What's next for GenRegardless?

I really hate college.

An accurate depiction of how I feel at the end of every semester.

Coming into this year, I felt so discouraged with journalism that it seemed to me GR would just end up being another project to fall by the wayside.  Yet, in another semester where I've questioned the value of that tiny piece of paper called a diploma, GenRegardless has remained my joy.  I've had a lot of trouble writing this semester (even this post is late and short) but my dream is still to get paid to write about music. 

What have I learned?

Well, most importantly, I found some great blogs that reminded me that people still want to read good writing.  Joey Sweeney of Philebrity showed me that it's okay to write about whatever I want, and that a laid back/conversational tone is not only allowed in blogging, but a highly effective way of writing.  Enrico Campitelli Jr., creator of The 700 Level, showed me that writing about what you love can lead to a legitimate career.

But Tom & Lorenzo get their own paragraph.

Image courtesy of philly.com

My favorite guest speakers of the year (and possibly of my college career) made me believe that I CAN do this.  Both of them openly acknowledged that luck has been a major factor in their success, but their gumption to MAKE it work is what truly inspired me.  As far as their writing goes, I can't describe it better than they do, "Fabulous and Opinionated." They're sassy, maybe slightly snarky at times, but never bitchy to the point where you want/need to stop reading. Most importantly though, the tone in every piece makes it sound important, like that post was all the writer cared about that day (despite the fact that they post multiple times a day).  This devotion to creating quality content, whether they're in the mood or not, has encouraged me to do the same as I approach a period in life where unemployment seems inevitable and forcing myself to write will be necessary. 

But what about branding?

One of the classic motivation killers that visits me is self-doubt.  I don't want to be just another person spewing their opinions on the internet. So an important aspect of my blog to establish is what makes me different.

It's probably not enough to just say that I'm different because I only write about what I want to write about.  However, if you look deeper, the main difference between GenRegardless and other long-form music blogs is the variety.  This semester I've covered Frank Zappa to KoRn, Katy Perry to simply working at Hard Rock.  I feel (and I hope) as long as I can keep my writing engaging, I can continue to not limit what it is I write about. 

I quickly mentioned in a previous post that I thought the GenRegardless brand was Picky, Honest, and Conversational.  The more I think about it, the more those three characteristics fully embody what I hope to accomplish.  

Picky: Slightly contradicting what I said above about Tom & Lorenzo, I don't want to compromise and write about anything I'm not super passionate about.  Sure, there may be some topics that are less exciting, but my addictive personality keeps me very focused on whatever I'm into at the moment.  I think that obsessiveness of wanting to know more about a topic than anyone else leads me to having a better knowledge and understanding than many other music bloggers.

Honest: I love Rolling Stone (despite my disappointment with their handling of "A Rape On Campus"), but their reviews are essentially useless.  Ever noticed that Rolling Stone's logo appears on every commercial for a new movie or album you see? Of course it's usually next to a word like "outstanding" or "breath-taking."  Their reviews have gotten so fluffy and weak just because of the mutually beneficial relationship between them and these production companies.  Since it feels like no one reads my reviews anyway, and I don't see GR searching for advertisers anytime soon, I can write with complete honesty.

Conversational:  The goal behind GR, other than a creative outlet, is to start a conversation.  I want people to read my posts and feel a need to react.  In class, we talked about how difficult it can be to deal with commenters.  I'd love to have to deal with that problem.  WHERE ARE YOU, INTERNET TROLLS?!?!  In all seriousness, I just want to talk to people about music, so all of my writing is intended to be responded to.  Tell me you couldn't agree more with something.  Call me a blundering idiot (as long as you back it up).  I just want to engage, and I'm trying to improve the voice in my writing to make that happen.

Another major facet of this course was using social media to boost our posts.  I've tweeted and shared every post on Facebook, but with little avail.  However, my Hard Rock post was shared multiple times, so I finally got to witness the exponential growth of page views.  When I was tinkering with GR 2 years ago, I set up a specific Facebook page and everything, so I hope to resurrect that and start a specific Twitter account for the site.  I don't want to feel like I'm whoring out GR, but it couldn't hurt to share my posts in a few more places.

