This is a requirement of our licensing agreement with music Gracenote. Show me, is it what you really want Watching what you've got slowly Circle in the drain, throw it all away Just to get high-igh-igh-igh High-igh-igh-igh High-igh, oh High-igh-igh-igh High-igh-igh-igh High-igh-igh-igh High-igh-igh-igh Tell me what you know Tell me what you gone and done now Tell me what you know Tell me what you gone and done now A gun would do the trick, get it over with You're better off to take all you've got And burn it on the spot Just to get high-igh-igh-igh Tell me what you did, where you got it hid?
Show me, is it what you really want Watching what you've got slowly Circle in the drain, throw it all away Just to get high-igh-igh-igh Just to get high-igh-igh-igh Circle in the drain, throw it all away Just to get high-igh-igh-igh. Lyrics by: Chad Kroeger. Nominate as Song of the Day. Just been going through it since I got my hands on the project. When did you guys start Get High - Moore N Exit Only - The Trickle Down Effect (CD on the project?
The project had been in the works for a few years. A couple line-up changes and an addition [of additional MC, Marry Max] were made before the album started to take shape but it all came together. Peter Lo: Thanks! I think we started to work on Bucket Soup in the latter half ofwith most of the recording being done early-mid I spent the last few months of mixing and mastering the album.
We recorded everything in my living room, which has become our impromptu recording studio for crab sessions. LOGS: Thank you! I had a few of the tracks conceptualized early Heist, Rock Under Bridges, Limblifters but the project entered full swing in the second half of the year. I would say when we started recording it in was when the title and most of the tracks were solidly established. Eli had been sending me beats here and there and I would send back rough recordings.
Had no idea I would later move back to Saskatoon to rock with and make an album with CS. What a dream. Blew my wig back instantly. Fuck, those boys are talented. Took us a while to actually have the full squad in Saskatoon, and I feel like once I moved back from Vancouver, the project really started coming together. After doing a few shows with all 6 of us, we were inspired and grinding. Living in City Park. Mary Max would rap to them on Facetime from Ottawa.
LOGS and Ibonics were in town here eating beats up. When Mary came back to town in or 18, he joined the squad and we started building. These years tend to blur together. Anthony Law: The album release was outstanding, we had brought Virtual Flannel back for this one, he was there for our EP release in I was pretty happy with the way the night went, everyone was great on stage and the crowd had amazing energy.
Peter Lo: We had pretty much a whole different show planned but we had to change the date at the last moment, so it was a bit stressful securing new opening acts on such short notice. The crowd was hype and the openers were all straight up amazing! After a bit of rescheduling, it all worked out very well. All the openers killed it, especially Get High - Moore N Exit Only - The Trickle Down Effect (CD homie King Ramses who was my personal favorite. Marry: Pretty rough for me.
Smackdab in my workweek. Got great feedback though. Had to nap in my car before our set. Caught some of Filth The Enabler. Fuck that boy is talented. Ibonic: I felt like the release was a real success, for us and everyone we rocked with. Eli — The release was fun.
A lot better than our first release. I always love playing Amigos, and the openers did not disappoint. It was a solid team effort and paid off in the end.
Easily one of my favourite tracks. Where the rest of the album is dusty and jazzy with energy, this is just energetic fun shit. Who is JBM, and what was the idea behind that song specifically?
Anthony Law: Basically, the song was originally a spooky breakbeat I was working on to give to my buddy Jordan to make a breakdancing video with. Anyways, once I had finished it up all I could think of were crazy double-time raps so I emailed it to the crew and Ibonic came back with a fire verse real quick. It all just came together after that and we got JBM to hop on it because it just suited his style really well.
I just make beats and let the boys run with it in whatever direction they want for the most part but I specifically asked for double-time madness on that one.
We wanted to have a few features on the album but this is the only one that really panned out. I remember Anthony Law had this faster-paced beat that we were all kind of into. We instantly thought to get JBM on the track.
He always gravitated towards fast beats and he was good at rapping on them! I met him in after being inducted into that crew. He usually likes faster tempo production so it was easy to hear him on this one.
Fast and articulate with extremely clever wordplay. Deeply poetic and extremely rhythmic. We all thought of him.
He was down. Shooting down a bird starving out a bee. Basically, in both cases, you are killing something, so I just tried to kill it on that track. Ibon later explained that he was referring to environmental and wildlife devastation when he wrote that hook. This is why we named the album Bucket Soup. We all threw in a little something.
