Definition of cool mac miller mp3
Or it used to be Star Lake and now — whatever it is. I call it Post-Gazette Pavilion. And it's just like this huge lawn, where if anyone big came through, that's where they go. Like Wayne. Yeah, I mean, the fans definitely all were there for both of us. It was crazy. We got a little bit to go, but who knows. You never know. But I mean, it was an amazing feeling just because that's a venue that I don't think I ever even dreamed of — like I never even saw that as possible.
What did you think was going to be like the peak? Where were you going to max out?
Mac Miller ft. Diggy – Definition Of Cool (Prod. By Big Jerm) | ylegahuzijaj.ga
And why? I also — at the same time I also got kind of spoiled. Because when I first came out, there was this thing in Boston called the Boston Urban Music Festival that they don't do anymore because I'll tell you in a second. And it's a free show that they did at City Hall in Boston. And this is when I was doing shows that were like , cap. So it was like — whatever. I went to do it. The record for the most people that had ever gone there was like 25, or something, and we had 25, people there four hours before I went on stage.
By the time I hit the stage it was 60, people. And they had to shut — the police department — down. They had to shut the public transportation — there were people standing in garages. And we didn't even have a tour team. It was just me and a couple of my friends. I didn't have security. So like, we literally were just five dudes, 60, people. My homie that was selling merch at the time literally had to run through the crowd holding merch. So where'd I think I would max out? After that, I was hoping to maybe — I don't know — hit the Garden.
But no. I don't know. I mean Because, I mean, I just — this is before — this is when I had like just put out K. So I was touring but nothing to that capacity. But the mayor actually wrote me a letter, saying like, "We'll never do that again. I wrote back like, "I'm down for the House Of Blues. I think every level you get to seems like the top, you know? You're like, "Oh, I'm here. Man, maybe one day I'll get there, but I'll never get here. Nothing ever ceases to amaze me. I don't think I've ever came out to a show, whether it be people or 60, and not — I've never not been blown away by people's reaction to the music.
It's always like, "Whoa. Then it's like, "Awww. I wanted to ask you — I wanted to ask you and Ali about that, little bit about like having people like you so much. And then having to deal with people surprising you with their like and their want to talk to you. Well, I've also — let me also just add that I've had both sides. Or like perform for ten people that were just the rapper's friends that were on the stage. But, at first Performing 60, people, that's easy. The energy's already there. They're already doing most of the work.
All you gotta do is not forget the words — and feed them energy too. But performing for two people who are just trying to get a drink and don't even know why there's someone performing is like — that's really — it's like performing at like a sweet 16 birthday party. It's not fun.
Mac Miller ft. Diggy – Definition Of Cool (Prod. By Big Jerm)
It's awkward. I don't know what it is. Maybe because you're more vulnerable. You're not on a pedestal at that point. You're like — it would be like if I did a whole set in here right now. You know what I mean? We're just all sitting here. So when you're masked by 60, people, you're not even real. You're just a presence. But with ten people, after you get off stage, they can just go grab a drink with you after. And they're not trying to do this at all. There's no hands up-and-down. It's all like — I just did a show like that in Aspen at Belly Up, where it's like a bunch of people sitting down having a drink.
And when you're playing music — like if I was with a jazz band, it's different, because you're just performing. But doing a hip-hop show for that, it's about movement and getting people to almost have religious experience.
So people just sitting there having a drink, you're kind of like, "Uh. This doesn't — you guys aren't, like, dancing? I just had that experience even DJing recently. And I think — I kind of wrote about it on Tribe's 25th anniversary, the official day. And I felt like, "Why am I here? Cause am I connecting? First of all, I gotta set it up. It's a hotel lounge, so already the vibe is already — the come-dance-with-me vibe is nonexistent. So that went against me, and then it was just an off night, I guess. I'm finding Thursday nights in L.
Maybe I'm not doing enough on the promotion side. But anyway, there weren't many people there and I was like, "Why am I playing? What's going on? I need to connect. I got a look over, so I was like, "Oh, somebody's half-listening. Doing DJ Sets is like — is difficult to me. Cause you have to find that happy medium of playing what the crowd wants and what you want.
Like, I had this little party for my album, and two nights I did DJ sets. The first night I'm just playing songs I wanted to listen to. I'm like, "I just dropped my album tonight. Let me just play songs I want to listen to. And my girlfriend actually came up to me and was like, "What are you doing? It's a good Pharrell song. It's a classic. I'm just playing my songs.
You're not moving them. Play 'Feeling Myself. I don't take requests. And of course all the girls in the crowd are like, "Oh! So, I guess that's that happy medium. I guess we both have our struggles. Do you ever find yourself — after performing 60, people and going back to your hometown where I'm sure you're well-received and loved, do you find that in more of an intimate setting — cause you mentioned a moment ago — that are you the type of person where you can just comfortably, like if we were in a room right now, just perform and maybe not necessarily to perform but the joy of just like Yeah, I mean, I can create, right.
