Favorite Quote/Motto
nerve of that double chinned, big nosed broad trying to diss.
Would you like to get text updates via your mobile phone? Enter number here.
777-9311
If you had the chance, what celebrity would you cheat on your girlfriend or boyfriend with?
i don't cheat, anymore
What is one thing you HAVE to do before you die?
yo momma in all 10 holes
[think about it]
About Me
Born and raised in Oakland California, Mere began his ascension into the biz at the ripe old age of 17. He was given the opportunity to intern at a promotions company (Streetwise Promotions and later Keep It Real Promotions) run by his big cousin Sway, of MTV and Wake up Show fame (who was also his mentor at the time). He helped hold down the streets of the bay doing guerilla marketing for almost 10 years promoting almost every genre of popular music around today. He ascended quickly, landing gigs as a local street rep for labels such as: Loud, 75 Ark, Gee Street, Roc-a-fella, Relativity and Death Row Records...back when no one knew who they were. The connections he made in the promotions game got him a slot mixing on KSJS (San Jose) on Saturday nights and finally on KZSU (Stanford) along side DJ Gemini on Sunday nights. But his eyes were on a bigger prize ... a larger audience. In addition to doing promotions he was hired as an intern at the then bay area radio powerhouse KMEL (when they played real Hip-hop). He started with the Reggae Dancehall Show (Tamu and Saadiki), moved up to the 10 o'clock bomb (Sway) and worked off and on for various other disc jocks (Chuy, Shorty, Davey D, etc). At KMEL, Mere got on the grind and made mix tapes weekly. Most of them were used at events which quickly got him the attention he was looking for. He was soon dubbed the official street team DJ at KMEL. He mixed at various concerts, in- stores, free gas give away’s, school and community events. He also opened for such acts as Wu Tang Clan, Ludacris, Blackalicious, Sadat X, LL Cool J, Hieroglyphics, Living Legends, Zion I, Pharoahe Monch and Busta Rhymes...just to name a few. He also kept the crowds from rioting at the Up in Smoke Tour, KMEL's Summer Jam (several years in a row), The Anger Management Tour, and the Sprite Liquid Mix Tour...just to name a few more. In 2001 Big Von looked out for the kid and he was finally given his own slot and became one of the few...the proud...The All-star DJ's, Mixing alongside of DJ's such as Rick Lee, Scotty Fox, E-Rock, Chris the Rebel, Rolo 1-3 and Mind Motion. Using the buzz generated from his mix show gig, Mere and fellow Oakland Faders DJ's decided to jump head first into the mix tape game. The rest is hood history. Today at age 28 Mere is still heavily on the grind. Banging out mix CDs for Hieroglyphics, The Bum Squad DJs and most recently a weekly gig at AOL Radio on the mixtape channel. Check out the new Opio tour CD "Masterpiece Theatre" and the new A-Plus CD "Plee Mix Volume One" both mixed by DJ Mere, in stores now. Mere is currently a van driver for KISQ, KYLD and an on air mixer for KMEL on School House Knock.
The very thought of turning your radio dial to KMEL on a Friday night
and hearing a Madlib cut fading into an exclusive "Flashin' Lights"
remix might produce cognitive dissonance. Pinch yourself. It's actually
happening. The Oakland Faders' own DJ Mere — who says he's a cousin of
the The Wake Up Show's
Sway Calloway, and apparently shares Sway's knack for knowing what's
hot on the streets and in audio nerd circles — recently garnered his
own Friday night slot on the Bay Area's dominant hip-hop station.
Though relatively new to the game, he launched what has to be the
station's best mix show, if only because Mere plays all the B-sides,
flashbacks, and rarities that you'd normally hear on pirate or college
radio. Since KALX's beloved Cultural Affairs broadcast got bumped from its long-held Sunday morning slot, the School House Knock has become an improbable but workable replacement, particularly for
heads who favor mixes with a real groove and choice song selection. For
anyone with an aversion to Clear Channel, DJ Mere also runs an Imeem
station with some killin' Snoop mash-ups (check out the funk vamp he
sets against "Drop It Like Its Hot"). Obviously this DJ's sensibility
is real underground, but his beats always slap hard enough to suit a
mainstream palette.
