Hero1

no1's here so i guess its next week

Yeah I love the tracks on his first album too.. classic 1987.. reminds me of whodini/jjfp.. the guy can rap .. its funny he's always in sunglasses like musiq because of his lazy eye

http://www.mp3.com/news/stories/9623.html http://www.planetnotion.com/features/jazzy_jeff.html http://www.justlikehiphop.com/interview.ph...25d008350885b59

http://vids.myspace.com/index.cfm?fuseacti...iendID=23654136 man dj kool OWNS the call & response.. :wickedwisdom: :wickedwisdom:

No.. do you know any new zealand promoters? i know he toured there back in 2003

Alright man we'll be there! maxfly hasn't done 1 in ages too..maybe he can make sept 9

Hey AJ, I always loved that black coffee remix you sent me..but I thought it was from his latest albums.. actually thought it was on waterbed hev.. that big daddy track from the album i used to like saw the video a lot back in 97.. anyway i was listenin to black coffee again and i thought i gotta track down this album.. didnt realise the track was produced by pete rock! makes a lot of sense.. I had actually never heard that nuttin but love album..and I've got no idea why.. I never went past peaceful journey for heavy d..what an album.. anyway i got nuttin but love..this album is fantastic!! title track is one of my fav heavy tracks.. althought hip hop in 07 is woeful for me.. finding albums like main source breakin atoms and this heavy d album reaffirms why i love hip hop.. i somehow missed these classics.. Will and Heavy D are good friends..and man he lost sum weight! It would be awesome if they did a track together..

add me to your buddy list.. : hierohero

This is such a good track.. I wish Heavy D did a new album... http://www.youtube.com/watch?v=dhnfyz37SVo

Thanks for the review.. I gotta get this. I love jazz/rap :signthankspin:

awesome!

guest..register! they can't drive that fancy car when their advance is gone..

you've been on a youtube frenzy lately :2thumbs: :lolsign:

only works in internet explorer from my experience

Cannabis smoker blamed for seven-death crash Dan Harrison August 23, 2007 - 10:37AM A coroner has found the principal cause of a car accident in which seven people were killed was the consumption of cannabis by one of the drivers shortly before the crash. Seven people from four families died when a sedan driven by Max Purdue, 38, failed to give way at the intersection of the Borung Highway and the Donald-Swan Hill Road near Donald in the state's north-west. Mr Purdue's sedan collided with a van carrying Graham and Kath Millard from Heywood, in western Victoria, in September last year. Killed were Mr Purdue, his son's girlfriend Mandy Niblett, 17, his friend Daniel Kelly, 37, and Mr Kelly's children Gavin, 8 and Natalie 7. Delivering his findings on the death this morning, the corner, Victoria's Chief Magistrate Ian Gray, concluded that Mr Purdue's driving was "the principal cause of the collision". He said Graham Millard, who was driving the van, was not at fault. Earlier the inquest was told a toxicology test on Mr Purdue showed cannabis' active component, THC, in a concentration of 44 nanograms per millilitre. Dr Morris O'Dell, a senior forensic physician from the Victorian Institute of Forensic Medicine gave evidence that he had never seen a THC concentration so high in more than 15 years as a forensic physician. He said it was possible to be confident that a person with such a level of THC in the blood would have been smoking cannabis less than an hour earlier and would still be affected by the drug. Outside the court Kevin Millard, who lost both his parents in the collision, said he hoped it would stand as a warning of the dangers of using drugs with driving. "I'd just like for the message to get across that drugs and driving is very, very dangerous. "If that wasn't involved, this tragedy wouldn't have happened." Mr Millard said he was "angry" at Mr Purdue "but there's no use holding that against anybody". He said the coroner's finding that his father was not at fault was "a weight off my shoulders". "I always had it in my own mind that Dad was innocent but until the truth comes out nobody else knows that."

yep 10PM UK

dope work dex thanx for puttin it up :thumbsup:

Skype http://www.skype.com podcast time is Sunday 5PM EST US

Chris that podcast was popular because of Lerkot.. not you :kekeke:

yeah.. no problem

I'll be up for one..we can also talk about K-Smith!

