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twentiethcenturymoviesandtv · 4 years

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Movie Criticism in a Modern Era

In 1904, near the birth of film itself, a paper was published called: The Optical Lantern and Cinematograph Journal. This paper was a one-of-a-kind at the time, full of interviews, analysis of equipment and methods, letters to editors, and even cartoons that made fun of stereotypes in the movie business that we can recognize today.

But that’s not the most interesting thing about this paper.

What was the most interesting thing is that, amongst all of that content, there was also a series of critical reviews of upcoming films, describing a handful of plots of a few films.

The journal would continue to do something like this for the eleven months before it was cancelled, but not before starting something that we are extremely familiar with today: film-criticism.

All through the 1920s, movie critics were becoming more popular, with newspapers hiring them to start analyzing and reviewing upcoming films. This continued into the 1930s, where the obsession with stardom boosted not only the movies and actors, but the critics, as well. More and more film critics were showing up to red-carpet events, but even with this rise in fame, it wasn’t until the 1940s where movie criticism really took off: when the analysis essay was born.

Movie critics started to write essays full of personality, persuasive papers designed to convince audiences of their argument. During this time, something else major happened: movie criticism went mainstream. Critics began working for newspapers, magazines, and, as time went by, even on television, becoming household names. There is perhaps no better example than the famous duo Roger Ebert and Gene Siskel, although others, such as Pauline Kael, Leonard Maltin, and Judith Crist are also contenders for some of the best-known movie critics of all time.

The words of these critics was often highly valued in the film community. They are professionals, well-qualified to study and examine both new and older movies, typically possessing academic backgrounds in film. And then something happened that put an entirely new spin on movie criticism: the internet.

Blogs. YouTube channels. Websites like Rotten Tomatoes and Metacritic, began to rise in popularity, and channels like CinemaSins, Cinema Snob, and Nostalgia Critic, began popping up all over the place. Even now, there is a vast ocean of movie review blogs and analysis, not to mention YouTube channels and community review websites. In other words, the ‘power’ of film criticism shifted: from the academics to the amateurs.

While there are still qualified critics who post their reviews, more influential by far is the score on Rotten Tomatoes, or the opinion of a favored internet personality. Once that Metacritic score is set, so, it would seem, is the movie’s reputation. We are living in an age where the average joe can make a blog, a YouTube video, or review on Flixter. Even I could be considered an amateur film critic.

The question is, is this a good thing or a bad thing?

On one hand, those of us without degrees in film are being listened to, and can influence how movies are made and how they are received with our opinions. There are more and more avenues for us to explore our opinions, and more resources for us to back our own opinions up by listening to analyses and arguments from a variety of different places. The movie industry is no longer in the hands of the ‘chosen few’, the ‘elite’ and educated. Now, the power is shared equally, if not disproportionately with the audiences, the average movie watchers. You and me.

On the other hand?

Without a level of objectivity about film, some of these movie watchers who post their opinions online do so without reserve, leaving sometimes vitriolic reviews with little to no reason for their hatred beyond personal preference. It is thanks to this modern phenomenon that has left the paths open for raging, ranting reviews against various films that simply don’t appeal to them, without rhyme or reason. Alternatively, other resources choose to look at films and nitpick them endlessly, adding up minuscule details and ‘plot holes’ and claiming that these make a film good or bad.

It is this type of thinking that leads to the Oscar viewership dropping. It is this phenomenon that leads people to value the score on Rotten Tomatoes over that of the critics.

Once again, it leads one to wonder: is this a good or bad thing?

With this decline in interest in the critics relatively objective verdict of a film due to claims of the critics and audiences never agreeing, all that’s left is to look at what the audiences have to say. Many movie goers point to the box office, or popularity of a film to decide whether a film is good instead, but by that logic, Transformers and The Fast and the Furious are on a level similar to The Lion King and Mission Impossible.

In other words, objectivity can very easily be lost if you pay attention to a movie’s popularity over its quality.

The balance between popularity and quality is not a strange one, especially on this blog. Also familiar to us is the struggle between the word of the critics and the word of the audiences. In an era where anybody can influence how a movie is viewed, it can seem like it’s more important than ever to choose a side, to figure out whose advice they are going to take. Who we’re going to listen to. Does the word of the critics mean anything, or do they simply laud ‘artistic’ films, looking down their noses at the more comprehensible fare that the viewers are more likely to see? Do audiences know an objectively good film when they see it, or will they go down defending popcorn flicks as Oscar contenders?

Which side are we to pick?

As an avid moviewatcher who both enjoys film, and wants to be objective about it, my argument comes down very closely to the same opinions I held in the ‘objectivity vs. subjectivity’ article I posted: a little of both.

Is the word of the critics valid? Yes. Critics are people too, and their opinions are (supposed to be) founded on academia. Critics can tell us if a film is objectively good, if the production quality is up-to-snuff, if the performances, pacing, cinematography and story are, by the standards of ‘good filmmaking’, good. By the same token, they can only get you so far.

Any consumption of art is subjective, and the same goes for film. We can search for like-minded reviewers and analysts who we can determine our own judgements over whether or not to see a film, or try to figure out what you liked about it. In other words, there doesn’t have to be a one-or-the-other argument.

So, to answer our previous question, is this new era of the everyman film critic a good thing or a bad thing?

Honestly? I’d say it’s a good thing.

Right now, there are a plethora of opinions that are more likely to match up with the opinions of the audience because they are the audience. By applying analysis and critical thinking to the films that people are interested in, more people are encouraged to think about the films they are watching instead of simply discounting the opinions of the critics, thinking of them as the ‘Hollywood Elite’. Now, there are more resources than ever for finding arguments for and against specific viewpoints or analyses of certain elements of certain films, genres, even directors and actors. We are living in an age where I can type in the name of a film and find more analysis than I know what to do with.

Yes, that’s a good thing. We have more viewpoints to compare, more things to think about, and we can even more easily spot when the critics and the audiences’ opinions do match up. Cases like Star Wars, Dead Poets Society, and Forrest Gump prove that it is possible for the two to agree, and the increase in access to a wider variety of opinions and reasons for opinions can help up-and-coming film critics and movie-goers alike think about what they’re watching, whether they agree with the reviewer or not.

In the end, the purpose of film criticism and analysis is to inform an audience about movies, and point out elements that casual movie-goers might not be paying much attention to. They exist to summarize, highlight, and explain what was good about a film, and what was bad about it. This serves as an excellent aide to our own thought processes as we watch movies ourselves, helping us figure out what we liked or did not like, and why, whether the critic has a degree in film or not. Film critics are there, especially in multitude, to add to the movie experience, to help us think, and to provide information about movies.

In an era where anyone can create a YouTube account or a blog and start reviewing, there are dangers of oversaturation and, of course, there’s always the possibility that you simply won’t agree with any of the opinions out there. There are those who base their reviews solely in subjectivity, and those who do the opposite. But these are problems easily solved, once again, with critical thinking, and using the feedback of others to help us formulate our opinions about whether or not to watch a film, or even to help us think about one we’ve already seen.

A degree in film is not needed to smartly evaluate a film. What is needed is fairness in judgement, and a keen eye. Knowing what to look for certainly helps, but in the end, it’s about offering a thoughtful opinion on something in order to inform and persuade, the same as it has been since 1904. Everyone has their own thoughts to share.

Movie criticism hasn’t changed fundamentally. The things that make a movie good are the same: story, characters, cinematography, performances, and all the rest. What has changed is the number of people, and the number of ways, that those things are analyzed. What we have now that we didn’t before is, primarily, variety, and the technology to spread our ideas.

All in all? This new era of media analysis is far from bad. What matters now is making sure that it’s used well. And that’s what this blog is all about.

Thank you guys so much for reading! Please, don’t forget that the ask box is always open if you have any ideas, suggestions, discussion topics, questions, or just want to say hi! I hope to see you guys in the next article.

