (N.E.R.D, The Clipse, Kelis) and is finally in the position she dreamed of being able to mix her Business savvy and years of industry experience with a creative mindset that has always been at her core.  We talk about her transition from creative to exec, sometimes being ahead of the curve, navigating a male-dominated industry as a woman (and coming out unscathed) and how we handle art vs artist in this era.

This episode Curt, Ant, and George are joined by Ronda (@DrenchedInGlam) and Gabby (@TheGabbyStory). The gang open up the podcast paying their respects to the late and great Mac Miller [4:30]. ‘The Bobby Brown Story’ is discussed [16:28]. Curt decides to have a real conversation about Eminem [41:22]. The group gives their take on Nas etherin’ Kelis on Instagram [1:10:40]. Cardi B tries to run Nicki Minaj’s fade [1:40:20], and Drake and Meek Mill make peace [1:47:35]. This 2 hour podcast is a lot to take in, but enjoy though. *ABC podcast does not own the rights to songs played during podcast* Intro: Mac Miller "PA Nights", "Kool Aid & Frozen Pizza", "2009" courtesy of Rostrum Records, Warner Bros Records Social Media: @Curt_Will_ (Twitter/Instagram) @IAmAntP/@IHateAntP (Twitter/Instagram) @Illuminati__G (Instagram) @AllBSConsidered (Twitter/Instagram) #ABCPodcast #ShopTalkPodcastStudios

On this episode we sit down and talk to NOLA's own and Rostrum Records artist Caleb Brown. He shares with us his early beginnings growing up in the NO, his journey and relationship with Rostrum Records. Of course Caleb spit a few bars. Rate, subscribe, comment and share. #TheWeeklyDrop The instrumentals used for this episode was provided by @dougihmg Follow us on Twitter: @WeeklyDropPod Follow us on Instagram: @TheWeeklyDrop Follow @calebbrwnn on all platforms Featured tracks on this episode: 1). Caleb Brown- Player *The songs in this podcast are for promotional use only and not for distribution*

SOM Caught up with Caleb Brown in the studio to learn about the Rostrum Records recording artist and see where he's going with his career! Caleb Brown is an 18-year-old MC born and raised in the Sherwood area of Baton Rouge, LA. He found music as an outlet to express his anger about the violence and wrongdoings in his community. Momentum continued through the summer of 2016 with his single "W$GT$," which gained hundreds of thousands of plays and views on SoundCloud and YouTube. Since the release of the track, the Rostrum Records recording artist has been getting notoriety from national outlets such as Mass Appeal, Pigeons and Planes, Karen Civil, and more. XXL mentioned Caleb Brown as one of 12 Baton Rouge rappers to know in 2017.

Pop songwriter Casey Hanner from the Pittsburgh-based band Donora joins Petticoat Rule to talk about the experience of being on the Rostrum Records label, hearing her tunes in movie and TV placements, and being a new mom and releasing a new album at the same time. We also chat about her techniques for teaching vocals, her super cool robotic music summer camp class, and her interest in crafting country music. SPOTIFY: The Casey Hanner Playlist CREDITS: Intro/Outro Tunes created in collaborative segment with Casey, Erika, and Tara using a Korg Kaossilator Dynamic Phrase Synthesizer. This project supported in part by a Seed Award from The Sprout Fund. The producers would like to thank The River's Edge for providing the use of their studio space and equipment in the making of this episode. Special Guest: Casey Hanner.

The Don "No Trump" & ShortbusTimmy are taking you Straight To The League ! Episode 24 Good Fellas, your neighborhood good guys will be sitting with a Pittsburgh legend..the one and only Boaz ! We'll be catching up on everything in the works, Rostrum Records, the album "Hope Dealer" and much more. As always we'll be providing colorful commentary on everything thats happened over the last week so grab a lighter grab a drink & let us take you Straight To The League.

