Topics

16

Readers Corner - Books / KRS-One Launching Publishing Imprint

« on: January 16, 2009, 05:28:12 PM »

(off hhg)

KRS-One is launching his own publishing imprint on Powerhouse Books. I Am Hip Hop shall serve as a home for cutting-edge, positive material related to the true culture and philosophies of Hip Hop. Dedicated to publishing high-quality books ranging from serious philosophical treatises to urban photography projects or engaging fictional novels.

As originator of the phrase, “I Am Hip Hop,” KRS ONE is a walking embodiment of the cultural practices and moral philosophies of true Hip Hop. The I Am Hip Hop imprint will serve as an outlet for creative expressions of this vibrant and lasting culture. "The I Am Hip Hop imprint will serve as a home for real and true expressions of Hip Hop,” comments KRS ONE. “I commend powerHouse for being brave enough to stand up for real culture."

17

General Discussion / Demos

« on: January 14, 2009, 07:08:15 PM »

Who's Demo Would Still Would Hold Up?

Yesterday's release of the Notorious'soundtrack features some of Biggie Small's (Notorious B.I.G's) original demos. I have yet to hear these demos, but it got me thinking: Having listened to many of the purported top rappers of the past 10 years, which rappers demos would still hold up today, if they didn't already have a "known" name?

This is my list of rapper's who's demos I think would still hold up today without their present name and clout.

1. Kool G. Rap - the real father of crime rap and the "poetic gangsa rap" style. If "It's a Demo" came out now, one could clearly see his talent.
2. Nas - Like him, hate him, whatever, his demo was certainly hold up today. Nobody could front on his skills.
3. 50 Cent - Regardless of what anybody's got to say, 50 Cent still has "a sound". If you knew NOTHING about 50 Cent, didn't know his story, none of the beef, etc., and you had to judge on the demos and mixtapes that led up to Get Rich or Die Tryin, I think it would be hard to deny his abilities and sound!

This is my list of rapper's who's demos I think would not hold up today without their name and clout. PLEASE KEEP IN MIND, the following list does NOT take in account the CURRENT abilities of each rapper.

1. Jay-Z - Imagine Jay-Z pushing a demo around town with his initial rapid pace stutter style... Just picture his and Jazz's song "Hawaiin Sophie" on a mixtape. On the real, Jay-Z was the product of a couple of timely breaks. Consider this fact: It took him from 1987 to 1995 to develop a style even remotely close to what we know of him now! In contrast, consider other top M.C.s initial offerings: Kool G. Rap - immediately dope; KRS-One - immediately dope; Nas - immediately dope; Chuck D - immediately dope; Rakim - immediately dope... Get the picture? Each of these just mentioned M.C.s did NOT take years to develop a base style, nor did they have to undergo a MAJOR overhaul of their initial style.

I'm still formulating my list, but I want everybody chime in...

-Sa'id

18

Producers - Discussion / Room Acoustics

« on: January 09, 2009, 10:43:20 PM »

Learn Your Room; It's Not the Monitors

Picture this.
You're in your room, you're cooking up a beat, it sounds great. The ba** is tight, the treble is balanced right where you want it; everything sounds like a perfect audio collage. So, now you save the beat, track it out, burn it to disk, and make your way out of the lab with a copy for some trusted ears to listen... So you meet up with a fellow beatmaker/producer, you pop the CD in his player, and sit back. You can't wait until he hears the impact of the beat, then...the beat begins to play...and hey, wait a minute. Where's all the bangin' ba**? Where did the fresh clear highs and balanced mids go? After making excuses about why the beat doesn't sound entirely dope, you vow to get some new monitors.

If you can relate, listen up: it's not usually the monitors that's the problem, it's your understanding of the acoustics of the room you make your beats in.

Yep, It's most certainly the acoustics of that particular room!!! Supposedly better monitors will not correct this problem. The only solution is to learn that room or stop making your music in there. Every room has its own unique dynamics - shape, width, length, height of the ceiling, wall density, furniture, etc. Therefore, no two rooms can never sound exactly the same. Hence, rooms have to be learned. You have to learn how the room renders ba** and treble. You have to learn where the room offers the best play back. You have to learn where the room puts out a lot of "slap-back." Once you really learn a room, in tandem with whatever monitors you're using, you'll be good to go.