Someday, I'd love to turn GenRegardless into a flourishing business.  It'd be awesome if I could be picky about what I want to write about, but also hire individuals with completely different musical interests than mine so that they could be picky too.  The ultimate goal is to make GenRegardless as inclusive as possible (music news and reviews, regardless of genre), but without sacrificing good content.

At this moment, GenRegardless and Carter Wintsch are one and the same.  In the future, I hope it is a place where ANY music lover can dive in and lose themselves in the conversation.  

(This post is checking in at almost exactly 1,000 words, which is half of what was suggested.  Sorry professor, but another thing I learned in class was to keep my posts concise and interesting. Maybe you taught me too well?)

Record Store Day: My Measly Two Picks

With the transition into warm weather nearly complete, Record Store Day could not have been more beautiful this year. I walked to Creep Records and arrived around 10 a.m. I envied those I saw who were probably dipping into their rent money in order to take home a giant stack of records. This year, my wallet and my heart told me I could only get two, so here they are.

Believe it or not, there were plenty of these left when I arrived at Creep. Maybe I just always assume there are more Allman Brothers fans out there. However, the record itself is one of my new favorites, and not just because it looks cool. Since it is a 10", it only features four songs, but those four are all proof that Gregg has still got it. The best track is when Allman teams up with Vince Gill and Zac Brown as they take on "Midnight Rider."

Maybe it's because I've had such bad luck getting the RSD specials I've wanted in the past, but my second must-buy was Untethered Moon since I knew it'd be available. The new record from veteran indie rockers Built to Spill was released on RSD and I haven't been listening to anything else. The record captures so many different energies, and it's definitely forced me to break out the air guitar while walking around Center City. Best tracks: "All Our Songs", "Living Zoo", "So".

Next year, I hope to budget in the months leading up to RSD so  I can just go crazy. For this year, I'm satisfied with my experience; the walk was enjoyable, the staff at Creep was very friendly, and I got two new records that I'm already in love with. That's what you call a good day.

Y'all know this is just his brand, right?

Anthony Fantano, the self-proclaimed "Internet's Busiest Music Nerd"

When I'm looking into album reviews, my go-to is The Needle Drop. Built around thorough (and sometimes lengthy) videos, Fantano covers hip-hop, rock, indie, and anything inbetween. In fact, his determination to cover seemingly EVERYTHING he listens to is one of the reasons I started GenRegardless. Yet, it is important to acknowledge that in a post where I'm discussing branding, I led off with a picture of the man himself as opposed to The Needle Drop's logo.

Anthony Fantano has become his brand. Anthony Fantano is the Needle Drop.

Fantano has created a space where the viewers have learned what to expect, but in the best way possible. I know that when I go to watch one of his reviews, it is probably going to be harsh. Fantano never holds any punches. If he thinks a project feels rushed or cheap, he doesn't dance around those feelings. Furthermore, no artist is safe from a bad review, even though some have criticized his love for Death Grips (on a personal note, it would take a LOT for me to write an unfavorable review of Kanye project. This is me being upfront about a bias; Fantano avoids any bias such as this).

He presents his opinions as if they are facts, just like a convincing reviewer should do. However, in the description for every video you'll find "Y'all know this is just my opinion, right?" Fantano is intentionally convincing, but remains open to criticism and audience engagement.

The Needle Drop has been established (to me, at least) as the number one source for no-nonsense reviewing. Advertising money and publicity have ruined reviewing in mass markets (the days of Lester Bangs are long gone, as Rolling Stone's reviews have gotten progressively worse). Fantano is personal and forward, and I'll keep coming back to hear him destroy albums I love.

Except for Yeezus. He was wrong about Yeezus.










P.S. Here's a video of Fantano being interviewed by another hero of mine, Nardwuar.

P.S.S. just so you know, I'd say the GenRegardless brand is:

Picky.
Honest.
Conversational.

Real commitment is attempting to become a Frank Zappa fan.