Minnesota artist J. Plaza talks of the importance of confidence, the formation of FREEWIFI with Tha Rift & Daddy Dinero, their signing to Rostrum Records, and more at Soundset in Minneapolis, MN, on May 28, 2017. Follow Plaza on Twitter: https://twitter.com/iamjplaza Follow FREEWIFI on Twitter: https://twitter.com/FREEWIFIMUSIC Plaza’s Soundcloud: https://soundcloud.com/iamjplaza FREEWIFI’s Soundcloud: https://soundcloud.com/freewifi-music Outro: “Ashes”: https://soundcloud.com/jplazapromo/ashes Follow us on Soundcloud, Twitter, and Instagram: Back2BackHipHop

Sarah Demarco was one of the very first employees at Rostrum Records, worked at Blue Note Records, and is a jazz musician who's worked with Esperanza Spalding. She launched her very own high end women's bag and accessory line called LDR. Episode Highlights // 0 - Intro 0:55 - The origins of guest's current endeavor 1:55 - Entrepreneur stumbling block? 4:52 - Were your parents supportive? 7:07 - Providence and the way life unfolds 8:59 - Early days at Rostrum Records 10:45 - Biggest frustration with the music business 13:00 - How do you move through fear during your transitions? 16:42 - Traits of best partnerships / teams 19:18 - Blessing in disguise? 22:40 - Craziest experience working in music? 27:06 - Favorite quote? 27:27 - Thoughts on EGO?

The energetic Minnesota native breaks down the acronym behind his name MOD SUN, discusses being the first to receive a ScHoolboy Q feature (outside of TDE of course), surviving a big earthquake while in Australia, getting his dream girl and more! The album is complete, what's the title? Your guess is as good as his at the moment. However the Rostrum Records signee has been getting significant love with his first single “We Do This Shit" ft. Dej Loaf.

Nickole Raymond and Sarah DeMarco, the co-founders of LDR Brands join Host Deirdre Breakenridge on Women Worldwide. Previously, Nickole was a seasoned sports industry executive, who spent a decade of her career at global sports and entertainment agency, WME | IMG. Sarah DeMarco was a seasoned music industry executive with diverse experience from acclaimed independent record label and management company, Rostrum Records. With two very different backgrounds, these former industry executives, turned entrepreneurs, started their company as a collaboration to create luxurious professional accessories. They discussed their journey as entrepreneurs with a driving passion and focused vision.They also discussed the benefits of having a partner in business and relying on complimentary skills, their approach to the negotiating process and managing tough challenges together. A little more about Nickole Raymond and Sarah DeMarco… Prior to LDR Brands, Nickole shaped the careers of top athletes and personalities acquiring a unique skill set in areas including: business development, talent management and brand marketing. Nickole has led IMG Golf's business development strategy and managed the Americas based sales teams. Originally based in Pittsburgh, Sarah worked closely with Wiz Khalifa and Mac Miller, as their hip-hop careers progressed. She also oversaw the development of Miller’s music videos and the merchandise used to promote “Blue Slide Park,” which was the first independent album to debut at #1 on the Billboard 200 chart since 1995, validating Rostrum as an indie success story. You can connect with Sarah on Linkedin, and Nickole on LinkedIn A little more about Your Host, Deirdre Breakenridge … Deirdre is an author, entrepreneur and CEO of Pure Performance Communications. A 25-year veteran in PR and marketing, she is the author of five Financial Times Press books including her latest titles, “Social Media and Public Relations,” and “Putting the Public Back in Public Relations.” Breakenridge speaks nationally and internationally on the topics of PR, social media and marketing. She's an adjunct professor at NYU and UMASS at Amherst, a recognized blogger at PR Expanded, and also the co-founder of #PRStudChat, a dynamic twitter chat with PR professionals, educators and students. Connect with Deirdre by following @dbreakenridge on Twitter and on her blog at www.deirdrebreakenridge.com.

Mr. Ben Yang has a lot to say. About a lot of people. And he got it off his chest. Ya'll been clamoring for a West Coast guest? Here it is. Baller has stories for days. Suge Knight, Dr. Dre., Tupac Shakur, Death Row, Denzel Washington, Aftermath. He's even got some Dame Dash and Jay Z stories. From record man to jeweler to the stars, dude doesn't disappoint. We also had up and coming Pittsburgh rapper Boaz come through and talk about being signed to Rostrum Records, going on tour with Wiz Khalifa, Mac Miller and Kendrick Lamar, and how he'll smoke Mr. Khalifa way tf under the table.