Entries Tagged as 'Music'

Playlist: Summer Vibes


It’s 4th of July weekend, which means it’s time to get decked out in red, white & blue and indulge in a little pyromania. Just don’t forget to keep a drink in your hand and the music up loud. Start the weekend off right with our staff curated playlist on Spotify and keep the vibes going all summer song.

View this playlist in the Spotify app.

Follow Style on the Hill on Spotify to stay up to date with our playlists throughout the year. Show us how you celebrate the holiday weekend on Twitter, Facebook, and Instagram.

Buzzed on Bro-Funk: A Conversation With Captiva


Captiva 2015

By Hannah Pierangelo

“Someone described it to me as Bro Funk,” Hank Wiedel says of his band’s unique sound. He’s the drummer for Captiva, a young band based out of Kansas City. Jackson Ries, guitarist and one of the vocalists, calls it indie alt-pop for now, but admits he still doesn’t know what category his music falls into.

Though Captiva may not have its genre figured out, the band certainly knows what sound they create. Wiedel and Ries tell me they draw their influences from indie-rock chart-toppers Young the Giant and another genre defying rising to fame—Twenty One Pilots.

“They’re like my favorite band ever,” Ries says. “I get a lot of my inspiration from them.”

Captiva will be opening for Twenty One Pilots at Starlight Theater in September. Wiedel says he simply reached out to the Starlight staff and managed to land the gig. Ries says playing in front of his idols will be a dream come true.

Captiva will play a handful of music festivals in the midwest this summer. Catch a show and add some “bro-funk” tunes to your playlists!

I heard you met in detention?

Jackson: “Well, [Hank] and Pat MCQuaid, the guitar player, met in detention. He got me into detention when it was all happening. We were at Rockhurst high school, and I had been talking to [Hank] about jamming. We weren’t really a band yet. He never texted me back and I guess he got his phone taken away at school and they saw that I texted him, so he got me three detentions.”

Hank: “Me and McQuaid, we both got detention for something stupid like being late or something, so we were taking out trash together after school. We had just been featured in the school newspaper on the same page, so that’s how we recognized each other. Then we just started talking music and he wanted me to play on their [Captiva’s] record. It kinda blossomed from there, into a beautiful flower.”

Jackson: “It eventually became Buzz Like Bees.”

Does Captiva have plans for an EP or an album coming up?

Jackson: “Yeah. We have like a five-song EP. We’re starting on it later this month and we have pretty much the whole summer with the studio. Not sure what it’s going to be called yet.”

Hank: “It was going be one theme, but we changed it up and started writing more progressive music.”

Jackson: “We have a lot of old songs in our arsenal, but ended up writing these brand new songs that we’re super excited about. So we’re kinda changing up the vibe.”

Hank: “It’s kind of a whole different Captiva, really.”

Jackson: “Yeah, it’s us evolving for sure.”

What would you say makes it different?

Hank: “It’s a little bit more poppy, almost, more up tempo, more dance-y. It’s got the same funk and Captiva charm, but it’s a little more mainstream honestly.”

The band has a pretty impressive lineup scheduled. Is there anything special you do to get your name out there?

Hank: “Really, it’s just like being as unique as possible. And being ourselves. A lot of bands, a lot of people in general, try to put on a façade of something that they want to be. If you just go out and be yourself, it’s easier to be charismatic about what you do if you’re not faking it.”

Jackson: “When you go out there and people see that you’re not pretending—that it’s all real, it’s all you—that’s what I think is the main instigator to get our name out there. Just staying true to ourselves. And sweet Instagram pics.”

On your social media, you tag a lot of posts with “Stay Buzzed.” Is there any meaning behind that?

Jackson: “Our song Buzz Like Bees is the song that got us the most hype. We just kinda like to promote the “stay buzzed” because we’re Captiva, we’ve kinda got that island feel and we want to bring people on vacation. And you’re buzzed on just whatever’s around you.”

Hank: “High on life. “Stay buzzed” is kind of a statement like “keep digging it.” If it’s not us, then dig whatever you surround yourself with. Enjoy life.”

Captiva will play Field Day Fest in Lawrence this weekend. Catch their 9 p.m. set at The Bottleneck on Friday, June 26th. The band will also perform at Audiofeed in Urbana, Illinois, Backwoods Music Festival, in Oklahoma City, Oklahoma, and Fashion Meets Music Festival in Columbus, Ohio.

Check out the band on Facebook and Instagram, and hear their latest music on iTunes, Spotify, and Soundcloud.

Photo courtesy of Captiva. 

Cream of the Crop: How A Band Called ‘Maybe Not’ Defied Its Own Name


By Lyndsey Havens

Maybe Not KJHK Farmers ball 2015

Short, concise and memorable — that’s how Alex Chanay describes the name of the band he is part of. Chanay, a junior from Topeka, plays guitar and sings in the band Maybe Not. In addition to Chanay, the trio includes Sam Goodrich (drums) and Gus Cobb (bass), both seniors from Topeka.

“We would go back and forth on what we should call ourselves,” he says. “Most suggestions would get met with a ‘maybe not,’ so basically our band name was chosen from our indecisiveness.”

On the contrary, the audience at Farmers’ Ball—a music competition held by the University of Kansas’ student-run radio station, KJHK—voted a decisive yes when it awarded third place to the band on April 25.

Farmers’ Ball grew out of a KJHK program featuring local music called Plow the Fields in 1994. Tom Johnson, general manager at KJHK, says the event began “as a way to recognize the best in local Lawrence musical talent.”

For Mitchell Raznick, a senior from Omaha, Neb., the competition has evolved to more than just that. Raznick, the live event director at KJHK and one of the emcees at the event this year, says Farmers’ Ball is one of the defining events for local music. He says, “It creates an opportunity for the local musicians to get their work out there, and it helps KU students and Lawrence residents interact with the local music scene through tradition.”

That tradition started on the hill in 1994 when SUA still held Day on the Hill, a daylong music festival on Campanile Hill that featured national acts like Pearl Jam. Farmers’ Ball was conducted in partnership with this event. The local band that won Farmers’ Ball was awarded “the epic prize” of serving as the opening act, Johnson says.

Damage to the hill from concertgoers brought Day on the Hill to an end, but KJHK, unwilling to surrender, carried on with Farmers’ Ball. The competition offered substantial, though somewhat less “epic” prizes, such as studio time and t-shirt printing. The competition is now held at the Bottleneck and the prize is straight cash. Johnson says offering a cash prize “makes the most sense to support local bands, giving them the ability to invest in what they see fit to grow their act.”