If there's music — I like to make music whenever, and I could sit and perform. I think it's just different when it's like — it's just like the setting and the vibe that you're catching. I'm a real dude that like — I go off the vibes, very strongly. So if I come out That's why I like smaller crowds because it's just — you could just feel it so — you know what I'm saying? From every single person. They're just sweaty.
Everyone's jumping. They had to get the tickets — they had to buy them five minutes after the link was announced. They're ready. And then I think performing I used to do it all the time, people that had no idea who — or didn't care. And I used to get off on that. Where it's like to convert people. But then you get spoiled. How about — OK. So let's tie this in a little bit.
You have the new album, GO: OD AM. You're performing it for the first time. People might have heard or may not be familiar. How does that feel? Well, you change — I think you change the performance. Cause there's two — to me, there's two ways to do it. You either hit it from an energy standpoint where all you're trying to do is create energy.
You want to people to jump around. You want people to put their hands in the air. You want people to not think. You want to people to just like lose their minds. And then say I come out and people don't know the records and they're less likely to do what I just said. So you switch gears to you want them to hear what you're saying then. It's like, "OK. If you don't know these songs, then I want to give you a good experience with the songs.
Mac Miller – "Definition Of Cool" (Feat.Diggy)
Let me dial back and have what I'm saying stand out front, and how I'm saying it. Less than like just pure, unadulterated energy. Well, let's see. I had one show, but I ended up performing the album like three times off of just intoxication. Cause I had two nights previous, where there were like parties to celebrate the album. And I would have a couple whiskeys and be like, "I'll perform. Who cares? I would be like, "I want to do the song. Let's do it. So you find, yeah, people don't know them as well. But I think with this album people have caught on faster.
Like, " Grandkids" people know. But then a song like "Perfect Circle," which is a more of an album cut, they don't know as well. But I mean I personally am good. I like performing these songs just because they're still fresh for me. So I'll take performing "Perfect Circle" to people sitting there watching over performing "Donald Trump" to a bunch of people jumping just because I've done that so many times.
I would say that it's something that — from what I understand, it's — a person can't — you couldn't, with your free hand, take a pencil and draw a perfect circle. It's impossible to do. Isn't it? See, this is like one of those trick question type of things. Unless you are tracing it. So you say in there, "Heaven is a mile away and hell is much closer.
I think it's like the idea of — the idea almost that we're taught by religion or all that is that to get to heaven, to get up here, is so much work, but it's so easy to fall into, like, "a negative life. So in the song, who are you trying to wake up? And what is work? And why do we have to get up to work? So, the end of that song is — so we were at the studio, and — do you want the actual recording or the meaning first? You know, I think it's almost like you're waking yourself up. You're deciding — cause to me that mood, that place, that imaginary place, it's like the dream world.
You ever read that book? So to me, that was a place that I feel like I was in. My brother actually dubbed me that. That's how I see you. That's where it goes. Why that's the transition into that is because it's that moment where you wake up and you go just back to work, which is just reality.
Every day is that work. And then "When In Rome," to me, is just like this aggressive, "Let's just go. Let's not think. Less thought. And I think that's where you get trapped in so much, living insular. It's thought. And what does this mean? What does that mean? Why am I doing this? Why am I here? Which are all important questions to ask, but it's just as important to just shut up and live. Me personally. It was for me. So just to go — and it's OK to feel yourself a little bit. There's nothing wrong with that.
It's healthy. It is healthy. Actually, it was like one of the first things you mentioned, just saying, after being here for two years, you could just accept where things were.
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You weren't going, checking and see what the comments were. You sounded comfortable, and that's Because it's OK to enjoy what you're doing. And I think we live in this world — and I'd fall into it — where self-deprecation is such like a It's like the thing. Not only for comedic purposes, which is great comedy — some of my favorite, actually — but just as like a way of living. And I think people become uncomfortable with someone who's not self-deprecating.
But I think it's OK to spend time on both sides. I think if you're always feeling yourself, I don't trust that. Cause that's not true. And if you're always self-deprecating, that's very real, but I don't think — I don't think either are healthy. Mac Miller, glad to be back. Walking outside. Realizing how small you are. Which sounds like something that is — it sounds like something that is a negative thought like, "Oh, I'm so small.
None of this matters. Like, "Every word I say doesn't shift the world. If I make a bad song, the world's not ruined. My world's not ruined. But you can just go, and it's just a really liberating feeling of — it's liberating to realize you have the freedom to make mistakes. You have the time. Regardless of how long or short your time is, pretty much anything you decide to do is OK, because you're so small. Do you think that the younger generation has that — do they walk with that sort of freedom or do you think that they feel more worthless?
Yeah, we're — millennials are the — are we — we're the younger generation? I'll take it. You know, I see it as — I guess it's hard speaking in absolutes of what everyone feels, but I guess the people that I know — and I'm not even just talking about artists, just people in general — just have have this very open-mind-ness of, like, the world's at my fingertips-type thinking. Where you see more people now that want to make a website, and it's like self-expression. They want to have a blog. They want to give the world their thoughts, and it's a therapeutic thing.
