He a DJ at the Swingers Parter. DJ Moss. He the DJ at the Swingers Parter. Which camera? Yes, sir. You can pick which one you want, because you got to go DJ tonight at the Swingers Parter. It's gonna be an orgy-corgy with Georgie Porgy with a pudding pie. I'm telling a little lie. What you want? That's your camera. DJ Morris. He got a DJ tonight at the Orgy. People having sex all over the room, but they need some tunes so they can know what to do next. They a track list while people are having sex. What songs do they want to hear?   I said what? And take a break because the room's starting to stink. Hold on! There's the trap, man. There's still the trap. Even though this is the black market, we're in the trap, bruh. Anything such as the happen, man. First of all, welcome to the trap, DJ Morris. I can't believe it took you this long to get over here.  They don't know that, bruh. Like the test episodes? The test joints? This is my original co-host right here. Because without us doing that, we would have never figured out to do this. You get what I'm saying? And it's like those days we spent in the studio, man, we knew we was on to something. Just didn't know where it was going to end up. Exactly the Mundo, bruh. First of all, welcome to the trap again, formally.   Oh, man, what decade do you want to start in? I know that sounds old, but... You want to start in the 80s? No, what was you doing in the 80s, DJ Morris? I started in the 80s. This is going to sound extremely old. I know we focus on age and demographics. I bought my first record in 1982. Okay, bet. It was Planet Rock. Rock, rock, Planet Rock. The very first record. Main music in Springfield, Massachusetts. That's my hometown. Springfield, Massachusetts. I stole the $1.99 or $0.99 that it cost for the record from my moms.   I ain't never wearing my mom's pocketbook. You bold as fuck, bruh.   I ain't never even heard of no niggas in Massachusetts. I got $5 for any niggas in this room that can spell Massachusetts out loud without looking at it. Nobody even looked up. No, I don't even think it's funny. Spill on goddamn masks. It masks the true sets. Yeah, yeah, yeah. And that wasn't like growing up with that, like as a black dude. It was cool. So when I tell people that's where I'm from, the first thing is like, is there black people in Massachusetts? I tell, this is one of the strengths. You will get robbed quicker in Massachusetts than you would in, let's say, a New York. Obviously, I don't know that to be fact. But what I'm saying is, it's wild there. Like when you got your wild pockets and then you got your suburban pockets.   So you saw what the world really was. And it was small enough so that your parents let you out the house so you can experience, but big enough so you saw what it did. So when I say saw what it did, I grew up, and I don't even like talking about this, but I grew up in a crack era. I saw before it started and then it swiped through my city. I saw that. I saw a kid, Travis Best, who graduated from a high school that went on to the NBA. He played with the Georgia Tech, with the Pacers. He retired in the NBA. So when I say you saw everything, I literally saw everything. And then it made it so that in terms of who I am, DJ-wise and personality-wise, I was well-rounded because I saw all shapes of... That's what I was getting ready to ask you. Having that wide range of people and friends and stuff around you, what type of music did these people introduce you to? That we know that you might not have got just being, you know... We didn't have a V103 in Massachusetts. We had W-H-Y-N, and they used to play the Doobie Brothers, Linda Ronstadt, Haaland Notes. So we had... Well, Haaland Notes, that's funk, though. That's some funky-ass white boys. But that's what we had, right? And then we had College Radio, who extremely day-parted. Two hours a day, you would hear hip-hop, but it wouldn't be the same two hours every day. So on Monday it'd be two to four. On Tuesday it would be four to six. On Wednesday it'd be three a.m. to five a.m. It was extremely dangerous.  But it was College Radio. So College Radio back then was extremely organic and it was extremely experimental. So after your hip-hop show, it would be Acid Rock. Before that it would be Roots Reggae. So we really grew up listening to everything, and it kind of made me, from a DJ's perspective, it made me a better DJ because I grew up listening to Led Zeppelin, at the same time listening to Ultramagnetic and De La Soul and Public Enemy. The reason why my crates are as deep as they are is because that's how I grew up. I didn't just grow up listening to Just Lutha Vandross. As a kid I wish I did, because you're fishing through the radio for a run DMC and it didn't happen. Lutha lost me with that whole dance with my father. I'm just gonna keep it. I ain't never heard him say that. Lutha, a skinny Lutha. That was one of his last albums. The album called Dance With My Father.  God bless his dad, Lutha. I mean, I love Lutha, but I ain't got to like everything. That went through me all the way on. I wasn't even really all the way in my adulthood and I was like, what? You didn't get it. I looked at my dad and I was like, don't you ever try to dance with me?  