Here's a way to learn your room. Take five different sounding beats of yours that you know really well, and put them on a CD. Inside of the room that's giving you trouble, listen to each beat and take notes on what you hear. In particular, pay attention to the low and high levels. Determine if the ba** sounds lower or higher, thicker or flatter, distorted or not inside of the room. Then check the conditions of the highs. Are they screaming? Are they barely coming through? Are that just way too flat? As you listen to the deficiencies of each beat that appear inside of the trouble room, make a note of what you need to do to hear things properly in that room. For example, through this cross reference process, you'll know whether to increase or decrease the ba** when you're making a beat in that room. Likewise, you'll know how to tweak the highs and mids.

I've recorded in several different rooms in home before. Each room was WAY different. In some rooms, I had to really boost up everything, especially the ba** because it barely registered on outside playback systems and environments that I trust. In other cases, I had to learn to minimize the low-end because it was distorting and too overbearing on outside playback systems and environments that I trust.

Bottom line: it's not that one room is necessarily better or worse, it's more about how well you know the manner in which a particular room renders sound.

-by Sa'id

19

General Discussion / Ra** Ka** Says...

« on: January 09, 2009, 10:40:02 PM »

Hey Young World,
(actually, half the rap games name is "Yung" nowadays. lol)

What up everybody! Happy New Years, I hope your 2009 (and especially mine) is better than 2008!! God willing...

Well, with the year winding down we get to the inevitable list of lists: you know, from NewsWeek to Entertainment Weekly, the lists of top this, and top that... countdowns; all of the lists -essentially opinions- but for the most of them given some degree of legitimacy becuz they were compiled by "experts" in their perspective medium/field. And now, with the culmination of the Entertainment Industries "Top" list; the Academy Awards, I'm reminded of the age old debate (argument really) held in barbershops around the world; Raps search for the elusive and exclusive GOAT!
Now when I mention GOAT, the fact is that its arguably impossible to pick just one, single MC but just the process people use to the Top 20 names on a list of of prospective GOATS is what..pun intended, gets my goat. lol

For starters, rappers are one of the only groups in the Entertainment Industry (American job force really) who have no Union or Guild. Thus, they are easily pit against one another by labels, lawyers, etc... and have no unified voice. Which means, unlike the movie Industry (Actors/Actresses) we have no way to gauge who our "peers" and contemporaries regard as doing exemplary work. The result is Validation by Soundscan which is actually a contradiction in terms; compared to an Academy Awards who merits "greatness" and is peer driven, a Grammy is based on consumers, not "experts" and more akin to a Peoples Choice Award. Hardly as exclusive and of aesthetic value. (No Disrespect)

Academy award (best actor, best actress, best movie) winners actually tend to be under-performers at the box office. The same way alot of the more avante garde/creative/lyrical hip hop albums tend to be relegated to the "underground." Whic was fine apparently in the beginning..remeber Q-Tip, "rap is not pop, if you call it that stop"? Everybody from NWA to De La Soul stressed not "selling out."
Unfortunately, once some of our more outstanding (lyrical) MC's also achieved commercial success they became a little hypocritical,and set the bar ridiculously high saying " You're not great if you dont sell 5 million albums like I did" But these same people were given "great" status before they hadplatinum albums based soley on thier talent. But we all fell for it, and somewhere down the line weve found out that weve lost our way..

There are many awards shows in rap. Each with its own agenda, politics, and bias: Source Awards (remember Benzino?) XXL (remember the Eminem beef), Ozone (southern-centric) BET (ditto) Grammy's (RIAA) etc... but no one, true quintessential show that fairly covers the full spectrum and diversity of hip hop. Id love to be at the award show where JayZ gives a rookie of the year award to Elzhi or Nelly giving out a "Lifetime Achievment Award" to the family of Marlon Brando (RIP) of the Sporty Thievez (who in my opinion is the greatest true hero of hip hop, every major rap magazine dropped the ball and continue to drop it with his pa**ing. Sorry, he wasnt "HOT", shameful)