Friday, Aug. 17, 2007 Hip-hop's Down Beat By Ta-Nehisi Coates When the political activist Al Sharpton pivoted from his war against bigmouth radio man Don Imus to a war on bad-mouth gangsta rap, the instinct among older music fans was to roll their eyes and yawn. Ten years ago, another activist, C. Delores Tucker, launched a very similar campaign to clean up rap music. She focused on Time Warner (parent of TIME), whose subsidiary Interscope was home to hard-core rappers Snoop Dogg and Tupac Shakur. In 1995 Tucker succeeded in forcing Time Warner to dump Interscope. Her victory was Pyrrhic. Interscope flourished, launching artists like 50 Cent and Eminem and distributing the posthumous recordings of Shakur. And the genre exploded across the planet, with rappers emerging everywhere from Capetown to the banlieues of Paris. In the U.S. alone, sales reached $1.8 billion. The lesson was Capitalism 101: rap music's market strength gave its artists permission to say what they pleased. And the rappers themselves exhibited an entrepreneurial bent unlike that of musicians before them. They understood the need to market and the benefits of line extensions. Theirs was capitalism with a beat. Today that same market is telling rappers to please shut up. While music-industry sales have plummeted, no genre has fallen harder than rap. According to the music trade publication Billboard, rap sales have dropped 44% since 2000 and declined from 13% of all music sales to 10%. Artists who were once the tent poles at rap labels are posting disappointing numbers. Jay-Z's return album, Kingdom Come, for instance, sold a gaudy 680,000 units in its first week, according to Billboard. But by the second week, its sales had declined some 80%. This year rap sales are down 33% so far. Longtime rap fans are doing the math and coming to the same conclusions as the music's voluminous critics. In February, the filmmaker Byron Hurt released Beyond Beats and Rhymes, a documentary notable not just for its hard critique but for the fact that most of the people doing the criticizing were not dowdy church ladies but members of the hip-hop generation who deplore rap's recent fixation on the sensational. Both rappers and music execs are clamoring for solutions. Russell Simmons recently made a tepid call for rappers to self-censor the words nigger and bitch from their albums. But most insiders believe that a debate about profanity and misogyny obscures a much deeper problem: an artistic vacuum at major labels. "The music community has to get more creative," says Steve Rifkin, CEO of SRC Records. "We have to start betting on the new and the up-and-coming for us to grow as an industry. Right now, I don't think anyone is taking chances. It's a big-business culture." It's the ultimate irony. Since the 1980s, when Run-DMC attracted sponsorship from Adidas, the rap community has aspired to be big business. By the '90s, those aspirations had become a reality. In a 1999 cover story, TIME reported that with 81 million CDs sold, rap was officially America's top-selling music genre. The boom produced enterprises like Roc-A-Fella, which straddled fashion, music and film and in 2001 was worth $300 million. It produced moguls like No Limit's Master P and Bad Boy's Puff Daddy, each of whom in 2001 made an appearance on FORTUNE's list of the richest 40 under 40. Along the way, the music influenced everything from advertising to fashion to sports. The growth spurt was fueled by sensationalism. Tupac Shakur shot at police, was convicted of sexual abuse and ultimately was murdered in Las Vegas. But Shakur both alive and dead has also sold more than 20 million records. Death Row Records, which released much of Shakur's material, was run by ex-con Suge Knight and dogged by rumors of money laundering. But between 1992 and 1998, the label churned out 11 multiplatinum albums. Gangsta rappers reveled in their outlaw mystique, crafting ultra-violent tales of drive-bys and stick-ups designed to shock and enthrall their primary audience--white suburban teenagers. "Hip-hop seemed dangerous; it seemed angry," says Richard Nickels, who manages the hip-hop band the Roots. "Kurt Cobain killed himself, and rock seemed weak. But then you had these black guys who came out and had guns. It was exciting to white kids." Hip-hop now faces a generation that takes gangsta rap as just another