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M.01.2023



Every month or so I soak up game that Jaden Smith left behind when he was in his SYRE bag. What I liked the most was his roll out for visuals. When he brought it back with ERYS, instead of using the grandeur approach for visuals like his production team did for Fallen and Ninety, he minimalized his approach creating an authentic pocket they deemed as, "visualizers," gif style visual one-takes that last for 8 seconds then loop until the song is complete. This resonates with me because I want visual branding to act as a comfort food, in most regards. Visualizers are something we don't need to stare at the whole time, it's just enough to carry on the experience.


No matter how young Jaden Smith is or how he is perceived to others, I check in. Recently I came across this tweet he left with not a lot of context, just some link to a tab for an evolving part of his brand's site/blog consisting of various thumbnail links to esoteric knowledge on MSFTSREPS site coined Mystery School.


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I want to bring that feel back. The energy I used to feel on the Lakeshore Drive Blog, OVO blogspot, Eddie Haung's old blog, the voice of Allie Conti and Pablo Torre, and of course Bobby Hundreds' blog. I've even gone as far to use zips for some of my songs and mixtapes, and just fill viewers in on different perspectives while Im emmersed in a project, in real time. I've always wanted to give viewers real tangible knowledge that I'm receiving in real time to cut back on any additional research someone might need to do when they are in the same creative position. I want to cultivate a streamline of knowledge that cuts your research time in half. So much more work to do in that realm, but hearing Jaden state vaguely that we can go deeper in this medium or space had me reflect on my intentions for blogging in the future.


Around this time, Shay J hit me up about evolving the 2040 novel into an audio book and even some kind of audio and visual representation. He wasn't pushy about it, and what's crazy is whenever my friends who are also creatives want to collaborate its very organic in this matter. It goes from, "Hey if the stars align," to the stars aligning. Daydreams x Nightmares spawned in the same organic spirit.


We had been bonding over the Real Ones podcast episode with Shia Lebouf. We started to discuss how Jon Bernthal could bring a level of directness and honesty to the table and how their wasn't really an AA for artists. There wasn't this artist anonymous hub where creatives can discuss their identity in and out of their craft and how there is life outside of art and tools we can bring from those experiences into worlds outside of the craft.


Shay J has always been my connector. He hipped me to two of my favorite writers, KA and Milo. The list goes on, he was the one who also sent me the podcast video, way before we were both ready to sit and give it our full attention. Recently, he sent me the Stutz film directed by Jonah Hill. Shay J had hipped me to shadow work and we had been building on the concept for the last two years or so.


Shay J and I discussed a side project that could benefit the audiobook and audio/visuals for 2040: A Meditation on Living with a Creative Mind where we had conversations about building our identity and values outside of our craft. Dialogue would consist of concepts like imposture syndrome but flipping it on its head; A way to reverse engineer concepts that have one meaning but when you dig deeper and actually define these passed around concepts that have no concrete or tangible outlooks they end up having a completely new meaning which in turn becomes more meaningful.


If I do get to 52 meditations this year, a meditation for each week of the year, I want to start off by reverse engineering or meditating on, "Toxic Masculinity."


On a song for Daydreams x Nightmares, I have a line where I say, "Trust I lost in my father make me a toxic man? Couldn't tell 'til now I kept it bottled in." I'm a firm believer that you can't write the rhyme, you have to become it. I meditated on the bar. One, because after seeing the film, Stutz, I understood the concept of The Maze and how leading with an open heart is the best policy. When we forgive and build to where we want to be at with ourselves and others, it helps us grow and get rid of any resentment that is holding us back. Two, I meditated on this bar because toxic is far from what any man or woman would use as a characteristic to define me.


In a sense, I was reverse engineering the concept of toxic masculinity. Toxic as it is worldy defined is a detriment to any person, not only men, and any person they come across. Nonetheless, what I felt was as defining is when there is something preventing a person from becoming the best version of themselves. The latter is how I am approaching the term toxic, moving forward.


What has become toxic for myself as a man, what has prevented me from becoming the best version of myself, was a lack of self love, a lack of expressing myself in the moment, and a lack of self preservation and confidence.