So what is the criteria for judging the GOAT? I mean, at some point you do have to a**imilate commercial success based on the social impact and relevance a rapper has. But is it long term or fleeting? Kwame had gang members rockin polka dots! Deada**.. But that was so ephemeral. (Again, no disrespect) Wheras, the impact of Tupac Shakur can still be registered today; you saw Pac in his contemporaries from DMX, Ja Rule to newer artists like Plies. JayZ has a legitimate claim, " Jigga held it down for six summers....damn" He garnered the respect of his peers lyrically, polarized the streets and move the units to become a mogul. Eminem has the legs to stand on too in sheer units sold per album - the boy did diamond (10 million) 3 out of 4 albums! He who coined the term of course, LL: 13 Albums! He made Def Jam. "Im Bad!"
And again, thats where record sales being the premise to judge relevance or importance is a crock of shit. If we calim for GOAThood based strictly on that, then you have to automatically put these rappers in your top 20 List:
Young MC
Vanilla Ice
Souljah Boy
MC Hammer

again no disrespect but it underscores how outlandish records sales are for induction into HIP HOP HALL OF FLAME. Not discounting sales totally, you do have to get in the league to play in the ALL STAR GAME.lol
So Id go as far as to try to name judging criteria for the HALL OF FLAME to eventually determining the GOAT.

Musical Factors:
1. Orginality
2. Volume of Work (or lack of it)
3. Song/Album Concepts
4. WordPlay
5. Consistency/Growth
6. Live Performance
7. Style/ Delivery
8. Freestyle Ability
9. Guest Appearances (Murk Outs)
10. Peer Impact/ Relevance
11. Club/Street "Bangers"

Personal Factors:
1. Charisma (Swagger)
2. Mogul Moves (upward mobility)
3. Consumer (social impact)
4. "Ghostwriterless-ness"

( I encourage you to add or amend these criteria in your comments as you see fit.)

I think 10 is very important – you cant be the greatest if you get bodied on your own songs.


I hope I have created a dialogue with a sensible foundation. Have a Happy New Year!

One Mic,
-Ras

20

Producers - Discussion / MPC Users

« on: January 05, 2009, 09:27:04 PM »

Akai MPC Functions: Mono vs. Stereo Sampling

By Cary Clark

The sampling function is perhaps the most used function on an MPC. When you get into the sampling menu and you’re looking at the “record” screen, there are a couple input options (depending on which MPC model you have). There’s “stereo”, “mono left”, “mono right”, “main out”, and “digital”. For the purpose of this tutorial we will disregard the digital and main out options.

O.K., now listen up: it is a common misconception that stereo sampling produces a higher quality sample and a fuller sound than mono. This is simply not true. Stereo refers to having two discrete channels of output that we know as our left and right speakers. If the sound you are trying to sample comes from a prerecorded source and is panned all the way to the left then it is a mono sound. This is why it can be beneficial to sample the sound in mono left and use the mixer function to pan the instrument to a different location in your song. If the instrument on the source is paned hard left and the reverb of the instrument is panned hard right then the sound has a stereo image because each channel has information that is unique to one another while they both contain content relevant to the instrument.

I used to sample everything in stereo, until I realized that doing this used a ton of memory and extra tracks. Because of this I was also making panning decisions before I even began making my beat, and I also found that I was limiting myself. I now sample a lot in mono so that I have greater control of the ultimate stereo image when I mix the beat. Sampling in mono opens a lot of doors for isolation. Sometimes the instrument you wish to sample is covered by other sources that you don’t wish to record. Depending on where information is panned it can be possible to further isolate the instrument for a clearer signal. If you sampled a bunch of stuff in stereo already don’t worry, depending on your MPC model it is possible to resample just one channel of the recording, (I will cover this in a later post).

As for recording in stereo, it is an incredible tool but requires some critical listening. When you’re sampling something, be sure to study the left and right channels. If you find that the source produces a more interesting image than the left or right channel alone, stereo sampling is the proper option. Just keep in mind that in a multilayer stereo sample your instruments are prearranged across the stereo field and you will most likely want to add your samples in the respective places. For example, if you sample a horn and drum duet Jazz record in stereo and the drums are paned more to the left channel it may sound strange to place another kick and snare in the center.

21

General Discussion / To Sample or Not to Sample That is the Question!?

« on: January 05, 2009, 06:32:03 PM »

Finally a solid article on the topic!

By Sa'id

To really understand present copyright law, as it pertains to sampling, there are to things you must understand. First, the history of copyright law in America...

