Captured on Sunday: THIS IS THE DAY

Comment

Captured on Sunday: THIS IS THE DAY

TRACK 10: THIS IS THE DAY

Photography by Jessica Dunston

Photography by Jessica Dunston

“Brought it from the crib but you hold it well / Sounding good alive / never tone it down / colorful purpose”

Captured On Sunday and the GFOS album comes to a close with This Is The Day, bringing us right back into the doors of church on a Sunday. The flip on a Sunday service classic has a joyful trap bounce with claps that come from what feels like a multitude, and the swinging brass arrangements elevate it to the ultimate celebration.

000733540005.jpg

You see Dottie and Mique (the featured artists on This Is The Day) wearing traditional choir robes full of glee, resembling the choreography/movement you might see from choristers up on the pulpit: hands clapping and raised praising God for the day He’s made. Appropriately so, the sky serves as the exclusive backdrop for this party-in-heaven anthem, and the joyful photo set wouldn’t match the song’s energy to completion without Pat’s patented golden grin.

000733540006-min.jpg

Though the relation/parallels between This Is The Day and its track art are very direct and apparent, Jessica brings to attention a message demonstrated by the contrasting attire between Pat and the choristers which helps bring a major concept within the album completely full circle:

000733540009.jpg

Comment

Captured on Sunday: YOU WERE NEVER BROKEN

Comment

Captured on Sunday: YOU WERE NEVER BROKEN

TRACK 9: YOU WERE NEVER BROKEN

Photography by Jessica Dunston

Photography by Jessica Dunston

“your whole anatomy and makeup is a blessing / cause nature would not be without your nurturing invested”

You Were Never Broken begins by wrapping you in warm, reassuring chords. The soothing vocals from Xaiver Omär help to put you in a calm state as Pat Junior opens up in arguably the most personal and vulnerable song on GFOS.

In the track art, you see Pat and Tam — his wife — lovingly and with full intent staring/looking into each other’s eyes; an act of vulnerability in itself — seeing each other for who they are and embracing it.

000726030006-min.jpg

Like the reassuring sun-bathed guitar strings in You Were Never Broken, Pat’s bodily embrace of Tam in the track art conveys the encouragement he lyrically showers on her. Even in the photo below with Tam gracefully sitting (/resting) and Pat standing tall beside her, there’s a sense of reverence, care and stewardship for her bodily form and spirit.

000726030009fix.jpg

Hear Jessica share more about the technique and editing of these shots to highlight the great message behind You Were Never Broken:

000726030001.jpg

Comment

Captured on Sunday: FEELS LIKE

Comment

Captured on Sunday: FEELS LIKE

TRACK 8: FEELS LIKE

Photography by Jessica Dunston

Photography by Jessica Dunston

“feelin’ good, makin’ moves like i wanna / with the crew when i cut up / we groove, dance moves till the sun up”

Feels Like is a nothing short of a feel-good, cookout celebration track that you immediately throw on your summer playlist. From the claps and background chanting, to the pulsing kick and infectious brass arrangements reminding you that you shouldn’t be stuck in a seat right now, Feels Like makes you want to cut up with your favorite people.

000733520007-min.jpg

Jessica’s photos capture the vibrancy of Feels Like musically. The track art is full of warm colors, expressive faces and dynamic movement vs the more static poses we’ve seen for the previous songs — reminding you once again that this is a song that’s suppose to make you move.

Another major difference is the amount of people in the shots. As Jessica mentions in our conversation below, with Feels Like being a song meant to be enjoyed with other people, it was only right for Pat to be surrounded by loved ones on a beautiful summer day.

Comment

Captured on Sunday: REST

Comment

Captured on Sunday: REST

TRACK 7: REST

Photography by Jessica Dunston

Photography by Jessica Dunston

“Good mental health is a flex”

Rest starts off with a jolting lead synth that feels like the electricity flowing through our nervous system — going to work and recharging as we sleep. Pat’s facial expressions in the track art while visibly resting can only be described as ‘pure elation’. Along with that elation, there’s definitely a sense of unbothered-ness with Pat for anything else going on around him which matches the message of the lyrics.

Despite the floral/green, peaceful surroundings in Jessica’s photos, Rest musically still carries the gruff and energy of the gentle giant we see catching zzz’s with the booming adlib grunts and low-octave piano chords.

Especially when you consider the single’s chaotic music video, the contrast with this photo set may come to mind. Jessica’s alternative take on Rest however still draws a parallel on the ‘playful’ energy with the video while having more of an emphasis on the overall message of the song. Hear her take on the contrast:

000733550002.jpg

Comment

Captured on Sunday: GODLY

Comment

Captured on Sunday: GODLY

TRACK 6: GODLY

Photography by Jessica Dunston

Photography by Jessica Dunston

“I don’t need the mirror / know it’s clean / writing on the wall says i’m the fairest (ferris)”

There’s a calm stillness in the piano that plays you into Godly. That along with the strings and sky-opening background vocals really roll out the royal red carpet for Pat Junior to float on. In this song, he lets us know with impressive lyrical density that his creative work and motivation to be his best version is inspired by the Divine Creator.