#Movies #Film

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norafinds · 6 years

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ATWWV - Karolina Żebrowska

It is very exciting for me to click publish on this interview with Karolina. I first spotted her exceptional style on Instagram, but almost immediately found her YouTube channel (which brings me so much joy!). I really wanted to get to know her so I just had to feature her on the Around the World with Vintage series. This lady has a great sense of humour and her vibrant personality really shines through her photographs and videos. She’s definitely one Instagrammer I’m dying to meet because I think we will get along like a house on fire! On top of her great personality I am in love with her versatile fashion choices - she wears anything from Victorian to reproduction and damn she pulls them off really well!

What did you study in Scotland?

I studied film and specialized in film directing. I did my bachelor on film studies back in Poland, but I was missing the practical aspects of filmmaking.

You said you started wearing vintage when you moved to Scotland, what decades did you start with?

As many people, I started off with being fascinated by 1950s and then realized I enjoy the 1940s styles and silhouettes more. So my wardrobe at the very beginning was sort of a mix of both – turtlenecks and circle skirts, buttoned up blouses with A-line skirts, depending on the mood. I think finding your style when it comes to vintage can be a long and confusing process that many people don’t realize!

Photo by Klaudia Balazy

What decade do you wear day-to-day now?

Now I’m leaning towards the more simple styles of the 1940s. I like going a bit extra every now and then, with hats, heels and matching accessories, but my wardrobe is a mix of original and reproduction/vintage style clothing at this point, so usually it’s not so over-the-top. I also hate heels, which in terms of creating an authentic 1940s look is a little bit tricky!

I know you originally fell in love with 19th c costumes and started making historical costumes, do you also sew other decades? How do you come up with the pattern and the details? Do you think it’s important for your sewing techniques to be authentic?

At this point I pretty much sew whatever I feel like at the moment, though the 19th century is usually a priority. For some reason sewing more modern clothing, such as 1940s style dresses, is much more difficult for me than making, let’s say, a Victorian bustle era dress. It might have something to do with a fact that it’s much easier to find free old patterns, because the copyright have expired and a lot of them are available online. On the other hand, 1940s and 1950s dresses and clothes could often pass as “modern”, so I feel like there’s a big interest in vintage patterns now, which makes it harder to obtain them. That’s why I often improvise when it comes to 20th century patterns, and that is also why it’s more tricky. When it comes to the sewing techniques, I used to choose whatever gives the fastest results (haha), but now I tend to focus more on how the garments were made back in the day. The techniques and tricks they used were usually thought through, often created especially for the particular silhouette, and affected the fit of the garment. That’s why they give you the most authentic results.

How do you find the confidence to wear antique or antique-inspired pieces when you’re out and about? How do people react?

I don’t wear my historical costumes every day, it’s usually only a matter of getting to a particular spot where a historical event/photoshoot/meeting is held, though it does require a bit of courage. It’s always a lot easier when you go around the city with a friend or a group of friends who are also dressed like it’s 1894, because the chances are you aren’t all insane. When I’m on my own though – it get’s a bit tough. My favorite method is pretending there’s nothing unusual with the fact that I need to lift all four of my petticoats when getting on public transport. My resting bitch face usually scares people off quite well, though there are times when strangers are chasing you with a camera without asking for your permission to take a picture. It’s moments like this when I think to myself “Well, this is why you don’t dress like that every day”.

Is there a big vintage community in Krakow and in Poland?

I think it’s growing really fast. I used to recognize most of the people that dressed vintage or were retro/pin up inspired, but there’s more and more of them. Same goes for vintage themed events, vintage shops and fairs and so on. It’s actually very exciting.

How did you decide to use YouTube as your main platform? Do you have any background in video production or acting?

I actually started out with my own blog, just like you – but then gradually realized that YouTube and it’s format fit my needs best. I had some doubts at first, mainly concerning “putting yourself out there” – internet critics can be harsh and while you can pick your best shots for the blog, you’re suddenly becoming very self-aware when on a video. Do I do something weird with my face when I speak? Will they hate my voice? Is my English even good enough? I did some acting, filming and editing back in my high school days, so I had some background, which I think helps tremendously when you’re starting out with YouTube. The thing I’ve learnt though is to constantly stay up-to-date with the newest content, even if it doesn’t have anything to do with what you specialize in.

You successfully inject humor and popular culture into your videos - how did you decide on what kind of content you want to produce and how do you regularly come up with ideas for new videos?

I remember myself a couple of years ago, thinking “I love vintage style, I love the elegance, but there’s no way I could ever be like all those sophisticated Instagram ladies – I’m just too goofy for that”. What I used to think was my weakness turned out to be what some enjoy the most about my channel. They like to see vintage style being “normalized” or “modernized”. All the beautiful models we see on Vogue covers from 50s and 40s can give you a very wrong idea of what these eras looked like. Also, there’s no point pretending it’s not 2019. I can dress up all I want, but I will scroll through Instagram in my 1940s suit, and I will eat a cheeseburger in a Regency dress, because I’m hungry and have no time to change. I think it’s the contrast between the eras I’m talking about in my videos and the fact that I’m doing it now, in the age of memes and pop culture, that makes it all so funny.

When it comes to particular ideas, it’s usually pretty random. I sometimes come up with an idea and write it down on my phone. Then, when I have the time I dig the ideas up. Either that or I just start setting up the camera thinking about what I’ll be shooting today - unless it’s a topic that requires some deeper research or preparations.

youtube

Tell us a bit about the process of your video productions? Do you have a regular cameraman or audio person etc.

No, I do everything on my own. I think as long as it doesn’t lower the video quality significantly I’ll keep doing it myself, because working with other people always slows down the whole process. My sister is my camerawoman sometimes when we go outside, and it’s hard enough to work around our schedules. Most of the videos I do are also quite spontaneous. Very rarely I do some actual planning – usually I wake up and think “Hm, it’s been a while since the last video. I should probably shoot something today”.

How did you decide to do YouTube full-time? Does it free up your time to pursue other interests as well? Tell us about your book and any other project!

I never really decided anything, it just sort of lined up with what happened in my life – I just finished my master’s degree, moved back to Poland, didn’t have the slightest idea what’s happening next. But I kept doing the videos, because there were people out there waiting, and after a little while it was enough money to keep me going. To be honest I still see it as a sort of a “side job” – I’m hoping to be still working on other projects while “youtubing”. Last year it was my book on Polish 20th century fashion which I started working on around March and it came out in December. This year I have a couple of things lined up, but I’d rather not say yet. You’ll have to wait and see

Photo by Klaudia Balazy

What is the one thing you’d like the readers to know about you?

That I often dress up especially for my videos. Same with Instagram - I only post pictures of myself when I’ve actually put an effort into my outfit, which is not too frequently. The internet lies, I’m not that fancy every day!

#norafinds #around the world with vintage #atwwv #karolina zebrowska #interview #vintage #blog #blogger #youtuber #instagrammer

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douchebagbrainwaves · 3 years

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STARTUPS AND CARTOON

Once you phrase it that way, you tend to get cram schools—which they did in Ming China and nineteenth century England just as much as an audience. Why are founders surprised that VCs are clueless? If people are complaining, that means you're doing something rather than sitting around, which is reasonably fast by present standards, that means you're doing something rather than sitting around, which is reasonably fast by present standards, that means you're doing something rather than sitting around, which is the first step. The reason VCs seem formidable is that it's their profession to. Where you go to college still matters, but not ready yet for real work, jump on it. They'll all lose their jobs eventually, along with all the time they expended on this doomed company. My advice is generally pessimistic. One founder put it very succinctly: Fast iteration is the key to success. If a city offered these companies a million dollars per startup. Online video becomes possible, and YouTube plunges right in, while existing media companies embrace it only half-willingly, driven more by fear than hope, and aiming more to protect their turf than to do great things for users. So I think it needs even more emphasizing.