The present U.S. Copyright Law has undergone so many changes that most people wouldn't recognize it. For instance, did you know that there was a time where copyright protection did not extend pa** 8 years? Prior to the invention of recorded music, literary works were protected for just 8 years. After that, it was fair game. Think about that and ask yourself why?
As publishing companies emerged, republishing works - some by author's who work they bought outright and others who's works protection had simply expired - they consistently and rather successfully lobbied congress to make sweeping and significant changes to U.S. copyright law. In time, copyright law grew into the notion of "intellectual property rights". Now, please keep in mind that this term did NOT always exist... The notion of "ownership", with regards to literary works was a ambiguous question that swayed back and forth between an author of a work and a publisher who published a particular version of that work!

Next, to understand sampling in hip hop/rap correctly, one must first understand the context from which hip hop/rap music was created. Chief among the factors that made hip hop/rap possible in the first place was the industry-wide, long practiced tradition of versioning. Technology, in particular digital samplers, simply made more efficiently possible what had already been going on in the music industry...

Thus, the concept of what is or isn't the intellectual property of someone becomes mute, if the context of this question isn't properly considered. The effort and expense put into a work does not usurp the ability of someone to make a transformative, transgressive, and/or utterly unrecognizable derivative work - which for the most part is exactly how hip hop/rap beatmakers/producers use pre-recorded sounds...

Indeed, more than 100 years ago this question was already settled: one could not copyright an idea of music, but only a fixed ordered sequence of notes; anything considerably rearranged and obviously distant from the original work and the intent of the original work was not protected. Why? Because even back then, before recordings even existed, it was well understood that creative works where necessary to the development of future creative works. In short, it was understood that all creativity in and of itself is derivative; the question of copyright rests in one completed, 'frozen' form - at the time this was sheet music.

Musicians have always been able to incorporate ideas and actual phrases from other songs into their own. But the problem for which our generation is still grappling with deals acutely with the creation of phonorecords (recordings)... Bottom line: copyright law has not been updated to accommodate sampling technology. Oh, and keep this in mind, there is NO clause in current U.S. Copyright Law that expressly says that sampling is illegal! Why? Because Congress has yet to appropriately deal with the issue. Instead, they have left this for the courts to settle, (exemplified by the precedent set back in the 1992 Grand Upright Music, Ltd v. Warner Bros. Records Inc./Biz Markie Case). But guess what, the courts really didn't settle a damn thing, and well, sooner or later (probably sooner, if I have anything to do with it), Congress will have to appropriately deal with this matter.

Note to the above. This is a broad subject with many critical details, far too many for me to outline here in this post. But it is my hope that what I have written here has at least prompted you to begin looking at this issue in a new light. Also, I have written extensively about this, and will soon publish a book on the subject, entitled Bright Line Sample Rule: Hip Hop/Rap Music, The Art of Digital Sampling, and the Need for Fair Use Sound Recording Copyright Revision, as well as Sample Clearance Regulation. Hopefully, my book will help shed more clarity on this matter.

22

General Discussion / Handbook Re-up

« on: January 04, 2009, 11:46:06 AM »

here is a re-up of the book originally posted by e.k.k.s...very helpful!

The Rapper's Handbook.pdf

23

AG Wire / Weezy Copyright Lawsuit

« on: December 17, 2008, 07:21:44 PM »

Lawyers for rap star Lil' Wayne have requested additional time to review documents in a copyright infringement lawsuit filed against him last May.

According to the a**ociated Press, a federal lawsuit claimed Weezy did not have the right to sample Karma Ann Swanepoel's song "Once" for his song "I Feel Like Dying."

Attorneys asked a New Orleans judge today (December 16) for an extension until Friday (December 19) before they are required to turn over all documents to plaintiff Urband & Lazar Publishing.

The suit reportedly states Cash Money Records originally attempted to negotiate a license to use the Swanepoel record but were unsuccessful. Over a million people were able to download "I Feel Like Dying" sampled track.

(off sohh)

24

Movie Talk / The Day the Earth Stood Still

« on: December 11, 2008, 11:34:27 PM »

looks crazy, some keanu all over again! its like war of the worlds, meets independence day, meets i am legend!