000726010003.jpg

In Jessica’s photos, you see Pat wearing the same heavenly white he wears in the cover and in Golds In for Godly while looking into the celestial God-created sun shining on him. This time he’s decorated in beads that subtly give that royally distinguished aura and the backdrop has a matching drape highlighting the accent well.

000726010005.jpg

Jessica originally had another one of her well-recognized shots of Pat slated to be the track art for Godly, but aspects of the photos you see here fit the mood for what she describes as an incredibly pensive song and instrumental:

000726010004fix.jpg

Comment

Captured on Sunday: COOL WITH YOU?

Comment

Captured on Sunday: COOL WITH YOU?

TRACK 4: COOL WITH YOU?

Photography by Jessica Dunston

Photography by Jessica Dunston

“Never really hopped on a wave, it’s the truth / mama said to make your own wave being you ”

On Cool Wit You, Pat invites us to his home — figuratively through the music and literally in this photoset by Jessica. The contemplative piano chords and the melody that threads them together feel like the wake of a new morning as you open the curtains for the natural light to shine through. In that, a subtle metaphor comes together that meshes with the theme of the song. Pat’s verses confidently lets us know his background, idiosyncrasies, and what he’s about — all the things you’d probably learn more about when you step into a friend’s or acquaintance’s home for the first time. He does it regardless, knowing that it could potentially negate him from being sought under what’s considered to be ‘cool’ or traditionally intriguing, compared to the rappers we hear about in the mainstream. No filter. Just natural light.

000726000008.jpg

He’s pretty unbothered by it though (as you can see in the photo above). Comfortably sitting in his element, knowing who he is, and loving who he’s becoming. Following the somewhat rhetorical question he presents in the chorus, he projects that same comfortability and confidence you see in the photo in the second verse as well. The drums come in with a undeniable, head-nodding bounce and his voice belts melodically with enthusiasm — shedding more light on his past, present and his mindset towards himself going forward.

The symbolism of natural light in an intimate setting, in my mind, was so potent that I had to ask Jessica if that lighting was by design. Hear what she had to say about putting together this set for Cool Wit You:

000726000003.jpg

Comment

Captured on Sunday: THIS FIRE

Comment

Captured on Sunday: THIS FIRE

TRACK 3: THIS FIRE

Photography by Jessica Dunston

Photography by Jessica Dunston

“I got a lightning that’ll weather any storm / and that’s on thor / I’m just praying that my heart don’t over pour”

With the ominous “ouu”s and a bass synth that swells in and out with rugged distortion, This Fire summons a slowly brooding flame in a dark place. Particularly in the picture above, Jessica perfectly captures Pat taking us into GFOS’s first introspective trip. With his eyes closed, going internal — awakening that flame inside of him shown by the red backdrop — Pat rings off about protecting his energy, passion and creative vigor.

000726060006.jpg

The aggressive drums in This Fire’s verses project the feeling of a warning you get when you look at the sharp look Pat throws in the photo above. As the track progresses into the chorus, it becomes more of a haze; the large-sounding tribal drums, sliding guitar, covert plucks, and Pat’s spread out vocals birth a fully grown flame with embers flickering out of it along with smoke. That same smoky haze is resembled visually with Jessica’s editing of the ‘multiple faces’ of Pat. Lyrically in the chorus, Pat poses questions of identity/choice and Jessica’s edit conveys that same tension and internal reflection for Pat.

000726060008.jpg

Interestingly enough, This Fire’s track art was a revelation in hindsight. Hear more from Jessica on the story behind the ‘multiple faces’ of Pat and how, when, and where the idea for these photos came about in almost a serendipitous way:

000726060007.jpg

Comment

Captured on Sunday: BLACK BEAMIN'

Comment

Captured on Sunday: BLACK BEAMIN'

Track 2: Black Beamin'

Photography by Jessica Dunston

“I’M IN LOVE WITH MY SKIN / I LOVE EVERYTHING BLACK / ALL THIS PAIN MADE US KIN / I DON’T CARE WHAT THEY SAY”

Black Beamin’, lyrically, is the unapologetically black anthem off the GFOS album. That unapologetic embrace of identity comes through in the bold, unwavering facial expressions throughout Jessica Dunston’s photo-set for this single; the theme is even further emphasized of course through the black wardrobe — truly loving everything black. Another important aspect to the photos is Pat not being the solitary figure as he was for Golds In. With the anthem being for the community, it’s only right for Pat to be surrounded by his people.