You could try to decrease the productivity of the people who discover them are looked down on a company operating out of a garage in Silicon Valley would feel part of an exalted tradition, like the poet in his garret, or the painter who can't afford to heat his studio and thus has to wear a beret indoors. So if you want to invest in do things a certain way, what difference does it make what the others do? Even if your colleagues were impressed by your credentials, they'd soon be parted from you if your performance didn't match, because the practice is now quite common. They're just a couple founders with laptops. But in 1976 it didn't seem so cool. That's the myth in the Valley. Even if we could somehow replace investors, I don't see how we could replace founders. Think about where credentialism first appeared: in selecting candidates for large organizations. The only way to do it is to be consciously aware of that. And is there anything we can do to encourage the trend toward an economy made of more, smaller deals will probably find they do better when deprived of this crutch anyway.

How does responsibility constrain you? Better stick to the standard cartoon version that the Civil War was about slavery; people would be confused otherwise; plus you can show a lot of convincing to see their merits. In any interesting domain, the difficulties will be novel. If reforming the investment process removed that stress, we'd make our product much more attractive. The younger employees were paying their dues. Immigration seem to work themselves out. You need to figure out what you're building, and it did not seem as if he saw it as a story about a murder. If you spend all your time programming, you will fail. It would be pretty straightforward to make a nest for yourself in some large organization where your status depends mostly on seniority. We couldn't believe large numbers of people would want to put their name on.

Over-engineering is poison. When you can't get users, though. The obvious way to solve the problem at all, but another you discovered en route. They just arrived back from NYC, and when a new approach arrives, you may as well cast a wider net and derive what benefit you can from similarities between fields. When you judge people that way, who can more easily be replaced. I am more fulfilled in my work than pretty much any of my friends who did not start companies. One especially good groove to span is the one between tools and things made with them. They don't have time to work. The obvious solution is to be able to compete with VCs in brand. Maybe they'll listen to one of the more successful founders: The immense value of the work they'd done. One's first thought when looking at them all is to ask, how different from what?

You can't replace those. And he said that as a kid growing up in Saskatchewan he'd been amazed at the dedication Jobs and Wozniak were marginal people too. In principle you could avoid getting fat as you get old, but few do. Now the standard excuse is openly circular: that other languages are more popular. They did but I am not sure they can take on the hotel market I could be wrong. NYC, and when I asked them to demo the device they had difficulty switching it on. Why did the US really invade Iraq?

When I was in college the rule seemed to be down to one: hapless. They would make an investor's money go a long way. There are probably a lot of startups, which makes it seem like time slows down: I think the reason most founders are surprised is that because they work fast, they expect everyone else to. The second way to compete with focus is to see what you're making; it draws work out of you. The deal terms of angel rounds looks more like this: instead of avoiding this work, this will be what you do as a way to generate deal flow for series A rounds. Once someone is good at something, they tend to have a piratical gleam in their eye. Investors all compete with one another for deals, but they aren't one another's main competitor.

Imitating it was like pretending to have gout in order to seem rich. An essayist needs the resistance of an audience, just as, if you have only one person selling while the rest are writing code, consider having everyone work on selling. In languages, as in so many things, there's not much correlation between popularity and quality. Individual performance is hard to implement. Why are founders surprised that VCs are clueless? This kind of judgement is not really about you. Techniques for competing with delegation translate well into business, because delegation is endemic there. To benefit from engaging with users you have to work to maintain your relationship. It's interesting Our two junior team members were enthusiastic. When you let customers tell you what they're after, they will often reveal amazing details about what they find valuable as well what they're willing to pay for.

We sleep more. If someone gets murdered by someone they met on Facebook, the press will just treat it as a story about a murder. But even if you could somehow redesign venture funding to work without allowing VCs to become rich, there's another kind of investor you simply cannot replace: the startups' founders and early employees. And the relationship between the founders has to be bad, right? If you make something and people complain that it doesn't reduce economic inequality, because it means a startup could do. This pattern is repeated over and over, and it's always this way. Most of the big successes have two or three. I summed it up once like this: Starting a startup gives you more freedom and the opportunity to make a nest for yourself in some large organization where your status depends mostly on seniority. The 20th best player may feel he has been misjudged. Getting people to use a TV as a monitor, and HP felt they couldn't produce anything so declasse. It would be pretty straightforward to make a list of all the startups they'd invested in.

#automatically generated text #Markov chains #Paul Graham #Python #Patrick Mooney #candidates #things #credentials #garage #pattern #company #something #iteration #product #competitor

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johnboothus · 4 years

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Willett Pot Still: The Liquid #BourbonTok Loves to Hate

For more stories on TikTok, check out our whole series here.

“What’s up Bourbon TikTok? … Today I want to tell you about my least favorite bottle in my collection,” says Chad Watson, a Lexington, Ky.-based bourbon enthusiast who goes by @mydailybourbon. Wearing a black tie with a zippered gray jacket, over the next 40 seconds Watson discusses how much he dislikes Willett Pot Still Reserve — “too malty, too earthy, too grassy” — which has become the bourbon that TikTokers most love to hate.

Spend any amount of time on so-called Bourbon TikTok and you can’t help but run across hundreds of reviews for Willett Pot Still Reserve. Some are professional, most are amateur, a few are earnest, many more are comical, bordering on cruel. And they’re nearly all negative, as though slamming this particular whiskey is a rite of passage in becoming a bourbon reviewer on the exceedingly popular platform.

So how did Willett Pot Still Reserve become the most dunked-on bourbon in all of TikTok?

“TikTokers are doing a service that others in the blogging, YouTube, Instagram, and even the podcast space can’t,” believes Kenny Coleman, host of the Bourbon Pursuit podcast. He says that once something like these Willett Pot Still slams take off via TikTok’s algorithm, more are certain to follow. “So now bourbon reviewers on TikTok are getting a message out to people who didn’t necessarily know there even are bourbon reviews,” he says.

@whiskeydizz

Honest and Unbiased Review #willett #potstill #bourbon #fyp #bourbontiktok #whiskey

♬ Blade Runner 2049 – Synthwave Goose

Zero Point Zero

For connoisseurs, Willett holds a hallowed position in the American whiskey pantheon. The company humbly began in 1984 when Even Kulsveen purchased it from his father-in-law, Thompson Willett, and renamed it Kentucky Bourbon Distillers. But Kulsveen wasn’t actually distilling anything, instead sourcing unwanted stock from nearby distilleries like Bernheim, Four Roses, Heaven Hill, Jim Beam, and the vaunted Stitzel-Weller.

As the modern American whiskey boom began to take shape in the early aughts, Kulsveen’s son Drew began releasing their most primo stock as cask-strength, non-chill-filtered single barrels under the umbrella Willett Family Estate. Some of these, with names like Red Hook Rye, Doug’s Green Ink, and Rathskeller Rye, became some of the most acclaimed releases in American whiskey history. Pretty much all Willett Family Estate bottlings released since 2006 now sell for hundreds if not thousands of dollars — and, if you lack knowledge and connections, you really have no chance to ever score any.

“Purple tops, green tops, that’s fun stuff, but when it comes to [Pot Still] … it’s just not for me,” says Watson.

Unfortunately, almost all Willett looks identical — Cognac-style bottles topped with, as Watson mentions, purple foil tops, green foil tops, or white wax. All are slapped with stark white labels featuring the Willett family crest, with the only identifying differences being tiny, handwritten details indicating each bottle’s age, proof, and sometimes an esoteric barrel number. (For a while, the whiskey internet circulated a Google spreadsheet to keep track of these barrel numbers.) All this is what makes the Willett portfolio, if you will, completely inscrutable to newcomers.

“Willett is a very notable brand and people love to chase their limited releases,” says Watson. “So Willett does what most brands would do in that case: creates a product that draws people with their eyes, is priced decently, and is pretty much always available.”

