Tag Archives: LMFAO

A Writer’s Year in Review

English: Hollywood Boulevard from the top of t...

Hollywood Blvd. from top of Kodak. (Credit: Wiki)

At the start of 2012, I experienced two major transitions: being accepted into a fiction writing program and moving from Long Beach to Inglewood. I knew the writing program would help me advance within writing, however I didn’t know what to expect. I had a publishing deal with a small publishing company, but I thought, why not workshop my book to get more eyes on the book. Their suggestions took the story from surface to being able to exist above the page. The story itself did not changed; I brought more of the contrast between race, immigrant life, religion, and identity out in front of the reader.

Beyond having breath breathed into my book, in 2012, I:

  • Read at the West Hollywood Library on 12/8/12
  • Was invited to read at the City of West Hollywood’s Pride Festival, “One City, One Pride” taking place in June 2013
  • Was invited to White House Briefing for Black LGBT Emerging Leaders 2, 24, 2012
  • Was invited to read at Soulful Salon, for In The Meantime, a LGBT community organization
  • Started writing for Campus Circle Magazine
  • Started writing for Qulture
  • Started writing for GBM News
  • Interviewed Frenchie Davis, DJ Danjazone (LMFAO’s Tour DJ), Diana King, DDm, and Orikl
  • Wrote my first poetry review for a literary journal
  • Submitted a fiction piece to one of my favorite literary journals
  • Read at my first book fair, West Hollywood Book Fair
  • Was published in the anthology, For Colored Boys
  • Started working as an Editorial Assistant for a academic publisher
  • Went to 10 author readings

On New Years Eve 2013, with a group of friends, I wrote down on paper what I did not like about 2012 and I burned it. With each new piece I completed, part of me was afraid to branch out and take my writing career to the next level (writing for a major magazine and be able to freelance write/edit for other publications). The paper turned from white, to egg-colored, to ashes in the fire pit in East L.A. While watching it burn, I reflected back on other details of 2012: I learned that I would be working for LAist.com (for the Spring term) and I made it to the Semifinalist round for the Point Foundation Graduate Scholarship. Also that I got the courage to submit new poetry to four literary magazines and I pitched an article idea to Essence magazine. No New Year’s Resolution to lose fat or be a better person, I want to reserve all my energy into writing. And whether or not all of those opportunities fall into place, I will keep striving to become a better writer and be part of the writing community.

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Interview: DJ Dainjazone Talks Trap and LMFAO

DJ Dainjazone Set in Vegas

It isn’t that far back that house and hip hop music sipped from different drinking fountains. But since music genres constantly experiment with the lights off, new subgenres are being birth into the word, and faster than Mitt Romney can argue against Planned Parenthood. Trap, with its proud papas like Gucci Mane and Young Jeezy, and house, with its producers like David Guetta and Deadmau5, conceived a new microgenre, trap house. In trap house “the streets” meets electronic beats. DJ Dainjazone is on a mission to make trap house the dubstep of 2013. Back in August, he released a mixtape, Bottle Rats in the Trap, to pay homage to people who steal drinks from bottle buyers in the club. He played a snippet of it for party-goers at Pacha Nightclub in Salou, Spain.

“I never expect crowds to go crazy for trap,” said DJ Dainjazone. “Because it’s new all around; well in the club scene, not to DJs.”

He plans to spin trap around the world. In an interview he talked more about the genre and his experience being electro-rap duo, LMFAO’s Tour DJ.

You’re touring with Party Rock Crew. Has that experience impacted your DJ-ing?

Absolutely. I’ve learned a lot. It’s also made a bigger name for me. To be associated with Party Rock is a big thing. I started out this year doing well for myself, but once I jumped on tour with the guys, it really took off to another level.

Last week you were in Japan, China, Portland, and Hollywood. Have you reflected on the experience?

For every tour it’s the same show. That doesn’t mean that it’s boring or to be taken for granted, but I really reflect on the fans, especially in Japan. They were respectful. Usually people go crazy in between songs. They’re such a polite group of people. They would be quiet until the next song or until we came back out for the “Sexy and I know It,” encore. When we did Mexico, it was my first time there, those fans were crazy. They had never seen us before. I don’t know how often artists go through Mexico [as of recent], but they showed a lot love. That definitely stood out compared to a lot of the countries we’ve been to.

What gets you more hyped, the music you’re playing, crowd reaction, or visual production?

I don’t see much of the visual production because I’m on the other side, but it definitely is the fans. When the fans react, it makes you feel good. It empowers you and definitely makes your job easier.

In between the tour you’ve been doing your own gigs. Are the experiences different spinning for Party Rock Crew versus your own gig?

They are very different. With Party Rock, we have dancers, hype men; it’s a show. When I do something with Red Foo, it’s a show. You compare that with what I do, by myself, they’re like two different animals. I do what I can. I entertain and keep people dancing.

Tell me about B.R.I.T.T1.5, which is being released this week?

B.R.I.T.T 1 was a mix of multiple genres. In 1.5 it’s all trap house, trap, and hip hop. It’s a limited delivery. That style is more popular now. I think it’s going to do well.

What’s your creative process like?

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