His music is weird, sometimes too weird for even me. He spent a large portion of his career parodying my favorite people, hippies. The only thing I really knew about the guy was "Don't Eat the Yellow Snow", which I remembered as only slightly amusing. He tended to be an autocratic perfectionist. But, he's one of the most brilliant minds that music has ever seen. So for that reason, lately I've been attracted to the music of Frank Zappa.

Where to even begin? I shortly learned that Zappa produced 62 albums before his premature death in 1993 after a fight with prostate cancer. A quick Google search led me to some great lists of his best work (Top 10 Frank Zappa Albums, Top 10 Frank Zappa Songs). Upon my discovery of Zappa's second solo album, Hot Rats, I was in love as soon as "Peaches En Regalia" grabbed my ear with a snappy drum fill followed by a seductively hypnotic piano. Through the rest of my "research", Hot Rats is remaining my favorite...thus far.

Frank Zappa's 1974 album Apostrophe(') reached No. 10 on US Charts.

However, I needed to dig deeper. I found a great article on A.V. Club specifically designed as a beginner's guide to Zappa.  Thanks to that helpful guide, I next tackled Zappa's biggest commercial success, Apostrophe('), the opening track of which was my only prior knowledge of Zappa, "Don't Eat the Yellow Snow." 

I first became acquainted with the song on a Dr. Demento CD that was given to me by my awesome parents (pictured above). However, I remember thinking I was too old to think jokes about yellow snow were funny, and I was more interested in my hero of the time, Weird Al Yankovic (I was a weird kid). But since I've revisited the track, I learned that it is best paired with the three that follow it ("Nanook Rubs It", "St. Alfonzo's Pancake Breakfast, and "Father Oblivion"). Together, the suite is random, yet every bit as fun and captivating as it is perplexing.

Further digging led me to Frank Zappa and the Mothers of Invention's first album, Freak Out!, and one of their most popular and satirical, We're Only In It For The Money. The progression between even these two albums is stunning, yet cohesive, as Zappa was a firm believer in his works being a part of a collective whole. As I became more fascinated with the man himself, I tackled more solo work like the ambitious Lumpy Gravy, and the bizarre Jazz From Hell. 

I've been listening to nothing but Frank Zappa for a week, and I haven't even scratched the surface. The guy just loved to make creative content, and I feel as if that love sounds like it is missing in a lot of modern music. Chalk it up as yet another time that my initial impression was wrong, because I am slowly but surely becoming a devout Zappa disciple. 

Working at Hard Rock Philly: Music, People, and a Sense of Place

When I first moved to Philly, I was majorly concerned with finding a job with an environment that didn't make me want to die every time I clocked in. In my hometown, I left behind working at a locally owned burrito shop where I got paid to hangout with my friends and sell a product I truly believed in (seriously, go to Neato Burrito. Chipotle ain't got nothin' on them). Fortunately, I only ended up applying at one place, and that place has been my home for the last year. If/when I leave this city, some of my strongest and most vivid memories will be associated with songs from Hard Rock Cafe.

image courtesy of Hard Rock Cafe Philadelphia

Upon arrival at the Cafe, you walk under a King Kong-sized Gibson Les Paul. Of course, the Les Paul has been played by some of the greatest of all time: Duane Allman, Jimmy Page, George Harrison, and Peter Frampton. What a welcome. But before you even come inside, the sound of our music videos can be heard from outdoor speakers. This is where I come in.

One of my favorite parts of my job is helping select the videos that play throughout the day. There is an iPad that is referred to as the AVDJ, and it is a highly sought after device. For the most part, I try to hog it at the host stand where I can keep a close eye on what gets played (my co-workers don't hate me for this...yet). 

The morning playlist always starts out with music based on what happened that day in music history. This means there's usually at least one Beatles song that must be played, but for the most part it is a fun way to acknowledge musician's birthdays or one of James Brown's arrests. After that, it's all curated from the collective mind of that day's crew. 

The first person I'm usually willing to hand the DJ over to is my best buddy, the Turk to my J.D., the Gus to my Sean, my Chocolate Bear, and ultimate bromance companion, Marcus. When I see the iPad dwarfed in his huge hands to compliment his 6'7" frame, I know I'll be hearing "Don't Worry, Be Happy", Joe Cocker's Woodstock performance of "With A Little Help From My Friends", some Temptations, and our favorite song to groove together too, Jamiroqui's "Virtual Insanity." I will forever associate these songs and artists with meeting one of the coolest dudes I know, especially the time we realized he looks like a dark-skinned Tom Morello. 