Instrumentally, the song still has a jovial bounce and upbeat feel with the trap drums and melody, coinciding with the positive message of Black pride and self-love. Though most of the expressions around Pat — including his own — are more sternly uncompromising in many of the photos, Pat still sneaks in his golden smile to capture that celebratory, bright vibe; showing his fronts, in its own way, is a proud display of his blackness and shows the joy in being unapologetic about his identity as well.

000733530007-min.jpg

The airy pads and vocal harmonies on Black Beamin’, especially in the intro of the track, have you floating into what feels like a cloud-like atmosphere as a listener — getting slowly beamed up into the sky. Jessica’s intentional inclusion of the sky as the backdrop, especially in the individual shots where it has a lot of prominence in the background, conveys that emotion perfectly; it almost gives the feeling of our blackness being endowed as a gift from the heavens — which it is!

Hear a bit more about Jessica’s intentionally direct and meant-to-be-understood approach with the Black Beamin’ track art:

000733530008.jpg
000733550019.jpg

Comment

Captured on Sunday: GOLDS IN

Comment

Captured on Sunday: GOLDS IN

TRACK 1: golds in

Photography by Jessica Dunston

Photography by Jessica Dunston

“Got the biggest grin & Yes i’m glowin’! / Cuz i’ll be at the gates with my Golds in”

The first track of the album, Golds In, transports you right at the heavenly gates once you hit play. You hear the welcoming piano chords reverberating in what feels like the high ceilings of an otherworldly cathedral, while the cogs of its doors slowly unwind in rhythm with the percussion, just before the explosive hook comes shining through.

Jessica Dunston’s images immediately allude to that cathedral-esque imagery with a colorful overlay veiling Pat’s golden grin:

000726080004.jpg

The shapes and array of colors resemble the beautiful stained-glass windows you’d see at traditional cathedrals, and the vibrancy of it all — from the colors itself to Pat’s facial expressions — match the sky-opening, multi-layered vocals in the striking chorus by Tyler.

As you’ll hear from Jessica herself below, Golds In being the track to introduce you to GFOS worked visually and strategically as well. The all-white wardrobe donned by Pat Junior (and the white back drop) in the track art is the same as what is captured in the album cover art. It carries the representation of that heavenly/renewed ‘safe space’ that Pat lyrically ushers the listener into through his opening verse while being backed by a warm, guitar-laden melody and subtle orchestral strings.

Hear a bit more on the process of the making of these photos and their direct relationship to the cover from Jessica:

000725990009 (2).jpg
Gold Fangs On Sunday cover art by Jessica Dunston

Gold Fangs On Sunday cover art by Jessica Dunston

Comment

Black Beamin': The Anthem, the Affirmation & the Tee

2 Comments

Black Beamin': The Anthem, the Affirmation & the Tee

The Inspiration

In 2020 not only did we suffer from COVID but more specifically the Black community suffered from the ongoing traumatic experience of seeing our people die to unjust & racist killings by Law Enforcement from all over the United Sates. George Floyd to Breonna Taylor are two of the most recent lives lost but we’ve lost many over the past few years. I’ve never had too many things to say on record (music) about this negative part of the Black experience due to me not being motivated these conversations into my art. I sometimes have the tendency to want to expound with care and careful dissertation and I feel as if three hooks and two 16 bar verses aren’t enough.

In addition, I’m more of a — vocal person via in person conversations with my Black & White peers, show my support via social media and with my money when the opportunity presents itself — kind of person. However, this time around I was inspired and encouraged by a solid homie & overall person within music culture to let my voice be heard in the art simply because “my artistic voice was needed.”

 

The Anthem

The first musical piece that I created during 2020 was the Take 10 Freestyle audio & visual. It not only addresses the racial injustice Black people face but also speaks to the white and non-Black population who don’t speak up for us but enjoy our music, style and culture (we call them culture vultures). It also speaks on the untimely death of Oluwatoyin Salau and the mental health growth I experienced during that time in my life in general.

Not too long afterwards, Black Beamin’ was written, recorded and filmed. I’d like to say it’s one of my best pieces I’ve made in my creative stay; written, co- & executive produced. In addition, I could NOT have completed this work without my friends & collaborators from DL Zene, theDeeepend, Southpaw Swade, J. Pelham and more! You can find the IG recap interview we did right below the official visual.

Black Beamin’ The Official Visual

Black Beamin’ Song + Video // A Creative Recap

 

The Affirmation

Two iconic Black artists both wrote incredible songs that would be both played out loud & verbally used at rallies, protests, schools and more to uplift Black people as a whole. Nina Simone’s “To Be Young Gifted and Black” and James Brown’s “Say It Loud - I’m Black & I’m Proud”. These aren’t the only two artists that have made affirming records for us but they are the first two I was introduced to as a teenager and that I’ll never forget.

