Spring 2023 in Review

Last spring, WDCV was busier than ever. Here’s what we were up to!

Open Mic!

Last Open Mic, attendance exceeded capacity. So we listened to Dickinson students’ cry for more live music.

The Open Mic showcased the many musical talents of Dickinson students and shared the love of live music. We had one of our biggest turnouts yet!

Open Mic February 2023 in Allison Community Room


Battle of the Bands!

WDCV partnered with Jam Space and held a Battle of the Bands in Allison Hall.

Both student and Carlisle community bands battled it out for the winning prize of opening for the WDCV/MOB Spring Concert, chosen by Dickinson faculty as judges.

Battle of the Bands 2023 Contestants

The night’s winner, High Street, impressed the judges and was crowned the openers for the 2023 Spring Concert.

WDCV Exec 2023 at BOTB

BOTB Judges getting pumped for the acts!



WDCV Named Student Group of the Year!

After a long year filled with music, friends, and fun, WDCV was named Student Group of the Year for all their hard work in creating a community of music and college radio lovers.

WDCV Exec and DJs receiving Student Group of the Year award!
















Spring Concert!

Boyscott, Another Micheal, and Battle of the Bands winner, High Street, played at the WDCV/MOB Spring Concert on Britton Plaza!

Though there was a bit of the rain, Exec, DJs, and friends danced in the rain to some good tunes.

Boyscott on Britton Plaza- Spring Concert 2023

Boyscott on Britton Plaza Spring Concert 2023

Another Michael on Britton Plaza- Spring Concert 2023

High Street on Britton Plaza – Spring Concert 2023

High Street on Britton Plaza – Spring Concert 2023

Mac Miller: 1992-2018

Rest in Peace

In his short 26 years of life, Mac Miller developed into the definition of a complete artist. He played five instruments, sang, rapped and produced music for over a decade since his start as a promising young teenager. Pittsburgh loved him and was loyal before his career really took off, spreading his relatable college rap to young kids all over. Growing up with him, his audience stuck close as they also went through hardships and felt similar pains. Mac’s life and journey were transparent and portrayed through his amazing musical growth. Separate from music, Mac had his own TV show and was always seen cracking jokes. Watch any of his interviews or even most recently, his NPR Tiny Desk, where he puts all of his energy into his appearances and still is able to be in high spirits.

Musically, most know Mac for his 5 studio albums, but he was very busy off of the record (no pun intended) that led to 12 other mixtapes, adding numerous classics to his repertoire. To analyze his growth over 26 short years, we’ll dive into his albums and more popular mixtapes:

K.I.D.S. – released August 13, 2010

Mac starts getting noticed with his fourth mixtape, Kickin’ Incredibly Dope S**t (K.I.D.S.) with lyrics about rollin’ around hometown Pittsburgh, smoking with his crew, and the new shoes he cops. The mixtape is full of classic beats on Nikes on my feet, Traffic in the Sky, Knock Knock and more. Everything is about the bars and even the corny ones show that Mac was incredibly skilled, yet still had a lot of room to grow.


Personal favorites: Kool Aid & Frozen Pizza, Nikes on My Feet, La La La,  Senior Skip Day


Best Day Ever – released March 11, 2011

A few months later, Mac was finally seeing the money he deserved. The mixtape is filled with the swagger he gained from being 19 and famous. Songs like Best Day Ever and Donald Trump, which gained popularity after his feud with the entrepreneur/politician, are filled with lines about optimism for his career and about his love for touring for the fans. Mac’s bars were steadily developing, but his mind was all understandably wrapped up in his recent fame.


Personal favorites: Get Up, Best Day Ever, Donald Trump,  Wear My Hat


Blue Slide Park – November 8, 2011

In Mac’s first somewhat introspective album, he deals with heartbreak, fake fans, and the issues of fame. The album pays respect to his roots, named after a park near his High School, but shows that Mac is indeed growing both his mic skills and his perspective. Songs like Diamonds & Gold and One Last Thing take us away from Mac’s previous happy-go-lucky mindset, now clear that the teenager was growing up.


Personal favorites: Blue Slide Park, Under the Weather, Diamonds & Gold, One Last Thing,  Of The Soul


Macadelic – March 23, 2012

Mac becomes less concerned about what type of music he is making and more what we wants to be saying on the tracks. By this time, he has gathered quite the following and has enough exposure to gather Kendrick Lamar, Joey Badass, Lil Wayne and more to feature on the mixtape. Drugs are clearly an influence in his life, mentioned in a good and bad light throughout the tape, but also heard through the psychedelic-type beats. Mac is much more comfortable making what he wants to make, not what others want to hear and it works for him.