Fresh Crop of Talent

Maybe Not KJHK Farmers Ball 2015

This year, there were 85 submissions to Farmers’ Ball. Johnson says each year the competition averages anywhere from 50 to 80 entries.

“I can tell you that every single band that made the top eight semifinal spots deserved to be there,” Johnson says. “I think that’s the first time I can honestly say that about all of the bands since I began at KJHK, so that indicates to me that the local music environment is as robust as ever.”

This was Maybe Not’s first time participating in the competition; the band officially formed in August 2014. Its music teeters between upbeat and emo-esque, finding a balance that’s pleasing to the ear.

Chanay says the group was having a tough time reaching a fan base beyond their immediate friend group and felt that Farmers’ Ball was the best way to gain exposure in Lawrence. Travis Diesing, a junior from Papillion, Neb., says the Bottleneck was at least three-fourths packed for the semifinals.

Will the band perform next year and try to move up in the rankings? Chanay, true to form, says, “probably not.” He says Farmers’ Ball achieved what they wanted it to this year—build its audience in Lawrence and form friendships with other bands. “We’d rather leave the slot open next year for another young band trying to do the same,” he says. When the next competition comes around, Chanay says the band hopes to be on tour.

The most challenging part of competing, Chaney says, was “having extremely disparate sounds go up against each other to be judged.” He says the band didn’t expect to make it to the finals and that they felt extremely lucky to share the stage with equally deserving groups.

“The stakes are high when you’re dealing with a concentrated event that can literally launch a band’s career,” Johnson says. “We respect how much care we have to pay to the process throughout.”

Margaret Hair, a graduate student from Greensboro, North Carolina, is a full time staff member and program coordinator for the SUA-KJHK Live Music Committee. In simple terms, she explains there are five steps to the process, which begins with bands submitting their music to KJHK.org. She says about 40 students spent a Saturday listening to all of the submissions and voting on every band.

From there, online voting begins. People are able to listen to music from the top 16 bands and vote for their favorites. The top eight bands then move on to perform in the semifinals — which took place on Saturday, April 18. Each of the eight bands plays a 20-minute set and the audience votes for their favorite at the end of the night. The four bands with the most votes advance to the finals show.

For the finals, each band plays a 30-minute set and audience members again vote for their favorites at the end of the night. No Cave, a hard-hitting fusion of a rock and jam band, won the first place prize of $2,000. Via Luna, an instrumental group with electric-indie flair, won the second most votes and prize of $1,000. Toughies came in fourth, winning the prize of $250.

Maybe Not says it plans to use its cash prize of $500 for promotional t-shirts and making CDS of its two EPs. Aside from the participating bands’ increased publicity, KJHK largely benefits from this event as well.

“Having the event every year means we can try to catch bands as they form and grow,” Hair says. “It’s also a big boost to the station, in that it gives us access to a huge set of local music every year, and establishes connections with dozens of local acts.”

Farmers’ Ball is a collaboration of every area, not only within the station, but also including the live music partners at SUA. Hair says while it’s rewarding to see the various areas work together to produce the event, it takes a lot of work to get to the finish line.

“There are challenges to navigating the year-long campaign of encouraging bands to submit music and then working through all the voting rounds,” she says. “But the end result — a big, buoyant local music extravaganza — is easily worth the work.”

Photos courtesy of KJHK Staff. View more live photos from Farmer’s Ball here, or check out kjhk.org

Hear more of Maybe Not on Bandcamp.

Concerts From The Couch


By Hannah Pierangelo

Abandon Kansas concerts from the couch

“It’s magical out here.”

Jeremy Spring speaks in passing, but he’s right. There’s something special in the air tonight. Maybe it’s the fact that it’s decently warm for the first weekend in April. Maybe it’s the fairy lights setting the mood. Maybe it’s the lawn chairs casually arranged in the backyard of a home in west Wichita. Maybe it’s the fact that I’m attending an intimate living room concert and it’s not actually in a living room.

Spring, vocalist and guitarist for Abandon Kansas, who played the 14th show on their national living room tour in the band’s hometown, Wichita, laughs off the comment. But there is a little magic out tonight.

Abandon Kansas embarked on their tour in the middle of March. They wrapped up a total of 46 shows in the cozy homes of their fans last weekend, playing almost every single day for the majority of the spring. It’s the band’s sixth living room tour and clearly a hit with their fans.

Playing music in living rooms is not a new concept by any means, but it is flourishing again. Google “house concert” and tons of entries show up. Most stories on the subject describe a growing trend of artists playing in homes, though none can cite any data to support the claim. However, with so many people taking note, it’s clear that house shows might be everything but trending.

Live performance in private space may be a tale as old as time, but this type of intimate event was most popular in 1920s New York. With the modern communication available in social media and event planning apps, it’s easier now more than ever to host concerts in unique spaces like homes and backyards.

Tonight the band plays in a backyard instead of a living room, which Spring says is unusual. But the house is familiar—Spring recalls helping friend and previous Abandon Kansas drummer Brian Scheideman renovate and flip the house. Scheidman still owns the house, and the hosts for the evening have rented the space from him for the last five years.

The band take their makeshift stage, a grassy place beneath a swing-less swing set adorned with fairy lights, just after 9 p.m. The sun now fully set and a crackling bonfire lit to keep the guests toasty on the still chilly spring night, Abandon Kansas croon out their new songs, carving their electric indie-rock in the dark.

“There are a lot more loose moments, a lot more mistakes,” Spring says. “We don’t play to metronome like we do onstage. There’s not a ton of lights and all this jazz. It’s just right there, raw. It’s very exposed. People are sitting on the floor right next to us. It’s the real deal.”

If you’re a concert fanatic like I am, then a private show limited to 40 people, including the band members, is a dream come true. I’d expect this level of up-close-and-personal time from a VIP all-access pass, complete with bodyguards and maybe even red velvet rope. It’d probably cost a fortune.

For this exclusive evening with the band and the first play of their brand new record Alligator, I paid $10. That’s a Chipotle burrito if you add tax and guacamole. That’s the cost of the Moleskine notebook I used to take notes at the show.

“House shows have always been around,” Spring says. He thinks they’ll always be there, too. “They just kinda come and go. But to do a full tour of house shows, I think that’s kind of unique. I haven’t seen a ton of bands doing that.”