Reflecting on this inspired me to issue a challenge to some friends & Black creative minds I know to help me create some content that can inspire, motivate & encourage all fellow Black people who come in contact. I’ll be sharing more of these here in this blog in the weeks to come. You can find the video/s below.

 

The Tee

I knew when I finished filming the video, I wanted to do a shirt. A shirt that was simple & straight to the point but also looked good on Black people and our allies alike. A shirt that we can wear and be proud of. Something that not only brings the phrase “Black Beamin’” to life but that is also a sign of hope, love and encouragement to our community.

AND .. something that is transferable to not just t-shirts but to other accessories and clothing alike.

I pitched an idea to my younger sister who is an incredible artist and creative mind. She loved it! We’ve worked on several pieces in the past so this was an easy layup.

The official Black Beamin’ T-Shirt is out, now! Shout out to my wife for the dope last minute pictures!

Click HERE to purchase the new t-shirt!

2 Comments

Why I Stopped Internet Pirating: It Hurts

Comment

Why I Stopped Internet Pirating: It Hurts

Before I go any further, let me start with this confession:

I used to pirate things off the net, too.

As some of you know, I am a full time creative. I’ve been making music, producing, and creating visual art for almost 7 years now and doing it full time for 3 years. However, I am both the everyday & creative consumer — (separating the two is important for a point that I want to make later on). In 2012, I started making beats along with writing and recording my own music. I would spend hours upon hours watching Youtube videos on beat making, mixing plugins and even recording equipment. But once I started doing the research I realized “damn, this stuff is expensive”. I really wanted to get my hands on a lot of the plugins I came into knowledge about but I didn’t have the money.

A Friend Put Me “On”

When I began sharing my music online, I soon discovered a new community of friends who also were music creators as well. We would always share tips with each other about beat making, song writing and all things related. I don’t remember who it exactly was but I do remember a music friend showing me how to download and install cracked music software. In the beginning I was a little obsessed. I did buy some of my own sounds and software but I also downloaded a ton of cracked software and pirated sounds. I even learned how to distinguish “good” cracked software from “bad” cracked software. I became a internet pirate connoisseur. If your software installer didn’t have 8 bit techno music and/or fake animation characters didn’t cover the window layout, you crack might of been average. I even downloaded extra pirating software, that helped override or get around software that had preventive pirating algorithms. If some of my software stopped working, it wasn’t time to buy it — it was time to find the updated cracked versions.

What’s really crazy? While I look back on this, I thought I was saving money. But while I was “saving money” I was just hurting the people who I pirated from.

It’s Stealing

Some years went by and one of my good friends told me in one of our conversations that he was going to stop pirating. He had started a business and had started producing some serious records for people and he wanted to do things right. His reasoning — I remember it almost word for word:

“If we want to be completely honest about it, pirating is stealing. Many of these companies we pirate from aren’t huge companies. But they put a lot of money into making music software and it’s how they feed their families. I was recently challenged on having cracked software. How can I put out music as an artist and a producer and ask people to support me if I’m not supporting the people who supply the tools for me to make music?”

He was right.

How dare I expect people to support my music or even buy my beats, if I’m stealing from others just to make it? He then challenged me to stop pirating music software and sounds — (we’re almost to the point I mentioned earlier). I didn’t want to hear or accept it but I felt convicted in my heart to stop. I didn’t stop pirating all at once but I slowed down A LOT. I started realizing that pirating was extra work in itself to keep up with!

Ex: When I got a new laptop and was forced to update my OS on my Macbook, a lot of my cracks stop working. So I had to either find new ones or just be without a certain sound because I didn’t have the money to get the plugin.

Eventually, I stopped. I started buying the music AND video software I was ripping off, one by one. I even accumulated some debt doing that because I wanted to be totally out of the piracy chapter in my life.

When It Hurt The Most

Last year, I started a business venture with my good friend J.Pelham. Pelham & Junior is our small sound/sample design company. We originally started working under our friends at Soul Surplus and releasing content under them, first. I had stopped pirating completely a few months before working with them. However, after a couple of months, Soul Surplus eventually gave us an opportunity to move out and start on our own. After about 3 months into us selling through our distributor, I had started seeing some of our payments being “refunded” to the customer. I instantly knew what was happening.

People were calling PayPal and telling them that someone had used their credit card to make a fraudulent purchase when in fact the lie detector test determined that was a lie! But of course, PayPal always sides with the customer when it comes to digital downloads (eye roll emoji). They were essentially getting our content for free! I was furious. I could feel my beard hair turning gold, electricity surrounding my body and gravel floating up in the air as I took to social media to express my anger. People were stealing from me! This is how I paid my bills and took care of my wife!