Personal favorites: Thoughts from a Balcony,  Angels (When She Shuts Her Eyes),  The Question,  F**k ‘Em All,  Vitamins,  Fight the Feeling

Watching Movies With the Sound Off – June 18, 2013

Mac completely sheds his frat-star skin with the most introspective album of his career at the time. WMWTSO was seen as a jumble of feelings put into songs – no real well defined flow, but a very transparent view into Mac’s life that included themes like drug addiction, mourning the death of one of his best friends and love. He self-produced a large part of the album as well, beginning to show that he was more than just a rapper. Good friends Schoolboy Q and Earl Sweatshirt, among others, stand behind him to tell his story.


Personal favorites: I’m Not Real,  Objects in the Mirror,  Red Dot Music,  Remember,  Someone Like You,  Aquarium, I Am Who Am (Killin’ Time)


Faces – May 11, 2014

My favorite project of his, “Faces” is filled with Mac rapping, singing, producing and more. He goes out on a limb to really dig into his drug addiction and it comes out through some very profound, introspective bars as well as psychedelic beats. The mixtape is full of movie and jazz samples and flows from start to finish beautifully. Lyrically, Mac is on a whole different level than he was back with K.I.D.S. and now he can bask in the recognition.


Personal favorites:  Inside Outside,  Here We Go,  Friends,  It Just Doesn’t Matter,  Therapy,  Polo Jeans,  Diablo,  Insomniak,  Rain,  Apparition,  Thumbalina,  New Faces v2,  Grand Finale

 GO:OD AM – September 18, 2015

Mac’s awakening from his drug-induced slumber is shown on this album (as well as the cover) as he pushes away from depression into another burst of energy to make one of his most solid rap-heavy albums to date. He’s clean and focused on some of his most famous songs like 100 Grandkids and Weekend feature on the album. With “GO:OD AM,” Mac was a household name.


Personal favorites: Brand Name,  Rush Hour,  100 Grandkids,  Time Flies, Weekend,  Break The Law,  When in Rome,  Perfect Circle,  Cut The Check,  Ascension,  Jump


The Divine Feminine – September 16, 2016

Mac is in love and through his relationship with singer Ariana Grande, his patience with life and world view have definitely changed. After his wake up call on “GO:OD AM,” Mac is clean and falling head over heels in this album. It’s mature album where his singing and rapping flow together perfectly. Mac goes through the motions to talk about relationships, love and how women have changed his life, although not specifically attributing all of this life to his girlfriend at the time. Mac, now with a wide array of fans that also happen to be popular artists, was able to conjure up features from artists like Anderson. Paak, Kendrick Lamar, CeeLo Green, Ariana Grande and Ty Dolla $ign among others.


Personal favorites: Dang!;  Skin;  Cinderella;  We;  My Favorite Part;  God is Fair, Sexy Nasty


Swimming – August 3, 2018


Mac’s last album. Weeks after his split from Ariana Grande, Mac seemingly rewrote the entire album to incorporate messages about his own self-care, heard on the titled song, as well as psychological growth from dealing with the pain of his breakup. Mac also speaks on certain topics like his temper and a continual struggle of dealing with fame. The album is brought together by beautiful instrumentals that span into several genres as well as Mac’s confidence to continue to sing. His journey through life is thrust into his art and we see that not only from new developments on the album, but through the look back to 2009 – the start of him rapping under the name Mac Miller. It ain’t 2009 no more. Yeah I know what’s behind that door. Rest in peace.


Listen to the entire album on your preferred streaming service.


-Written by Myles Parker (’19)

Tune into my show, Double Decker, from 11-midnight every Wednesday on WDCV 88.3 FM. Click here to listen.

WDCV Archive: 88-91

We are dipping into a few archived shows from yesteryear. 
4-27-88 Mello Mike & DJ Red in Full Effect (Hip Hop Show)

2-8-89 Manifesto with DJ Joe George (Alternative)

You can still catch DJ Joe George on WDCV-FM Tuesday Mornings from 6-8am
11-2-88 manifesto

6-30-91 Manifesto

If All Music Is Sound, Is All Sound Music?


