beat and skratching by me

http://www.jahsonic.com/Scratching.html

a funk and disco classics mix

This article was taken from the October 2012 issue of  Wired magazine.

Cratedigging is the fine art of collecting records. Actual physical records — remember those? Going into a dusty shop piled high with vinyl may seem baffling, but your time and patience could be rewarded with stunning music and potential investments. “The British are a collector people — from stamps to marbles, we’ve got it in our blood,” says cratedigger and DJ Gilles Peterson. “And vinyl records have such a three-dimensional collectability — you’ve got the art, you’ve got the more trainspotter side, such as catalogue numbers, and you’ve got the music.”

Look abroad
“Having pretty much sucked Europe and most of North and South America dry, I think the interesting places now are the Middle East, Africa and places in Central America,” Peterson says. “Like Colombia and Haiti: places that previously would have been considered tricky to go to. Certain countries had entire industries dedicated to their music, but it was self-contained for years and years.” For those seeking samples, Peterson recommends Arabic records and Italian library music for undiscovered breaks.

Check the label
The presence on a record of a talented producer or some interesting backing players can really help to tip you off to a find. But although a good card sleeve can indicate quality, don’t judge a record by its cover. “The B-side of a record is where I always go to first, or to track ten on the CD,” Peterson says. “You get a better idea of what an artist is really like at the end of a record rather than from the beginning. They tend to put their more adventurous music there for some reason.”

Go Micro
The US still has plenty of un-rummaged-through territory, though: “Where country, blues and doo-wop all fuse in the 50s and 60s, there’s loads of great, weird and interesting stuff that’s been found by very small scenes,” Peterson says. “Every small town in America would have its own record-cutting place, and little bands would cut records and put them out to a radio station. Most of them wouldn’t make it, and the records were put in a loft. If you can find them, they’re amazing.”

Buy new records
New limited releases, with lush packaging, are tomorrow’s cratedigging finds. “The antithesis of today’s throwaway nature of being able to get music instantly online is that there’s been a real rise in well-presented box sets, which you just wouldn’t have had 15 years ago,” says Peterson. “You can be clever about buying stuff up and putting it aside, and waiting ten years for it to go up in value. There’ll always be a market, just as there’s always a market for rare wines.”

L’età del loro

Ricostruzione cronologica di uno scontro sulla storia collettiva dell’Hip Hop in Italia.

http://storify.com/DeeMo/quale-golden-age

skratch4life

R.I.P. Technics SL-1200 turntables

source http://www.cratekings.com/the-top-9-most-influential-digital-samplers-in-hip-hop-history/

The Top 9 Most Influential Digital Samplers In Hip-Hop History

December 10, 2007

Every time I saddle up to bang some beats out of my Akai MPC 2000XL the internal debate arises inside of me about how the greatest pieces of Hip-Hop production equipment would stack up when lined up alongside each other. Obviously, in terms of technical specifications, the latest technology with win out every time; however, what equipment made the most valuable contribution could be debated for years on end. What makes this topic so great is that everyone has a favorite producer, style, and time period that contributes to their view and infallible opinion about which sampler is truly king. So in the name of classic, never ending arguments about top MC’s, DJ’s, and best beefs, we present, in perfect order, the 9 greatest digital samplers in Hip-Hop history.

1. EMU SP-1200/SP-12.  Considered the godfather of digital samplers and foundation of countless hits from late eighties and early to mid nineties, the SP-1200 was released in 1987 and featured an integrated disk drive and mere 10 seconds of sampling time. (Pete Rock, Clark Kent, Da Beatminerz, DJ Spinna)
2. Akai MPC 2000/2000XL.   Arguably the most popular hardware sampler, the MPC 2000 was released in 1997. The 2000 XL model was later released in the year 2000 and added features such as zone sample editing, improved sequencing, and the ability to add an internal IDE zip or Compact Flash drive. (Kanye West, Pete Rock, Da Beatminerz, Kev Brown)
3. Ensoniq ASR-10.   As an update to the EPS 16+, the ASR 10 featured extremely powerful DSP and a unique live recording feature making the keyboard a complete production workstation. (Alchemist, Kanye West, RZA, Minnesota)
4. Akai S950.   Released in 1988 as an upgrade to the S900, features such as increased memory and the all important time stretch were introduced to a new generation of producers. (DJ Premier, Clark Kent)
5. FL Studio.   With an unprecedented low price tag, this now infamous software DAW brought Hip-Hop production into the hands of anyone with a reliable computer and soundcard. In essence, FL Studio can be credited with bringing Hip-Hop production into the mainstream. (9th Wonder, Soulja Boy)
6. Akai MPC 3000.   Released in 1994, the MPC 3000 improved upon the MPC 60 by adding 16 bit stereo sampling and dynamic digital filters along with increased sampling time. This was also the last of the Akai line that was designed by Roger Linn. (J Dilla, Havoc, DJ Shadow, DJ Spinna)
7. Akai MPC 60/MPC 60 II.  As the first of Roger Linn’s partnership with Akai, the MPC 60 was released in 1988 and featured 12 bit sampling along with an 8 line LCD display. The introduction of the MPC 60 II in 1991 added a headphone jack and cheaper case design. (DJ Premier, D.R. Period) \
8. Akai MPC 4000.   As the master of all MPC’s, the 4000 was released in 2002 and came standard with memory expandable to 512 megs, internal hard drive, and filter and effects processing. (Madlib, Just Blaze, Heatmakerz, Buckwild)
9. Ensoniq EPS 16+ – Released in 1991 as an update to the EPS and added 16 bit sampling, DSP effects, and is known for having an early crunchy sound. (El P, True Master)

**Future Additions and Honorable Mentions:

• Propellerheads Reason.   Arguably a more powerful program than FL Studio, Reason tends to have a substantially longer learning curve.
• MV- 8800  Could be slated to be the MPC killer if the price tag was lower and software production tools weren’t so prominent.
• MPC 1000  Could very well turn this into a top ten list very soon if the issues with faulty pads are corrected and development of the JJ OS continues.

Thanks to Mafi for the pics ♥

/breakdance/rock

FRESH JAM
h: 12.00 – 24.00

GRAFFITI
250 m² wall
(dato l’alto numero di richieste chi vuole dipingere scriva a GIACOMO EQUIZI)

DJing & MC
Filippo Rossi
Obas
De’canters
Dr. Drugo

BREAKDANCE

PARKOUR

ROCK
dalle 19.00 fino alle 24.00
Ctrl-X
Martin and the smokers
Self Riot
IHS
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LOCATION
“MURAGLIA” piazza indipendenza, Rignano sull’Arno
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Hip Hop Appreciation Week – May 13-19, 2012

http://www.mixcloud.com/thx/hip-hop-appreciation-week-2012-thx-podcast/

click on the link to listen the podcast now from my mixcloud page

HHAW 2012 mix
Hip Hop Appreciation Week podcast compiled and mixed by THX

fetauring:
Nas – Public Enemy – James Brown – Grandmaster Caz – Beastie Boys – Erick Sermon – Davy DMX – Boogie Down Production – Cannibal Ox – Sir Menelik – Cypress Hill – Jeru The Damaja – Robbie B and Jazzy Jay – Blowfly

stereo mp3 file 320 kbps

18.13 13/05/2012

click the image (or this link) to enlarge and read the Hip Hop Declaration Of Peace

click here for the text version