Christopher and Buck are two other servers who are immediately handed the DJ when they approach the stand. These two have expanded my music knowledge immensely. Christopher is the guy to go to for music trivia and knowledge of the memorabilia in the Cafe. Because of him and a pink, autographed David Gilmour guitar, I found an interest in Pink Floyd. Buck was the first server to yell at me, but has become one of my favorite people to talk to about music. Buck made me reconsider the Clash, and encourages my love of all things emo, as Modest Mouse is our usual go-to. 

Last but not least, I met my girlfriend at Hard Rock, so allow me to be gross for a moment. The Doors are her soundtrack to life, so the videos for "Roadhouse Blues", "Love Me Two Times", and "Wild Child" are her typical requests. However, even seeing her bounce around to One Direction's "What Makes You Beautiful" made me fall in love with the building that brought us together (barf).

My goal with this post was to create a sense of place, but I don't know if you can fully understand a place without the people who make it have personality. Come into Hard Rock and meet my friends, and you too will feel an energy radiating on the corner of 12th & Market. The food is good, the music is great, and the people are amazing. That's what makes Hard Rock Philly the place for me.

Why you won't see a lot of modern country on GenRegardless

I knew things were bad in country right now...but this is just, wow.

New Music: "Chino" - Supah the Man

The nice thing about this blog is that I can break some of the typical conventions that go with all of the bullshit and politics of big publications.  In this case, I will reveal my personal bias and say that Supah the Man is a friend of mine, but I'd like to think I'd be putting him on right now even if he wasn't.

This Migos-esque flow isn't usually what I look for in hip-hop, and to some extent Supah gets sucked into some generic lyrical flows that don't say much of anything. However, his delivery is on point (personally, I was hooked after the infectious opener "Man, I got a hunnid for the Benz). Most impressive is Supah the Man's production. After getting a peak at the upcoming album, I can say that almost every beat is as professional and fire as "Chino."

Supah the Man is 21 years old and just getting started. I look forward to seeing how my friend will develop and grow. For more info on upcoming shows and Supah himself, check out his Facebook or Soundcloud.

Freak Unleashed: Why I'm not ashamed to tell people I like Korn anymore

As I've said before, I don't believe in having "guilty pleasures." If I like something, I own it with zero shame.  Well, not always ZERO shame. Occasionally, be it "Party Rock Anthem" or even one or two Nickelback songs (gasp!), I have a hard time justifying or even explaining why I like something.  Well, it is time I shed the shame from liking a band that revolutionized metal and made music unlike anything ever heard before. I admit it...

I REALLY LIKE KORN.

Korn's original lineup from left to right: "Fieldy", "Head", Johnathan Davis, "Munky", and David Silveria.

Other than my actual skin color, my affinity for the nu-metal elites is by far the whitest thing about me.  Select coworkers give me hell when I play "Freak on a Leash" at work. My girlfriend has given me an interesting half-glare/half-eyeroll whenever Korn has come up in conversation. If I played it for my parents, I'm pretty sure they'd both make a face similar to that after smelling a fart. So, am I crazy?

In 1993, Korn originated in Bakersfield, California (I was born that May. Coincidence? I think not). The group's self-titled debut album was released in 1994, and the evolution of metal was jumpstarted. Alternative influences such as hip-hop were now fair game, and Adidas track suits seemed a more fitting uniform than leather or denim jackets (Rolling Stone has a great piece looking back on that album here).

The bass strings had a snap and reverb that were equally bizarre and captivating. Two great guitarists (Brian "Head Welch, James "Munky" Shaffer) are wrapped up in a neverending duel. Jonathan Davis' vocal work was spastic, emotional, and not the typical metal voice at all. Not to mention...BAGPIPES.