Community Post: Interview with Tom Wilkins

Tom Wilkins has been a WDCV DJ for the past 5 years. He moved to Carlisle when he married his wife, about 28 years now. He has spent the past 15 years teaching high school with a focus on special needs education, though Tom seems adamant about retiring soon. Tom sought interest in WDCV when his daughter went off to college and joined her college’s radio station, which inspired him to follow in her footsteps. He reached out to WDCV and has been spinning albums ever since.

Initially, he chose a specific theme for each week, picking from all different styles of music. After a couple years, Tom found this extremely restrictive and felt the limits of his weekly themes when, one day, a listener called him during his radio show. The caller asked why he chose to play such mainstream music when WDCV’s mission is to play underrepresented artists. Although this caller possessed a rude attitude, his question shook Tom in multiple ways. Why did he feel the need to play music he knew people could easily listen to, when what he really wanted to play was music that intrigued and challenged him?

From that moment on, Tom began playing untraditional music. “Experimental, weird music,” as Tom put it. Some names are more recognizable, like Brian Eno, one of Tom’s favorite artists, but others are more strange to the common listener. The songs and artists he plays are typically more recent, though this genre of music has been around for a very long time. Tom describes his taste in music as “familiar enough to engage you, but unfamiliar enough to challenge you.” He wants to share the music that makes him think, the music that requires active focus rather than passive listening. He questions, “if all music is sound, is all sound music?” To Tom, all sound can be music if you open your mind to it. He spends a lot of time searching for more music to share with his listeners each week, either by reading magazines or listening to shows similar to his own, which allows him to connect with others who share his taste in music. This show is important to Tom musically, and he hopes that through listening in on his radio show, others too can learn to appreciate music that is abnormal and untraditional, yet challenging and intriguing.


Listen in on Tom’s show, String Theory, on Tuesdays from 8pm to 10pm to hear Tom’s favorites! 


If you have any questions, email Julia Ormond at ormondj@dickinson.edu. Thanks for reading!

Make Something Happen…!


Credit: Stereogum

I’ve always loved A Tribe Called Quest. Over the course of six studio albums, the group, consisting of four core members (Ali Shaheed Muhammed, Q-Tip, Jarobi, and Phife Dawg) has always managed to cram an insane amount of messaging and lyrical genius into a single three verse track.

Their newest and final album, We Got It from Here… Thank You 4 Your Service was recently added to our featured artist binder and by no means does it disappoint. Here is my take on the album. Enjoy!

“I think that’s the main achievement of the Native Tongues. It just showed people could come together.”

A Tribe Called Quest is hands down one of the most prolific American rap groups. Formed in 1985 and now at the end of it’s nearly 30 year long career, the Queens, New York based group has certainly seen it’s fair share of ups and downs.

Their first album People’s Instinctive Travels and the Paths of Rhythm, released in 1991, set a tone that jived with other members of a (then soon to be) hip hop collective forming in the early 90’s in New York known as the Native Tongues. Not to be compared to similar commercial conglomerations of hip hop artists, such as Cash Money (boasting names like Drake, Nikki Minaj and Lil’ Wayne) or Roc-a-fella (Jay Z, Kanye West, DJ Khaled) the Native Tongues is simply a coalition of like-minded groups. Including Tribe, De La Soul, and the Jungle Brothers, the Native Tongues promote good-natured, positive messaging with a healthy dose of social commentary regarding issues such as race, ethnicity, spirituality or even just enjoying a night out.  Thanks in part to their subject matter, jazzy samples and afrocentric influences, the members of the Native Tongues became pioneers of a completely new genre of hip hop, come to be known in some circles as Conscious Hip-Hop or Jazz-Rap.

Q-Tip, of Tribe, had this to say regarding the first time he met the members of De La Soul

“I remember Afrika called me that night, like, two in the morning. ‘Yo these kids, De La Soul, you gotta meet ’em! I swear we’re just alike!’ I went there, met them, and it was just f****n’ love at first sight. It was disgusting. In hip hop, it praises individualism. I think that’s the main achievement of the Native Tongues. It just showed people could come together.” (Coplan 2014).

Beef that was hard. Beef that was funky

However as with most music groups the unity only lasts so long. The 1998 release of their last studio album, The Love Movement unfortunately came coupled with the ugly surfacing of an undisclosed interpersonal issue, in short, Beef.

Solo ventures and a reunited 2006 tour aside the group was pretty much silent. No new music, no new Tribe.

Until Now.