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Abandon Kansas
Website: abandonkansaslovesyou.com
Twitter: @AbandonKansas
Facebook: /abandonkansas
Soundcloud: /abandonkansas

The Golden Age of the House Concert

The living room concert dates back to the Harlem Renaissance, which spanned from the early 1920s to mid 1930s in New York and cultivated African-American art, literature and culture. Residents of Harlem experienced both rent and wage discrimination and faced exorbitant costs of living during the time. The 50-block district emerged as a slum by definition of its living conditions. During the early part of the decade, it’s estimated that nearly 200,000 blacks migrated to the neighborhood, with up to 7,000 people inhabiting a single block. The residents began to host Saturday night parties in their small apartments, enlivened with good music and “refreshments,” as alcohol was prohibited at the time, and invited friends to pay at the door for a good time. Friends were happy to oblige, well aware of the living conditions they shared, and the cost of the rent party typically amounted to less than entry to Harlem’s popular clubs.

Langston Hughes writes in his autobiography The Big Sea: “The Saturday night rent parties that I attended were often more amusing than any night club, in small apartments where God knows who lives . . . but where the piano would often be augmented by a guitar, or an odd cornet, or somebody with a pair of drums walking in off the street. And where awful bootleg whiskey and good fried fish or steaming chitterling were sold at very low prices. And the dancing and singing and impromptu entertaining went on until dawn came in at the windows.”

Professor Jacob Dorman of the History and American Studies departments at KU says that soul food and music were a large part of rent parties. Upright pianos were prominent fixtures in the small living spaces and players innovated the “Harlem stride piano” method of playing, which allowed the player to create a bigger sound and cut through the noise of the party.

“One reason why rent parties are so important is that they illustrate that the way most people lived in Harlem was not the way white visitors experienced Harlem,” Dorman says. Popular Harlem venues like The Cotton Club were white owned and only admitted white guests. Other clubs allowed blacks if they passed a paper bag test, meaning that their skin had to be lighter than the color of a brown paper bag.

“What this meant was that ordinary working class people had to find their own entertainment and make their own fun, and they did so in small cabarets and bars and in these occasional rent parties that might start late and go all night,” Dorman says. “So rent parties, with their music, soul food, and opportunity for sociability among black working class people, illustrate one powerful way that people were able to put their cultures and their bodies to work for their own pleasure, even if they worked low paying jobs or were not allowed into Harlem’s more famous commercialized leisure spaces.”

Though the repeal of Prohibition and The Great Depression effectively ended the rent party in the early 1930s, the Facebook invitation for the Abandon Kansas show tonight boasts a cheap ticket and a BYOB attitude, ringing in the house concert once again. The living room show isn’t a formal event—it’s just an opportunity for a good time and good music, same as in Roaring 20s Harlem.

“Most people aren’t brave enough to go out to a house show so it’s like, just the hardcore fans come out and the people that really want to know what’s going on,” Spring says. “That gives us a chance to get some real hang time with the people who really know who Abandon Kansas is ‘cause [these shows are] not highly publicized.”

The band promoted this tour the way they promote all of their tours—through social media. But for first time, Abandon Kansas tried organizing the national tour by offering the option to host as a perk for donating to their crowdfunding campaign last year.

Spring says it’s been hard to put out a new record. It’s been four years since their last full-length, Ad Astra Per Aspera. The title comes from the Kansas state motto “To the stars through difficulty.” Spring says there was plenty of difficulty to get the new music released. The band left their record deal at Gotee Records and instead opted for an independent approach. Teaming up with post-hardcore band Emery and their new label Bad Christian, Abandon Kansas were able to set up an IndieGoGo and raise $15,000 to fund their third full length, Alligator.

A Siren Song of Social Media

Abandon Kansas concerts from the couch

Social media and online event planners have been crucial to the renaissance of the living room show. The concert-tracking smartphone app Bandsintown, used by 250,000 artists and more than 16 million concert goers, just announced a new analytics feature in February that allows artists to view their best markets at a glance.

“We are living in an age where data is becoming increasingly accessible and in music, analytics are critical to decision making,” says Leah Taylor, the director of communications at Bandsintown.

“Bandsintown Analytics shows where the highest concentrations of concert-goers are worldwide,” Taylor says. “The purpose of the tool is to help artists understand where it would be wise to book shows—from a house party to a stadium.”

Crowdfunding is another method, and one of the newer ways for musicians to raise money and connect with fans. Backers donate money to the cause, usually a new record or tour, and gain rewards in return. Abandon Kansas, like many artists of late, endeavored to crowdfund for a new album and a living room tour to get back to playing for their fans. Spring emphasizes that it’s not charity, but more like paying in advance. Backers got a copy of the album, tickets to the living room tour, and for $300 upfront, the option to host the band in home.

Tonight’s hosts, Allison and Molly, have hosted a house show before with a handful of local Wichita acts at their last home, a duplex shared with their best friends on the other side of the dividing wall. They pitched the few hundred bucks to have Abandon Kansas play in their new place in west Wichita.

“We like doing it,” host Allison McElroy says. “We both love music and I’ve listened to Abandon Kansas since high school.

Once the band met their crowdfunding goal and the living room tour became a reality, the band and the hosts began promoting primarily through social media.

Spring finds that Facebook is the most successful for the band, though they also try to post frequently on Twitter and Instagram, and keep up with podcasts. He says the word of mouth is still the best way to get people interested in the show.

KU grad Ryan McGee recalls hosting a living room concert here in Lawrence in 1995, pre-dating the ease of instant online communication.

McGee hosted the small folk act Catfish Keith in his house on Mississippi Street, which has since been torn down for the parking garage. He remembers putting posters around campus and trying to entice as many friends as possible with the promise of a keg. Without even e-mail, McGee says he called the phone number on the back of the band’s CD to figure out how to book him.

“At the time, that’s all you could do—hang up posters and talk to people,” McGee says. “I would have had a much bigger reach on Facebook, or even gone beyond my social circle with something like Twitter.”

McGee remembers the living room packed with people of all social circles—friends, strangers, even a few professors.

Though it’s been 20 years, McGee has thought about hosting another living room show.

“It lives on in memory the way a traditional concert might not,” McGee says. “The best part is the feeling of being responsible for the event around you, bringing all the people to enjoy music.”

David Bazan, solo artist and the man behind indie-rock band Pedro the Lion, is another musician finding success in living room tours. He began touring in homes in 2009 before the official release of his debut full-length solo record, Curse Your Branches.

In an interview with Consequence of Sound, Bazan explained his start by asking himself, “What do I need to do to play songs and have people pay me money?”

