The Most Powerful DJ App for Everyone Arrives with DJ 2

Today, Algoriddim are launching version two of their DJ app, which promises to be the best consumer app of its kind on the Mac, iPad and iPhone. DJ 2 maps changes in an audio file and allows the user to see how the song is structured. It analyses tracks and visually shows in colored waveforms how the song is composed, those color changes give a good indication of where to start a transition between two songs. Also DJ 2 has a brand new technology to sync the beats of two songs during a transition that supposably works like magic. You just have to press sync on one record to begin, and the app automatically keeps both beats locked and in sync perfectly. For more details on DJ 2 head over here.

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that day will come. every dog…

 

capelton – that day will come

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” Try to make changes, try to make it right.  Nobody listens so you gotta fight…”

                                                                    
-“Games People Play” Sweet G (1982)

 

 

Over the last couple of weeks the media have been buzzin’ about the protests taking place in London over the death of Mark Duggan, a black man, gunned down by the police. Apparently, the rebellions were organized mostly by activists via social media networks. In contrast, the main Hip Hop story happening in the US over the weekend was Hip Hop artist, the Game, being accused of playing a game of “You Got Punked” with the Compton Sheriff Department via his Twitter account.

 

Clayton Hill Confesses To Being An Accessory After The Fact To The Murder Of B.I.G.

Exclusive: An inmate has come forward with possible confirmation of the man who murdered Biggie Smalls while implicating members of the Nation of Islam, including himself, in the cover-up.

Former Nation of Islam member, and currently incarcerated federal felon, Clayton Hill has confessed to his role as an accessory after the fact to the murder of The Notorious B.I.G.

After first contacting HipHopDX on June 8th, Hill disclosed to DX that in October of 2010 he met with Assistant U.S. Attorney Nancy DePodesta and two agents with the F.B.I.’s Domestic Terrorism Unit and revealed that in May of 1997, while acting under orders as an official with Muhammad Mosque #15 in Atlanta, Georgia, he took possession of a semi-automatic handgun from a fellow N.O.I. member from Los Angeles, California who introduced himself as Dawoud Muhammad.

“[Dawoud Muhammad] stated to me that he was on the run for the murder [of The Notorious B.I.G.],” Hill wrote to HipHopDX via the CorrLinks email system for federal inmates. “He disclosed that he was the shooter of The Notorious B.I.G. because he (Dawoud) was a former Blood gang member and was paid to do so.”

In his forthcoming e-book, Diary of an Ex-Terrorist, Clayton quotes Dawoud bragging to him of that payment, “And I made twenty-five ‘g’s’ off that.”

Lupe Fiasco: Why I Like Lil B

I have a problem. It’s something that I noticed a while ago and I think its something that has to do with my introduction to a wide array of musical genres as a child. My problem is is that it’s really really hard for me to dislike music. I have such an appreciation for it in all its forms that I sometimes find myself listening to a schizophrenic range of sounds in the whip or on the iPod. You really have to go out of your way for me to just completely despise what someone creates musically. Now in the midst of this self-awareness I have discovered there is a certain context within music that I gravitate to more than others and that context is something that I have defined for myself as “Liberation Rock”. It can be described as music that is subversive, revolutionary, political, challenges the status quo, mostly positive and even militaristic. A few examples of this would be “Know Your Rights” by The Clash, “Politik Kills” by Manu Chao, “Gentleman” by Fela Kuti, “Do It Like A G-O” by The Geto Boys, “Confrontation” by Damian Marley, “Rush Of Blood To The Head” by Coldplay, “Everyman For Himself” by Billy Blue, “In One Ear” by Cage The Elephant, “The Catalyst” by Linkin Park, “Strange Fruit” by Billie Holiday and the list goes on. I guess up against my political and social upbringing songs and artists like these strike a chord with me. Now this affinity for “Liberation Rock” doesn’t negate or take away from songs and artists that don’t necessarily fall under that personal category for me. Dependent on the environment, I have the uncanny ability to sit and universally enjoy whatever is coming through the speakers at almost any given time. But songs that express the qualities of my very own genre of “Liberation Rock” definitely get more burn in the system by far. And as it happens through their music I develop an interest in the artist him or herself. Sometimes the journey into the world of the artist outside of the music they create can be fruitless and even disheartening. Quite literally your hero’s musically can be real assholes or morons in almost every other facet. But in all honesty that is a rare occasion. And even sometimes it’s the inverse and the personality and mentality of the artist outweighs the music they create and the person becomes more of an interest than his or her art. In regards to Lil B I must admit I’m somewhere in the middle of those extremes.

40 Things Tupac Shakur Would Have Done By 40

June 16, 2011 marks what would have been the 40^th birthday of rap’s late, great fallen son, Tupac Amaru Shakur. His short but polarizing life – mixed with brilliant music and acting, personal triumphs and tragedies, and mysteries yet to be unraveled – is still fodder for media hounds and fans across the globe even today.

 

On June 15, 2011, a Jimmy Henchman associate named Dexter Isaac made the iconic Tupac a global headliner again when he gave his alleged confession to AllHipHop.com about committing the first Tupac shooting in 1994. Some speculate that the ensuing rumors and beefs may have led to both Tupac’s Vegas murder in September 1996 and Notorious B.I.G.’s L.A. murder the following March. Truth is, we may never know the full story.