25

General Discussion / Pre - H3

« on: December 07, 2008, 09:57:36 AM »

These are a couple of joints The Holstar has been working on during '08...a couple of remixes and collabos, different producers and artists from Zambia and around the globe - This is the Prequel to the album - 'H3 - Love Me Or Hate Me'

            The Holstar - H3QUEL
LINK REMOVED/download/52343274fa2e9863/
Tracklisting:-
01 - The Holstar Vs Dark Energy [Produced by Divine]
02 - Stepping Stone (Remix) Feat.Praverb [Produced by The Holstar]
03 - African Woman (Hot Thing Remix) [Produced by Will.I.Am]
04 - Raw Feat.J-Rox [Produced by Big Ssyno]
05 - None of Your Concern Feat.Dyplomat [Produced by Pope]
06 - Real Feat.Al Kani [Produced by Pesticide]
07 - Take Us There Feat.Dope G [Produced by Poizon Hertz]
08 - Lyrical Exercise (Remix) Feat.Young N9ne,Lyricist [Produced by Pope]
09 - Murder Music (Remix) Feat.Al Kani [Produced by Pesticide]
10 [Bonus Joint] Ryan.C a.k.a The Arkitect
http://www.myspace.com/therealholstar

Enjoy!

26

Hip Hop Events / Hip Hop Foundation Zambia (AGM)

« on: November 28, 2008, 09:52:38 PM »

Date:Saturday December 13th 2008
Time: 14:00Hrs
Venue: Plot 4145, Nkanchibaya Road Rhodespark, same road as Zambeef! (its a blue gate and new trendsetters/media 365 offices)

AGENDA
1. Recruitment of new members
2. Reports on what has been achieved and what needs to be done for the future
among other business to be discussed...

27

General Discussion / Theater of the Mind

« on: November 28, 2008, 09:04:31 PM »

Premo on Luda


Swizz Beats for Theater of the Mind


q & a

28

General Discussion / John Forte is a Free Man!

« on: November 25, 2008, 07:07:34 PM »

By Charlie Rem

President George W. Bush has pardoned rapper John Forte, an affiliate of the Fugees, who has been serving prison time for smuggling drugs, sources told AllHipHop.com.

Forte was one of 14 persons that Bush has pardoned or granted commuted prison sentences.

This wave of White House pardons is Bush's latest, as he has less than two months in his presidency. A pardon cannot be overruled.


Forte was arrested at Newark International Airport in 2000 and charged with possession with intent to distribute cocaine and conspiracy to distribute. Police caught him accepting a briefcase with about $1.4 million worth of liquid cocaine in it.

Forte was hit with a 14-year sentence in a federal penitentiary under minimum sentencing laws even though it was his first offense and he was a non-violent offender. He began his bid in jail in 2001 and has fought the laws vehemently.

Through the ordeal, he maintained his innocence and turned down a plea deal.


John Forte has released two albums, Poly Sci and I, John.

John found an ally in legendary singer Carly Simon and her son Ben Taylor, both close friends. Forte lived at Simon's estate in Martha's Vineyard for about six weeks in 1999 and even spent the Thanksgiving and Christmas holidays with the family. Simon and Taylor have lobbied on Forte’s behalf since he was incarcerated.

Much speculation has been made of others Bush may opt to pardon. Most of these involved those that government employees that may have unjustly interrogated suspected terrorists in the aftermath of the September 11, 2001 attacks on the World Trade Center.


A pardon of these cases would severely impede president elect Barack Obama from investigating such crimes.

29

AG Wire / Immortal Technique To Aid Children In Afghanistan

« on: November 19, 2008, 06:29:01 PM »

Immortal Technique will perform Nov. 20 in San Francisco at the DNA Lounge to raise funds for Omeid International, a human rights organization. The money raised will aid Omeid International’s plans to construct a medical center and medical center in Kabul, Afghanistan. In addition to the performance, Technique is also putting up $10,000 of his own money and traveling to the region to make sure construction is completed.


“My people this was not brought to you by some corporate sponsor, nor was it manufactured by some organization that takes 60% of the $ donated for “administrative” purposes. I am not a millionaire. I am not a movie star or a charity organization. I am just a man that heard the call and responded,” Technique said of his involvement.

Set for a March 2009 opening, the Amin Institute will aid in the care and rehabilitation of some two million orphaned and 60,000 homeless children in Afghanistan. Safe housing, medical care, education and psychiatric services will be provided to twenty displaced children.

30

Hot Traxxx / 3rd Eye - Leftovers.

« on: November 14, 2008, 06:39:31 PM »

nice emcee from malawi!