Which
brings me to my next point, the idea that having a song in Grand Theft
Auto IV is better than having a hit single. That is something I truly
believe. Why? Because let’s face it, video games have easily supplanted
movies, music, and pretty much everything else in the world of
entertainment as the dominant force of our generation. Let’s stop
comparing Soundscan #’s from irrelevant rappers who can barely string
together a few coherent sentences, let alone an entire album of songs.
Let’s start analyzing console sales figures like THESE. How Nintendo’s Wii is still outselling Xboxes and PS3s.
Let’s
talk about how Grand Theft Auto IV sold 3.6 MILLION copies on its first
day of release. Let’s keep it real, most rappers these days can hardly
get 50 thousand people to buy their **** in an entire YEAR, and that
product costs 10-13 dollars, and can be purchased literally with the
click of a button on your computer. Not only that, but the artists
themselves spend 3-6 months promoting the **** out of it, they have
their songs on the radio every 3 seconds, create all sorts of dumb
viral videos and fictional beefs to drum up hype, and an entire
building of employees (read: what most major label employees spend
their days doing) adding MySpace and Facebook friends, and sending out
stupid bulletins all day long. Pathetic.
Meanwhile you’ve got
this video game in your hands that you paid 50 dollars for, never mind
the console itself, which ran you something like 400, just so you could
play. And you’ve got GTA4, with it’s myriad selection of radio stations
where you can actually (gasp!) hear incredible music. Not just top40
bullshit or whatever Joe Schmoe at Clearchannel punched into the Urban
AC playlist this week. You can hear Funk and Jazz and Rock and Hip-Hop
and Reggae and Disco. I live in New York City, the media capital of the
world, and for the life of me I can’t tell you where on my FM dial I
can actually hear all of the genres I just mentioned. ****, I don’t
think we even have an oldies station here except for CBS FM.
Point
is that when you have access to this music, and you’re engaged in a
game as deep as GTA4, it’s almost impossible to not become connected to
the music on the game’s radio stations. I myself have googled the
soundtrack a bunch of times just to see which songs were playing on
what stations. And you know what, even if I went and downloaded the
particular song I was interested in illegally (which I haven’t, but
just saying), at least my eyes and attention are now on that artist.
And they may make money off me in some other way, be it by going to
their concert, or purchasing their merchandise or whatever. Whereas
with regular radio, how many times can I hear Usher’s “Love In This
Club?” If I’m hearing it 60 times a day, why would I actually buy the
album? I can just turn the radio on. But it costs so much for acts to
get their music on the radio. Rising costs + decreasing % of return on
investment= bad economics.
So I see something like Liberty City
Invasion as this amazing opportunity for Green Lantern to showcase his
music to people who are actually interested, without having to ram it
down their throats (pause) like most people in the rap business do
these days. It’s a zero cost product that sells itself, because it
already served its purpose by being in the game. And if that’s where
people’s attention spans are these days, seems like a no- brainer to
me. Because I don’t know anyone tuned into MTV, BET, or any radio
station to the point where they are giving it their full attention. Not
like they’re giving it to their Xbox, PS3, or Wii. And aren’t those the
type of people you want to be focusing on, the ones who’re actually
paying attention?
Rappers like Joell Ortiz and
Bishop Lamont got their big breaks on tracks from a prominent
videogame's soundtrack. But the reason I used Dan the Automator's album
as an example on the top is because it represents a counterpoint. These
soundtracks, despite excellent guest lists and a talented producer (in
this example, the Automator) don't always work out so well. You can't
always just throw a bunch of rappers together under one producer and
expect that there's always going to be chemistry. I think the
difference between GTA & 2K7's soundtracks is that GTA is an event
game, whereas NBA games are released annually. Any product associated
with Grand Theft Auto will automatically have a selling point and an
guaranteed audience. Which is more than I can say for a lot of albums
these days, which have to include a track to appeal to every possible
audience because they don't know who's buying these albums.
YEA I KNO WAT ITS ABOUT ...I DNT MIND BEIN SEEN ...BUT WHO ASKED FOR UR JOKE!?... U DNT SEE ME GETN ON YO PICS N WAT LOOKS GOOD OR FUNNY!...THAS ALL IM SAYN... U JUS SAID CAMEL TOE LIKE U KNO ME
Thank u for the request, holla back....
Linda03:15 PM PST