Hell yeah, man. So that's what happened in the 80s.  So what led you to the DJing? It was a neighborhood thing. So the neighborhood that I grew up in, I felt like was the coolest neighborhood in the city. That's just how I felt. We probably weren't, but that's how I felt. Everybody felt like the neighborhood was the coolest. So legitimately we had one of the best graffiti writers in the city. He lived down the block. So I lived on the projects in Hickory Street. He lived on Eastern Ave, literally on the corner. So you got the best graffiti writer in the city. One of my neighbors a few houses down was a DJ and there was another DJ at the top of the projects who I would stand in front of the bus stop and he's cutting up break beats. So I felt like that's what I was around naturally. You know what I mean? I didn't know it was going to be this. I didn't know that this was even available for people outside of New York because I legitimately thought the only way you can get on is if you lived in New York because you would see Run DMC with Jam Master J. You would see L.O. Cool J with Cut Creator. So I thought that the DJ got on because he lived across the street from the rapper. I didn't live across the street from the rapper. What's my DJ's name? Yo Cut Creator! So I thought that was the trajectory. Yeah. That's dope, man. You really got to take your whole dreams and DJ and aspirations to a whole another level and work with some legends in the city, man. How you go from Springfield, Massachusetts to Atlanta, Georgia? It was college. Clark Atlanta University. That was the reason that brought me to the A. I was just throwing the HBCU brown. We always got show love to the... Honestly, that was the plug. I came down here in 91 to go to college. I was graduated, but in school I was majoring in communications and I wanted to create content for TV, kind of like what your crew is doing. Inspired by... This is the number one black TV show that's not on TV. Not on TV, but it's going to be. You already know that. So I was inspired by Spike Lee and Arsenio Hall. Arsenio obviously for his late night talk show and then the stuff that Spike was doing in the films, I felt like that talked to me directly. And I knew Spike went to Morehouse, but he took his classes at Clark. So I was like, well, I'll just go directly to the source. I'll take my classes at Clark. So that's what got me to the A. Hey, Carlos Miller here. Guys, how long do you expect her to stay if you aren't satisfied her sexually? It won't be long. She's probably cheating on you right now with her work husband.  Blue chew is a unique online service that delivers the same active ingredients as Viagra and Cialis, but in a chewable tablet and at a fraction of the cost. The first step is simple. Visit bluechew.com then consult with one of the licensed medical providers and once you approve, you'll receive your prescription within days. You can take them anytime day or night so you can plan ahead or be ready whenever an opportunity arises. So if you can benefit from extra confidence when it's time to perform, blue chew can help. And we've got a special deal for our listeners. Try blue chew for free when you use promo code black at checkout. Just pay $5 shipping. Visit bluechew.com promo code black to receive your first month free. Visit bluechew.com for more important safety information and we thank blue chew for sponsoring this podcast.  So, the outcast story is crazy. So my man, Sean Johnson, introduced me to outcast. This is when they were both in high school. Both of them was in high school and one day he picks me up, so me and DJ Trauma at the time were roommates and he picks me up. He's like, yo, I'm going to take you over to meet these rappers. They're really dope. This is, let's say 92, 93. So he pull up to this house walk in the house. There's an older black woman in the kitchen cooking. We say we're going to go upstairs and we go downstairs. So you walk down, this is God's honest truth.  Somebody laying on the floor someone over there and then you see this skinny dark skin cat, I guess like behind the booth. And it's Rico Wade. Now, I don't know who I'm looking at because this is the first time I'm walking into the house but it's the dungeon, right? So I don't remember what they were recording but this is the dungeon before Outcast got signed to LaFace. It was whatever that year was. So let's say, for argument's sake, let's say it's 93, right? Again, they're still in high school. 93 and the whole dungeon is forming, right? So I'm sitting there talking to Rico and Rico is legitimately like the visionary I mean, we talked hip-hop for hours and I felt like they were the same as me in terms of hip-hop knowledge, history I mean, we're talking everything, we're talking break beats, we're talking African Bambada, these are dudes I never met before but I knew that they knew what time it was.  