“For us, we’re just lonely musicians and artists. We shout sh*t out and we try to articulate things and put it in an artistic fabric.” (Q-Tip)

From this point dear readers, I will tackle said articulation, reviewing 4 songs off of each disk. To generate these reviews, I will be providing my interpretations, thoughts, and analyses of the lyrics, samples, and musical elements found within each chosen track. additionally I will be drawing from analyses and interpretations of the lyrics found on the amazing website genius.com . If you are a fan of hip hop music at all, I strongly encourage you to find this website.

With that being said, I would like to make it clear that by no means am I claiming authority over these words. I have nothing but the deepest appreciation and reverence for these songs.

Let’s kick it.


Photo Credit: Mr. Timney

“So all you bad folks, you must go”

While it would make sense to start off with he first track, I consider that one best suited to be talked about the end. First I’ll start with number two.

We The People… 

This track is hard. A vicious distorted synth-line and crunchy drums let the listener know that absolutely zero punches are about to be pulled. One feature that I noticed right away and I think is amazingly effectual are the jagged breaks in the beat in the opening verse by Tip, the man himself. They leave vast swaths of silence for Tip to let us know how he feels about the state of affairs.

A more subtle note that I picked up after a few listenings was the addition of the air raid siren. Usually a long, droning tone that is identifiable to most, when separated by the breaks it gives the beat a singular through tone when the drums hit again. What I think works the most about this element is that the sample plays through the breaks even when the sound is out. Instead of restarting the siren when the beat comes back in, the tone has been going the whole time so the listener is presented with a completely different tone from the one that went into the break. A tiny element in a huge collection of sounds but an amazing moment of producing that results in a perfectly polished product.

While all the verses are jam packed with meaning and significance lines like “When we get hungry we eat the same f*****g food” stand out to me because they reinforce the simple fact that we are all humans. This line hits especially deep at a time when our country is the most starkly divided it has ever been. people need to realize that when you strip away all of the bullsh*t of our lives we all eat ramen when we get hungry.

Another series of lines that stick out to me are:

VH1 has a show that you can waste your time with
Guilty pleasures take the edge off reality
And for a salary I’d probably do that sh*t sporadically

I love these. These are thoughts I have almost everyday that as a society we are too busy stuffing distractions into our brains that we ignore, hide from, and deny larger issues plaguing us as individuals and as a whole. Tip’s syntax of “taking the edge off of reality” is similar to that which is used when referring to drugs being an escape for some and I think when utilized in a socially “connected” twenty first century context these words ring true as hell.

A review of this song however would be completely remiss without addressing the hook.

All you Black folks, you must go
All you Mexicans, you must go
And all you poor folks, you must go
Muslims and gays, boy, we hate your ways
So all you bad folks, you must go

To even the most casual of Tribe listeners these are completely antithetical notions to pretty much every philosophy the group has ever held, so unless they became awful people over the course of 1 song, this is a powerful message. In my head I’m conjuring up images of parents confiscating their children’s phones, screening their music, and finding these lyrics. In my mind this scenario has three outcomes. 1) The parents get what Tip and Phife are preaching and congratulate their child for having such good taste in music (the ideal scenario). 2) They hear the words, overreact and take away the child’s music because they ‘don’t like these hateful bigoted messages in rap music these days.’ Or worst of all 3) they actually agree.

Never has a hook on any singular song been so wrenchingly powerful.


Credit: Mike Mozart

“F**k it, I’m already grown”

Speaking of Kids and a younger generation of listeners that brings me to the next track from disk 1


Featuring the ever elusive Andre 3000 this track addresses the younger generation of hip hop heads that are either on the come up or just feel like the adults in their lives don’t really understand what they are going through. In this track 3 Stacks and Tip are reinforcing the message that has always needed to be said which is that parents do get it. Throughout many of the lines Mr. 3000 references times when he or other adults went through some of the same things that kids these days are going through.

The hook, “Kids don’t you know that all this sh*t is fantasy?” is a dual edged message I presume. On one hand its a message that the quote-en-quote celebrity lifestyle is for the most part an unobtainable fantasy and that everything they are presented with on a daily basis is also a fantasy, crafted by their parents or people around them to protect and shelter them from harsh realities. Both messages hit home no matter how you choose to interpret it.

The production on this track is also pretty unique. It doesn’t really fit into the jazzy, sample heavy Tribe sound that’s typical but I think the spooky sounding synths and simple beat works well with the sound that 3 Stacks is providing. I don’t think the lyrics would resonate as well without such an unsettling atypical sound underneath them.