Weirdly enough, this made me glad I had made the decision to stop pirating software. It aslo made me realize I needed to stop pirating completely. This meant no more streaming or downloading movies or TV shows. I went cold turkey on bootlegging all media the first quarter of 2018. If I didn’t own it, I either bought it or put it on my list of things to subscribe to in the future.

“It’s Not Hurting The Big Guys”

(Remember that point about me being the “everyday consumer”? This is how it relates to you.)

Most of you may think, “Pirating (or bootlegging) is not really hurting movie makers, tv shows or big software companies.” While you may not be hurting the actors, producers or CEO’s pockets, you’re still forgetting the “little people.”

Many of us don’t sit through the credits at the end of any Marvel movie or your favorite TV show. Some of us may not look through the credits of any Call of Duty game or the latest release of Microsoft Office. But do you know that it takes a ton of people to develop these sources of entertainment we enjoy and/or develop these tools we use to work?

Let’s think about movies for instance.

There’s sound design, sound engineering, set construction, costume creation, CGI design, key grip, post production, location scouting and so much more! When you pay $10 for that movie ticket or stream it from your favorite streaming service, that’s how these small companies and labor workers get paid. It’s not just the people in front of and behind the cameras “getting rich”.

Every time you illegally download a movie (computer software, tv show, or music etc) you are literally taking money from those people’s pockets. And many of those people aren’t rich. This is how they live.

So, when you think about illegally streaming or downloading something again, remember these two things:

  1. It’s stealing

  2. You’re taking money from hard working people’s pockets — would you want that to be done to you?

Invest in yourself. Invest in those who create art that inspires you. Invest in those who create to entertain you. Invest in people that provide you the tools to work.

Til next time,

pat junior

Comment

The Art Consumption - Everything In Three's, For Summer/Fall 18'

1 Comment

The Art Consumption - Everything In Three's, For Summer/Fall 18'

Yes, I know.

It’s been a while since I’ve written one of these. I really neglected my blog & I am truly sorry. That will not happen again. Although I can’t promise when I’ll update it, I will make sure I give my readers at least 8 blogs in a year. Two every quarter should be easy right?

As some of you recall, I started a blog series called “The Art Consumption” where I would highlight some kind of art whether it was music, paintings, sculptures etc (that’s actually all I got to). Well, I’m starting my 2019 with some insight to some music related content I put out last year.

From July 2018 to December 2018, I released 12 tracks. Most of them were songs and a couple were instrumentals, all of which I am very proud of. I am equally proud of the combination of photography & graphic Design I released surrounding them . And after I released the playlist of all of those songs that made it to Lyrical Lemonade, I felt obligated to give insight to the content surrounding the music. So, for this blog I want to highlight the thought process behind each artwork for each of the singles I released.

The Vision

After meeting with my manager Mike Luna in early 2018, we made a goal to put out an abundance of music following my 2018 EP, “black & mild: black wayne”. For many of you that follow me, you know that the main inspiration for my music (other than my own life) is cinema/film. One of the things I enjoy most when watching a movie is analyzing the color grading for each scene. I often follow Cinema Palette pages on social media to get more insight to how scenes & colors palettes are strategically built to be pleasing to the eye.

Mad Max- Fury Road (2015)

dir. George Miller

Star Wars- Episode IV - A New Hope (1977) dir. George Lucas.png

Star Wars- Episode IV - A New Hope (1977)

dir. George Lucas

Django Unchained (2012) dir. Quentin Tarantino.png

Django Unchained (2012)

dir. Quentin Tarantino

While on my visit in Chicago, I found the creative connection & began incorporating it into my picture post via Twitter & IG. Just to test it out and see how people reacted to it.

105 Likes, 3 Comments - pat junior (@iampatjunior) on Instagram: "‪chicago's been great. i've learned so much & i have gotten so much inspiration. most importantly,..."

Once I got the hang of it, I was inspired to create my own color palettes for my music. Each release would have 3 songs and each of those songs would have a color to go along with it that fit the song but also blended with the whole palette and “season”. Lastly, the small 3 color palette for each cover would be visible somewhere on the artwork. So, I called on two amazing artists who are apart of my creative team & who have helped shaped my brand to take on this task. Ryan Pham - Cinematographer/Photographer & Graphic Designer —Ruben Rodriguez.

For Summer 18’ (Part A)

For the summer I felt inspired to create music that hit hard, had bounce to it and something laid back. I already knew I wanted to use “bright” primary colors. However, I wanted to pick three items that represented the summer well, so that when people saw the cover, they knew immediately what they were diving into. I had the vision: in my head I saw 3 popsicles in my head melting. I already had the songs and so i just matched them with each appropriate color: Red (Pressure), Blue (Wouldn’t It Be Nice) & Yellow (Don’t Trip) — each of the colors had meaning as well Red = On Fire/Heating Up, Blue = Something Cool, Yellow = Slow Down.

