I should have posted this when i first saw it

BAT FOR LASHES from www.theinstitute.cl on Vimeo.

I LOVE BAT FOR LASHES !

Its been a long ass time

For those who actually read this blog for the first time or reading this now I just wanna say thanks for actaully caring but besides all the sappy shit all i gotta say is IM baaaaaaaaaaaack mu'fuckas

and oh yea

REST IN PEACE MICHAEL JACKSON

He wasn't the best
He wasn't the greatest
HE WAS MUSIC

Classic Materials : Eleanor Rigby

peep the animation , don't the people move like the backround characters from sega genisis games

Classic Material : Nina Simone -Ain't Got No...I've Got Life

Truly one of God's most Wonderful creations

SORRY ....BUT HE GIVES ME NO CHOICE

I APOLOGIZE IF YOU THINK THAT I'M HOPPING ON THE BACKPACKER MAINSTREAM BANDWAGON BUT I'VE BEEN SPITTING SINCE THE FIFTH GRADE SO UMMMM........FUCK YOU
THATS ALL I WANTED TO SAY, THANK YOU

Bun B Feat. Sean Kingston - Thats Gangsta

Now I know for a fact Hip Hop ain't dead
Rip Pimp C Ugk 4 life
Now He up there with all the other Legends
Thats Trill 4 Real !!!

Good Muisc The Roots - Rising Up

Something Great for your soul

I have been a fan since Brooklyn Babylon
Black Thought is one of the last best MC's Left
Chrisette Michelle is Gorgeous and has such a distinct sound like an Eryaka Badu and Jill Scott

And Wale is truly ( now listen ) A breath of fresh air in a time were so called Conscience Rap / Hipster Hop (and who ever embraces that term is an embarrassment not only to the culture but also to themselves if they consider themselves a true child of a Lifestyle that so many before us has sacrificed their own so we can not be tied down to only a certain sound or genre of OUR OWN MUSIC.)

Anyway its a Great Record Im glad that in this day and age we still have something real to feel

Producer of the Week : Salaam Remi

Salaam Remiis one the dopest music producers of our time. He is known hor hots like Lil' Flip's "I Need Mine," Ini Kamoze's "Here Comes the Hotstepper," The Fugees' multi-platinum The Score LP, and Toni Braxton's "You're Makin Me High." Most recently, he contributed some tracks to Jurassic 5's 2006 LP Feedback and Nas's 2006 album Hip Hop is Dead.Personally his work on Nas' God Son is when I first heard Salaam's work and was very impressed. He is also credited for a lot Production on Amy Winehouse's Frank and Back to Black albums

Mary And Hov- My space interveiw

Check out this video: Jay Z and Mary J. Blige On Tour- MySpace Exclusive



Add to My Profile | More Videos

aww man I actually feel real humbled watching this interview . When you have 2 our cultures greatest asrtist come together and do something so Grand it really shows what we can do if we could just all come together as a people Das some real shyt B

Classic Material :Trans Df Express- Dungeon Family

They all need to do an album like right now

Producer of the week ( Im like 2 weeks late but please dont rush me with all your hate comments Gessh ) - Pete Rock

Pete Rock (born Peter Phillips, June 21, 1970[1] in Bronx, New York) is an American hip hop DJ, producer and rapper, of Jamaican descent. He rose to prominence in the early '90s as one half of the critically acclaimed group Pete Rock & CL Smooth. After the duo went their separate ways, Rock continued with a [2] solo career that has garnered him worldwide respect, if little in the way of mainstream success. Rock played a major role in the merging of elements from jazz into hip hop music, along with Stetsasonic, A Tribe Called Quest, The Roots and Gang Starr. Considered one of the greatest hip hop producers of all time[3][4][5], he is often mentioned alongside DJ Premier, and RZA, as one of the mainstays of 1990s East Coast hip hop production. Pete Rock is also the older brother and younger cousin, respectively, of rappers Grap Luva and Heavy D.

Pete Rock builds his beats from samples, the majority of which are taken from obscure R&B, funk, and jazz records. Early on in his career he would also sample drum breaks such as Black Heat's "Zimba Ku" for Heavy D & The Boyz's "Letter To The Future".Pete Rock useing AKAI MPC. Pete Rock tends to use the samples as palettes for his beats, chopping (cutting the sample into smaller parts), filtering (altering the frequencies of the sample), and layering several samples, often within the same song.