In my eyes this is what can be as toxic for men - not being able to look another man in the eye. Letting others define you and put a chip on our shoulder. Feeling like nothing we do is ever good enough, not being able to live in the moment. Feeling like we don't deserve things - a relationship, a certain job or opportunity. Having insecurities that prevent us from growth. Not sticking up for ourselves or not being able to maneuver through conflict. Going 0 to 100 without realizing the impact we have on others. Cutting people off without first giving them tools to become a better version of themselves moving forward or having people stick around longer than what is healthy for us.


The list in the previous paragraph is all of my toxic waste. Some people credit the traditional sense of toxicity forming from the hurt caused by a partner, infedility, witnessed early in their life. Some feel toxicity also forms from being taught to be over confident in superficial ways or being taught to be wreckless early in life - flying too close to the sun, like Icarus. Though my father has made me the man I am today, I reflected on the lack of self that derived from a lack of intimacy, vulnerability, and empathy from my father.


Regardless of the why, it's as important to reflect on what it means to be solid in these times. Often enough we reflect on the wrong pseudo concepts of what a man should be, instead of what is still a great model to exemplify. For some men, toxicity looks like it looks to all people on the surface, over performing what it means to be a man. For myself and a few others out there, the conversation is leading us to regain the ability to grow as men who will lead our kids and the next generation.


My father taught me principles. He taught me things like how to play chess. I remember when I played baseball, whenever I played one of the best teams in the nation they always asked me mid season to join them. He would bring it up to me and tell me off principle I can't. Never quit on something you start even if there's a better opportunity out there. That's not what men do. Finish what you started. If you want to join afterwards you can. This taught me self worth. My father also taught me whenever I am traveling, even if I'm just in the passenger seat, make sure I know how to get back home or to safety. He also coached me throughout my life, in two sports, before I went to high school. My male friends, especially my male friend Azor, taught me a lot about how to be a man. My mother also gave me the street smarts I needed to survive in this world as a black male.


My father and my first neighborhood, also taught me not to run away from my problems. Something I have become better at over the years. I didn't stop getting into physcial fights, until my father told me I was tough enough to let things go. I guess once I built that toughness and stamina, he felt I could it keep it in me and not always show it... but I needed my shoes in the game first. He also taught me to never start fights, but stand ten toes when I had to. My father also let me play football at the age of five because I begged him to let me play. He gave me a safe space to be tough and learn discipline through sports, and how to become a leader... how to lead by example by putting the work in.


The world is different now, throwing hands rarely exist. Its a knife or a gun nowadays. Back then, when you got in a fight in a neighborhood and the neighborhood contained the right kind of crowd that was about three to five years older than you they would regulate the situation. Let you fight it out, but you also had to shake on it afterwards. My father though he was very hard on me, and showed me examples of what not to do, he also made me a man with guiding principles. Most times it felt more indirect, like there was a generational gap keeping us from having deep talks about all things I would have liked to gain knowledge about... and just moments to look back on in the future and be proud we shared conversations I'd remember forever. I guess that's why I wrote 2040, to leave conversations behind with my kids if they ever needed that comfort and they didn't express the need for it at that time. Maybe my words in written form would bring more comfort.


In this day and age we have to rebuild what it means to be masculine and majority of the traditional foundations of manhood are vital.


I'm doing my own shadow work. As we move through the new year, can we meditate on Yang energy? When we hear toxic masculinity, before we roll our eyes can we think to ourselves what is preventing us from becoming the best version of ourselves? If someone can't move in the world as a man, is it as detrimental as moving in the world as what someone who is not the best version of a man has taught us and holding onto this image for the rest of our life? What is preventing us from becoming stand up men? For me it was not making eye contact, not having enough confidence, not sticking up for myself, not addressing problems and being upfront and direct when conflict arises. We have a lot of examples of what a man looks like. Jon Bernthal, Tom Hardy, yeah these men are revered but they would tell you like I would tell you what examples in ourselves are we lacking or not commiting to fully?