Had no idea what concept I was running with at the time, but as I got deeper into writing the verse, it felt like it spoke to living violently without regard for the consequences. So like deadly and ill, but ominous. We seem to be living in that kind of world. I imagine not, but has anyone pulled the trigger on that? And why price it as such? I dig it though, I like to laugh. Peter Lo: Haha! Either way, they sold out super fast. The price tag is just a joke. Marry: We might make more with some edits done.
That tape is sick. Backyard Party bangs. Crabstylistics is my favorite. RR: What do you guys all have coming up? Are you guys working on solo material outside of Crabstyle at all? I also play in another band as well to keep me busy musically. Look out for that one later this year. I also play in a few other bands and produce my own music, so that takes up most of my time.
The concept is a psychedelic hike in the woods but the rest is pretty much top secret haha. Need to save cash for gear. Peter Lo is gonna show me some shit. Eli — I gave up solo material for now. Winters bare a different story. We will see when the time comes. RR: Do you have any additional stories regarding either the recording of the project or the release of it? Some were made when we were all together getting ready for shows. Limblifters was thrown together randomly at a jam.
Just had an ambient sound and started messing around and out came the Limblifters beat. The emcees caught the wave and started writing to it instantly. Organic situations like that are my absolute favorite.
Peter Lo: I was too drunk and stoned to remember much of anything, haha… Although I do remember that it was pleasant spending nice afternoons drinking and smoking in my living room, recording these dope rappers, catching the vibe. LOGS: Hmm pretty routine process as far as my experience goes.
Watching the creative process happen in a six-person hip hop group. Riding the highs and fighting the lows. Observing and being a part of this team dynamic in such a dynamic little scene. Being a part of this is rocking my world. Could never quite find a fit for what I was doing in the earlier days, so I pursued a career as a spoken word artist, which has been a huge source of growth and experience for me.
To have the pendulum swing back to making hip hop with 5 other guys that I love as brothers and admire as artists, that just keeps me grateful and driven, Album). Peter Lo: Haha, that old kitchen recording gave me so many headaches when I was mixing that song! Exit Only is a producer whom has worked with Moore extensively over the years, dating back to the early s.
Was it through Dirty Thursdays? What about as a solo artist? I know you were very active in the scene dating back to the early s but this is really the first release that has much of an online presence. Brandon Moore: Well we met in high school. We went to different schools that were close by and had mutual friends going back to public school. I moved home, we both joined a band called The People, while both focusing on our solo material.
It was Peter Meads from Bayfield that got us performing together aside from the band material. This kinda just naturally led to us remixing songs together and then just focusing on an album. We both were getting into digging records and we just hung out a lot and made the album in like three weeks I think. We had both done lots of Album) material and two band records, but this was our first project with videos and a Canadian radio send out. One of our videos the guy had a 16mm film camera powered by a car battery in his backpack.
Exit Only: Peter was one of the main keys to everything for us. We put out two records as the people. Did a bunch of shows, And a small tour. But when Pete started booking us for shows he started just booking Moore and myself. This is when he first started top billin entertainment.
He was one of our first connections to a lot of really dope cats that were also involved in top billin. Tool Shed, Fresh Kils, fritz the cat. Once Moore and I were being booked for shows together we needed some more songs together. Brandon Moore: We pressed copies. Maybe remain. RR to Brandon Moore: Considering we have the album release party flyer, what do you remember of that night? The crowd was amazing. Exit Only: He still raps.
He is more of a visual artist though. Witch is a double album with lots of art that does not appear on the internet. We working on a secret brotherly album right now. RR: Do you have any stories associated with recording this release? Or promoting it shortly afterwards? Was there a tour period? Brandon Moore: I remember we wrote it in about three weeks, and some of the production together, but Exit was really started to find his groove as a producer.
Then we went and recorded it with Fresh Kils. Exit was like a Album) there, and bought an MPC shortly after our first session. We did bring a lot of stems to Kils and recorded off vinyl to cool edit though. Exit Only: First thing that comes to mind is kicking my girl out to move Moore in to start the writing and demo recording.
Something not a lot of people know is I was growing a couple dope plants in the studio where we made the record. Made it kinda cool. Another cool story would be maybe a year before we finished the record we helped organize a big festival where there was a big graffiti jam at this bar where we painted the inside, outside, and patio of the bar. We brought down Abstract Rude for the show and it was a crazy success. He had such a good time that when the record was done we hit him up for a shout-out and he gave us a really dope one for the record.