Everyone I think now feels like their voice means something or they wouldn't be putting it everywhere. People put their voice everywhere. All through Instagram comments. As minuscule and kind of stupid as that is, at the same time, it's dope. People really feel like, "I have to say something," which is sometimes a little much, but like, "Go ahead, man.
Speak away. Do you think it's more than a coincidence that you and Q and Earl all hit a level of development around about the same time? Well, I don't believe in coincidence really. Not be like, "Ooooh. I mean, I think everybody hanging out and playing music and making music and creating together was and is a beautiful thing that has affected everybody. And I don't think it's any — just look at everyone, not to make you sound old here, everyone in his time.
But it's the same type of things, like with the Native Tongues and all these people who were just around each other and pushing each other, whether it's in the studio together or from afar. Because we all are friends. And now that everyone's touring it's not like we all three-way call each other, but Thebe put something out or Q put something out, it's like, "OK.
That's a good thing. But no I don't think it's a coincidence. I think the world needed it, or else it wouldn't have happened I guess. In the two years that you were away, cause you say you're back, in creating the record did you have a definite vision in that time away that you wanted to attack and reach? I think that was a difficult thing for me. Was to find what I wanted the vision to be. Because there were moments when I just wanted to go so far left, right, and like really far down the rabbit hole, and make this album that was just really weird.
Not weird for the sake of being weird, but weird in the sense that if I played it for your everyday person, they wouldn't really get it, right? It was just very — you heard.
You heard some records off of that, when it was there. It was really musical. It was very storytelling. It had a heavier, little — I mean, some songs were sadder. But it was just telling maybe sadder stories. More insular. Where this album ended up being something that I think resonates a little bit more on first listen. And a lot of it was because I wanted to perform it. I wanted to be able to throw this album on and everyone jump around.
The other one was more like a seated performance, you know? So I think it just took me a while to be comfortable with that, and to be artistically get that album to a quality that I was OK with. Because going very musical and deep in your storytelling and doing a lot of these really almost orchestral things, that's like, yeah, quality. I can OK this one. But getting that one to a next quality takes a little longer.
I think the album's dope. I mean, I like the other music that I heard. I definitely hope you — I don't know what you going to do. The funny thing about that lawsuit is that, until the court filing, Miller seemed poised for a long, lucrative career that might intersect in only superficial ways with the hip-hop that Lord Finesse made. When K. Almost nothing on K. Related Mac Miller: At the time, there was a lane wide open. A year and a half after K. But it was panned by most critics, including an infamous 1.
Mac was a soft target, and a 1 on a ten-point scale is an obvious exaggeration, but the album was genuinely bad — musically thin and, at a few embarrassing points, indebted to the EDM that was beginning to dominate American pop. Mac sounded stiff and anonymous, like he was straining to capture the adolescent verve of K. The numbers were the numbers, but what was meant to be his coming-out party seemed like a regression. What the Pitchfork review got wrong, however, was its choice of antecedent.
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In the broad sense, this is not wrong. But despite Eminem becoming one of the most famous people on the planet at the turn of the century, his fame did not open the floodgates for an imitating wave of white rappers to make it big on major labels. And so this, frat rap, is the space Mac Miller lived in from his formative stages through Blue Slide Park. His peers included Roth and insipidly awful, quasi-novelty acts like Sammy Adams. Miller was clearly more talented than Roth and, unlike Adams, seemed to be in love with hip-hop as culture as opposed to as window dressing — the rappers he was grouped with were not the types to rap over Lord Finesse beats.
But to many listeners, critics, and other artists, pointing out those differences was simply splitting hairs, and with Blue Slide Park , Mac seemed to sink into the morass with the worst of his contemporaries. Instead, having relocated to a compound in Studio City, the L. He tinkered and tweaked his style until it became a full-fledged reinvention.
Mac began producing his own music and seeking out more daring collaborators; he also moved from weed to harder drugs, and rapped lucidly about the effects they had on his brain and body. Around this time, Mac became a beloved fixture in L. He opened his home and studio to countless major and underground artists and made himself a sounding board for their ideas; he became particularly close with artists like Earl Sweatshirt, whom he collaborated with frequently, and Vince Staples, for whom he produced an entire album, Stolen Youth.
The result was an album that sounded worlds apart from Blue Slide Park , something with tics and neuroses too difficult to untangle on the quad. As he was progressing as an artist, he was also developing a sophisticated perspective on race and rap. That his early success was due in large part to his race was not lost on him; Mac spoke, frequently and incisively , about that very dynamic.
He also used his platforms to challenge those white fans of his who were unwilling to examine their own racism. Mac never became an exceptionally innovative technician; there are points on Watching Movies when he lapses into flows that recall his amateur stages back in Pittsburgh. His gift was not being ahead of the curve — rather, Mac grew into a compelling artist because he was able to reflect interesting musical trends in real time.
This is not to suggest he was a biter or that he was derivative. Mac grew into a collagist, able to rearrange familiar component parts into something that sounded, in its finished form, as if it were deeply personal. At the end of , Mac announced that he had signed a label deal with Warner Bros.