Thanks again Jaden,

01.02.22

-MCMXX

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Panasonic DC-S5 Sigma 28 - 70mm F2.8 Lens

ISO: 2500 Focal Length: 31 mm Aperture: f/3.2

Shutter: 1/160



Around my birthday, my wife bought me a new camera. I ordered a camera package from B&H; the package came with a kit lens and they threw in an additional 85mm on the house. When I purchased my first camera back in 2016, B&H held me down with a starter pack - they threw in a free video rode mic pro an extra battery and an sd card. Back then when you purchased on B&H it was tax free. I had to stay loyal and purchase from the goats.


I will probably stay with Panasonic Lumix bodies for as long as I use a camera. In 2016, I fell in love with the ergonomics of the GH4. I have used other cameras in the past. While at university I dabbled with old school broadcast cameras, and when shooting music videos for friends I used run and gun style Canon equipment. For my style, the Canon was too rigid. From other prior experiences, the Sony is a bit too advanced with their ergonomics. Everyone's style and minds work differently, for me the GH and the S series fits my personality and my style of organization. I see a camera as an extension of my shooting style and taste in functionality and the s5 fits me perfectly.


I understand if I didn't purchase a Panasonic camera first, I wouldnt be opposed to Canon because all of my non-native lenses are EF mount lenses. I have gravitated towards the price point of Canon's ecosystem.


The past few days, I have fallen in love with my camera all over again. The last time I used my camera it was to capture moments for my son's second birthday, and some street photography downtown in my city. Aside from that, I haven't put a lot of time into the craft.


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ISO: 200 Focal Length: 45mm

Aperture: f/3.5 Shutter: 1/200


What they don't tell you about getting a new camera is how much you gravitate towards your old camera, because it's what you know best. Imagine having a new Porsche Boxster in your garage but you keep driving the car you are familiar with the most.


This year, I've done my best to minimalize my creative space. I went from a big, but compact, gear bag to a cross body bag that I've rigged to carry 2-4 lenses and my camera. Adding extra velcro compartment straps made the cross body bag more versatile. As I've stated previously in my post on street photography, street is an opportunity in real world situations to become more familiar with your shooting style and environment. Yesterday, I captured some landscape shots.



While shooting with my friend David, I quickly realized a lot of my settings on my camera in M Mode were for video, and I needed to do a better job of unlocking autofocus and touch pad capabilities to be able to shoot in two to three autofocus modes at will when presented the opportunity. With my GH4, I didn't have to think about any of the settings because I already integrated a system over an eight year period.


There's something about manual focus. That's my bag. However, when shooting photography you have to keep an open mind to different shooting styles.


We discussed a few things before shooting, light meter, touch shutter... the usual. I noticed when discussing your shooting style there are clear distinctions or principles that translate better for video than for photography. For instance, when shooting videos its best to not underexpose too much because you can't bring details back in post (obviously, over exposing can be worse). When shooting photography, I have a tendency to underexpose slightly to capture certain contrast, lighting, and shadows that I want to remain present in the shot to help capture a certain tone or mood. These were tendencies I realized when shooting yesterday with my S5.


I have been gravitating towards photography as of lately. It may be due to the fact my camera can shoot full body 4k and sometimes the mbps are so high I don't know how much horsepower my 2018 Macbook Pro can handle. This reality has me working more with photography. I will say, the newest update/version of Adobe Premiere Pro 2023 has helped my workflow with videos. They fixed some kind of bug, I know it. Thank you, Adobe.


Here are some images I captured at Bonnet Springs Park in Lakeland using only my Sigma 28-70mm native (L-mount) lens. In the future, I want to take my 85mm out for spin.


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What I enjoyed most about shooting at the park that day was my total shot count was only 102. I kept 73 of the 102 shots, and editing was really just raising the exposure, and changing the highlights, shadows, and s curve a bit. Majority of the time when I take shots, my total shot range is 300-400 plus. Having more intent on what I am capturing has made editing and shot selection, an easier and more enjoyable experience.


Just putting this in the ether, when I explore an unknown place and I check out videos on YouTube, some of the videos are about 30 minutes plus. There's so much fluff and so much, "Vlogging." I'm hoping creatives in the future can capture all the essence of an unknown and exciting territory in about one minute and ten seconds.


Maybe one day we can hint at visiting a unique place people are interested in, obviously in a creative way, for about as long as it takes to wait at a red light (70 seconds). Maybe one day I can pilot an episode around this problem identifier and call the web series, Unknown or Untraveled.