Also the back cover of the trickle down effect is what I painted that day at the bar. RR To Exit Only: Brandon had brought up that you and him went to Kils and you soaked up the production techniques like a sponge, and it got you to go out and buy an MPC shortly after. What was it about Kils recording process that stood out to you so much? Exit Only: Trickle was my baby. It was the first record I had ever fully produced myself.
The whole thing was made on my computer witch is how I had always produced up to that point. The record was finished and we went to record with Kils. During one of our sessions the hard drive crashed and we were unable to work on the record. He was doing it effortlessly and in the blink of an eye. It was a game changer for me. Ordered the MPC as soon as we got back.
And was able to produce two tracks on it that made it on to trickle down effect. Cry wolf, and Get High Also. Up to that point we had to figure everything out on our own.
A lot of gems were covered throughout the interview, so for my fellow hip-hop heads and history buffs. Grab a cup of coffee, and enjoy the read! What was the idea here? It was my first album, it was my first EP.
What was your experience like working with Tony D? And if that was set up through American? It was set up through American if I remember right.
We were scouting around, looking for producers… and I like Tony D. We went to his house in Jersey, he played me some beats.
If so, did you record most of your debut on the west coast? Is that because American was based out of LA? From this point of view, the status-symbolic goods and services do not 'trickle down' but rather remain in fixed positions; the population moves up through the hierarchy of status-symbolic consumption patterns. In his book Culture and ConsumptionGrant McCracken aims to rehabilitate the trickle-down theory by expanding it for modern day application and use in the study of contemporary fashion.
He adapts the theory to include groups that assume superordinate and subordinate roles in the modern trickle-down process but are not necessarily defined in terms of social strata.
He includes other demographics such as gender, age and ethnicity. McCracken also acknowledges that the trickle down effect does not necessitate the appropriation of style but that the group can selectively borrow aspects of fashion, maintaining some of its own qualities. He also accounts for the influence of distribution, investors and location in relation to the trickle-down effect.
The trickle down theory has long been identified as a central principle of explanation for the historical study of fashion and its sociological implications.
When applied to fashion, the theory states that a style is first offered and adopted by the top strata of society and gradually becomes accepted by subordinate groups. This because fashion is considered a vehicle of conspicuous consumption and upward mobility within society and allowed people to express their individuality whilst maintaining the security of conformity with other members of their social stratum. When a lower social class, or a class simply perceived to be subordinate, adopt the fashion, it is rejected by the superordinate social class as it is no longer desirable, and another fashion assumed.
The trickle-down theory offers a straightforward way of predicting fashion diffusion. If a lesser social group begins to appropriate superordinate fashion by wearing cheaper versions of styles, the superordinate group will likely differentiate themselves by assuming a new trend, leading to further acts of appropriation by the subordinate group.
A trickle-down theory that supplies a cultural context EXAMPLE can predict not only the fact that the fashion change will take place but also the direction and properties of the change.
The affordability aspect of the trickle-down theory is still highly applicable to the contemporary fashion industry. This can be seen, for example, when looking at the movement of a trend from the catwalk to the high street.
When a catwalk trend is assumed by the affluent at a high price, comparable pieces may be released by high street stores at a cheaper price to meet the demand of the perceived lower classes, who seek to imitate the fashion behavior of the affluent.
Whilst the theory has received a considerable amount of attention due to its pioneering nature, conceptual development and its use in subsequent and related explanations of fashion diffusion and change, it faces many criticisms.
In a revision of the theory, McCracken states that the Simmel does not explain the trickle down effect in its full detail and complexity, failing to account for the fact that only the lowest and highest-ranking groups in society have a single motive for their consumer behaviour. The lowest-ranking group have no lower group from which they must differentiate themselves so act solely in imitation whilst the highest-ranking group acts only to differentiate themselves as they have no higher-ranking social group to imitate.
All intermediate groups, however, may have a dual motive. They may act either in imitation, in differentiation or both. He also holds that whilst the theory may have been an accurate representation of fashion at the turn of the 19th Century, when Simmel and Veblen were writing, the Simmel-Veblen model has little place in today's society.
Firstly, the modern social and marketing environment is different to the class system that existed before.
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