“That’s what it comes down to,” Bazan says. “I genuinely love playing my music. I’m going to do it for the rest of my life. How can I do it to make the money to provide for my family and have it make sense? I said: house shows. If I can’t play anywhere else, I’ll play living room shows. That’s really how it all started.”

Bazan says he couldn’t do his living room tours without social media. Initially, the tour was just an email list of potential hosts that eventually grew to be his successful national tours today.

In the beginning, Bazan says he got “a lot of whisperings about making a bad career move.” Most musicians follows a traditional tour and release cycle that expects new material release about every two years, filled with touring in between.

“The thing is, though, people undersell how these shows connect with the fans,” Bazan says. “There’s no hype, no promotion, no gimmick. If I wanted to tour 100 to 150 days a year and put out a record every two years, I could do that.”

Beyond the cycle, Bazan says he loves to play house shows and get the chance to connect with his fans. “These 50-person living shows feel way more meaningful, even more meaningful than 300-person club shows,” he says.

Cash for Chorus

Just as Harlem rent parties emerged to cover the rising cost of living in New York, Spring says he began doing living room tours out of necessity.

“The touring scene is tough,” Spring says. “It got to the point where we’d play a bar and you know maybe a couple hundred people come out, but then we’d leave with a few hundred bucks either way.”

Spring breaks it down for me. In traditional touring, there are a lot of middle men. Typically bands give up around a third of the ticket price to the booking agent, manager and venue. With the living room tour, fans get a cheaper ticket at only $10, and the band gets the whole pie.

“Really, we’re not like buying new cars,” Spring says. “We’re just putting gas in the tank and making sure everybody gets fed and ordering more CDs and just keeping the business going.”

Another perk with playing in the living rooms of dedicated fans—the band gets a free meal and a place to spend the night. Spring says the living room tours are definitely the most financially successful tours for Abandon Kansas. Though he prefers to plug in and play loud, Spring likes to take on the living room tour once a year.

Spring sums up the living room tour best: “I think it just became survival. The music business changed. The way we download music’s changed. So the way we tour has to change.”


Alligator is available now on iTunes. Stream it here.

Photos courtesy of Abandon Kansas. 

The Man Who DJs Your Night Out



By Lyndsey Havens

“Everyone will go crazy if you play this one song, I swear,” an unidentifiable club-goer says to the man behind the plexiglass. The request will go unanswered though, as they often do. DJ Savy already has 90 percent of his songs selected.

DJ Savy has two main “crates” or playlists that he uses, both which have well over 500 songs in them. One is called “General White Person Bar;” the other is “Club Goin’ Up.”

“Part of being a good DJ is knowing your music,” says DJ Savy, more commonly known as Josh Savitt, a Kansas alum from Hopkins, Minn. “How to react to a crowd and how to best play your music — in the right way and the right order — to receive the best reactions from the crowd or audience. DJs who play only music they like suck, and DJs who don’t know when to play the right songs suck.”

Intermixed within his playlist is what can only be described as a verbal logo—an automated voice that says “DJ SAVY” blares through the surround sound speaker system in the bar as one song fades into the next. Lights flash, drinks clink and above all else, people are dancing.

Savitt, 24, graduated from the University in 2014 with a degree in social welfare. Halfway through his final year in graduate school he decided to attempt to make a living off his passion. He also has been solely DJing as a means to support himself since May.

“It’s addicting,” Savitt says. He seems uncertain as to why exactly he is so passionate about DJing, but says he enjoys being his own boss, having the power to choose where and when he gigs.

Most weekends are set in stone for Savitt ­— he DJs at Tonic on Thursdays and the Cave on Saturdays. On Fridays he rotates among various places such as Power & Light, Westport or “random Kansas City bars.” He says if DJing doesn’t work out, he will get a “real job like everyone else.”

But until then, he is perfectly content—and tonight, he takes on Tonic.

The small size of the dance floor fools the eye, making it appear to be full even though the current crowd doesn’t nearly exceed capacity. Then again, it is only 11:30 p.m. DJ Savy has at least another two hours to go.

Savitt’s parents bought him his first two turntables and a mixer in 2006. He was 16 at the time. He says he has always loved rap and hip-hop music, and appreciates artists such as Atmosphere, Brother Ali and Doomtree/P.O.S that all hail from Minneapolis.

There may be no apparent connection between a degree in social work and a career in entertainment, but Savitt says the two “commonly share positive human relationships and working with others to obtain a set of goals.” He says a DJ must learn to create the “right atmosphere,” one that motivates people to buy drinks and spend money. This essentially creates a positive relationship with the owner, manager, bartenders and patrons of the bar or club. Savitt appears to be accomplishing this particular goal tonight, considering each of the four available bars within Tonic is busy.


Being a DJ creates an unusual juxtaposition by combining a night out with work. Savitt says he often sees friends out enjoying themselves while he is DJing, and while some fall victim to annoying antics such as requesting a song or attempting to engage in conversation, he says his friends “know it’s time for me to do my thing and not be distracted, and they respect that.” Though he says others sometimes fail to understand that his work “requires complete attention.”

Occasionally though, his attention is strained when out of the ordinary things occur. Savitt says when he was recently DJing in Lawrence, “I won’t say where,” he says, he remembers talking with a customer who had apparently “been drinking all day.” Savitt says later that night, as he was packing up, the same man was found sleeping in the bathroom. “I got a good kick out of that one,” Savitt says.

The perks of being a DJ often outweigh the distractions though. Savitt says he can’t believe he gets paid to “spin records for hundreds of people” while also receiving free food, drinks and anything else he may need from the bar, club or venue.

A common misconception about being a DJ is that you get booked based on skill and appeal, Savitt says, but in reality, “the shittiest DJ could be DJing at a venue or bar” because of something as simple as having the right equipment or being friends with the booker.

“I’ve been around long enough and gained enough respect from the people in the industry that I’ve been able to secure steady, weekly gigs,” Savitt says.

One person he has gained the respect, and friendship, of is local singer-songwriter Brian Lockwood, a fifth year Communications major at the University from Vernon Hills, Ill. Lockwood says he met Savitt early in his college career. They have remained close friends ever since.

“I knew him as the guy to talk to about booking shows or really making any kind of moves in Lawrence,” Lockwood says. “He was just always putting cool events on that everyone I knew went to.”

As of lately, a usual day for Savitt is fairly formatted. He says he wakes up around 10 a.m. after coming home between 2-4 a.m. He first does some “normal day stuff,” which he didn’t specify, and then he reviews and critiques his set list from the previous night.