12.21.22

-MCMXX


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Pre-Pack includes:



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Winter is coming, I create the best when the weather is cold and crisp. Fall/Winter weather is a cheat code. I got a secret tape I wrote back in the winter of 2021 that I'm excited to get out into the world. The inspiration behind the tape was tapping into a different light source. I've known Dax, forever. We used to ride the bus to our football games in high school, and bump Drake's Comeback Season and deep cut records by Lil' Wayne, and mix it up with some RnB and downtempo songs before we stepped on the field. Years, later I would ride in Dax's mustang and we would be playing records by Drake, Rick Ross, and just eclectic songs with those Justice League type beats. Dax used to always tell me, "Bro, you get on these types of beats no one is touching you."




Dax used to tell me, "Bro, you get on these types of beats no one is touching you."

In the midst of working on a tape tentatively titled, "Daydreams x Nightmares," Dax's idea popped into my head, I started writing separate material that was more melodic and anecdotal, beat driven so to speak. In my down time from writing for Daydreams and Nightmares, I started gravitating towards Justice League type beats and sitting in the pocket.


As I talked to AYNT about it, he expressed having a similar writing process where he can almost work on something else to take his mind off his magnum opus and it helped him stay creative, stay writing, and pretty much fine tune his skills for the project he really wanted to perfect.


When working on this tape, the flows and rhythms came naturally. Dax was right, the fly high art sounding beats were a good pairing for my style.


Remind you, while working on Daydreams x Nightmares I was in prime form. I was studying Aesop Rock, KA, and R.A.P. Ferreira f.k.a Milo. Also, Wu-Tang: The American Saga was in the background of my creative space at all times. I was focused on the technical aspect and I was writing, memorizing, and transcribing my work.


(1st Pic, Blue Pad, by AYNT) One of my bucket list goals on this project was to go toe to toe with Lupe Fiasco's song Mural, in a medley of bars for a song I wanted to title Stendhal Syndrome. For Daydreams and Nightmares I recorded a few drafts in the beginning of 2022.

After smooth sailing for quite some time, life happened. I started having some audio issues and a little writer's block after writing in a very effortless manner the winter prior.


During labor day of this year, Holla and AYNT came up to Central Florida and we had a chance to catch up and get in the creative spirit. This sparked my creative passion.


Around this time I was still having audio issues that prevented me from recording for over three months. It was a faint crackle that was messing up my takes when I was recording. Exhibit A - Change Up (Draft) produced by T. Coop


Change Up (Draft) (Prod. by T. Coop)



Needless to say, I fixed the issue. The much appreciated creative spark by seeing my day ones, probably ignited my will to fix my audio issue. After weeks of changing out XLR cables and starting new sessions with no additional plug-ins, etc.. the issue started to dwindle.


The issue most likely came from adding a volume decibel on the master bus high enough to make the mastering of the song sound leveled at 80%. The added plug-in being used while recording had me peaking and causing distortion. Scarlett also replied back to my e mail and told me to update the software; I never knew that was even a thing for interfaces. When I removed the plug-in, prior to recording, and updated the software the distortion stopped. The change of XLR cables helped create a new work flow, so if any other issues arise I knew it wasn't from my cables.


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A day or so after our excursion in Central Florida, I recorded about ten songs for I Promise, I'm Good. The songs were all recorded in one sitting, about ninety minutes of work. Two songs have been added below, but have not been added to the Pre-Pack. The tape is tentatively drafted as a sixteen track project. Soon as I was cognizant of the crackle going away I was trying to record everything I could before I had another random hick up in my audio workflow.


- Wassup (Prod. by SOB Production)

- Ocean Views (Prod. by AWSMJ)

Wassup (prod. by SOB Production)



Ocean Views (Prod. by AWSMJ)



What I will forever remember about these recordings is how much fun it was to be in the booth. I was freestyling a lot of my second verses and even leaving gaps in some of my verses to leave room for improvisation; if I knew the end rhyme within a two or four bar set up and the theme I could wing it until I got there. This took me back to a time when I was in Just-This Crew and I was in my bag.


