Wise Intelligent of the legendary Poor Righteous Teachers breaks down the connection between Hip Hop, music culture and the historic struggle for freedom, justice and equality."
Friday, March 27, 2009
Thursday, March 26, 2009
Tuesday, March 24, 2009
Saturday, March 21, 2009
Friday, March 20, 2009
OPPO BDP-83 universal Blu-ray player hands-on
http://www.engadgethd.com/photos/oppo-bdp-83-universal-blu-ray-player-hands-on/
Tuesday, March 17, 2009
GUNPLAY of RICK ROSS's TRIPLE C's talks tough, gets knocked the F**K out
Dat nigga sleep man Dat mother fucker sleep right on the street
Monday, March 16, 2009
Vybz Kartel Hit Song 'Ramping Shop' ran into Copyright Conflict
Steven Jackson, Jamaica Obeserver
Friday, January 16, 2009
Vybz Kartel is not 'ramping' with copyright violation. The hit single, Ramping Shop is being officially released without the flashy Miss Independent rhythm from the Ne-Yo camp.
"That (version) cannot be officially released because that would be a breach
of copyright," explained Claude Mills, publicist of Kartel.
In a bid to capitalise on the popularity of the song which is a Kartel and Spice duet, Adidijaheim Records switched to a local rhythm by producer Not Nice.
Mills argued that licensing the original rhythm would have been prohibitive. As such, they did not approach the Ne-Yo camp for clearance. "We never intended to put it on an album. And we would have to have clearance and pay money. And I don't think we have that kind of money."
Mills is correct, according to jukebox executive Shane Brown: "(The Ne-Yo song) is too new, they would not clear it. And secondly, if they did clear it, they would take 100 per cent of all proceeds. Remember, without their consent it cannot be officially released. They have the handle, they can do anything."
The Ne-Yo track was produced by Stargate, a Norwegian duo that left Scandinavia and hit it big in the US. They did Street Life (Beenie Man), Unfaithful (Rihanna), So Sick and Miss Independent (Ne-Yo), Irreplaceable (Beyonce), Curtain Falls (Blue), One Love (Blue), Stolen (Jay Sean). The independent rhythm arguably helped drive the popularity of Ramping Shop. The Stargate rhythm is on numerous local mix tapes, and at street dances selectors segue from Ne-Yo song into Ramping Shop. This could pose problems for the Kartel team, were the song to go international, argued Brown who manages Busy Signal, an artiste of similar weight. He told Splash that even if the official version avoids the Stargate rhythm it can still be associated with it.
"When you have a remix of a song, you still have to take into account the music from where the song came from... The original composition would have to be taken into consideration," Brown posited. "If it does get to where
it becomes international and when the cheques are being drawn and to be realised that it was derived from their rhythm, they can own a part of it - the writers' credit. Because when you talk about the writers of a song, 50 per cent is lyrics and 50 per cent music."
But for now, Brown said that Ramping Shop is inconsequential to mega music charts.
"The song is not international yet for the Ne-Yo camp to even be concerned about it. Maybe if it were
more successful. Right now Ramping Shop is in the ethnic market creating a buzz. I don't think it has reached that point for them to be concerned about it yet. It's not an issue right now."
Sunday, March 15, 2009
Saturday, March 14, 2009
Friday, March 13, 2009
Thursday, March 12, 2009
Brooklyn Police Go Hard:
Brooklyn Police Go Hard: Police Officer Beats Man With A Stick In New York! (Victim Would Of Gotten 15 Years In Prison If It Wasnt For This Footage)
Wednesday, March 11, 2009
Tuesday, March 10, 2009
Monday, March 9, 2009
Googling ‘The Wire’
I can hear ringing in my ears.
Red tops! Red tops! Got that WMD!
This constant feeling of emptiness and willingness to do anything to get a fix. Wait. Am I delirious? This must be what withdrawal feels like.
All this coming from someone who just finished watching The Wire DVD box set. I can only imagine how hard it’s been for tried-and-true Wireheads, as today marks one year since TV stood still and HBO’s The Wire officially went dead.
The show mastered the “Baldamore” twang, the grittiness of the city. Corner boys and crackheads, politicians and the press, this show ran the gamut of life in Charm City.
Describe The Wire in one word? Smart. It didn’t knock you over the head with “this is this” and “he is this.” There weren’t explanations of the heavy jargon or unfolding plot, just full-speed ahead; if you missed it, too bad. Catch it on the replay.
It was so smart, subtle and quick that I wikied every single character, every single season, just to relive the show’s brilliance. After being glued to my computer screen for hours, Googling The Wire turned into an obsession. I wanted to know the back stories, the plot lines that were just too damn smart for me to understand.
Go ahead and try it. Google Randy Wagstaff. It’ll help you cope with the withdrawal symptoms, a coping mechanism, if you will. (Did you know that Cheese—Prop Joe’s nephew—was Randy’s father?)
It was a slow path to my addiction. The first couple of episodes didn’t get me hooked, but after listening to D’Angelo explain chess, with its pawns and kings, to Wallace and Bodie, I couldn’t get enough. In the second season, there’s a confrontation between Omar and Brother Mouzone that stands out among the muck of the port. “I keeps one in the chamber in case you ponderin’.”
Welcome to Hamsterdam in season three, where the lot behind abandoned row houses is a safe haven for druggies and their pushers.