Savitt says his ultimate goal is to become a national touring DJ “playing gigs in different clubs and states every weekend.” The job does come with its fair share of challenges, such as carrying gear, getting gigs, staying focused for over five hours, and, of course, “making money while spinning records.” But for Savitt, such tasks are trivial.

Lockwood says Savitt is in a different position than most other DJs. “This is not what he has to do, this is what he loves to do,” Lockwood says. “And that true passion can be seen in every set.”


Edited by Erika Reals

Made for the Middle


Kansas City’s fifth annual Middle of the Map Festival dominates the month of April to bring the best music, film, and discussions to the heart of the Midwest.

By Hannah Pierangelo


Like with Oreos and sibling order, sometimes the middle is the best. For Kansas City, it’s never been better to be in the middle. Of the map, that is.

Kansas City has seen more than a little national attention over the last year. We can thank America’s favorite pastime and the Royals for its time in the spotlight, as well as The New York Times’ shout out to the city for a revitalized urban setting that’s attracted many millennial residents. Being right in the middle of the country, the city is able to draw from the biggest and best ideas in art, culture, and music. Kansas City is, simply put, the pulse of the Midwest.

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Record Machine
Website: therecordmachine.net
Twitter: @lerecordmachine
Facebook: /therecordmachine
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Middle of the Map
Twitter: @motmfest
Facebook: /motmfest
Tumblr: middleofthemapfest.tumblr.com

That’s where Middle of the Map Festival comes in. Now in its fifth year, the fest isn’t a toddler anymore; it’s finally hitting a growth spurt and standing on its own feet this year, having matured in more than a few big ways since its birth. What started as a music festival has expanded to add film and forum, much like the popular South by Southwest Festival held in Austin, Texas, each March. The music component has also added multiple days and venues to coincide with its ever-growing lineup, which passes 120 artists this year. To top it off, the festival expects to draw more than 10,000 people over three weekends to the beating heart of Kansas City.

“Music happens there 365 days a year,” said Nathan Reusch, co-founder and curator of the festival and founder of independent record label, The Record Machine. “It’s not like we’re entirely throwing this festival in a field in the middle of nowhere.”

For first-time attendees, this is a good year to introduce yourself to one of the more successful urban Midwest fests. The music weekend, held April 22-25, will span seven venues including the historic Uptown Theater, an outdoor stage in the district lot, and in smaller venues like The Riot Room, Record Bar, and Westport Saloon in Westport, said Reusch. Though fans must be 21 to attend shows at The Riot Room, Westport Saloon, and Ernie Biggs bar, Uptown Theater will be open to all ages and The Record Bar open to those 18 and older.

While the country’s most popular music festivals are hosting upwards of 50,000 people a day in empty fields, Middle of the Map is able to incorporate the best venues, restaurants, and the entirety of downtown Kansas City’s vibrant atmosphere into the event.

“That’s the thing about Kansas City,” Reusch says. “We’re not the largest market. We’re not New York, we’re not LA, we’re not Chicago. Lollapalooza, and Bonnaroo, and Coachella—those things exist. [Middle of the Map] is providing something that’s an alternative to that.”

The festival is also includes local acts on its bill as well as national ones. Iron and Wine will headline this year’s festival, but hardworking bands from Kansas City will share the stage with some of the festival’s bigger names in keeping with the festival’s local values.

Iron and Wine, pictured above, will be headlining this year's Middle of the Map Fest.

Iron and Wine, pictured above, will be headlining this year’s Middle of the Map Fest.

Hembree, an indie/alternative rock band based out of Kansas City, will play the third night of the festival before indie-folk artist Lord Huron at the outdoor stage.

“What’s unique about Middle of the Map is a lot of the local venues work together and you buy admission for the festival and you can walk in through anybody’s door,” says Matt Green, Hembree’s bassist. “It’s just cool because it’s a full city event, it’s not just grouped in one area like a normal festival would be. It creates a unique vibe. People can text each other and say, ‘You’re at the Jerusalem café? Well get down to The Riot Room, this band’s really good.’ It creates a lot of buzz really fast around the city.”

For more information and to buy tickets, visit middleofthemapfest.com.


Edited by Katie Gilbaugh

Photos provided by Nathan Reusch and Iron and Wine

M.O.T.H Valentine’s Edition


Roses are red
Violets are blue
Here’s some hot music
You should f*!k to

~Happy 50%-off candy week~

Created by Emily Donnell

From Dreadlocks to Darth Maul, a Phone Call With Pat Seals of Flyleaf


By Samantha Darling


“Correct me if I’m wrong,” Pat Seals, bass player for the band Flyleaf, said. “But doesn’t Lawrence have the smartest people per capita or something like that?”

I told him I wasn’t sure, but that’s a reputation I’m sure the people of Lawrence, Kan. are happy to have. After further investigation, I found that Lawrence is ranked fourth on the 2014 list of “Most Educated Cities” in America by the financial website SmartAsset.com. So, close enough.

Pat Seals and the rest of the rock band Flyleaf were last in Lawrence about 10 years ago when they had a show at The Bottleneck, Seals said. Now the band is on tour for their newest album, “Between the Stars,” which was released September 16 of this year. When the band plays at The Granada on Friday, Oct. 24, Kansas will be the 12th state they’ve visited since the start of the tour at the beginning of October.

Since their last visit to Lawrence, the band has been busy. Their self-titled debut including the hit “All Around Me” went platinum.  The band’s next album, “Memento Mori,” hit the Top 10 of the Billboard Top 200. Their single “I’m So Sick” is on the first Rock Band video game and the single “Tina” is on Guitar Hero III. In 2012, then-lead singer Lacey Strum stepped down after the release of the band’s third album, “New Horizons.” Without missing a beat, the band’s current lead vocalist, Kristen May, stepped in. When I spoke with Seals over the phone, the band was in Milwaukee preparing for their show that evening.

Seals said he looks forward to playing in Lawrence because it’s a college town and the crowd is more laid back. Everyone is just out to have a good time and as a result, the band feels more relaxed and has a good time too.

In that carefree spirit, we switched it up and I started sentences and had Seals finish them.

If I were an animal I’d be…
PS: a raccoon, because I’m always digging around in the refrigerator in the middle of the night.

My favorite part of Halloween is…
PS: oh man, the candy.

For Halloween I’m dressing up as…
PS: The band’s going to have a Star Wars theme. I think I might be the Darth Maul, maybe.

If I weren’t in a band I’d probably be…
PS: an art teacher… or a garbage man.