During the shoot Ryan suggested the background, shifted my hands perfectly so that each photo would be identical (but slightly different for the “human” touch) and ever so patiently waited for each popsicle to drip so that he could snap a good picture. The last picture, (the first) was the hardest because I had to hold all 3 popsicles in my open palms. SUPER COLD! But it was worth it. If you look closely at the first picture, you can see the popsicle juice oozing past my fingers and under my hand.

Once we passed the pictures on to Ruben, he was responsible for taking the idea I had and bringing it to life with his style of design. This would be the template we would use for each season, only making small tweaks and refining the look along the way. I love Ruben’s BOLD designing mind. We went with a vintage/modern feel and he even added his own transparent sticker to each cover which gave each artwork an additional “modern” texture.

For Summer 18’ (Part B)

To close out the summer, I wanted to get a little more vulnerable with my pictures. The vulnerability was in line with the music. I had written about self love and an anthem about not needing anyone’s validation but my own. The songs had some bounce and “hardness” to the production but both were still “tender”. So I thought it’d be best to go with balloons. Pink (Love To Self), Royal Blue (Validation) & Pearl White (Free Peace). I believe the metaphors for these colors spoke well for themselves. In addition, this time around we decided to actually do more photos with the props to coincide with the theme. Here are some of my favorite pics from the shoot.

For Summer Part B Shoot Layout.jpg

Ryan found all the spots and did an excellent job instructing me on how to pose for each shot. The first shot of me hiding behind the balloon was my only suggestion but despite the wind, he made sure we captured each shot as best we code. The editing came out gorgeous, too.

This time around, Ruben added a “18’” on the main cover with the color gradients to just to refine the design a little more.

For Fall 18’ (Part A)

The Fall is my favorite season. The warm but “dense” colors and textures that “fit” the season are just variants of their originals. They have such a bold & mature feel. For example: navy blue or forrest green. The music I released for this season definitely had that feel and contained similar content. Burgundy (Got It Good), Hold Your Own (Burnt Orange) and Forrest Green (Don’t Feel Right). Each had a mature and introspective look on certain topics, especially “Got It Good” (which is actually kind of a diss track to myself). For the same reason, I choice fruits and when we shot, we went for a more introspective look too. Here are some of my favorite pictures from this shoot.

For Fall Part A Shoot Layout.jpg

Ruben decided to follow up the design with a chocolate background color instead of black. We both ended up thinking it would fit well with the full color palette as a backdrop color.

For Fall 18’ (Part B)

Last but certainly not least is the second part of the fall series. I made some metaphorical references to coffee in my lyrics and the music had a theme of “wokeness” about one’s self and surroundings, so I thought mugs would fit well. I didn’t use navy blue in the last series and really wanted to make use of the color, so I definitely took the initiative to use it here. Navy Blue (Do or Die), Copper (ReDiscover Me), Grey (Still Kinda Grey). We definitely played on the “hipster/informed” look with this one. Here are some of my favorite pictures from this set.

For Fall Part B Shoot Layout.jpg

Ruben and I both agreed that this set needed a grey backdrop. The color palette would really thrive on each one. Much love to my little sister Tavia for painting the mugs for me!

An Unscheduled Close

I initially had some really dope ideas for the Winter & Spring series but with the other stuff I have plan for this year, I had to cut it short. I really had fun creating these color palettes and it really evolved my eye for creating new visual textures. What’s really dope about this process is that once people saw the For Summer 18’ (Part B), they started to anticipate the next color structure and were eager to see what items I would use next. Some creatives even messaged me and even shared how they were really appreciative of what I was doing with my music and visuals and were inspired by the concept as a whole. Some creatives even low key copied my idea in their own way and released their music/announcements (Don’t even trip, I’m not mad. I’m really flattered haha). I still make an effort to do my color palette posts every 3rd post on my Instagram and people tend to really enjoy them. Will I do another music series like this again and have the color palettes accompany them? I really don’t know but don’t count it out completely.

Til’ next time,

pat junior

1 Comment

Dear Mr. (Local) White Rapper

Comment

Dear Mr. (Local) White Rapper

Dear Mr. (Local) White Rapper (and other white individuals who benefit from hip-hop culture),

For starters, I love you guys (and girls).

I’m grateful for the diversity and fresh perspectives that many of you bring to the Hip-Hop/Rap genre. From the great lyricism of Eminem, to the blooming evolution in musicality of Mac Miller, to the vibrant bounce and grittiness of Machine Gun Kelly, it’s amazing to see how the white spectrum of the genre influences and makes strides in pushing the culture forward artistically. Nevertheless, while I love many of your artistic contributions to the culture, I’m a bit concerned about your sensitivity to our (read: black) social matters. 