God damn it Mars true question true question nah we'll get his name but he's pretty dope we're gonna get him to finish deal with him but right now we just got it as like art we're gonna get him to complete it we got to get him to DJ Mars bike 85 south theme that colorway the black and the orange and the blue OG colorway we'll go OG we'll go real white and blue real white and blue dope yeah we need one the bike thing I started at and I was diagnosed with diabetes let's say about eight years ago so the doctor was like yo you gotta lose some weight so I'm not a gym person I'm not gonna be in a gym lifting running so I figured I needed to do something to get some exercise and check that out super light frame too who's gonna ride this? this is my shit nice nice I gotta get back in touch with him he got the rest of the parts to finish it come up here and do it so I like obviously the Atlanta theme can they see it on this side? the peach obviously the 85 south and we on fire you see the smoke and the flames we got our goons right here the killers yeah we got the killers on that bitch we got the eight town come on man we touching shit leave it alone leave it down there 85 we just building over here we're on the top too it was just right here that's the name J.R.S. Custom Bicycle yeah J.R.A. boom shout out to my dog we're gonna get you up here to finish this from there so yeah it was really born out of necessity I needed to take I needed to lose weight so I just started riding bikes around the city I saw J. Reed and the dope paddlers their crew is ridiculous and then I started my crew then I bought a second bike and was like let me flip you know it's hip hop we don't like things to stay stationary we mix it into our own thing and then I did my bike and I did that bike and then I did two more for myself and posted a picture of it and this kid from England said he wanted to buy it just word to my son I named him a price he wired the money I shipped him the bike two weeks later he had a bike he posted and someone else was like who did that bike I want to buy one from him too and that's legitimately how the business started that's what's up man tell me more about the gun classes handguns and things of that nature so Vault ATL really just about understanding the importance of gun safety and education before you get a gun you need to know how to use it when I project out and that bullet comes out that thing it's another conversation a lot of us around the way have guns but we don't know how to use them so you know we put ourselves in bad situations carry a gun a situation someone may approach you at a gas station and if he turns around you shoot him while he's turning around now you're at fault so what we just try to teach gun education so that when we're in a situation we make the proper decision a lot of times we put ourselves in these predicaments and we don't do the legal thing we do what our emotions are telling us we can't move like that so Vault is about making sure we know what time it is I'm coming well shit man drop your social media DJ Mars let me know where they can find you at DJ Mars 404 on Instagram and Mars Hall on Facebook do me a favor though make me a promise don't let this be the last time you stop through here oh nah nah nah nah I mean your team know how to find me we've been talking about getting you up here for the longest schedule, schedule I'm so glad we were able to do this today so they need more information about the bikes the guns DJing my general pages at DJ Mars 404 I post everything cars, bikes, firearms, everything right there parties, tours, all of that well there you have it folks I hope everyone who's watching knows and understands that the black market is open man I got excited DJ Mars I'm sorry this shit makes me happy DJ Mars we got DJ Mars in the building what else today thank you for the exception black market I didn't realize that was your intro rapping in the beginning


How's it how's it? The camera manufacturing industry had fed me a line which I had swallowed hook line and sinker. This had started when I was a beginner photographer and I was trying to figure out what was it that I actually needed to get started on this journey with taking images. Over the 30 odd years that I've been taking photographs you know both professionally and amateur there was a common theme that sort of ran throughout this which was whenever I got frustrated with photography whenever I felt myself like a creative empath and you know just I was like I just I'm not I'm just not feeling it right so something's not right. I turned over my shoulder or turned you know and there was the camera industry going do you know what you need you need a new lens or you need a new camera or something like this that's going to be the thing that's going to reinvigorate your photography. As a beginner photographer this is of course you know it's it's comforting to actually hear because there's so much for you to get to grips with when you're starting off and your journey as a photographer you know there's the technical aspects of things there's oh my god you know the f-stops and the shutter speeds all that gobbledygook stuff just like ah it's just too much and then of course