That product, of course, being Willett Pot Still Reserve, the only Willett whiskey ever released into the mainstream. And that’s where I suspect the cognitive dissonance sets in.

Newcomers to the bourbon hobby see the reverent tones Willett is spoken with online, then assume that all Willett is the great Willett that whiskey geeks have been stockpiling for years. The fact that Willett Pot Still Reserve comes in an eye-catching glass decanter — meant to look like a literal copper pot still — solidifies the fact they’ve stumbled upon a good score, which makes the ensuing disappointment once they finally taste it all the worse.

“What’s up guys and gals, this is Kent Davis, wanting to give you an honest bourbon review,” says @kentedavis33, speaking over a still image of the Pot Still bottle. His following nine-second TikTok is a succinct slam:

“Nice bottle, but zero point zero.”

@mattybourbon

Willett Pot Still Reserve Review#bourbon #bourbonreview #whiskey #whiskeyreview

♬ original sound – MATTYBOURBON

Nicest Looking Bottle in My Collection

That “nice” bottle is exactly what leads to so much animus, claims Watson.

“Once people try the juice inside, they realize they have been duped,” says Watson. “For what seems like an amazing art piece, the liquid inside just doesn’t match the standard. It tastes young, earthy, and very green.”

Almost all Pot Still appearances on TikTok begin with the reviewer mentioning how much they like the bottle. In his review, Watson notes that the “bottle shape … is really cool.” “Pretty neat bottle…” says @glennflashwells. “Nicest looking bottle in my collection hands down,” says @mattybourbon. In many cases that will be the last wholly positive thing uttered by the reviewer.

Florida-based Andy Mauldin (@ronbourbondy) chose Willett Pot Still for his first-ever TikTok review earlier this year, claiming he’s never tried it before. Though even that doesn’t stop him from comically coughing after his first sip.

“Whahoooooaa, that is hot!” he exclaims as he struggles to clear his throat. He eventually calls Willett Pot Still Reserve “trash,” noting that the bottle is its “only redeeming quality.” Josh Grundemann (@bassinandbourbon) also coughs, nearly choking after sipping his first-ever Pot Still pour.

“That might be the worst bourbon I’ve ever tasted,” states the Louisiana man.

@bassinandbourbon

Is Willet Pot Still worth it? @60secondbourbonreview and @caseywarr do! Here’s my thoughts! #BourbonTikTok #Bourbon #fyp

♬ original sound – Josh Grundmann

In a way, you could say a TikToker’s first sip of Willett Pot Still is the baptism by firewater that catapults them to the next level of connoisseurship. Maybe they’ll now be ready to get more serious with their bourbon reviewing. Or, maybe they’ll just want to milk the “Pot Still sucks” joke even further — by now it’s started to become a sort of TikTok meme.

Maudlin, for his part, did a follow-up TikTok where he dumps his remaining Pot Still into a fancy crystal decanter, jokingly hoping his wife will now assume it’s the “good stuff,” and thus drink it after running out of her preferred rosé.

If many Pot Still bashers go for the laughs regarding how awful it is compared to the luxe accommodations of the bottle it is housed in, there are a scant few TikTokers who are more earnest in their reviews. Steve Higdon (@60secondbourbonreview) finds Pot Still “pretty mellow” and “easy to drink.” Casey Warr thinks it’s “okay stuff.” While @mattybourbon calls it “not a great bourbon,” though admits it has a nice nose with notes of buttered popcorn, scoring it a decent 5 out of 10.

Those reviews might not elicit laughs or a viral view count, but they’re more accurate in their assessments. Pot Still Reserve is certainly not good — and I would never keep a bottle of it in my house — but it’s not as bad as TikTok would have you believe. Distiller rates it an 88 (out of 100), while Drink Hacker scores it a B+. That feels about right to me. Rumors abound that the spirit has gotten worse over the years, changing from a rye-flavored single-barrel bourbon to a wheated “small batch” blend of undisclosed origins. Whatever the case, it is almost certainly not 100 percent distilled via pot still, which makes the name and bottle design even more amusing.

That’s why the online anger continues to flow, with neophytes thinking they scored the world-famous Willett, seeing the fancy bottle suitable for displaying on the back bar, resting their iPhones facing them in selfie mode, firing up TikTok, taking a big sip, and then realizing (on video) that they just threw 50 bucks down the drain.

And, comical though these may be, maybe Willett should start paying more attention to them.

“Whiskey appeals differently to everyone. So there will be camps that like or dislike a certain whiskey,” says Coleman. “But when a majority of people are consistently giving the same message, the brand should take note and adjust.”

Or maybe not, as there continues to be a seemingly endless stream of fresh-faced TikTokers very excited about their recent Pot Still scores. Like @whiskeymorning, who enters his house clutching two bottles of Pot Still by their necks as he dances to Saweetie’s “My Time.”

We’ll wait for his TikTok review once he finally cracks it. My guess is that it will almost certainly involve coughing.

The article Willett Pot Still: The Liquid #BourbonTok Loves to Hate appeared first on VinePair.

Via https://vinepair.com/articles/86ed-proof-willett-pot-still/

source https://vinology1.weebly.com/blog/willett-pot-still-the-liquid-bourbontok-loves-to-hate

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danyelle756games · 4 years

Text

What do you get in a $400.00 gaming pc

‘Mortal Kombat 11' Director Shares Shaggy ‘Mortal Kombat 11' Meme TWO BEARD GAMING

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osreviews · 5 years

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REVIEW: Chuwi Hi9 Plus - Affordable Android Tablet w. 2K Display & Stylus Support!

The Chuwi Hi9 Plus offers a beautiful display (2K IPS) and solid build quality at a price significantly more affordable than tier-one competitors. Furthermore, it delivers an uniquely well-rounded set of features including 4G LTE capabilities (even allowing phone calls!), near stock Android experience (with a promised update to Android 9 arriving soon), and support for a pressure sensitive stylus pen called the HiPen H3. In short, although raw performance might not beat the latest iPad Pro, for only $200, it’s a good enough alternative at a fraction of the cost. And that in itself is already a pretty amazing feat; the Hi9 Plus is one of the best value tablets on the market.

Find it on Amazon: https://amzn.to/2IZynnq

Positives

• Brilliant display (one of the sharpest resolutions on ANY tablet at ANY price)

• Solid construction, aluminum body feels solid

• 4GB RAM (highest specs from all of Chuwi’s current tablets)

• Pure Android 8.0 Oreo without any bloatware installed

• Good enough performance in real-world, similar to Snapdragon 600-series (Deca Core Helio X27)

• Support for optional keyboard cover and official stylus pen

Negatives

• Speakers could pack more bass (but it’s a stereo pair, which is good)

• Stylus and keyboard are not bundled with the standard box (although a deluxe version includes them for $50 more)

Design & Build Quality

As aforementioned, the Hi9 Plus offers an impressive construction for an affordable tablet. Similar to Xiaomi’s Redmi phones, the back is made 90% out of metal, leaving only a small plastic strip on the top edge to serve as the antennas to improve reception.

The overall feeling in the hand is solid - significantly better than most competitors using all-plastic at this price point - and surprisingly thin at only 8.1mm. The power button is accentuated in red, and the edges of the tablet are chamfered, giving it an extra shine when reflected by light. Nice!

For those with experience using Chuwi’s tablets, the aesthetics match the Hi9 series. That is, the Hi9 Plus bares strong resemblance to the 8” Hi9 Pro, expect that the “pro” is shrunken down in dimensions (ironically despite the “pro” moniker...the “plus” is actually the flagship for Chuwi at the moment). Bezel sizes are respectable for a tablet, while not invisible, it makes for comfortable gripping using 2 hands without obstructing parts of the screen. Overall, the dimensions are similar to Chuwi’s 10” HiPad, although the Hi9 Plus has a larger display (10.8”), showing improved design considerations.