It’s embarrassing now, but in my early 20s…
PS: I had dreadlocks.

The best part of being on tour is…
PS: getting to do what I love.

But, the thing I miss most about home is…
PS: my wife.

The craziest thing to happen so far on this tour is…
PS: I got attacked by two German Shepherds while I was practicing outside the venue in Philadelphia! It reached 5 o’clock and the co-owner of the lot let them out to start watching it. I just happened to be standing on the inside of the fence, on the wrong side, and I had my headphones in. All the sudden I hear barking and I look over and they’re just right at my hand. I immediately yelled for help and the guy came over and called them off.

What we disagree about most within the band is…
PS: thermostat temperature, always.

If that’s the worst of their woes, I’d say the group has got it pretty easy. Lawrence awaits what is undoubtedly going to be a kick-ass show. We’ll even overlook the fact that you’re not a Royals fan and haven’t been following the World Series, Pat.


Edited by Katie Gilbaugh

Photos provided by Pat Seals

M.O.T.H. Staff Collection: October


MOTH Cover 1


In our latest installment of M.O.T.H., the Style on the Hill staff has provided you with sweet sound-sations to revive you before midterms. Check out the rest of our playlists and follow us on the SOTH Soundcloud page.


Ending on a High Note: Matt Easton Relishes his Final Weeks in Lawrence


By Erin Orrick


Matt Easton, a senior at the University of Kansas, kick-started his career as a writer, rapper and producer in 2010. He released his first self-produced mixtape, “Intro into Public Speaking,” as a freshman and has become a common face around the Lawrence music scene. In December 2013, Easton released his sixth mixtape, “Grey Area.” I chatted with Matt, who described his musical adventure and what graduating and leaving KU means for him and his future.

You bring a lot of energy and showmanship to your concerts. Any crazy fan encounters during your sets?

ME: Honestly, the craziest fan encounters come from online, through my social media sites. On Facebook, I sometimes have kids from all over the world sending me inbox messages, saying how they are fans of my music. To me, that is a crazy experience: seeing firsthand how far my music is reaching.

Every artist seems to have that one moment on stage they remember for the rest of their life. Have you had that moment?

ME: Yes, during one of my first out-of-state shows, at a fraternity house at the University of Miami. It was one of the first times playing my song “Live Life” in front of a new crowd, and all 300 kids in the fraternity basement knew all the lyrics and were singing them out loud. Then, towards the end of the song the speaker system cut out, but the kids continued to sing, “That’s the way we live life.” I remember standing on that stage with the microphone down at my side, completely in awe. It was the first time I had witnessed kids who were familiar with something I had created.

You actually don’t read music, but play by ear. Has this ever been a hindrance for you?

ME: When I work with trained musicians like Wes Powell, the guitar player I work with, sometimes it can be difficult for me to communicate. I have been able to learn which notes are which, but I have no education in music theory. Playing piano by ear is something I think I learned from my father, but I didn’t really take interest until my freshman year at KU. I started messing around with producing in the dorms, and began learning covers of songs using YouTube. It came very easy for me, to the degree that it has convinced me it was something I was meant to be doing.



If you could collaborate with three artists, dead or alive, who would they be and why?

ME: Jimi Hendrix, Miles Davis and Bill Withers. These are three of my favorite musicians of all time. Jimi Hendrix morphed sounds of blues into a new sound of rock, Miles Davis put swagger into jazz and Bill Withers put soul into his music that I feel every time I listen to one of his songs. I mainly listen to music from before the 80s. I really feel the passion that went into the song writing and production in music from the 30s through the 70s. I think this had a lot to do with the social movements going on in America at the time. There was so much passion and emotion going into these songs, something that I think lacks a little in what is considered mainstream today.

What are your plans after graduation?

ME: I plan on making the transition from Lawrence to Chicago. I like the idea of building on the network we have established in the area. The first step was attempting to establish a solid network in Lawrence, and the next step is to build on our Chicago network. Because of the way the industry has been evolving with technology, shifting most of the focus to social media, I think we will still be able to reach the markets we want to reach. I honestly think a strong social media game can allow someone to make it in the music industry, without having to move to LA or NYC.

May 2 will be your last concert in Lawrence before you graduate and head off into your future. Where is your head at right now?

ME: I cannot wait for the show. It will be my first time headlining at the Granada, and I also get to share the stage with some good friends of mine who are talented Lawrence artists as well. The Granada has played such a huge role in shaping me as a performing artist, and I am very thankful to have received the opportunities I have had. Lawrence has been such an influential environment for me beginning my career as a musician. KU is a family I plan on staying a part of for the rest of my life, and I hope to become successful enough to be able to give back to this incredible university. Rock chalk.


Matt Easton’s free farewell concert is Friday, May 2 at the Granada
9:00 p.m. Doors open at 8:00 p.m.
Headlining with Chase Compton and Brian Lockwood
The concert is free, but you need a ticket to get in. Pick them up at Minsky’s on Mass or DM @theofficialCME on Twitter.


Edited by Hannah Swank

Photo by John Reynolds and Tristan Gramling

Booty and Brains: An Interview With The Men Behind #ASSJAMZ


Cameron Birdsall and Jon Marzette, KU students and creators of the punk karaoke show Taking Back Mondays are the DJ duo behind the Bottleneck dance party, Assjamz.  Cameron and Jon have been involved in the Lawrence music scene since 2012 with their emo/punk band, Sovereign States, but they never expected Assjamz to snowball into the success that it is now. I sat down with the DJs at Louise’s Downtown Bar to talk about their upcoming show.


Cameron Birdsall (left) and Jon Marzette (right)

Cameron Birdsall (left) and Jon Marzette (right)


So how did Assjamz come about? I know it initially didn’t have a name. 

CB: Yep, it wasn’t called anything at first. About two years ago, one of the bartenders at the Bottleneck, Mike, had played some music in between the commercials when KU was in the Final Four, and everybody loved it. Mike told us nothing was planned at the Bottleneck for Cinco de Mayo so he asked if we wanted to play some music for whatever crowd came in.

JM: We aren’t DJs, but we said we’ll figure it out. That turned into the first Assjamz. We tweeted and Facebooked, letting people know we were playing music. There was a comfortable 40 people or so, but we drank the bar out of tequila.


I see #ASSJAMZ blowing up on Twitter whenever there is one coming up.  Was social media important in getting off the ground?

JM: Absolutely. Twitter, Facebook and word of mouth. That’s it.