After the first LP, Korn would go on to have a string of other successful albums, particularly 1998's Follow the Leader (featuring their biggest hit, "Freak on a Leash") and Issues the following year. While I only know a handful of songs here and there after that, the handful is stuff I really like, such as "Coming Undone", "Twisted Transistor", and MTV Unplugged session, and the most interesting covers like "Earache My Eye" from Cheech & Chong.

Personally, I fell in love with Korn in around 8th grade, simply because I read Brian "Head" Welch's book, Save Me From Myself. Today, the not-so-sublte religious overtone might turn me off, but the stories from this former meth-addict metal head allowed me to open up my mind to the idea of Korn. Once I just listened and cleared my head of any Hot Topic generated impressions, I was able to appreciate Korn for what they really are...a band that changed the face of metal for good.

And the best part...I ordered a Korn shirt off of ebay that should be here this week. No more guilty pleasure.

"The End": Chaos, Calm, and Living with Anticipation of Death

**I mentioned in a previous post that I wrote an analysis of "The End" by The Doors for another class. In this analysis, I look at the song's lyrics, instrumentation, and performance to highlight the mixture of chaos and calm, ultimately reflecting the Morrison mindset of living with an acceptance of death. I wish I could have explored this further, but I got an A, so I must've done SOMETHING right. Right?

Ever since the sound of helicopters and the sight of gas choking out palm trees accompanied it’s introduction in Apocalypse Now, ‘The End’ by the Doors has been associated and analyzed as a song about Vietnam. However, the bigger picture reveals that, in what I consider to be Morrison’s greatest lyrics, the song is addressing so much more.  Through the instrumentation, powerful imagery, and the flamboyant live performances, ‘The End’ embodies the strange mix of clam and chaos that is living with the anticipation of death.

            Jim Morrison is obviously one of the greatest frontmen of all time, but the rest of the Doors play a crucial role in many of their songs, especially ‘The End’. Ray Manzarek, Robby Krieger, and John Densmore all transition so effortlessly from ethereal to eccentric throughout the highs and lows of the piece. Krieger’s opening guitar riffs are scattered in the most magnificent way, constantly taking left turns yet never straying too far to turn the dissonance into discomfort. Manzarek haunts the piece with his typical grace on the organ. It is Densmore who sends the madness into overdrive, as he builds anticipation throughout the whole song.  One little fill here, another one that’s a little longer, and then back to gently ride the cymbals. This constant and intentional build and retreat reminds me of Einstein’s definition of insanity, “doing the same thing over and over again and expecting different results.”

            Personally, this is lyrically my favorite piece by Jim Morrison. Of course, the Oedipus-inspired spoken word section of the song was incredibly controversial at the time, but today it is such a vibrant and gut-wrenching reminder of the carnal desires of man. In relation to Vietnam, Morrison sounds as if he is speaking to you in a dream as he sweetly yet sinisterly sings, “The blue bus is calling us.” The blue bus is a reference to those that would stop in small towns across America to pick up the young draftees headed to boot camp. Yet, my favorite portion of lyrics from the song is at the beginning. Morrison cordially introduces the listener to his only friend, The End. As if he knows this may be jarring, the song takes an optimistic turn as Morrison asks, “Can you picture what will be? So limitless and free.” Morrison, who was obsessed with the idea of death, lived in that mix of calm and chaos; he embraced life but the awareness to an end of pain made death appealing.

            Performing ‘The End’ was a visual representation of the chaos and calm in the song. Morrison was the star of the show, remaining nearly motionless until the break. Then, as he screamed “Fuck” and “Kill” and would finish the Oedipus story, his body would drunkenly flail all over the stage, nearby officers, and crowds. This was just another way that Morrison and the Doors sucked the listener into the song. Fittingly, when the Doors performed for the last time before Morrison’s death in 1971, they closed with ‘The End.’    