These songs are in draft form though because of this writing style. I need to go back and polish and if some of the freestyled lines worked, I transcribed them to fill any gaps in my verses. My style has been a lot like spraying a wall with graffiti, I have to see it on the wall before I can make sense of the painting or story I am trying to convey.


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My style has been a lot like spraying a wall with graffiti, I have to see it on the wall before I can make sense of the painting or story I am trying to convey.

Some bars are I need to perfect by rerecording. Some anecdotes I had to fact check later, because when I was freestyling I jacked them up. "Hey Dax I freestyled back when you had the charger and Bert had the challenger. You had the mustang, right? I know, I gotta change that line." Another example, for On Road, Whenever You Need Me I said, "One you can confine with," instead of, "Confide in." The curse of freestyling.


On this tape, I wanted to tell more than just my present story. I revisited the past and distant future at times, like usual, but this time around I also mingled with anecdotes from the POV of my friends. In Floor Seat Flows II some of the perspective is from Dax's POV and how he stayed solid in times where a lot of people would've jumped on social media and bragged about how much they did for the city.


My wife heard Wassup today and asked me what the waterbed line was all about. She knows all my anecdotes and felt cheated that my pen knew more than she did. The water bed line intermingled anecdotes from my life and AYNT. "It's an inflation bed," she said in a corrective manner, "right?" "Yeah," I told her, "but try saying studio near inflation be....," she stopped me abruptly. "Yeah, yeah that sounds crazy (laughing)." I took her back to a few times in my life where the bar was rooted in concrete facts and how the same kind of lifestyle and grind I had with AYNT when he first had his studio set up in close reach.



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So why is this one called the Pre-Pack? It's a preview pack. This is my version of clearing a room with the sage. Daydreams x Nightmares has moved up the priority list. What I didn't want, was for this tape to drop next year in a season where the weather wasn't as authentic to the time when I wrote it. Also, I didn't want two years to go by from the time I wrote these records and for myself and others to feel so distant from it. This project screams cold weather. Though it's only halfway done, I wanted people that appreciate my art to tap in and get a teaser to what some of my close friends that create are calling my best work.


Also since I'm working on different things at one time, friends ask me to send the drafts as some kind of complete entity, and others get some of the songs on my other tape confused with it being on this tape. I wanted to draw a mental line in the sand, so I can gracefully tap back into this other tape I enjoy as well.


So I thought it would be a great idea to show what I've been working on in real time with this tape, before all my energy goes elsewhere. Put it this way, I hit the pause button but I'm letting you see all the work leading up to it before the full-length release.


Though I Promise, I'm Good has been a more organic, impromptu, at times for better or worse jazz experience.... Daydreams x Nightmares has been very structured. Though, I've had less edits and have trusted my gut with my first writtens and most times than not my first takes.



What am I working on now

Daydreams x Nightmares 😶‍🌫️ x 😱 2040: An Audio Journey


I Promise I'm Good (Tracklist)

Paso Robles (Prod. by The Noise Emporium)

Floor Seat Flows II (Track Two Theory) (Prod. by The Noise Emporium)

Muse (Prod. by Kimpe)

On Road, Whenever You Need Me (Prod. by Skeyez)

After Hov (Prod. by The Noise Emporium)

Legacy (Prod. by PilotKid)

Six Degrees of Separation

Kyotos On, Still Need Healing

I Promise, I'm Good

Club E11even

Wassup (Prod. by SOB. Production)

Telepathy

Ocean Views (Prod. by AWSMJ)

Deadwood Leather Rose

Ocean Views

No More Poets (Blue Tape Coming Soon Freestyle)

16 Tracks

Release Date: TBD




I promise, I'm good.

12.11.22 - MCMXX

After bernz and wrek,

who saved the city the most? (us)

-After Hov

Track 5

I Promise, I'm Good


P.S. - I have untagged versions, but majority of my demos start with tagged versions of beats, once I know I'm going to keep the songs on the tape I go from there. Always big shout out to AYNT and Shay J for building with me on this journey(s).


*Mixing is incomplete.*


My most vulnerable track on here, God willing, will be Kyotos On, Still Need Healing.



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original work published on EST. 1920 blog

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