CB: And, originally, we didn’t even have our own night. It was usually only after a show that ended early, so you had to just see it on Twitter to find out because we didn’t even know.

JM: After a while, we just kept getting more people, but I think I know the turning point: There was a show where we got a text that there was going to be an Assjamz after some blues guitarist was done playing. We got there and it was a much older crowd. He still had like four songs left and all these young people started filing into the Bottleneck and eventually started chanting, “ASSJAMZ ASSJAMZ,” and the dude was still singing. It was kind of disrespectful.

CB: A bit of a dark mark, but we realized that we needed our own night, so we just took a slot on Saturdays.


So, does Assjamz get pretty sweaty?

JM: Oh yeah.  I remember the sweatiest one last summer. Over half the crowd removed most of their clothes. The Bottleneck was dripping, and some of it wasn’t even their own sweat.

CB: Well…that’s the booty sweat.

JM:  That’s true; it’s great. I’ve seen it now in real life, and it’s beautiful.


How do you choose the music?

JM: We’re people that like to dance first. We choose most of it from the time when we went to school dances to actually dance.

CB: I like to play the music we used to listen to at middle school mixers: things that were hits in 2004, lots of Nelly, Ying Yang Twins and all that.  But if there’s an older crowd, you’ll see some Bell Biv Devoe.


Each Assjamz has a booty-dancing contest.  How are you able to do that with such a large crowd?

JM: Well, now Assjamz is almost too big for it.  At first, we were just like, “Yeah, come up on stage and twerk a little bit,” and there were usually only like five girls and two dudes.

CB: And bigger it got. It just became chaos on-stage.


You booked a New Year’s Eve edition of Assjamz at the Granada last year. What was your favorite part of that show?

CB: Definitely right up to midnight when we had people just rushing the stage for the countdown and going nuts, with the #ASSJAMZ video playing behind us and the confetti.

JM: Bottles everywhere.

CB: We actually both wept.

JM: It’s true. I’m pretty sure that’s the first time we’ve ever cried from being so happy.  I mean, we’re musicians, but we’ve never headlined anything at the Granada, much less sold it out.  So, at the end of all that work and preparation, we just cried.  It was so great.


The next Assjamz is March 15. Are you expecting a Spring Break crowd?

CB: Yes! “The Ides of March.”

JM: It’ll be a good launch point for people to bounce from Assjamz to their vacation.



Get all the details here and let the ass-shaking commence:



-Dane Vedder

Edited by Hannah Swank

Photography by Quinn Brabender

Graphic by Jon Marzette

M.O.T.H: FINALS Edition pt. 1


The only positive I find about finals is plugging in my Beats and listening to the perfect mix. Luckily for those who feel the same, we gathered some local djs to smooth your ears during this stressful week.


Music on the Hill Presents: J▲CK ROL▲ND

“Stargazers of this subculture – I give you harmony.”

00:00 J▲CK ROL▲ND — She, the illusion [demo] (Andrea the Dreamer)
05:43 Nguzunguzu – Skycell (FadeToMind)
07:02 Huerco S. — Prinzif (Colonial Patterns)
08:50 Laurel Halo — Ainnome (Chance of Rain)
10:17 Egyptrixx — Water (A/B til Infinity) //// 10:29 MIKE WALL — Times [Original Mix] /// 11:49 Cheap and Deep — Beautiful
14:53 Piano sample ripped from Nicolas Jaar’s mixtape release ‘Our World’
17:42 Darkside — Paper Trails
22:33 Andy Stott — Submission [sampled] /// 23:22 Destiny’s Child — Emotion [Accapella sample] /// 24:25 Burial — Come Down to Us [sampled]
26:11 BLONDES — Business
29:06 Delroy Edwards — Heart and Soul (Lies X-MAS 01)

For more mixes by J▲CK ROL▲ND visit his soundcloud page.

And check back this week for more local artists. GOOD LUCK JAYHAWKS! 

Graphic by Patrick Blanchard.

Edited by Emily Paulson.

SUA and KJHK Host Chance the Rapper





Chance killed it – No other words can describe the captivating spirt of Chance when he takes the stage. Chicago’s rising underground hip-hop artist, Chancelor Bennett aka Chance the Rapper’s performance shook Liberty Hall as he moved the audience through quite the trip. Between his raspy vocals and energetic strut I understand why the Social Experiment Tour is selling out venues left and right. If you missed last night – or have not heard Chance’s mixtape Acid Rap I advise you to sit down and take a listen.

SUA and KJHK hosted A Night with Chance the Rapper at Liberty Hall on November 10.

– Emily Paulson 

Photography by Max Mikulecky.

Show Us Your Style: The NBHD


Style on the Hill Presents: Show us your style.

Show us your style captures the trends and styles that emerge from the diverse music scene in Lawrence, KS.






Contrast is a constant when it comes to The Neighbourhood. From their clothing to Instagram photos to their music videos and even their events -their image and performance revolve around contrast of black and white. In honor of this movement The Granada photographer Kelsey Weaver shot style photos showing contrast at their performance in Lawrence.

– Emily Paulson 

Photography by Kelsey Weaver.

Special thanks to Brenna Paxton and The Granada Theatre. 

SOTH x The Granada: XXYYXX


What were you doing at 18? Not making fucking music, I’m sure.

With haunting vocals, XXYYXX’s music has a heavy beat that’s not too aggressive. It’s slow tempo and alluring, deep sound washes over the listener, bringing them into a reality that is more felt then seen. On Nov. 3 Lawrence listeners can fall into the music.

Marcel Everett, 18, creates a slow, sexy sound that most would accredit to a much older and experienced performer. Everett, better known as XXYYXX, is an electronic, lo-fi, chillwave musician and producer from Orlando, Florida.

Everett has been making music for years. Most kids his age have barely graduated high school, but he has released three albums before his eighteenth birthday. As others his age tour colleges, he tours the United States playing music for the masses. Though, he is still learning.

“I’m trying to learn and get better, so it’s really annoying when I make a song someone doesn’t like and they go, ‘Oh, it’s definitely a miss on his part,’” Everett said in an interview with Nosiey. “It’s like, fuck you, I didn’t make this song for you, I made it ‘cos I want to make music. I’m still just learning, y’know?”

The young musician is currently touring with Shlohom 23, a L.A. native who also gives off an abstract hip-hop, unearthly vibe. It’s a ‘I wish I was on drugs’ type of sound.

Their fourth stop on tour brings them to The Granada Theater here in Lawrence this weekend.

 Buy your tickets to Shlohom & XXYYXX for the Granada November 3 here. 