Both cameras have a resolution of 8 megapixels. There’s no assisted LED flash, but the sensors are made by Samsung, and the quality is good enough for the purposes of document scanning and video calls.

On the back, the Chuwi Hi9 Plus offers stereo speaker for added immersiveness when watching videos.

Although the speakers lack some depth in my opinion, they do get plenty loud, and the tablet retains a standard 3.5mm headphone jack! A rare thing to see these days, especially since the tablet also offers USB-C, in addition to Bluetooth support for wireless headphones and speakers. For a 2019 Android tablet, the I/O selection is honestly pretty good, considering tablets these days no longer include full-sized USB ports or HDMI ports due to their thin dimensions.

Display & Stylus

The 10.8-inch display offers an 6:10 aspect ratio, with a pin-sharp 2K resolution. Text, images, and fine details are clearly legible (even without zooming in), making this an excellent tablet to use for the purposes of entertainment or media consumption. The full lamination means that there’s no gap between the multi-touch enabled glass and the LCD underneath it, reducing glare in outdoor scenarios. The only slight quirk is that the screen isn’t the brightest I’ve seen, although I found it to be perfectly acceptable in terms of visibility under moderate sunlight. Overall, this is one of the best displays you’ll find on any Android tablet at any price, when it comes to sharpness and detail. Competing tablets with this resolution typically sell for hundreds of dollars more.

Aside from the display, another strong selling point for the Hi9 Plus is the stylus support; a feature that is rarely found on tablets under $500. I picked up the HiPen for $20 extra, and my experience with it has been satisfactory thus far. The pen itself is constructed out of a hefty aluminum, and allows it to be magnetized to the edge of the tablet when not in use. Unlike Wacom stylus pens, however, this one does require a battery to be switched every year or so (AAAA size, similar to the Surface Pen). This pen supports 1024 levels of pressure sensitivity.

The pen can be used to navigate the UI (in place of using a finger), and the sensitivity has been great, although not 100% as elegant as the much more expensive-Wacom devices. For example, there’s no “hovering” cursor that I could see when using the pen close to the display (like on a S-Pen or Apple Pencil), although recognition (when pressing down) is still very good.

Now, I’ve come across several reviewers claiming that the pressure sensitivity doesn’t work...which is wrong. Either these reviewers were not diligent enough in trying out compatible apps in the Play Store (i.e. “ArtFlow” is one such free option, among other apps, which I downloaded and recognized pressure sensitivity perfectly), or that Chuwi somehow updated these tablets. For example, some of the older reviewers didn’t seem to have the red colored power button (they were black before), so perhaps this is a “updated” edition of the Hi9 Plus. In any case, the pen support is nothing to complain about anymore.

Digging a little deeper into my experiences using ArtFlow, the experience was like using a real pen and paper. Pressing harder on the screen resulted in a thicker/darker line, versus gentle sketches resulted in very light lines. This felt very natural, and combined with good enough palm rejection (not much accidental touches with resting a hand on the screen when drawing), makes this a great digital sketchbook for artists, creatives, and notetakers. Although professional artists will technically find more levels of pressure sensitivity on some Wacom enabled models, for the price, this has already exceeded my expectations on it’s sensitivity and fluidity for casual use.

Performance & Software

Although everything up to this point has read like a premium, flagship tablet, the processing power is more in-line with other middle-of-the-road devices. That’s certainly not a bad thing, especially now that in 2019, middle-tier phones and tablets are honestly good enough for the vast majority of consumers (and with significant cost savings), compared to the old days where performance differences were much more noticeable.

The MediaTek Helio X27 deca-core processor (ten cores, up to 2.6GHz) delivers generally smooth performance in real-world usage, similar to Snapdragon 600-series devices I’ve tried. General navigation is responsive - especially after giving the tablet a few extra seconds to warm up after booting up - and intensive apps (i.e. Asphalt 9 or PUBG) render without issues as well, save for the occasional delay in loading.

In heavier apps, the tablet gets slightly warm near the antenna strip, but never too hot or uncomfortable to hold. Overall, the X27 is a tried and tested by now; although it’s not a replacement for a Snapdragon 800-series chip, it nevertheless performs reliably without thermal throttling.

Also good: 4GB of RAM and a 64GB internal storage are among the higher configurations you’ll find for any Android tablet. RAM in particular is plenty, and allows for comfortable multi-tasking in Chrome (web browsing). I will say that because of the super high display resolution, the processor has to do significantly more work to push around those pixels. As a result, when running the device to it’s limit(i.e. 6 tabs + 5 games and apps in the background), you’ll start to notice some more choppier animations when rapidly scrolling a web page. Not too big of a deal, but it’s a trade-off of having the 2K display (whereas a FHD panel might be a touch less taxing on the CPU and GPU).

General use including watching back YouTube videos, reading the news, checking emails, etc. are all handled effortlessly without any issues. Gmail in particular takes advantage of the larger display, giving me 3 panels of information at a glance - allowing for faster productivity than on a smartphone. Of course, Android Oreo also has native support for split screen multitasking, which works well, and allowed me to run 2 apps side-by-side. Pretty cool!

As touched upon, Chuwi has promised an over-the-air software update to Android 9 for its X27 devices. Although this update is yet to arrive, I have already received one minor security update while using the tablet over the last few days, which is an optimistic sign of things to come (fingers crossed). Software updates have historically been scarce on budget tablets, so if what Chuwi says holds true, it’s yet another differentiating factor to consider.

Battery Life

The 5000mAh battery lasted me around 9 hours of video playback and light web browsing before it reached empty. Although this isn’t as long as what the iPad can achieve, it’s more than sufficient for a full day of heavy use, or a couple days of light use. Again considering the larger display of this model, and the 2K resolution, I find this to be an acceptable metric overall. The USB-C port charges up the tablet in respectable speed, getting me from 0 to 100 in under 3 hours.

Conclusion

As I typed this review, the phrase that I kept repeating was “good enough”. Although this tablet isn’t revolutionary, it can be considered ‘disruptive’, bringing surprisingly good features at a price that’s hard to beat. So is it an iPad killer? Not in the typical sense of outperforming the more established competitor across traditional metrics. Yet, it comes so close to offering the same essential capabilities, that for the vast majority of consumers it can be seen as an affordable replacement possibly worth the switching cost, now more than ever.

In 2019, budget Android tablets are finally getting good. Dangerously good.

4.7/5 Stars, Excellent

YouTube video review:

youtube

#Chuwi #Tablet #Review #Android #Android tablet #Gaming #Stylus #iPad #2 in 1 #Art #Apps #Google

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patriciaweiril · 6 years

Text

5 Ways B2B Marketers Can Learn from YouTube Video Content Creators. (A Guide by The Top Corporate Video Production Company in NYC, NJ & Philadelphia).

YouTube remains the most frequented online video platform on the web by far. Although there are numerous other video hosting platforms, YouTube remains the go to and therefore has an insane amount of content that continues to grow. An abundance of content from all sorts of video creators, big corporations, and small businesses means an extraordinary amount of competition for more viewers and audience attention.

The most watched videos on YouTube are often from content creators, individual people that have built themselves up on the platform with original video content that’s either entertaining or useful to select demographics. It’s understandable if you don’t want your small business or corporation following in the steps of random people that make videos on the internet. However, this doesn’t mean you can’t apply their marketing and appeal tactics to your corporate video distribution strategy.

In this post, we’ll outline 5 tips to increase your chances of viewers clicking on your video instead of the competition’s by highlighting the tried and true methods of some of the most popular YouTube content creators.