there's there is the aesthetic side of things which is even harder because you know how do you quantify what is a good or a bad image and and then of course oh my god mistakes I'm making something tangible here I'm making a physical object what if people look at it and and laugh so no wonder that it's a comforting thought to go hey jimmy this camera will solve all of those issues that I don't really want to deal with but over that 30 years one of the things has become apparent and that is that the only thing you really need as a beginner photographer as any kind of photographer is a willingness to learn now that's all well and good right a willingness to learn fantastic right so where do you where do you get started with this you know what what is the thing so let's break it down into to three sections we'll start with you know actually overcoming the that um insidiousness of gear and that is understanding that gear is actually it's just it is simply a tool right is a tool that has specific uses in different environments if I give you an axe and a chisel stand in front of a big tree say listen chop down the tree which one are you going to use you will turn to the axe because trying to chop down a tree with a chisel just I think it's going to be um futile even if you are not well versed in the dark arts of lumberjackery right this is because over time without you really knowing about it you have learned that an axe is more suited to this job and that's what you know these professionals do with their lenses and stuff they know that they have you know a lens that does a certain effect that they want that it becomes intuitive right they're not asking all their other friends and stuff you know what lenses and guys should use and stuff like that because over time they have devoted a proportion of their growth and photography to learning to use the equipment that they have available to its its maximum effect as a beginner photographer you don't need fancy gear right it's too much for you right all you need something someone like this this this phone this camera phone right that's all you need the most basic of equipment but what you do need is a willingness to use it to its fullest to learn its ins and outs and then if it is holding you back and then if it is not doing something you need it to do then think about investing in new equipment throughout the history of photography people have had to make images with I think it's charitable say a wide variety of of cameras right you know they are certainly not all of a standard and if anything blows out the myth of that it's the gear that makes a photographer that has to be it if you look at somebody like Paul Strand for example you know one of the greats of photography from way way back right his cameras were so basic then you compare somebody like David Yarrow modern wildlife photographer has access to all of the latest and greatest technological marvels that the camera industry can come up with right but it's not their gear that separates them or or connects them or whatever how you want to express that right it's the fact that they have been spending time building up their aesthetic of learning to see the world as a photographer and as a new person to any art form or we're having it's tempting I think to look purely at other photographers you know because that's what you want to do so it seems natural but if you are struggling for inspiration within your own photography that you are not really seeing other photographers that are quite doing it for you go back to the other things that you like as as visual effects my own photography I draw from such a wide pool of inspiration that I'm always adding to like Annie Liebowitz kind of you know alluded to that this hard drive in your head from which you can draw inspiration later on so I draw inspiration from not just other photographers whose work I've always enjoyed and of course new photographers who I'm I'm seeing you know for the first time but also from you know music from you know music videos from you know from films that that I enjoy from TV shows the composition and the cinematography in TV and film is such a wonderful resource for for ideas and then of course you know painting not just portrait painting but any sort of visual expression the wider that you have a pool of images pool of resources to draw from then the richer your visual vocabulary is going to be and if you want to tap into more about how to learn to express yourself visually then I have a a course that will walk you through all the sort of what we call the power words of speaking visually with your images and I'll link to it in the description box below so these are ways that you can learn about photography about the aesthetic the more that you look at things the more that you're going to understand what resonates with you what feels natural and that was something that you know to go back to the gear idea very briefly when listening to Joel Mivitz talk he mentioned about you know lens choices and he said the best lens for you is one that feels like it matches your personality so with all of this idea