What I've Been Listening To

In the typical post-Grammy slumber in the music industry, it's always nice to explore music from the past. I'm the type of guy who finds something he likes, obsesses, listens to it until his roommates ban it in the house, and then move on to the next jam.  Here's what has been on repeat lately:

Drake - If You're Reading This, It's Too Late

Is it a mixtape? Is it an album? It doesn't matter. Drake seemingly became the only new music that mattered a couple of weeks ago when he dropped this project with zero warning.  On first listen, I wasn't impressed with the trap cuts and overconfident rhymes, but it's growing on me. Despite a few remaining stinkers like the lazy "6 Man" and the melodramatic "You & the 6", the production and rapping stands up. Drake and his producer 40 use the same old tricks to make the catchy, sudden transition songs like "Know Yourself". The biggest surprise? I don't even hate the Lil Wayne feature, and think "Used To" is a solid cut.

Korn

I don't believe in having guilty pleasures, but if I did, mine would be KoRn (I also believe my occasional affinity for numetal is possibly the "whitest" thing about me). In all seriousness, KoRn was a big deal in the 90s, as they broke all the rules of what metal was supposed to sound like. I read Brian "Head" Welch's born-again Christian biography when I was in 8th grade, and remember wrestling with the complexity of a man who could play this crazy music and love Jesus. KoRn is still weird, but I'll always have to get a bagpipe fix every couple of months.

Rihanna ft. Kanye West & Paul McCartney - "FourFiveSeconds"

Okay...something Kanye usually makes the list. But, "FourFiveSeconds" does more than just amplify my man crush on Yeezy. The Paul McCartney influence is evident, as the incredibly stripped down track is structured as if The Beatles could have sung it themselves (had they ever used the word "wild'n"). Despite the lack of flash and pazaaz, the raw energy and emotion that both Kanye and Rihanna bring in their performances are goosebump-worthy. Watch the video if you haven't.

The Doors

As I listen to the poetry of Morrison and the instrumentation of Densmore, Krieger, and Manzarek, I kick myself for the past 21 years for thinking I didn't like The Doors. Sure, Jim Morrison was a raging alcoholic, but the man had a warped view of the world, mortality, and rebellion that I jive with.  I can say with confidence that my favorite song is "The End" (the opening clip in Apocalypse Now is what made me reconsider the band), but other favorites include "Peace Frog", "L.A. Woman", "Waiting For the Sun", and due to my fascination with the Vietnam War, "The Unknown Soldier". As my current obsession, I recently viewed the movie starring Val Kilmer and I'm reading a book comparing the life of Jim Morrison with the French poet Arthur Rimbaud. Most interestingly, I wrote about the mix of chaos and calm in"The End" and how that represents Morrison's living in anticipation of death for a quiz and I got an +A. This listening rut may take a while to get out of, as I think The Doors may be creeping into my Top 10 favorite bands, but that's okay because..."I am the Lizard King. I can do anything."

Personal Musings from a Struggling Music "Journalist"

For those of you who don't know, I started this blog in part because I'm taking a Blogging & Journalistic Branding course this semester. My assignment for this post was to critique a recent post from one of the music blogs I've been following. As I dug through all of my favorites, I noticed something...

BLOGGERS HAVE LOST THEIR VOICE.

Yes, this post is going to sound cynical.

Many music blogs are now dedicated to delivering news. There's no reaction or explanation. Most importantly, there's no discussion.

How did this happen? Music overload. Hundreds of genres are supported by thousands of average users creating songs in GarageBand. This isn't to say that it's all garbage, because I also think that we are blessed to live in an era where technology allows anyone to be an artist. Unfortunately, this constant flow of new music has overwhelmed even the most genre-specific blogs, leaving sites to report without commentary. 

Maybe it's because the art of writing is being overpowered by the convenience of images and video. I told you this would sound cynical, but in my defense I fully support awesome reviewers like Anthony Fantano, BIGQUINT INDEED, and the Daily Guru.The process of advertising and search engine optimization doesn't help individual users either, as I'm sure there are hundreds of others like me writing their thoughts down. 

(Or maybe I just haven't found what I'm looking for. If you know of something I'm missing, let me know in the comments!)

It's hard for me to critique any of the people who ARE sharing their voice, as I'm such an amateur myself (an amateur with very little self-esteem, hence the lateness/lack of posts). However, I think the idea of broadcasting your opinion is scary to even the educated listener. The ultra-critical, right-or-wrong attitude of review suppliers like Pitchfork create a lot of pressure for the novice reviewer. Starting a blog is work, sure. But it's also a written account of how a piece of art makes you feel, and that's a very vulnerable position to willingly force oneself into.