Overall, a powerful, timeless message firmly rooted in valuable insight from a more experienced generation.

You gotta put this on

Enough!! is the last track on the first album and I consider it to be a really nice pallet cleanser after some of the heavier and more serious subject matter of the other tracks. Gone are the somber lines urging the country to shift its ways and instead they are replaced by a funky beat accompanied by an angelic vocal sample floating above the hook unconcerned by our earthly dilemmas.

So what is this song about you may ask dear readers? A romantic endeavor, simple as that.

This song is especially unique in that Jarobi lends his lower and scratchier voice to the mix as he weaves his rhymes in and out of time with the groovin beat. Jarobi, while without a doubt a member of Tribe, doesn’t appear often on tracks and his contributions to this new album as in Enough!! are welcome funk-nuggets that are impossible to go unnoticed when heard.

What immediately stood out to me the first time I listen to this song was the scratch sample that the DJ was using. The almost sitar-sounding riff thats being worked in is noticeably the same one from a none other that Bonita Applebum, a timeless Tribe classic. This is just another great example of how a tiny little detail can make an entire track. By throwing it in the mix, they recapture that amazing old school Tribe sound and stay so true to their roots.

Also, this track just reinforces that even after all this time Tribe still maintains a certain versatility in their sound. A trait not found in most hip hop now-a-days. It’s amazing that they can flip a switch and go from a commentary heavy track like We The People… to one with a completely different vibe to it that just puts all of the somberness aside to focus on just having a good time.

A practice I personally believe we could all benefit from on occasion.

Regardless, Enough!! is an excellent way to end disc one and you better believe dear readers that there’s a whole lot more waiting around the corner on disc two.

“Hamdulillāh, my crew’s back to workin'”

The second track off of disc two is a burner. Black Spasmodic derives a lot of its sound from the off-beat heavy sounds of reggae music and when combined with some really power messaging in the verses it makes for one of the most powerful track on the whole album.

For the uninitiated, reggae music  is dependent on a rhythmic structure that’s pretty different that what I’m sure some of us are used to listing to. Where usually the rhythms in a song would be set up to land on the downbeats, reggae is the opposite. The emphasis is almost always placed on the offbeat. Let’s say that you are counting a song in 4. You would count 1, 2, 3, 4 placing emphasis on the down beats (the numbers). Now if this were reggae, you would count it 1 AND 2 AND 3 AND 4 AND with the emphasis falling on the space in between the numbers (or the offbeat).

This use of this reggae sound is most likely meant to pay homage to Phife’s Trinidadian roots. In his verse Phife even refers to himself as the “Trini gladiator” so it only stands to reason dear readers that these were the motivations behind the beat.

The line at the beginning of this segment is the most resonant one for me in Phife’s verse. In arabic Hamdulillāh means “Thank You God” so when Phife throws that in there its an amazingly sweet sentiment that he’s sharing with the listeners. He’s glad that his crew is back together and is thanking the God above for making it happen. The theme of spirituality doesn’t stop there however.

Tip also works it into his verse when he is heard to be channeling Phife from the afterlife. “Not through evil mediums” Tip asserts, but through making music, a passion assuredly shared by two close friends, is he able to communicate with Phife and finish out the song rapping as the Five Foot Assassin himself.

“I expect the best of you I’m watching from my heaven view” are some of the most wrenching in the whole album as Tip really can feel his friend looking down and watching over the crew. It’s such an immensely felt moment and one of the best in rap music to date.

The sentiments to the late-great Malik don’t end with Black Spasmosdic.

Lost Somebody is the tribute song to Mr. Izaak and with Tip and Jarobi sharing their thoughts and memories about their loved one this song speaks for its self.

Rest in peace Phife.


Credit: fuseboxradio

“As if this country ain’t already ruined”

Conrad Tokyo is one of the tracks that will stick in your head and theres nothing you can do about it. Featuring Phife Dawg and Kendrick lamar this track is another commentary heavy one. The title however has an interesting meaning to it that I only learned with the help of the analysis on Genius.com.

Apparently the Conrad Tokyo is one of the fancied hotels in Tokyo so by using the words “Conrad Tokyo Sapporo Pistachio” in the hook the Tribe cold be trying to make a commentary about classist societies where the division between the rich and the poor is incredibly wide.