of drawing inspiration for your images from places find things that match your unique personality because when you talk with your personality then your images have more of your soul inside them and they're far better and far stronger for that when you're learning any sort of art craft whatever you're going to make mistakes now you learn piano it's terrible but the thing with that is it disappears right that is only when you have practiced and your recital is of a standard that you show somebody photography you're showing people your work from almost the word go what do you think about this and you're opening yourself up to maybe ridicule I don't know nobody's ever ridiculed my work to my face so you know this this idea that I labor under that that somewhere out there people are laughing at me it must be a bit of a misnomer but you as a photographer need to be comfortable with the idea that you are going to make mistakes that you are going to have things go a little bit wrong right and if you find somebody who is happy to give you constructive feedback then take it right but if if the person's just saying that's SH1T or whatever ignore it right as hard as it is to do is just put it to one side Bob Ross you know talked about these happy little accidents on his painting because I was about me and beating the devil out of it and all that kind of stuff and I like all that sort of thing right and I don't think that's an attitude to have is that sometimes you're going to not do what is that you wanted right or you're going to get the image back and go that's a mistake and you're going to kind of delete it or do whatever is that you do with with what you consider to be mistakes and that it is a well it's a mistake sorry right that you mistake because if you're not looking at that image if you're not revisiting it and going okay well could I do this differently why didn't I achieve what it was that I wanted to achieve or you look at a mistake what could technically be called a mistake I think is that an avenue actually that I could go down man Ray and all the solarization and stuff like that and I think the story goes that I think it was Bernice Abbott maybe you know she was processing legs in his dark room I think was in Paris and the door opened and oh there was so that's all technically a mistake but it turned out to be a hallmark of man Ray's photography so always learning always moving down this journey of photography this is what you need as a beginner photographer it's a willingness to explore a willingness to learn and a willingness to go forward always not thinking that the answer to any of your photographic woes is always to be found within the gear in addition to that course that I offer teaching you how to see the world photographically I also offer one-to-one portfolio reviews where we can look at your work and and give feedback about how it can move forward in a direction that feels right for you to find out more also click on that link below thank you ever so much for watching and I will see you again soon


Hello again fellow monolers, today it's a quite unusual topic, since we are going to do what the spider do. I will show you how to make metal tension spoke wheel for older cars, such as Bentley Blower. Plastic part doesn't look like original wheel very much, so I keep only the center cartridge and the rim. I remove everything else. I clean the rim with a sandpaper and a knife, then I make ready for adding spokes. Since the Bentley has double spokes, I must split the rim into two halves, using razor saw. Be careful not to cut your fingers. So that is all what has left, now I am going to make a template for a spoke wheel. You can download template for 28 and 24 spoke wheel from the following link. I mark intersection points on the wooden board with a pencil. I am going to insert pins like this into indicated holes, however you can use ordinary nails or solid stick too, but first I have to drill holes and choose a drill with a correct diameter. The numbering of pins is quite handy, but not entirely necessary. Now when it is ready, I can glue the wheel rim into the template. It is important to keep the precise centering. I am using a 0.18 mm wide nylon fishing fiber. I start with spokes from number one, where I make two knots. Then I always tighten the fiber into direction of the opposite pin, with number plus or minus one. It depends on where did you go, clockwise or counterclockwise. In the end I tie the fiber again so it wouldn't untangle. Glue the spokes into the rim with a super glue. Now we are almost done, but Bentley has double spokes. I glue the second part of the rim and I rotate the wheel a few degrees so that the first spoke is positioned between two lower spokes. Then I repeat the whole procedure again. I have to change the template a little, because the reverse side has only 14 spokes, so I hammer only 7 pins into the circle. In the end it was not that simple. The cartridge is much wider at the one side and I had to improvise a little. I just have to spray the wheel with a surfacer, assemble it and paint it. That is quite a difference.