Maybe, some social networking site in the future will perfect a community where "music nerds" like myself and others can gather and share real opinions and reactions. For now, I'm uncomfortable critiquing the work of what I hope to someday consider my peers. All I can do is stick with this, write what I think, and keep on listening.

Why We Need Another Nip-Slip: A History and Reflections on the Super Bowl Halftime Show

Let me first start of by saying, Katy Perry, if you read this it's nothing personal and I hope this doesn't ruin my chances with you, I just like music a lot and want people to actually listen. P.S. I think I'm good kisser, but there's only one way for you to find out. ;)

Right. Moving on.

(visual courtesy of CNN)

When did the Super Bowl halftime show become more about the visuals and less about the music?  Forgive me in advance, because I'm feeling super cynical about this one, but no one seems to be addressing that LITERALLY NO ONE CARES ABOUT THE MUSIC.

Which sharks danced best? Sure. Was there a lot of pyro and fireworks? Ugh, see above. (FIREWORKS IN A DOME THAT NO ONE INSIDE COULD REALLY SEE). Was there a metallic hellcat sent to devour the souls of non-Pepsi drinkers? Check. But no one is talking about the songs, the voice, the instruments (probably because they aren't plugged in), nothing but the flash and hoop-la.

As I looked into Super Bowl halftime performers of the past, I found that until 1991, pop had no place. Numerous marching bands, some world organizations, the occasional oddity or standards singer, but no rock stars. I'm not even sure if the halftime show was televised. But then in '91, New Kids On the Block took the stage with some Disney characters and changed the game. Two years later, it would be the King of Pop himself, Michael Jackson. 

After a string of some weird lineups in the rest of the '90s (wasn't everything just kind of weird in the '90s?), the 2000s were off to a great start before the infamous nip-slip. Classic artists like Phil Collins, Tina Turner, Aerosmith, and Sting, teamed up with fresh names like Christina Aguilera, Britney Spears, *NSYNC, Shania Twain, and No Doubt. 

I actually missed the infamous Janet Jackson nip-slip of 2004, as I didn't really care about the Patriots or the Panthers and since I was ten, I really did care about playing Tony Hawk's Pro Skater.  But ESPN did a really cool piece on Nipplegate's 10 year anniversary last year. Basically, PEOPLE FREAKED OUT.

In response, the upcoming years were filled with great music. Paul McCartney, the same man once hated by so many conservative parents, was ironically the go-to safe move for the year following a major scandal. The coming years were as followed, Rolling Stones, Prince, Tom Petty & the Heartbreakers, Bruce Springsteen, and ultimately the Who.

Since then, nothing but pop.  The Black Eyed Peas were the worst of the bunch, but I enjoyed Beyoncé, Bruno Mars, and I even enjoyed Katy Perry last night.  However, just as the halftime show has evolved from just a college band marching around to a multi-million dollar event, at this rate the next step is cutting out the music all together.

Giant metal lions vs. Christians, maybe?

Album Review: B4.DA.$$ by Joey Bada$$

Joey Bada$$ first caught my attention (as well Jay-Z's) with his mixtape 1999, and I've been waiting for his first big project ever since.  The Brooklyn rapper and figurehead of the Pro Era hip-hop collective is only 20 years old, but with his commercial debut, B4.DA.$$, he has laid a solid foundation for a prosperous career.

The production credits on the album are impressive for such a young talent.  The usual Pro Era cohorts Chuck Strangers and Kirk Knight are present, but this times among names like Statik Selektah, DJ Premier, Hit-Boy, The Roots, and even J Dilla.  Typical to his New York style, heavy bass lines and boom-bap beats run throughout the project, accompanied by occasional scratching or a flare of keys and horns.  Most notably is DJ Premier's haunting work on the track "Paper Trails", which hangs in the back of your mind for the rest of the album.