While this technique was applied long before Rock (on De La Soul's Three Feet High and Rising or the work of The Bomb Squad for example), Rock's work is distinctive for the way in which he uses samples to achieve a hazy, droning effect. He is also noted for his resonant basslines, horn samples, and gritty sounding drums. His beats will sometimes sound as though they were being played from an old vinyl record. Much of this has to do with the fact that he samples many of his sounds straight off vinyl records, as he mentions in this interview.

Another trait of his, more so in the earlier part of his career, is the way he uses horn samples to supplement his grooves. With perhaps the most famous example being "They Reminisce Over You (T.R.O.Y.)" (on which he uses a horn sample from Tom Scott's "Today"), Rock has also used horns on several other productions such as "Straighten It Out", Public Enemy's "Shut 'Em Down", Rah Digga's "What They Call Me", and A.D.O.R.'s "Let It All Hang Out".

Along with Gang Starr, The Roots and A Tribe Called Quest, Pete Rock played a large role in the fusing of jazz and funk music into Hip hop. The aforementioned "Reminisce..." withstanding, Rock used many jazz samples on his album Mecca and The Soul Brother, such as Cannonball Adderley's "Country Preacher", for the song "Return of the Mecca", or "Capricorn" for the song "In The House" from The Main Ingredient.

Pete Rock's heavy use of intro and outro beats has also been widely influential. To introduce feature songs, he often plays a short instrumental excerpt, completely different from the rest of the song. Aside from their role as transitions, these are widely regarded as a way of displaying his large collection and as a challenge to other hip-hop producers to identify the records that the breaks come from.[11] Mecca & the Soul Brother and The Main Ingredient use intro/outro beats on nearly every track to great effect, and the tradition continues to the present on Rock's recent releases.

Hip Hop Culture Center - Rapathon

Hip Hop Culture Center wants to inform all rappers that there will be an extra day added to scheduled audition dates. Today and Thursday, April 24th will be the last days to audition for the Rapathon. As you know last year we got over 100 emcees to perform, at this time we are only 30 rappers short so we ask that you spread the word. Please notify friends, family, and co-workers who would be interested in showcasing their talent. For people who are creating their own teams, all members must audition in order to participate. Newsflash whoever is the hottest, strongest, best performer at the Rapathon will have their own video shot, produced, and directed by Ralph McDaniel’s and it will premiere on Video Music Box.

Stalley - Goin APe mixtape release party

and I be there with my ol trusty killa cam

Classic Material : Q-Tip lets ride

Peace to A Tribe called Quest

Jay-X

What more can I say ?

R.I.P J Dilla : Producer of the week ( Exclusive)

I usually get my info from wiki but todays case I gotta write my own post. Honestly this should have been the first producer of the week but I want to pay my respect to the none other Godfather of "BackPack Rap " J Dilla . Dilla is to us "BackPackers" what Dre is to gangster music. to be honest being that i was young and dumb I did not take adavatage of Dilla's music while he was alive but still I recognize the importance of such a man especailly one who was still doing beats on his Death bed

So I would just leave yall with the rest of the info from wiki but i justed to show my respect


James Dewitt Yancey (February 7, 1974–February 10, 2006), better known as J Dilla or Jay Dee, was an acclaimed hip-Hop producer who emerged from the mid-1990s underground Hip-Hop scene in Detroit, Michigan. He began his career as a member of the group Slum Village, and was also a driving force in the production trio The Ummah. Yancey started his career under the name Jay Dee (based on his initials) but used the name J Dilla from 2001 onward. Many critics believe J Dilla's work to have had a major influence on his peers[1] and that he embodied the neo soul sound, playing a defining yet understated role during the sub-genre's rise (roughly from the mid-90s to the early 2000s). J Dilla was often dubbed "your favorite producer's favorite producer," and was highly regarded by mainstream artists and producers such as Common, Kanye West, A Tribe Called Quest, Just Blaze, Busta Rhymes, Pharrell Williams, Madlib, The Pharcyde, Slum Village and ?uestlove.