mundane marker in the cultural scenery. "It's collapsing because they can no longer fool the white kids," says Nickels. "There's only so much redundancy anyone can take." Artists who never jumped on the gangsta bandwagon point the finger at the boardroom. They accuse major labels of strip-mining the music, playing up its sensationalist aspects for easy sales. "In rock you have metal, alternative, emo, soft rock, pop-rock, you have all these different strains," says Q-Tip, front man for the defunct A Tribe Called Quest. "And there are different strains of hip-hop, but record companies aren't set up to sell these different strains. They aren't set up to do anything more of a mature sort of hip-hop." Of course, gangsta rap isn't a record-company invention. Indeed, hip-hop's two most celebrated icons, Shakur and Notorious B.I.G., embraced the sort of lyrical content that today has opened hip-hop to criticism. And the music companies, under assault from file-sharing and other alternative distribution channels, are hardly in a position to do R&D. "When I first signed to Tommy Boy, [the A&R person] would take us to different shows and to art museums," says Q-Tip. "There was real mentorship. Today that's largely absent, and we see the results in the music and in the aesthetic." That result is a stale product, defined by cable channels like BET, now owned by Viacom, which seems to consist primarily of gun worship and underdressed women. During the past decade, record labels have outsourced the business of kingmaking to other artists. Established stars Dr. Dre and Eminem brought 50 Cent to Interscope. Jay-Z founded his own label, cut a distribution deal and began developing his own roster. But most established artists do little development. That leaves the possibility that hip-hop is following the same path that soul and R&B traveled when they descended into disco, which died quickly. No longer able to peddle sensation, rap's moguls are switching tactics. Simmons, while still something of a hip-hop ambassador, is hawking a new self-help book. Master P, whose estimated worth was once $661 million, watched his label, No Limit, sink into bankruptcy. He recently announced the formation of Take a Stand Records, a label catering to "clean" hip-hop music. "Personally, I have profited millions of dollars through explicit rap lyrics," Master P stated on his website. "I can honestly say that I was once part of the problem, and now it's time to be part of the solution." Chris Lighty, CEO of Violator Entertainment, whose clients include 50 Cent and Busta Rhymes, is looking at ways that record companies can work with artists in one area where rappers have been innovative: endorsement and branding. Whether it's 50 Cent owning a stake in Vitamin Water or Jay-Z doing a commercial for HP, most of these deals have been brokered by the artists' own camp. But Lighty sees in hip-hop a chance for record labels to generate more sponsorship and endorsements. "Record companies are going to have to make even better records and participate in brand extension. It's the only way they can survive," says Lighty. "We need to change the format, and this is the only way. 50 Cent is a brand. Jay-Z is a brand." But the current hubbub over indecency poses a direct challenge to that brand strength, as the artist Akon recently discovered. While performing in Trinidad, Akon was videotaped dancing suggestively with a fan who was later revealed to be only 14. The video attracted the ire of conservatives like Bill O'Reilly. In the wake of the controversy, Akon's tour sponsor, Verizon, removed all ringtones featuring his work and retracted its sponsorship. The message was clear: Hip-hop needs a new and improved product. http://www.time.com/time/printout/0,8816,1653639,00.html

I checked the store...I'm thinking of gettin myself one... No mediums or smalls? they've all sold out i'm afraid.. once these shirts go they'll never be done again.. well if there are no mediums or smalls i guess i'll have to pass... :sipread: it's either that or stocking up on cheesesteaks down at Pats for the next week until I go back to college lol :fencing: or you could get a Large and shrink it down in the dryer

Will your fiance be in attendance? :clap2:

Great Article.. Thanks Radewart :wickedwisdom: I'm really intrigued to see how far they go down the hollywood angle in this