1. Create an engaging custom YouTube thumbnail image that isn’t too clickbait oriented.

This tip is number one because it’s the first thing that people are going to see when deciding whether to watch your video. It MUST be appealing. And, in case you’re unfamiliar with thumbnail images or the term “clickbait”:

Thumbnail images are small pictures that go either above or to the right of your video title and description on YouTube. You can upload custom made images to apply them to your videos. They are designed to give viewers a taste of what they’re about to watch in the same way movie posters give an idea of what a film is about.

Clickbait is a term used to describe disingenuous titles or thumbnail images. Titles and thumbnail images that give the impression a video is about one topic or highlights a certain area of interest when the video itself either discusses it briefly or not at all.

Source: Real Life Lore – YouTube Channel

At the end of the day, there will most likely always be some degree of clickbait in your titles. This is the nature of appealing to mass audiences. It’s just important that you don’t push it too far!

2. Optimize your video title, description, add relevant tags and links for search engines.

As much as an engaging thumbnail image is important for people to click, having your video tagged and properly described is just as important. After all, you need people to find your video before they can decide whether to watch it!

For optimizing your title, it should be short, simple and accurate. Longer titles often dissuade people from clicking on your video because the video starts to seems intimidating or too much of a commitment to watch. Accuracy is also key as you should make the title a close representation of what is seen in your video. If you use a misleading title, it could lead to negative audience feedback. Finally, do the best you can to have your title match common searches on YouTube. You can find this keyword data in many different online resources. The closer you get your title to matching what people search for most in your industry or business demographic, the higher the likelihood of your video being found.

Source: Tasty – YouTube Channel

The same general principles for optimizing your YouTube video title apply to your description, tags, and links. It comes down to this:

Use heavily searched for keywords that are also ACCURATE descriptions of your video

Make descriptions thorough and keyword heavy so YouTube knows what your video is about

Use an abundance of ACCURATE tags to increase search results

Link to other related content and all your social media platforms

Remain honest yet far reaching in all aspects of your YouTube video optimization process

3. Be consistent with your original content, presenters, uploads, design and aesthetic. Get Noticed.

One of the biggest draws for viewers that return to the same YouTube channel or same YouTube content creator is the consistency of content. Audiences understand what the channel is about and know roughly what they’re going to get. The type of video content presented is all under the same umbrella, genre, or sphere of influence.

Source: Video Advice – YouTube Channel

If you’re a law firm that makes videos giving legal advice bi-weekly, it would be strange for your subscribed audience to see a travel video on your channel. This is a bit of an exaggerated example, but the idea is there. You shouldn’t drastically deviate from whatever video content you set out to produce from the get-go.

Beyond just content, you should have consistency with who presents business material on your channel. For larger YouTube content creators, a massive part of their appeal (if not their whole appeal) is their personality. People connect with the person that is always in the video. Now, this doesn’t mean that your business must select only one person to be in front of the camera. However, it does mean that there should be at least a primary group of people that appears consistently on your channel. This allows your audience to have a sense of familiarity with those individuals and establishes an element of trust between the channel and its viewers.

Another critical area for growing your business video content presence on YouTube is the upload consistency. If you upload one or two videos and your channel goes dead for months, no one is going to care about your business video marketing. However, if you establish a consistent schedule for your uploads, your audience will know what to expect. As a business (depending on what industry you’re in) it’s best to upload either once a week, once every two weeks, or once a month. One of these three options will be frequent enough and maintain consistency for your viewers.

Finally, consistency in design and aesthetic gives your YouTube business channel the proper branding. Design and aesthetics apply to the layout of your YouTube channel itself, thumbnail image selections, and the style your videos are filmed. While this area of consistency isn’t necessarily as important as the others, it helps to have an established visual look for all of your content. If your company produces talking head videos, try to film them in either the same space or the same 2-3 spaces every time. If your business is creating an informational series on multiple different products, try to keep the thumbnail images and space similar for each product. These are just a couple of examples and it’s ok to be flexible. However, some form of consistency under this umbrella will also help with audience engagement and familiarity.

4. Create an introductory video / channel trailer so new viewers know what you’re about.

A channel trailer or introduction is another consistent theme across many popular YouTube content creators that can also be applied to a business video content focused YouTube channel. Having such an introductory video is something that has strong potential to convert one-time viewers into regular audience members and subscribers.

Source: Will Smith – YouTube Channel

For example, if someone finds one of your business videos on YouTube and finds it interesting, useful, or informative, they may click on your channel to see more. When someone clicks on your channel link, they get directed to your channel cover page. On this page, you have room to include one video that auto plays on the top while the rest of your content is tucked away beneath. Because this video automatically plays, it’s your opportunity to give your marketing pitch in this piece of content so the viewer is enticed to learn more and keep watching the videos you produce.

For your business, this channel trailer can be your corporate overview video or, if you like to keep it simple, someone from your company saying hello to the camera and explaining what kind of video content you are producing and why your business is producing it. A well-made introductory video with the correct messaging can increase your audience quickly and effectively so more and more people watch your business videos.

5. Create original, informative, and strategic high-quality video content.

We’ve saved the most obvious for last! Or the best or most important for last if you wish to look at it that way!

Ultimately, none of these other recommendations matter if your videos are poorly made, have a bad or ill-informed message, or are completely unoriginal. Whether you’re a large corporation or small business does not matter. A professional production value and messaging strategy to convey your expertise is critical to captivate, inform, and instill a sense of credibility and interest into your audience. This is the main reason people are going to come to your business YouTube channel.

Source: MultiVision Digital – YouTube Channel

If you’re a law firm trying to produce a YouTube video marketing series, then differentiate your firm from others doing the same. If you’re a manufacturing company explaining your production process, don’t just copy a bigger company or a company that’s already using video to explain what you do. Whatever industry your business or corporation is in, find a unique and original style for your content along with an original, strategic message. If you’re able to follow all of the steps outlined above in addition to creating engaging and original video content messaging, then you should have no issue developing a large YouTube audience interested in your services.

Honorable Mention: Make your videos look and sound good.

This one is entirely technical, which is why it didn’t make the top 5 list. However, it’s still highly important.

Visit The MultiVision Digital Corporate Video Production Website

Your videos must look and sound as good as possible. This doesn’t mean you need a Hollywood style crew with professional cinema cameras. However, it does mean you need to have decent prosumer camera equipment, lights, and audio gear to properly film the business video content you need for your channel. If you can do this in-house with your own people and limited external influence, you’re already a step ahead. However, video production itself can be a very daunting task. So, you should consider hiring a professional business video production company to actually shoot the content you wish to upload to your corporate YouTube channel. Or at least hire a company to do the first few videos you need until someone on your internal team gets the hang of the video production (and post-production!) process.

The post 5 Ways B2B Marketers Can Learn from YouTube Video Content Creators. (A Guide by The Top Corporate Video Production Company in NYC, NJ & Philadelphia). appeared first on MultiVision Digital.

from MultiVision Digital https://nyccorporatevideoproduction.com/corporate-video-production-strategies/ from MultiVision Digital https://mvproductionsnyc.tumblr.com/post/182968138943

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mvproductionsnyc · 6 years

Text

5 Ways B2B Marketers Can Learn from YouTube Video Content Creators. (A Guide by The Top Corporate Video Production Company in NYC, NJ & Philadelphia).

1. Create an engaging custom YouTube thumbnail image that isn’t too clickbait oriented.

Source: Real Life Lore – YouTube Channel

2. Optimize your video title, description, add relevant tags and links for search engines.

Source: Tasty – YouTube Channel

The same general principles for optimizing your YouTube video title apply to your description, tags, and links. It comes down to this:

Use heavily searched for keywords that are also ACCURATE descriptions of your video

Make descriptions thorough and keyword heavy so YouTube knows what your video is about

Use an abundance of ACCURATE tags to increase search results

Link to other related content and all your social media platforms

Remain honest yet far reaching in all aspects of your YouTube video optimization process

3. Be consistent with your original content, presenters, uploads, design and aesthetic. Get Noticed.

Source: Video Advice – YouTube Channel

4. Create an introductory video / channel trailer so new viewers know what you’re about.

Source: Will Smith – YouTube Channel

5. Create original, informative, and strategic high-quality video content.

We’ve saved the most obvious for last! Or the best or most important for last if you wish to look at it that way!