However, if I had to put B4.DA.$$ into one (possibly less confusingly abbreviated) word, it would be flow.  At 20 years old, Bada$$ has a fascinating ability to toy with words and manages to find the most poignant way to get a point across.  His flow is rabid and gritty on tracks like "No. 99" and "Christ Conscious".  Just when I found myself thinking that angry Joey was the only Joey I wanted to hear, tracks like "On & On" (the expected tribute track to Pro Era rapper, Capital Steez) and "Curry Chicken" bring out a mellower, more reflective style of rap.  

However, there are a few spots on the album where Bada$$ leaves room for improvement.  The only area he really shows his youth is when multiple tracks run a minute longer than needed.  Maybe some of this blame should fall on production, but it seems like Joey has this bad habit of making a catchy hook, but then overdoing it.  For example, "Big Dusty" is a fantastic track, but the repetetive "Ch-ch-check it out" is just draining by the end.  A small complaint indeed, especially since it is made up for with interesting transitions. 

Joey Bada$$ didn't branch out much on this album, and why would he?  B4.DA.$$ is exactly what a debut project should be...genuine.  Bada$$ isn't doing anything that drastically different from his mixtapes of the past, but the fact is that he is doing it better.  In the coming years, he'll eventually branch out and start changing up sounds, but for now Bada$$ is sticking to his roots.  New York hip-hop is back, and a 20-year-old is leading the way AS he's getting better.

Overall: 8/10

"Oh great, another music blog"...NOT SO FAST, NAYSAYER

I have typed out this first sentence at least 20 times, so I’m confident there isn’t a way to say “music is basically all I care about” without sounding like a melodramatic 6^th grader.  Yet, it’s pretty true.  I’m one of the only people I know who still buys CDs.  I work at Hard Rock Café, where I spend most of my time watching the music videos.  When I match with someone on Tinder, the first message I always send is “Top 5 favorite bands go” (So far, the ladies have not been super receptive to this opener). The point is, music is a priority.

Another favorite pastime is telling people what I think (insert shameless link to my Twitter here).  It’s part of the reason I’m studying journalism at Temple University, but it’s also why I started this blog.

When I first started to pursue music journalism as a career, I noticed that I had to go to dozens of different sites to get content on the various genres I prefer. GenRegardless is my attempt to break away from that.  Maybe a bit selfishly, I created GR so that I could post music news and reviews that I care about, regardless of genre.  From pop punk to hip-hop, hardcore to bluegrass, this blog is a culmination of what’s going on in MY music world.

GenRegardless as a concept dates back to my sophomore year of college, but it’s taken on a couple forms since then.  The GR logo has graced a short-lived WordPress site, a tumblr, and of course a Facebook page, but the site was put on the back burner as a result of work, classes, and my pesky lack of motivation/self-esteem. GenRegardless has been resurrected yet again, but this time there is an outside force that will not let me give up.  Sure, that outside force is a grade, as this rebirth is thanks in part to my Blogging and Journalistic Branding course, but nevertheless, I have no choice but to stick with it this time.

In the coming months, I hope to shake off the rust and make the content of GenRegardless better than ever.  In the near future, expect a preview and predictions for the upcoming Grammy Awards.  However, future posts will include news and commentary on events and musicians, as well as my favorite posts, reviews on albums, singles, and performances.  I’d like to also get more comfortable with using video as a means of reviewing and possibly starting a YouTube series, but we can cross that bridge when we get to it.

The biggest change I’m looking forward to is engaging with you, the reader.  When I write a review, I present my opinions in a way that portrays them as fact.  I’m supposed to be persuading you to agree with me, but nothing makes me happier than an intelligent disagreement.  My goal with GenRegardless is the same for myself, to be immersed in music without boundaries.  My hope is that through the help of the readers, I will be challenged to listen to and write about music that I’ve never heard before, so that GenRegardless can truly live up to its name.

Maybe someday GenRegardless will be the next Rolling Stone or Pitchfork (two favorites/inspirations of mine).  For now, it’ll serve as the ramblings of a music head running out of co-workers and roommates to annoy with his thoughts on this month’s new albums.

And just in case we never match on Tinder, my top 5 are The Allman Brothers Band, Kanye West, Bob Dylan, Brand New, and Modest Mouse.