I’m pretty sure that by now you are aware that hip-hop was invented by black people and is a product of black culture. However, I’ll spare you that rich history lesson here, encourage you to study its origins another time, and get straight to the point: your voice is needed. Whether you realize it or not, you have influence, and you wield the ability to sway the opinions and thoughts of many.

We live in an era in which music, specifically hip-hop music, is thriving and impacting the world. From commercials made for mainstream brands, movie soundtracks and entire other genres of music, hip-hop’s artistic imprint is spreading like wildfire. Just look at Marvel Comics. Have you seen the variant hip-hop covers they’ve been doing for various heroes in the Marvel universe? Hip-Hop is universal. It now has the ability to speak as loud as any politician, scientist, or intellectual on this planet.

Macklemore posed a great question in his song, “White Privilege II”: “We take all we want from black culture, but will we show up for black lives?” As a black man within the culture, I ask you the same question: When will you use the power of your white privilege and artistic abilities and cry out with us? Or will you continue to take from us, benefit from our culture, whether it’s on a large or small scale, and remain silent? While I believe that some instances of silence are not betrayal, I also believe you can say something that shows you care.

I get it. Some of you don’t know what to say. Police brutality (terrorism) is a very sensitive subject and you may not know how to “cry out for us.” But you have a conscience. Technology has done us a deed and given us the ability to visually record what’s happening and display it to the world. I know you see the injustice. I know some of you who don’t speak do care. Sometimes, it’s as easy as saying, “I see the mistreatment, I see black lives being wrongfully taken, I acknowledge my white privilege and I’m sorry that his is happening to you all. It’s wrong.” Compose tweets, write a blog, have a Facebook or Periscope chat with your fans, march with us…do something! Make it clear to us you care. Use your voice to spur your white fans and friends to action against injustice.

The longer you wait to say anything, the more it makes me think you don’t really give a shit. It makes me think that you’re more concerned about losing your fan base and hurting your pockets than our social matters – more than black lives being wrongfully taken. And I’m pretty sure some of my other black peers probably think the same, too. It’s very frustrating to watch you wield your power only for your own good, failing to acknowledge the culture that has given you much of that power, when others are dying from acts of terrorism in our own country.  So I ask again, will you use your influence to speak up for us?

 

A concerned black artist,

pat junior

Note: I would like to say thank you for all of those in the local area and beyond who take the time to speak up for black people when necessary. Your efforts do not go unnoticed. This letter is addressed to local white rappers because all progress (universally) starts at home.

Comment

The Art Consumption - February 2016 - Concert Edition: Lupe Fiasco

Comment

The Art Consumption - February 2016 - Concert Edition: Lupe Fiasco

What's up people?

I'm pretty excited about this addition of The Art Consumption as I had the pleasure of seeing one of my favorite artists live in concert for the first time.  My wife (the illest wife ever) bought be tickets for Lupe Fiasco's "A Tour for The Fans" tour for Christmas last year; we went to the Washington, D.C. stop since he didn't come to lil ol' Raleigh, NC.  I figured instead of dropping a blog in January, I made a mental note to do one about the concert because I just knew I would leave inspired. And I must say, I definitely did...

For the Concert Edition of the Art Consumption, we'll focus on the concerts I happen to go to and MABYE share some snippets from the live performance for you to jam to at the end of the post.

Let me start by saying, I'm thankful to have a wife who takes interest in my art and artistic inspiration.  She actually surprised me.  I had no clue what I was getting for Christmas 2015.  So Tamyra, if you get a chance to read this: I love you and thank you again.

The Introduction (If You Ain't Know)

When it comes to lyrical Titans in Hip-Hop, Lupe is one of the biggest.  I really believe God truly pre-destined Rap Genius to be created for dudes like him (ha!). Lupe not only challenges you to unlock his Rubix Cube like metaphors but challenges you to research about social injustice, political issues, racism, religion and other topics that the average person doesn't normally care to research.  And honestly, the dude is just incredibly creative.  I was introduced to Lupe when I saw the video for his first single "Kick, Push" on MTV after school one day and was hooked ever since. And of course, I purchased the album Food & Liquor.  It's one of his "less" complex songs lyrically but still a great song.

I must admit, I got a little lost with his work after The Cool (purposely) and then picked back up after his release of Food & Liquor II, which over all got mixed reviews but I enjoyed thoroughly. And of course, I have his latest Tetsuo and Youth, which I think is his best piece of work and the follow up EP, Pharaoh Heights.  Lupe Fiasco has and continues to have a great influence on my work as an artist and is easily one of the Top 5 on my list of MCs.