In 1992, he met experienced Detroit musician Amp Fiddler, who was impressed by what Jay Dee was able to accomplish with such limited tools. Amp Fiddler let Jay Dee use his MPC, which he learned quite quickly. In 1995, Jay Dee and MC Phat Kat formed 1st Down, and would be the first Detroit hip hop group to sign with a major label (Payday Records) - a deal that was ended after one single when the label folded. That same year he recorded The Album That Time Forgot with 5 Elementz (a group consisting of the late Proof, Thyme and Mudd).

By the mid 1990s Jay Dee was known as a major hip-hop prospect, with a string of singles and remix projects, for Janet Jackson, Pharcyde, De La Soul, Busta Rhymes, A Tribe Called Quest, Q-Tip's solo album and others. The majority of these productions were released without his name recognition, being credited to The Ummah, a production collective composed of Q-Tip and Ali Shaheed Muhammad of A Tribe Called Quest, and later Raphael Saadiq of Tony! Toni! Toné!. Under this umbrella, Jay did some of his most big name R&B & Hip Hop work, churning out original songs and remixes for Janet Jackson, Busta Rhymes, Brand New Heavies, Something For the People, trip-hop artists Crustation and many others. This all came off the heels of Jay handling the majority of production on The Pharcyde's album Labcabincalifornia, released in the holiday season of 1995. Jay Dee's largest-scale feat came in 1997 when he contributed production work on Janet Jackson's hit single "Got Til It's Gone" from The Velvet Rope album. However any buzz that could have been built for Jay Dee and/or further buzz for The Ummah collective was deadened when the song was mysteriously credited to Jimmy Jam and Terry Lewis in the liner notes for the album.

I seen this on miss info's blog but aint no way I was'nt posting this

This is so Borat

Might as get into it Producer of the Week : Kanye West

West was born in Atlanta, Georgia, where he lived with both of his parents. When he was three years old (as mentioned in "Hey Mama") his parents divorced, and he and his mother moved to Chicago, Illinois. His father was Ray West, a former Black Panther who was one of the first black photojournalists at the Atlanta Journal-Constitution, and is now a Christian counselor.[6] Kanye's late mother, Dr. Donda West, worked as a Professor of English at Clark Atlanta University, and the Chair of the English Department at Chicago State University before retiring to serve as Kanye's manager. He was later raised in an upper middle class background, attending Polaris High School[7] in suburban Oak Lawn, Illinois after living in Chicago.[8]

Kanye took some art classes at the American Academy of Art, a Chicago art school, and also enrolled at Chicago State University, but eventually dropped out due to poor grades and in order to continue working on his music career. While attending school, West produced for local artists. He later gained fame by producing hit singles for major hip hop/R&B artists, including Jay-Z, Talib Kweli, Cam'ron, Paul Wall, Common, Mobb Deep, Jermaine Dupri, Scarface, The Game, Alicia Keys, Janet Jackson and John Legend among others. He also "ghost-produced" for his once mentor Deric Angelettie according to his song "Last Call" and the credits of Nas' "Poppa Was a Playa."

West's style of production often utilizes pitched-up vocal samples, usually from soul songs, with his own drums and instruments. The first major label song he produced was The Truth by Beanie Sigel, and his first major release featuring his trademark vocal sampling style was "This Can't Be Life," a track from Jay-Z’s The Dynasty: Roc La Familia. West said he sped up the drum beat of Dr. Dre's "Xxplosive" to use as a replacement for his drums on "This Can't Be Life."[9]

West has said that Wu-Tang Clan producer RZA influenced him in his style,[10][11] and has said on numerous occasions that Wu-Tang rappers Ghostface Killah and Ol' Dirty Bastard were some of his all-time favorites. Said by Kanye West: "Wu-Tang? Me and my friends talk about this all the time… We think Wu-Tang had one of the biggest impacts as far as a movement. From slang to style of dress, skits, the samples. Similar to the [production] style I use, RZA has been doing that

Classic Song : 2Pac - If my homies call

A Bathing Ape Teriyaki Boyz "Zock On" Pack

Japanese hip-hop group Teriyaki Boyz are well on their way to international recognition. Their relationships with A Bathing Ape founder and resident DJ, Nigo has landed them cross-Pacific collaborations with the likes of Pharrell Williams and Busta Rhymes on their latest album "Zock On". To commemorate the CD's release, a package was put together including both the CD and A Bathing Ape t-shirt featuring the CD album's artwork

-HypeBeast