– Erica Stabb 

Graphic by Brenna Paxton

Edited and posted by Emily Paulson

Special thanks to the Granda and check out our previous SOTH x Granada posts here

Hanson, Aaron Carter Fans Come to Hear the Hits of their Childhood


Marthe Turlington, 26, found herself surrounded by a crowd of mostly girls her age and older screaming as if they were pre-teens. She said she wouldn’t call herself a super-fan anymore, but she knew she couldn’t pass up the opportunity to hear “MMMBop” performed live and to see the three brothers who were her first concert 16 years earlier. Although the brothers are all married and look slightly different now, with shorter, new hair, it didn’t stop Turlington from feeling like she was ten years old again.

Hanson, most famous in the ‘90s and early 2000s, performed a live show at the Granada in Lawrence, Kan., on Oct. 15. If you missed that blast from your past you can still get tickets to a similar era throwback concert tomorrow night when Aaron Carter performs at the Bottleneck on Oct. 29.

Carter is currently on his “After Party” tour, a name spun off of his hit song “Aaron’s Party (Come Get It).” He has already done over 115 shows, and said he wants to get reacquainted with his fans. Apparently, it’s working.

“It has been absolutely incredible,” Carter said. “I could have never expected it to be like this.”

Carter says he wouldn’t call himself a child star because he believes he was able to successfully transition from pre-teen to adult with his music.

According to billboard.com, Carter was the youngest solo artist to have four Top 40 singles. His hit song, “Aaron’s Party” made it to number 35 on the Billboard chart and in 2006, the album “Come Get It: The Very Best of Aaron Carter” was released. Now he is working on his new music, which includes his newest songs “Where Do We Begin?” and “Moving Spaces.”

His biggest motivation to get back into his music has been to get his life back in order. He believes he has taken the necessary steps to get to the place he is today in order to be successful again.

In 2006 Carter appeared on the television show Celebrity Rehab 2 and was treated for substance abuse. Then, in 2011, Carter said he spent one month in the Betty Ford Center for rehab to heal emotional and spiritual issues, according to an interview with nydailynews.com. Still, Carter believes that his past has gotten him to where he is today.

Carter said throughout all of his years of success, including his four Top 40 singles and a run in an off-Broadway show “The Fantasticks,” his proudest moment was when Michael Jackson taught him dance moves when Carter was younger.

“Michael Jackson was a great, amazing person that lived the same kind of life that I did, being successful as a young kid,” Carter said. “It was great getting to hear his perspective.”

Margoth Mackey, a freshman at the University of Kansas, says she doesn’t know much about Carter now, but it isn’t stopping her from going to his concert.

“I was literally in love with Aaron Carter when I was like 7, so this is like living my childhood fantasy,” Mackey said.

Carter says his fan base now is a mixture of ages, from fans who followed him when they were younger and their children, a fan base that allows Carter to bring back old hits while still getting to debut new music.

His favorite song to perform is still “Aaron’s Party (Come Get It)” because fans love it. One of those fans is Mackey, who said she’s excited to find out if Carter can still sing.

“I’m going total teenage fan girl for this concert,” Mackey said.

Carter says that he doesn’t care about the misconceptions anyone may have about his time in rehab and about the quality of his music now. He is focusing on his music and himself.

“If anyone has a misconception now,” Carter said, “I would encourage them to come see who I am now and then make a judgment.”

– Maggie Rossiter
Edited by Kaitlyn Klein
This post was contributed by The University of Kansas’s Magazine Journalism class.

SOTH x The Granada: The Neighbourhood



Lately modern alternative/indie rock lacks a darkside. Gothic acts that would take you on a journey to a bleak fantasyland have disappeared. The Neighbbourhood, a California act, might be bringing the black and white romance of the gothic scenes back with a Southern California twist. What sparks interest of the band is their dynamic, gloomy yet warm and inviting tone. Their latest album cover, I Love You, appears to be a blue sky grey scaled with three random symbols. This simple color and art design fits these California rockers image. The grey scaled sky is a dark take on the familiar sunny skies of there SoCal home. The symbols are both inviting with the heart and transposed house but the illuminate symbol on the left creates a frighetening tone. This is just an introduction to the artistic vision that The Neighbourhood presents.

The band really works in contrast using a black and white theme to there art. “It keeps things simple,” the lead singer, Jesse Rutherford, said in an interview with Virgin Mobile. NBHD’s image surrounds simplicity and contrast. They go as far to even tell concertgoers for a recent show in Los Angeles to show up in black and white attire. The band also kept the black and white theme going as they would tell photographers of both The Rolling Stone and Coachella photographers to only shoot simple action shots and keep them in black and white. The black and white paired with bright imagry of the Southern California landscape creates a chilling, intimate image that are reflected in their music and shows. Come out this Wednesday and feel the black and white vibes at the Granada.

Buy tickets for The Neighbourhood @ The Granada here.


– Patrick Mcfarland


Graphic by Brenna Paxton

SOTH x Rdio Vol. I: There Are Midterms After Fall Break?



M.O.T.H. Staff Collection Vol. 06 (PRESTON)




1. New York Bittersweet Symphony – A$AP Rocky
2. Immortal – KiD CuDi
3. Life Should Go On – Big Sean ft. Wale & Wiz Khalifa
4. Ghetto Dreams – Common
5. 1 Train – A$AP Rocky ft. Action Bronson, Big KRIT, Danny Brown, Joey BADA$$, Kendrick Lamar, & Yelawolf
6. Lines  – Big Boi ft. A$AP Rocky & Phantogram
7. Yolo – Chance the Rapper
8. Beautiful Lasers – Lupe Fiasco
9. Humdrum Town – Theophilus London
10. Get Lucky – Daft Punk ft. Pharrell
11. Favorite Song – Chance the Rapper ft. Childish Gambino
12. Foreign Exchange Student – XV
13. My Life – Slaughterhouse Feat. Cee Lo Green
14. Let Me Clear My Throat – DJ Kool
15. Out Come – Grandmaster Caz ft. Jazzy Jeff
16. Still Dre – Dr. Dre ft. Snoop Dogg
17. Drive Slow – Kanye West ft. Paul Wall & GLC

RICH NONSENSE Episode 01: Hoodie Allen


Style on the Hill has joined forces with Empty Throne Music and Brenna Paxton Creative to bring you Rich Nonsense.

Exclusive interviews with your favorite artists + concert footage.

First up to bat: Hoodie Allen. 


For the record, I thought we had agreed on doing a “gangster” pose. 


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