 

The Concert

The show was held in Washington, D.C. (in a nice part of town might I add) at the 9:30 Club -- and catch this -- on Super Bowl Sunday.  Now, a brotha was torn when the tickets had already been purchased and watched the Carolina Panthers muscle their way to the Championship game but like I said, I'm a fan. And Lupe was putting on "A Tour For The Fans" so how could I miss that?  However, the Super Bowl worked to our advantage because me and the wife were able to get really good seats in the upper balcony area.

Picture of me at Lupe Fiasco's "A Tour For The Fans" [Picture by The Wife]

The concert started of with a few decent opening acts from artists who were from Chicago, IL (Lupe's hometown) and Billy Blue who hails from Miami, FL.  Billy actually was featured on Lupe's latest album Tetsuo & Youth on a track called "Chopper".  Lupe actually came out during Billy's set and they performed both of their verses, which I thought was pretty cool.  I think I enjoyed Billy's performance the best out of all the opening acts which were overall decent.

When Lupe came out to perform with Billy Blue, he already mentioned that he was tired from "this tour life" but then said, "But, we do this for the fans right?"  **Note To Self: Artists need to be in shape and build endurance for touring and doing consistent shows.  Get it shape young fella!** So, when he came out to perform his set, you could tell he was worn down but he still put on a good show.  He started off with performing "Mural" from his latest album --

Wait, let me stop right there. Do you understand how amazing this is? Let me help you understand:

That is almost 9 minutes of STRAIGHT BARS. No hooks.  Not mention, there's metaphor, after metaphor, after metaphor, AFTER ANOTHER CRAZY METAPHOR...you get my drift.

Well, Lupe performed this song as tired as he was all the way through. Epic, to say the least...at least I thought so. Then he followed up with "Dots & Lines" a song about not signing to a major Record Label and the troubles that come with signing.  I haven't been able to dig deep into this song so please, do yourself a favor and check out the annotated lyrics on Rap Genus.  I'd actually check out "Mural" while you're at it too.

Afterwards, the whole concept for "A Tour for The Fans" came to life.  Lupe's DJ would play a voicemail recording from a fan, DJ friend, radio personality or artist friend stating their name and what their favorite Lupe Fiasco song was and then he would perform that song.  Simple, but genius.  I mean, you're talking hit, after hit, after hit with every person singing and rapping along. Of course, at this point, everyone had shown up towards the last opener's performance and the place was jammed packed!

The show was definitely an enjoyable and learning experience.  Below, you can take a listen to some of the live action (and me and my wife singing and rapping along to some of the songs).

Song Titles in Order: "Mural", "The Coolest", "Day Dreaming" and "Go Go Gadget Flow"

Peace!

 

Comment

The Art Consumption - November 2015

Comment

The Art Consumption - November 2015

I'm going to do my best not to make this post about me...

After the release of my latest project "Just Because I Wanted To Give You A Short Mixtape To Listen To", it was impressed upon my heart to share some of my inspirations as an artist.  My latest project was heavily inspired by artists of various genres (not just Hip-Hop) and was a homage to art as a whole.  Plus, I thought it'd be dope to highlight local and distance contemporaries that I think should be highlighted.

Anyway, every other month, I'll be posting everything from music, movies, design, paintings and other genre's of art that are or have been a strong source of inspiration for me.

This month:

Tony G

Tautology [Beat Tape]

Tony G and I have been good friends for some time now and if there's one phrase that I can use to describe his work ethic it would be: Consistent Growth.

Tony G is not only a talented MC but he's an excellent beat smith.  I remember a few years ago, I went to go visit Tony at his apartment to check out some of his tracks just for the heck of it.  They were pretty good even back then but I'm so glad he got rid of that producer tag (inside joke lol).  Since then, I've seen him grow into an incredible artist who has an ear for great textures when it comes to producing -- I would dare to say his production is just as good or better than some of your favorite "Boom-Bap" producers.  And the plus? He's not Xeroxing someone else's style.

Tautology (isn't that a dope name?) is a beat tape that combines a little bit of Hip-Hop nostalgia and some great Hip-Hop production.  Wondered what some of your older favorite Hip-Hop jams would sound like over good gritty and out of the box production? [Click that link!]


Next...

Travis Scott

Rodeo [Album]

What? P.A.T. Junior listens to Travis Scott? Yes.  This album is incredible for so many different reasons.  Due to the fear of my inability to keep my feelings about this album short and to the point, I've provided a review from one of my favorite music reviewers on the net.  In short, Travis Scott took what we've coined "Trap Music" to a different level.  It's super melodic, the textures of sound on the production match immaculately, the lyrics are well written and the harmonies in this mug?!  This album is the Oscar De La Renta of Trap-Esque Music.  I'll let Anthony take it from here:

Comment