Source: MultiVision Digital – YouTube Channel

Honorable Mention: Make your videos look and sound good.

This one is entirely technical, which is why it didn’t make the top 5 list. However, it’s still highly important.

Visit The MultiVision Digital Corporate Video Production Website

The post 5 Ways B2B Marketers Can Learn from YouTube Video Content Creators. (A Guide by The Top Corporate Video Production Company in NYC, NJ & Philadelphia). appeared first on MultiVision Digital.

from MultiVision Digital https://nyccorporatevideoproduction.com/corporate-video-production-strategies/

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airadam · 6 years

Text

Episode 118 : Dubbul Or Nothing (ft. Dubbul O)

"Burning it to the ground, from the ashes see what might rise..."

- Dubbul O

It's been a while, but with a reworked studio setup we welcome the second-ever guest to the show - the syllable-spraying Dubbul O! You'll certainly have heard him on here before, whether it's been with The Mouse Outfit, Voodoo Black, Mothership Connection, or one of his other projects. This month, he came through for a chat about his approach to MCing and with a bunch of tracks for us to hear (including an exclusive), which the selection for the episode is centered around. With it being March, we also include some Phife and Biggie in the mix, and it's Brooklyn's Finest who kicks things off...

Check out Dubbul O's Bandcamp, Twitter, and Spotify too! You can also buy his work on iTunes if that's your shop of choice, and find everything from him and the rest of the label at room2records.com.

Twitter : @airadam13

Playlist/Notes

The Notorious B.I.G. : Playa Hater

Funnily enough, I know a lot of people hate this song, but for some reason it just tickles me! Biggie and Puffy give their armed robbery rewrite of an old Delfonics number on this album track from "Life After Death". B.I.G's love of old soul and a dark sense of humour combine for what is definitely a Marmite track from his catalogue!

$lowbeats. : Madness

Out of Guadalajara, Mexico, comes an artist whose name simply describes what s/he does! This booming, ominous beat comes from the "Burn Slow" beat tape, the only release from this producer, and fit in really nicely to allow us to keep a continuous groove going.

dead prez : W-4

Double-time drums but with a counter of acoustic guitar and bass, stic crafts a great track on which dead prez lament the stress of the poor working life. For the non-US listeners, the W-4 form referenced is the form workers submit to their employers detailing their tax situation, which then tells them how much tax to withhold from pay. This track from the "RBG" LP is as relevant now as it ever was - in fact, in an era when mentions of the "working class" often implicitly ignore Black people, maybe more pertinent in the present day.

Voodoo Black : Gettin' Dum

The latest single from this Room 2 crew reps Manchester proudly - this month's guest leads off, then passes the ball to Sparkz, and finally Ellis Meade takes it all the way to the end. This track has the kind of pace and space that enables all the MCs to play around with their patterns; even without actually hearing the words, there's flavour in the flows. DJ Cutterz with the production on this one.

Swell ft. Shiloh Dynasty : I'm Sorry

Swell is an Australian producer who isn't even twenty years old yet but clearly has talent to keep an eye on, and Shiloh Dynasty is such a mysterious vocalist that I don't have the first clue which pronoun to use! At such a slow tempo, I don't know if "head nodder" is the right phrase to use, but I love this beat from the "There's Still Us" EP.

Dubbul O : Smoka-Motive

The title track from Dubbul O's most recent EP, with Mankub bringing some Yard flavour into proceedings, along with eerie strings, guitar, and vocal samples, a real low-tempo soup over which Dubbul O speed-races with his double-time flow.

Jake One : Eli

Heading back to the "#PrayerHandsEmoji" beat tape, which has been a great source of quality low-tempo instrumentals. Production fans should definitely grab this one.

Tobe Nwigwe : HËÂT RŌČK.

I first heard Tobe mentioned by Bomani Jones, and his gushing praise let me know that this was an MC I needed to check out - and I was not disappointed! Coming out of Houston, he's got a unique combination of flow and voice, and packs substance into his bars while being absolutely crystal-clear the whole time. You owe it to yourself to check out the "The Originals" collection, and there are videos for many of the tracks on Youtube!

Voodoo Black : Run Along

Solid single from the start of last year, with the DJ Cutterz-produced beat cockily ambling down the street while the crew dismiss weak challengers with a wave of the hand. This track is just one example of Dubbul O killing the final verse in that Busta/Freddie Foxxx tradition of flawless clean-up men :)

Polyrhythm Addicts : Motion 2000

One of those classic independent records - very well known to those into the scene at the time, but one I have to remind myself isn't universally known even among dedicated heads. Polyrhythm Addicts was something of an underground supergroup, comprising DJ Spinna, Shabaam Sahdeeq, Mr Complex, and Apani B (later replaced by Tiye Phoenix), and their debut "Rhyme Related" featured this Spinna-produced single. That bassline is immediately distinctive, and with just the drums added to it (and a little guitar in the hook), there's plenty of space for all the MCs to get busy.

Bronx Slang : Married To The Game

Jerry Beeks is a friend and big supporter of what I'm doing over here, and the feeling is mutual. It's great to see the release of the new "Bronx Slang" LP, where he and Ollie Miggs show over the twelve tracks that contrary to popular opinion, real Hip-Hop never went anywhere! Beeks kills the mic over this piano-driven beat, and needs no hook to pull you in.

Dubbul O freestyle / [J-Zone] : As It Ever Was (Instrumental)

Dubbul O was up for giving us some lyrics from his rhyme book that haven't been heard before, and so we went through some instrumentals - didn't get far before he picked this one out. This is just raw MC business, straight through with no edits, no punching-in, exactly how it should be done.

The Quarter Inch Kings : I'm No Comeback

Decided to slide another instrumental in here, and went to The Beat Tape Project's "The AZ Beat Tape" for this track from a Toronto-based production unit who bring a soulful vibe. Got to love the humming woman sample that would have fit right in around 1996 - right around the time AZ's debut LP came out!

Dubbul O : Mussbemental

Vintage double-time syllable distribution here from Dubbul O on another Mankub-produced tune from "Smoka-Motive"! Dubbul O has talked about how he tries to become another instrument on the track, and he jumps all over the place like a jazz saxophonist on a solo here.

Natural Elements : For The Culture

Natural Elements are back with another three-song selection in their #DeathComesIn3s series, the "3 Kings" EP, and this was the tune that jumped out for me on the first listen. Great bars as always with this crew, and GxBxT provides the beat.

Pitch 92 ft. The Four Owls and DJ Jazz T : Swoop

I've been following Pitch from his first days and he's one of those people where the talent was immediately evident. His skills were a huge contribution to The Mouse Outfit during his time with them, and now we have his first full producer solo album to hear his latest work. The "3rd Culture" LP is one of those producer-helmed projects with a host of artists coming in to help realise the vision, and there are plenty of heavyweights - on this track, the respected High Focus crew The Four Owls and battle champion DJ Jazz T on the cuts. For the bargain price being charged on Bandcamp, this is a no-brainer purchase!

Phife Dawg ft. Rodney Hampton : Game Day

The "NFL Jams" compilation was, in 90s soundtrack-era weird idea style, a combination of NFL players and established Hip-Hop performers on each track on the album. Results were...mixed. The late great Phife Dawg certainly holds down his end of the deal on this early Jay Dee-produced cut, but Rodney Hampton really just gets credit for trying!

Damu The Fudgemunk : Randi

Just some good drums, bass, and piano, arranged in the MPC2000 of Damu on his "Spare Time" album. I don't have any deep knowledge on this one, but it's one to enjoy for what it is!