Michael, Randy, Dukie and Namond. The fantastic four in season four. We see them all evolve over the last couple seasons. Michael, the soft-spoken leader turned unassuming assassin. Randy, the innocent foster-care kid turned hardened group-home teen. Dukie, the musty computer whiz kid turned street junkie. And Namond, the troubled heir to the Wee-Bey throne turned great debater. What a whirlwind.
And then, there’s the blink of the fifth season. You blinked, and it was over.
I don’t understand how this critically acclaimed show didn’t win TV’s biggest honor. No one has expressed that better than Time magazine columnist Joe Klein. "The Wire hasn't won an Emmy? The Wire should get the Nobel Prize for Literature!”
My obsession went really deep. Last summer, I met Darrell Britt-Gibson, the actor who played O-Dog. When he killed one of my favorite characters, Bodie, I seriously held a bit of animosity toward him. That’s how deep it was to me. The characters had infiltrated my life, and as they—Omar, Stringer, D’Angelo, Snoop, Prop Joe—went out like Gs, I dreaded watching the next episode.
After a series of montages, I heard that driving beat. Then suddenly: black screen. Over. Done. No fade to black. No pretty bow to wrap it up in. No elixir to revive me from this withdrawal.
As Bubbles said in the last season, ''Ain't no shame in holding on to grief. As long as you make room for other things, too.''
But for me, the problem is that this state of mourning has left me empty. There aren’t any shows on TV today that match the caliber of The Wire. Not one.
I’m sort of a TV fanatic, from the sleazy to the sophisticated. But now that I’ve savored The Wire’s five-course meal, how can I return to scraps and leftovers? The Wire has officially transformed my love for television. Now I don’t know what to do.
It’s been five years since I last felt this way about a television show. Soul Food, TV’s longest-running black drama, ended in 2004 after five seasons. The Corner, by The Wire’s David Simon, was a six-part miniseries in 2000 following a West Baltimore family, battling the “dope-fiend” and “corner-boy” blues.
There is Grey’s Anatomy, by black director Shonda Rhimes, but that lost me after Izzie started talking to—and having sex with—her dead fiance.
Then there are today’s not-so-funny sitcoms. They hardly do it for me. It’s not like this is the ’90s, when sitcoms dominated network TV. You know the lineup: Fresh Prince, The Cosby Show, Family Matters, In Living Color.
Remember Thursday nights on FOX? Martin, Living Single and New York Undercover? But as for all-black casts, the pickings—if you can find them—are still slim.
In the 2008 fall season, The Game and Everybody Hates Chris, both on the CW, were moved to the worst TV time slot—Friday night—in possibly the biggest precursor to their cancellation. (Although I do know a couple folks who make it a point to stay home Friday nights to watch The Game.)
It’s more than a little disheartening.
What are my eyes watching in this withdrawal from The Wire? Old shows. Circa 1994. You know, Martin Payne, Khadijah James, Cliff Huxtable, Whitley Gilbert and ’em. Syndication and DVD box sets are the best gifts the TV gods have given us.
Erin Evans is copy editor for The Root.
Friday, March 6, 2009
WASHINGTON D.C. (MarketWatch) - Dish Network Corp. on Monday posted a 24% increase in fourth-quarter profit, but the nation's No. 2 satellite TV provider lost more than 100,000 customers, reflecting both the weakening economy and intensifying competition in the video market.
In a related matter, EchoStar Corp. (SATS:
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3:59pm 03/06/2009
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SATS 14.71, +0.36, +2.5%) , which used to own Dish before it was spun off in 2007, reported a quarterly loss of almost $700 million owing to a handful of one-time costs. The two companies are now separately operated, though EchoStar does sell equipment and satellite services to Dish.
On Monday, shares of Dish fell 11.7% at $9.93. EchoStar shed 8.8% at $14.94.
In the final three months of 2008, Englewood, Colo.-based Dish (DISH:
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4:00pm 03/06/2009
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DISH 9.27, +0.20, +2.2%) generated net income of $217 million, or 48 cents a share, up from $175 million, or 39 cents a share, a year earlier. Revenue edged up 1% to $2.92 billion.
Net subscribers fell 102,000 in the quarter to 13.7 million. Dish has been hurt by competition from DirecTV, which boasts a larger lineup of HDTV channels, as well as the end of a partnership with AT&T Inc. to market video service. Competition from cable operators and Verizon Communications Inc.'s fiber-TV business have also peeled off customers.
A severe U.S. recession, meanwhile, could put further pressure on Dish and other video providers in 2009 as consumers seek to pare back discretionary spending.
Meanwhile, Echostar on Monday reported a fourth-quarter loss of $690 million, or $7.73 a share, compared to a loss of $45 million, or 51 cents a share, in the year-ago period. Revenue rose to $496 million from $361 million last year.
During the quarter, Echostar incurred one-time costs of $247 million related to the acquisition of Sling Media, $216 million from net losses on investments and $187 million related to the value of certain satellites End of Story
Jeffry Bartash is a reporter for MarketWatch in Washington.
Thursday, March 5, 2009
Killzone Impresstion (feb27th)
IF YOU own a ps3 and you dont buy this game take your ps3 to games stop and get a xbox 360
Wednesday, March 4, 2009
Kamala Uncensored Interview with Hollywood Jimmy part 1
For my old school wrestling fan very interesting
Kamala Uncensored Interview with Hollywood Jimmy part 2
For my old school wrestling fan very interesting
Monday, March 2, 2009
Sunday, March 1, 2009
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