AKA Fátima Valle, currently residing in United Arab Emirates (UAE), and close friend to Chicago artists, released another tune carrying a personal message. TELL THE ONES YOU LOVE YOU LOVE THEM, nothing to be misconstrued there, Fafa dedicated the song to a friend in passing. In her artistic fashion, she reminds us all express more positive affirmations towards your companions in life!
Never one to shy away to express her mind, it is important to do so! This release follows a music video, THE SKY CRIES WITH ME, a track about battling through mental bouts. Fearlessly, lovingly and creativly taking lifes challenges, helping listeners on their own journeys as well. To really get connected to Fafa’s journey, her social medias are full of activity where she covers numerous songs & unreleased previews, continuously expanding her vocal abilities on the daily!
From the East Side of Chicago, and currently residing in Los Angeles, Hannah Got Raps releases music with raw hip hop flow! Since moving to LA, her music has been welcomed to stages shared by Bone Thugs, Vince Staples, Common, Odd Future, Action Bronson and more. Spreading positive messages to her new found audiences, Hannah raps about life and transcendence as she uplifts the soul with her music! Evident in her last EP BLOSSOM and recent music video BLACK, inspired by current turbulent times.
Set 48 hours before Juneteenth, Hannah Got Raps celebrates black lives with an inspiring and powerful visual. Filled Black Power symbolism, like traditional black cultural family values, black entrepreneurship and black leather clad get ups, representing the legendary Black Panthers! The video ends with a poem about fear, from the perspective of the oppressed. The song leaves you more aware of the power and magic of black love, and a reminder, “All black love is the mission, everybody talk about peace, while the blood shed, hear the cries of the streets.” Will You Rise?
Lucky Iris welcomes you to sounds of electro-indie pop, debuting their music with their first EP, TURNS OUT WE SHOULD HAVE STAYED HOME, with the help of Oliver Sekunda on production. A concept project based around a night on the town, and figuring it best to stay home sometimes! Coming from the Leeds music scene in England, they present a fresh perspective through their music. With influence from artists like Alt-J and Laura Mvula, Maeve & Jasper of Lucky Iris come with a unique sound.
At just four tracks, the project is short but full energy, starting out with GET READY WITH ME, an upbeat song about the curious energy of a young girl. Followed up with a more melancholic track over piano chords, TAKE 5 (WHY CAN’T YOU SEE ME) explores the feeling of being surrounded by people, yet being invisible to someone significant. GLITTER VISION is a favorite for its production, the track starts off like an electronic house beat, followed up with pop vocalization, and changes up tempo and ups the bass, flipping the energy around. Their debut gives us enough to see, Lucky Iris is dynamic and full of potential, and we cannot wait to see what they have for us in the future!
Still hot off his LISTEN IN HEADPHONES solo project, and his collaborative single, HAT/NO HAT, with Handsome Naked that premiered on NBC‘s Talent Show Livestream. The efforts lands him and proves his worth as an Artist of the Week in April. As a producer, Brad Kemp meets with a variety of artists, and on this occasion, Brad found vocal artist Eshé to work on a collaboration. They two worked together before on tracks produced for Chore Boy, now they got their own single flowin’, as apart of an album called LETTERS, filled with diverse artists.
Releasing a music video with each track individually and consecutively, until the album drops, the two the artists came up with a clever video for their latest track, WISH YOU WERE HERE. Eshé, who is currently residing in New York where she finished up a Masters Degree from NYU, worked on the writing and vocalizing while Brad, obviously, produced the music. The video illustrates the lyrics as they go with the song, highlighting each different line of a verse, with different colors. A very relaxing and upbeat track, using acoustic sounds over a hip hop beat. Very motivating from start to finish with lyrics like, “Hard work pays off, never thought I’d get days off, I remember being exhausted, workin 12 hour days days, stayin up makin demos on Halsted” and that is just to start!
LETTERS release date is scheduled for June 5th, with each track involving a different performing artist. Stay tuned for the live album premiere through their social medias linked below!
Maalik Falsetto is a Chicago filmmaker, photographer and producer with his own production company, Maalik Falsetto Productions. He started this company in 2016 to cater to creatives and help them see their film and photography projects come to life. Maalik recently won the My World Is Yours competition for creatives hosted by Art After Dark. Maalik was picked after submitting a beautiful urban photo set.