Credit: Moyan Brenn

Additionally Phife also throws in digs at CNN and the “F***ery” surrounding the current election cycle. Clearly Phife was writing this in a moment that was pre-election and calling out the media for making a joke out of the whole thing rather than using their power responsibly.

Oh yeah, also Kendrick is on this track. His incredibly one of a kind voice meshes perfectly with the Jazz Rap sound that Tribe is known for which makes him more than a welcome addition to the album in my book. In his verse he brings up issues of gang violence and general discontent with the way the country is being run; poignant as ever for the cultural moment we face today.

The jazz keyboard solo as the outro is also a welcome reminder that not only do these artist make great art, they can also appreciate it. Totally one of my favorite tracks.

“He’s the Trini Gladiator ain’t no need to take it further”

The last track of we got it from here is entitled The Donald. While the political impetus this track is clear from the title, no where in the the verses do they call out, or diss our president elect. Instead this song is yet another tribute to our man Phife Dawg, or as he is sometimes to referred to, Donald Juice. This is yet another one of his nicknames and can be heard clearly in the interlude sections of this track.

In fact the subject matter of this song is pretty much just about Phife Dawg being a dope rapper. He calls out sucka emcees who use their iPhones or Blackberries to freestyle and even says that he’s ready to battle whenever. Busta Rhymes makes an appearance on the hook to show his solidarity to his Trinidadian brother.

Our President-elect does make a slight appearance though, when the DJ decides to use a sample of a news anchor saying his name to perform some creative scratching. I think it’s a tasteful way to not only show respect for an amazing rapper but also point out how repetitive the mainstream media is now a days. It seems like every time his name is said it both gains and looses meaning for the listener. I find it interesting to think about how we have all been affected by the past year for the worse, and the title of this track is a great example. We are all primed now to immediately make these political associations without even listening to the song.

We are literally judging a book by it’s cover.

It would be interesting to picture a version of this album that came out in 2014 say, when we were not so obsessed as a nation over a singular entity. In a way I think this song is pointing that out. ATCQ could’ve named this song this song in memory of their beloved friend but instead they are now creating an expectation of commentary in their listeners. I can only assume that this was intended on the part of the group seeing the current cultural moment we are experiencing.

“Imagine if this sh*t was really talkin’ about space, dude”

So dear readers we’ve made it to the end, or shall I say the beginning? While I’ve taken you on (believe it or not) abridged tour of the Tribes latest contribution, there has been one song that I decided to omit until the very end. I feel it’s fitting this way.

Space Program is the first track on the album and perhaps the most significant. Making heavy use of samples both before and after the music the Tribe makes some heavy didactic statements. Lines like “It’s time to go left and not right” set a political tone and coupled with a hook like this its pretty clear that the Tribe is not happy with the way things are going.

Additionally, Tribe is using some clever wordplay with the title to grapple with the issue of urban displacement. The lines:

Moved you out your neighbourhood, did they find you a home?
Nah cypher, probably no place to
Imagine if this sh*t was really talkin’ about space, dude

Show their discontent with the way that the underprivileged are being discriminated against even today. Tip also has lines about our massive media consumption and how we are ruining our own lives. one particularly resonant section reads;

Now, people on top of people, feels like we can’t breathe
Put so much in this muthaf***a, feel like we shouldn’t leave
Put it on TV, put it in movies, put it in our face

The outro is really where this song comes into its own and really is addressing not only the listeners, but human everywhere.

Gotta get it together for brothers
Gotta get it together for sisters
For mothers and fathers and dead niggas
For non-conformists, one-hitter quitters
For Tyson types and Che figures
Make, make, make
Let’s make somethin’ happen, let’s make somethin’ happen
Let’s make somethin’ happen, let’s make somethin’ happen

Sung by Phife, the outro is especially disturbing as the person pleading for an end for needless killing was taken from us so suddenly and entirely too soon. Making something happen is a powerful message that personally speaks to me and my own philosophies.


The tribe launches into track two with the help of Mr. Gene Wilder. They chose to include the segment of Willy Wonka and the Chocolate Factory where the whole gang is passing through the tunnel on their way into the factory. It’s an incredibly poignant clip and it’s chaotic and orgiastic sound mirror the fretful times we are experiencing as a nation.

If you only listen to one song from this album, make it this one. The sound, messaging, and energy behind this track exude Tribe and everything they stand for.