 

All told, Tupac is a real-life persona who lived his life to the fullest. His name is nearly always listed among the Top Rappers Dead or Alive by just about everyone, and he left behind a catalog of thoughtful, controversial, raunchy, and political albums that will live on for generations to come.

 

On this bittersweet Hip-Hop born day, AllHipHop.com pauses to celebrate Tupac’s life and to imagine – in both a funny and nostalgic way – what he might have accomplished had he lived to see age 40:

 

Lupe Fiasco Calls Obama “The Biggest Terrorist”

(AllHipHop News) Lupe Fiasco has been an ardent critic of President Obama and now the Chicago rapper is making headlines after he called the president “the biggest terrorist.”

“To me, the biggest terrorist is Obama in the United States of America,” he said in an interview with CBS News’ “What’s Trending.” “For me, I’m trying to fight the terrorism that’s actually causing the other forms of terrorism. The root cause of terrorism is the stuff that the U.S. government allows to happen, the foreign policies that we have in place in different countries that inspire people to become terrorists. And it’s easy for us, because it’s really just some oil that we can really get on our own.”

Lupe also explained why he is not a part of the American political process in any way, despite being a rapper that addresses societal issues.

He continued, “I don’t vote. I don’t get involved in politics. Because it’s meaningless, to be honest. First of all, I’m a real big believer if I’m going to vouch for someone, I’m going to stand behind everything they do. If I’m going to say I stand behind this person and write on a piece of paper that says I stand for this person, then I have to take responsibility for everything that he does. Because that’s just how I am as a human being. Politicians aren’t going to do that, because I don’t want you to bomb some village in the middle of nowhere.”

This is not the first time Fiasco has been critical of Obama.

After the apparent slaying of terrorist Osama Bin Laden, he said, “Osama Dead!?! Afghan Operation done now??? Now kill poverty, wack schools, and US imperialism…”

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Beanie Siegel Apologizes To Jay-Z

After almost two years of feuding, Philadelphia rapper Beanie Sigel has officially issued an apology to former mentor and label boss, Jay-Z.

“What Mike Epps say? ‘Gangstas f**k up too,'” Beanie Sigel told XXLMag.com. “Whatever I felt this dude Jay did wrong to me, it can’t outweigh the one thing he did do for me – he gave me an opportunity. Dude gave me an opportunity. 

Beanie Sigel who seemed close to signing with 50 Cent’s G-Unit imprint, stated that he was caught up in the moment when he released the song “What You Talkin About (I Ain’t Your Average Cat)” in 2009, dissing Jay-Z and Memphis Bleek. 

“I got caught in the moment and put my feelings out there, Beanie SigeI said. “I should have never done that.”

Beanie Sigel said that he has decided to scrap a full album worth of material dissing Roc-A-Fella and Jay-Z, in favor of an album of new material with DJ Green Lantern. 

 

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Dream Hampton’s BIG Biggie Revelation!

Hm. Read below from the bottom.

Here is the image in question:

Lupe’s Lasers: The Death Sentence for Major Record Labels

“This remote, public, and, as it were, principled, bondage is the indispensable justification of their own: when the prisoner is free, the jailer faces the void of himself.”

—James Baldwin, The Devil Finds Work

Speaking last Tuesday at Brooklyn’s Music Hall of Williamsburg, on the night of his fifth solo release, Shaolin Vs. Wu-Tang, legendary artist Raekwon listed a few pillars under which “real Hip-Hop” must fall—wittiness, slang, real-life value, lyrical worth, and a non-commercial edge. In case the concert audience had slumbered through the last item, he repeated with emphasis: “It’s got to be non-commercial!” On the same day, another prominent artist was living the reality of a music industry whose iron fist often tightens around the necks of those who refuse to submit and do as told. Lupe Fiasco’s Lasers dropped, following a tumultuous three-year delay no one saw coming.

After two superb albums released in the winter months of 2006 and 2007, all eyes fell upon the Chicago native to invade a territory only few have ever trudged; and for most fans, this represented less a demand and more an expectation. The last ten years had produced in Rap no fresher voice, no wittier mind, and it just seemed inevitable—that time would do him justice, and the ladder of quality would stretch higher on his behalf (especially since the sophomore curse had so eluded him in an age of ephemerality), and that with a third album he might possibly accomplish in ways a predecessor had tragically failed (Illmatic, It Was Written… I Am), successfully dodging the deadly commercial darts flying his way: darts which pierce with determination, rendering great artists casualties of early success; more importantly, repeated success which upset the logic of cemented probability, which undo tried and true equations record labels have built castles upon: Street Consciousness + Social Courage + Lyricism = Billboard Disaster.

Fans, it turns out, were wrong; and just like his predecessor, Lupe is now staring at an impasse, unable to reconcile his third effort with the two classics of a not too distant past. And his fingers have for the last few weeks been pointing in one direction—the record label, Atlantic Records, which signed him in 2004 to a rumored six-album deal. This is the label’s album, Lupe has been chanting to music websites for a few days now. Even when the success of his first official single, “The Show Goes On,” is raised, Lupe seems hardly moved, explaining to Chicago Sun-Times columnist Thomas Conner: “It’s their record. My words, their music. They forced this song to be a No. 1 single, and that’s what they got. I can’t take any credit for it.”