Recent projects produced by Maalik Falsetto include MUSE, a short film about “Two college students meet at a party, realizing that they may need to rely on each other more than they know.“THE OTHER FOOT, an alternative history piece about slavery, and AMBROSIAL a story about overcoming the grief of a brother slain by police. Congratulations to Maalik Falsetto on his recent contest win and continuing to help creatives produce quality visual content.
Emily Blue seems to be one of the more composed artists of Chicago. She got everything locked down, from the sound of her music, to her visual aesthetic and her live performances, presenting the unique character within herself. While that may be perfect enough for any audience, Emily doubles down with side band projects as Tara Terra and Moon Mouth. Music and creativity seems to just flow through her blood, as she creates sounds of Glitch and Synth Pop
Recently she uploaded her latest single APERTURE, which premiered on TheseDaysMag, along with an exclusive interview. She notes the song is a collaboration with friend and artist Uushky, and it was originally made for piano. Its lyrical origins would revolve around Emily passing through emotions she felt for someone significant, who was already spoken for. The song in itself is quite epic, as Emily sings and harmonizes dreamily over synth chords that hit heavenly climactic highs, alongside her vocalization. You can actually feel the wave of emotion as the song progresses in layers; a very atmospheric song that will get the hairs on the back of your neck standing!
“I used to want to be a fireman, till I found out, they don’t get a lot of bands.” This line sticks more than the GOAT himself, Lil Wayne, and his song of the same name. The project FIREMAN by FESSA is impeccable sonically, visually and lyrically. Fireman is a great show of growth and grit, from the veteran WeWiNNiN collective emcee.
This music video is full of symbolism, so many different objects are being set ablaze by FESSA himself; including pairs of Air Force Ones. For those that need a little history lesson, FESSA used to be Professor Mic, and this re-branding is really starting to catch fire, pardon the pun. Through out his rap personas, he has never ditched the opportunity to teach through his music, hence being called the professor. If you listen closely, many lines in FIREMAN have to do with specific financial situations; “Had to knuckle up on my sonic shit, get a couple rings just for acknowledgement.”
Ever Evolved is gearing up for more hot bars, videos, and firestorms from FESSA of WeWiNNiN.
With an absurdly long but perfect intro, MOECYRUS has some things to get off his chest with this dusty boom bap record produced by greensllime. Visuals were done by the consistent and hard working Darko Visuals aka Mikal Bae. The song is called BOOTLEG and the video has the 90’s hand held camcorder aesthetic. Thematically speaking, this is a well thought out project for specifically following all of these themes visually.
MOECYRUS starts out with, “This ain’t even rap, it’s a game of popularity. All these people too close in my vicinity. They show me love its a front, they really envy me.” This demonstrates his thoughts and feelings on the local scene and how people disingenuously navigate the rap game. He ends the music video leaving the listener with this powerful statement, “That ain’t no MOECYRUS shit, that’s a bootleg!” Safe to say if you want the real rap and not the copy cat, bump MOECYRUS records just to be sure!
Each generation has changed and adapted to what we would consider a film scary, but where and when did it all start? Audiences of today dare to laugh at director William Peter Blattys‘ the Exorcist, with Linda Blair, but in its day it would have caused spectators to suffer heart attacks in theater seats! While contemporary films, the Conjuring and Insidious, take reign in supernatural horrors, many people today take notice to horror films that highlight cultural, social-political differences through metaphors in insidious manners, like director Jordan Peeles’ films GET OUT & US.
While its true the topic can be very subjective, it brings up many debates on what we generally consider scary, and which methods and ideas that produce horror is best? Many would consider blood, gore and violence, with films like Final Destination, Thirteen Ghosts and Resident Evil, to be the ultimate scare; but to others it is just gross at worst. Slasher flicks like Jeepers Creepers, Halloween, Friday the 13th and Nightmare on Elm Street tend to procure more startling and suspenseful, paranoia responses from people, and critics would say its too violent. Then we have narrative horror classics like the Shining, or American Psycho, that appeal to the mind but, you guessed it, they can be boring to some viewers. Even fantasy flicks like Pans Labrynth and Eraserhead can be pegged for being too far fetched or disturbing.