Thank You

To everybody involved in the making of this album I can only say thank you. You have produced one of the most beautiful pieces of not only hip hop music, but also true, honest socially conscious art I have ever been exposed to. It pains me to know that this will be the last music from you guys, but I consider it fitting. I only hope you shouted it loud enough for people to listen and start making something happen.

We all know its whats we need most. Now more than ever.

Rest up Phife. You done good.


Credit: The Source

Inspirational Electronica to Wake You Up

Fatima Al Qadiri’s recent EP Genre-Specific Xperience, released originally under a pseudonym, brings an eclectic taste the table. Mixing cultural sounds as broad as Islamic chants, Catholic hymns, and steelpans, this relatively short album leaves you both entranced and frightened. The eerie mix of the ever-present electric steel drums and elevated chants imagines a horror film set at a tropical resort. The head track “Hip Hop Spa” especially recalls some sort of religious evocation that the next track answers with a high-tempo percussion hurricane. Don’t miss out on “Vatican Vibes” or “Corpcore,” the former bringing Baroque-style firmly into Al Qadiri’s art while the latter’s pulsing march of beats invokes industrial beats. For those new to Fatima Al Qadiri, she’s an electronic musician (read: DJ) currently living in Brooklyn, originally born in Senegal, and grew up in Kuwait during the Gulf War. Her work across constantly recognizes her trans-cultural history, as her album last year Asiatisch worked off themes of “the China” viewed from a Western lens through pop culture and the ways these cultural forms are exploited until they lose all meaning. Her political meaning behinds Xperience seems less obvious, but listeners won’t be disappointed if they pick either album up.

Gonzo Wavves Concert Review















There was music. Mistakes were made. It was awesome.

We (execs Emilia and MB) went to the Wavves show at the Black Cat in DC.  We arrived 5 minutes before Wavves went on, after disastrous car, metro, shuttle, and cab rides to get to the venue.  At this point it was nearly 11pm and we were out of our minds.  We immediately moved up the front and shoved our way into the center of the mosh pit, which should’ve been more difficult considering we are nonathletic girls, but the mosh was made up of the hipsters of DC.  Wavves started with King of the Beach, the best summer anthem of the last few years, and everyone went wild.  The room was soon a spinning and uncontrollable fury of messed up twenty-somethings throwing themselves in every direction. Emilia was holding my arm for support as I considered whether I was going to pass out while standing directly in front of Nathan Williams.  I looked at Alex Gates, realized that he was probably either on heroin or was tripping face based on the look in his eyes, and decided that if he could play for this crowd while he was in that mind state that there was no way that I couldn’t take a few people out in a mosh pit in my own mind state.

The band was able to keep the energy at a pretty consistently high level as they progressed through their set, and the energy was excellent.  During Idiot, everyone was shouting “I’d say I’m sorry, but it wouldn’t mean —-” as though Williams were some kind of indie deity who would only respond to the anger of the youth who can’t reconcile consciousness and reality.  Through the whole show, I’d say the whole band kept up an almost bored demeanor.  It was a good thing though, perfect for the mood.  It was like everyone was losing their minds while the band could not care less but was going to push them further without even trying.  At one point the girl next to me started making noises like “bee boop boop boo beep beeeeeee” and grabbed me as though I were going to save her from whatever was happening in her head.  Another girl near me had her nose broken by some guy, who literally picked her up and removed her from the crowd.  At some point, I left the mosh for a minute to get a drink, and next to me at the bar was King Tuff (former WDCV featured artist) buying a shot for himself and the bartender.  We sat there for a minute until he had to go chill at his merch table.

Wavves played for a little over an hour, and at the end of the show they announced that they’d be drinking downstairs after the show.  Apparently the crowd was full of imbeciles, because everyone left.  We went downstairs, and I ended up hanging around with Stephen Pope and chatting with Nathan Williams.  From what I remember, Pope was way more personable than Williams, but my perceptions were pretty skewed at that point.  We also took a selfie with Williams, who has publicly voiced his disapproval of selfies, but who also posts them regularly. Then I got kicked out of the bar. #blessed



Check us out in the Dickinsonian!

The Dickinsonian recently ran an article announcing Token Prospects as the opening act for the Spring Concert–Check it out to read about this indie/soul band of Dickinson grads, along with some words from our very own Stephan Sieg ’16! To get an even closer look at Token Prospects, take a look at their website or the article Stephan wrote about them!

Read the Dickinsonian’s article here

Stephan on Token Prospects

Check out their music at: http://tokenprospects.com/