Dubbul O : Step Into The Circle

An exclusive to close out the show! Dubbul O brought this track for a first airing, previewing the EP he's got coming later this year with Clay of Room 2 Records. Dubbul O's flow is as laid-back as it goes, matching the vibe of Clay's clean and breezy, crisply-drummed track.

Please remember to support the artists you like! The purpose of putting the podcast out and providing the full tracklist is to try and give some light, so do use the songs on each episode as a starting point to search out more material. If you have Spotify in your country it's a great way to explore, but otherwise there's always Youtube and the like. Seeing your favourite artists live is the best way to put money in their pockets, and buy the vinyl/CDs/downloads of the stuff you like the most!

Check out this episode!

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davidcarterr · 6 years

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Skateboard Cafe Profile

Welcome to the first company profile in what will be an ongoing series. Skateboard Cafe have become one of our favourite companies here at Slam. Their output is steady, we love their graphics and if you haven’t watched their latest video you need to scroll down and get familiar. The idea of this feature is to offer some background to the brands we stock via the people behind them. We were stoked to speak to Rich Smith who offered a valuable insight into the inner workings of Skateboard Cafe as well as the strengths and weaknesses of it’s team riders. Without further ado here’s the profile…

Rich Smith at work. Photo by Korahn Gayle

When did Skateboard Cafe start as a brand?

As a brand, to me 2012 was kind of a milestone. That was the first time we released a small drop of boards and clothing together alongside a promo (which introduced our first official rider Shaun Currie) that was definitely a moment, like shit… Shaun’s relying on us to give him a few boards a month, I hope these boards sell! We were also giving boards to Harry Ogilvie and Josh Arnott around that time.

Before that though ‘Skateboard Cafe’ was the name of a scene video I released in 2008. It became a label for our crew and the edits we made that then developed into making a few tee’s, followed by a few boards and so on. So yeah I’d say the idea started 08, brand 2012.

What inspired the name?

Originally it was simply to give the video a theme, the intro was filmed in a cafe, 50s diner style, checkerboard floor n stuff and had jazz music playing. I just thought that was steez and a slightly different approach than usual. The name kinda stuck after that and as we grew into a brand it was the perfect theme and aesthetic to work with for graphic, music, edits.

What other companies were doing things that resonated with you guys when you first started out?

I’m not sure about any brands we really resonated with, I remember being hyped on 5Boro around then, this edit and this edit in particularly hit a sweet spot for me, especially the music choice… Obviously haha. I was inspired by what Daves Quality Meats were doing back then, I remember visiting their store in NY around 2008, seeing the interior was amazing, all done out as if it was a butchers, t-shirts hung up on meet hooks and stuff like that. That made me think, aye maybe Skateboard Cafe could be a place like this one day, a skate store all themed out like a cafe, serve tee’s on baking treys or whatever… It helped me vision what Cafe could be.

We’re really stoked on all of the new graphics you guys are putting out. What’s the process there, do you do all of that in house?

Cheers! I’m really happy with the new direction we’re taking. It’s a mix, myself and Makepeace cover some of it, the more bold, simple, text based and photo stuff. More recently I’ve found myself bouncing ideas back and forth with Ollie Lock, he has input here and there then we reach out to artists that suit the graphic we’re after. @becki_clark_ @richtpaint and even my dad worked on a graphic for us, so yeah it’s very in house.

We often work with Gaurab Thakali which I’m super grateful for, his art ties in so nicely to our aesthetic. He’s responsible for Dom’s debut pro board, Sax Flowers, the 4 board bar series we did…

It’s been cool watching the company grow organically to the point where it’s at. Has it been a trip watching it evolve?

Yeah it’s pretty crazy, from filming my mates for a little scene video to now having a full blown company, a skate team to look after, product being sold all over.

Having a Cafe edit on Thrasher for the first time was a trip! Knowing people all round the world will see us skating and fucking around at College Green haha

The whole thing began with your love for filming and your edits define the company. Is that still your favourite role?

Yeah as much as it fucks my back and ruins my social life I love it haha. My motivation for the whole brand continues to stem from filming and making edits with my friends. I also really enjoy the process of working on graphics… It’s similar to the feeling of editing, you make a rough draft, develop the idea a little then export a final version your happy with. Anything where I’m creating is my favourite roll.

What videos inspired you to pick up a camera?

I was mostly inspired by local vids growing up, Jus Foolin and Bristol In Bloom in particular. It was sick to see footage of some of the skaters you’d see out and about on a daily basis, skating spots you know. Then a little after that I used to buzz off of Lost & Found and Static 2 (Josh Stewart keeps inspiring me to pick up the camera! I just don’t understand how he can still walk, how do you do it Josh?)

What was the response like to the new video Ensemble?

I had a feeling it would get a good response but not like this, it’s getting shared all over the globe and getting such positive, genuine feedback. Quartersnacks wrote on their site saying the vid will still look good in 10 years from now, does it get much better than that? Haha definitely hyped to move onto the next thing and glad we now have our own platform to build on.

youtube

Which premiere went off the most?

Manchester was the most rowdy haha, we ended up arriving late (due to some insane technical difficulties like my laptop dying during the final export and a shit load of traffic amongst other things I can’t even go in to) so it meant everyone had time to get nice and steaming before we arrived. Was like walking into a busy pub after a football match.

TT Liquor, Shoreditch.

London was pretty special though, big thanks to the guys at TT Liquor, they hooked it the fuck up. Cocktail bar / cinema with a few different floors, they decked out the window for us, sorted drink sponsors, made us custom Cafe drink menus… Seriously the best venue you could ask for.

The video is banging, such an amazing array of styles too. You must be stoked on where the team is at now?

Yeah I’m stoked on the diversity of the team. We’ve been around long enough now to have a nice mix of a few generations too, from Sam (Philly Slugs) and Savannah who are like 18/20 to guys like Harry and Dom in their early 30s with everything in-between. Trips feel like a big tweaky family vacation haha

Who is the most surprising person to film?

Korahn continues to surprise me, I wasn’t expecting much from him for Ensemble as we had both kind of agreed he was taking a back seat on this project to focus on finishing up his part with Magee and Kev and also to make this vid more about the new guys. He ended up filming 30/40 seconds of footy in the last few weeks of filming. I know that’s classic Korahn but it still surprises and amazes me.

We were really happy to see Dom Henry’s love letter to Fairfield’s. Such a sick send off and then the second part was poetic too. He’s a firm favourite here. Did he know he was going to be turned pro when the video dropped?

Yeah the Fairfields section was Dom’s idea, I still don’t get how he skates that place so well… It’s so grim and crusty! Dom knew he was going pro, that was the arrangement as soon as he got on. It was just a matter of when and with the launch of the vid felt like the perfect time. The idea for the stand up comedy graphic was actually his too, passed on to the man Gaurab who absolutely nailed it.

While we are on the subject of team riders we asked you to run through the team as part of the company profile. Introduce us to the family…

What can we expect this coming year from the Skateboard Cafe? Are you straight onto the next video project or having a breather?

The plan is to work with new artist and explore new graphic avenues as well as releasing more than 2 drops a year. I’m currently having a little breather from filming to rest my back but as soon as that’s better we’re gonna be making more frequent, shorter edits through out the year and keep the YouTube channel pumping.

Words of advice for anyone wanting to follow in your footsteps?

Besides doing it for the right reasons (because you love it and not to make a quick £) I’d say if you have an idea don’t be too precious with it, don’t sit on it until it’s too late… Just get it out there and let it start developing because you never know what it could become.

We hope you enjoyed this informative conversation with Rich. See everything we have from Skateboard Cafe

The post Skateboard Cafe Profile appeared first on Slam City Skates Blog.

Skateboard Cafe Profile published first on https://medium.com/@LaderaSkateboar

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mctvcker · 6 years

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Five Common Myths About SEO 2019

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