Regardless of what you find scary in a horror film, or what you think makes a horror film good, there is a flavor for everyone; and it generally seems to change generationally. For contemporary horror fans, the culture thriller sends shivers down our spines to the nature of our reality, and the people among us. Generations in the midst of Y2K scares, and the rise of psycho serial killers, are confronted with doomsday and slasher flicks. But the older generations, closer to when it all started, have an appeal to more spiritual antagonists.
While magicians and deities are easily disproven and overlooked, older generations did not have access to the information we hold today. Religion, magic, folklore and tradition has long been the center and foundation of many house holds and belief systems. Up until the counter culture movement, adults, religious traditions and law dominated the mainstream. Well up until the 70’s there have been countless horror flicks with the main antagonist being some evil monster, alien or super natural being; and looking at the very first horror films can attest to that.
Today the first horrors to be produced can be attributed as more art pieces of history for its genre, but in their day horror films were pivitol; especially to the thrill seekers and gothic idealogues. Back when tradition and religion kept people fearfully moral, saving their souls in the after life from judgement, to be damned to hell, was their main concern. The first film, as evident in its title, played on this fear, and put in out on display. The House of the Devil, aka the Haunted Castle (US), aka the Devil’s Castle (UK), made its premiere in 1896 as the first horror film in the world.
The House of the Devil is a French short byGeorges Méliès, only about 4 minutes in length (a generous length for that era), and filmed outside on his property with painted scenery. It was released as a silent film, and during it would be accompanied by a music score. The two actors would be settling in a castle, while super natural occurrences would startle them, all brought on by the Devil himself. While the film contained many horror movie elements in such a short period of time like ghosts, transformations, moving objects and magic, it would be mostly presented for comedic purposes.
A few years later in 1908 on March 7th, the first American horror film would be produced, and it would be presented right here in Chicago, where culture was cultivating on theatre plays, music and opera houses. The Selig Polyscope Company of Chicago produced Dr. Jekyll and Mr. Hyde, and is widely accepted as the first version of the story. It is an adaptation on George F. Fish and Luella Forepaugh‘s 1897 four-act play, Dr. Jekyll and Mr. Hyde, Or a Mis-Spent Life. That play is its own sense is an adaptation of Robert Louis Stevenson 1886 novel, Strange Case of Dr. Jekyll and Mr. Hyde.
Its plot would be split into 4 scenes; a Dr. Jekyll would seduce a Ministers daughter, killing her and the Minister after transforming into Mr. Hyde, because of a potion he is addicted to. Middle scenes would entail Dr. Jekyll revealing his transformation, surprising his friend, and in the final scene Dr. Jekyll kills himself, after running out of his potion, and struggling with grief. The 16 minute film would be hailed for its production feats for its time, as Dr. Jekyll’s transformation was done in one take, pulling it off by hunching over in agony, and pulling the wig over his forehead. The good vs evil duality of the play made it very popular, unfortunately it is considered to be a lost film and no copy of it exists today, and no film scholar ever reported seeing it.
An authentic Chicago sound with a flow as complex as the lyrics, BLUNT DUCKS by Dat Bizness is peppered with social commentary. His style reminiscent of Lupe Fiasco, Common, and Tupac; Dat Bizness channels everything dope about the old school into fresh new flavor. Not sparing a moment when it comes to explaining something realistic and unfortunate. “East side streets turned me to a monster… Man we was born in the drama, now we immune to the trauma, crooked cops got the streets bubbling, sauna.” Those lines speak about Chicago conditions on the South Side, which is why his music might remind one of Common.
The distinction in how Dat Bizness jumps from phrase to phrase or bar to bar in the style of Lupe Fiasco is evident in these few lines: “Too a unique, mystique, I peep the creeps in the street, you weak, I’m too deep for us to even speak, no sleep, just me and my mic, two deep, my words on beat, you heard like a few sheep!” That run of rhymes can reminds one of songs off of TETSUO AND YOUTH, or even early Lupe. The video compliments the lyrics in an upbeat, socially conscious and fashionable way.
Dat Bizness is shown getting a line up from a barber, (everyone will need one after this is all over) while performing with and without the mask, that is symbolic of the current times dealing with COVID-19. Pairing this with the lyrics, and you have an electrifying social statement and critique of modern times. Dat Bizness once again drops a classic, in the making, hip hop track representative of Chicago.