K-Solo is an American rapper from Central Islip, New York who, along with Redman, EPMD, Das EFX, Keith Murray, was part of the Hit Squad in the 1990s. K-Solo's two biggest hits were "Your Mom's in My Business" and "Spellbound." The rapper accused DMX of stealing this style from him when the two were incarcerated, serving jail time together. But before this all came about K-Solo spent 16 months in Riverhead Correctional Facility after being wrongfully convicted of assault in the 1980s. In Suffolk jail is. Mr. Myles was there to see him write it; that was. In the mid-1990s he signed with Death Row Records and signed to Death Row East after hooking up with them in a Pittsburgh concert show; the only track released was a bootleg of Kurupt and him freestyling over Snoop's "Gin and Juice". It can be found on YouTube. In 2003 he toured the world with PMD and DJ Honda and vowed never again citing PMD "flipping over nearly everything but his ticket and record sales." In 2004 he was working on a new album for his Waste Management Records tentatively titled "There Will Be Hell to Pay" which has yet to be released.
During the mid-1990s through the early 2000s, DMX and K-Solo, who first met as inmates in prison during the course of K-Solo's three-year prison stint, disputed over, the first to write "Spellbound". Despite that K-Solo released his version in 1990, DMX, who released his version in 1994, claimed that he was the first to write "Spellbound". In his 1998 hit single "Get At Me Dog", DMX told K-Solo to "suck dick". K-Solo responded to DMX on a track named "The Answer Back", in which K-Solo claimed to be DMX's real father, alleged that the legitimate reason for DMX's disgruntlement was because K-Solo had given DMX's mother a sexually transmitted infection; as the track continues, K-Solo went on to vindicate himself by saying that it was in fact DMX's mother that had "burned" him first. On Beef II, K-Solo took a lie detector test to prove that he was the first to write "Spellbound"; the results were inconclusive. In an August 2006 interview with he had this to say: "The truth of the matter is that being in L.
A. I have people that I never would in LA, like Chuck Lidell, true beat-that-ass-niggas. I have talked to the UFC folks and they would love to see us fight, I would love to see us fight. I mean. I feel that I destroyed him, I assume. It’s obvious we both don’t like each other and I think it’s the only way to settle this beef, but let’s face it, I saw dude do 50 push-ups and fall down afterwards, it took like 10 minutes to catch his breath to smoke another cigarette. He is not ready for that, it would be the biggest deal in hip-hop in 20 years." In a January 2007 interview with was asked why DMX has continued to fan the flames such as his recent appearance on Hot 97 and stated: "He knows what it is. I told him to get into the cage with me. Five rounds, fight me! He wouldn't do it. I am asking Keith Murray to do the same. I’ll break his ass down in two. He’s a five dollar dude. Sign the papers, we’ll set it up, can handle it; that goes for any ma' fucka. We’ll get in the cage. If you can beat me, you get the money and I’ll get my ass beat.
Let people do. I’m in war mode. I’m more ready now than I've been. People aren't getting away with that dumb shit. DMX can’t fight." In a January 2007 interview responded to claims that he knocked him out: "I was in the hood watching these guys. I ran with one of these guys, in the hood. A while back, my boy – Ralph Mann got jumped by a few of the L. O. D. Cats Keith Murray’s crew], they were disrespecting Ralph! I put Murray and Redman in the game! So, I put they asses on blast on a mixtape! Murray's men threw me off the bitch. They’re now in court because of the shit, but let me ask you -- how do I get jumped in your club on Christmas Eve and walk out still alright? I could've respected it if Murray did his thing, but he didn’t. He thinks. If there was no Kevin Madison there wouldn’t be no Keith Murray, because no one would’ve respected him. Why fight someone that put you on? The only thing that I can think is that Erick put him on to doing it; these cats are crazy, though. People were hurt. I know people who can call on J. Prince and cause some problems.
Cats are just stupid. That's the only thing. What else do I have to do to show people that I’m the “original rap criminal”? People don’t know what they’re playing with." Beef II 2Fast2real3 2fast2real Yahoo! Music Profile
DVD is a digital optical disc storage format invented and developed in 1995. The medium can store any kind of digital data and is used for software and other computer files as well as video programs watched using DVD players. DVDs offer higher storage capacity than compact discs. Prerecorded DVDs are mass-produced using molding machines that physically stamp data onto the DVD; such discs are a form of DVD-ROM because data can only be not written or erased. Blank recordable DVD discs can be recorded once using a DVD recorder and function as a DVD-ROM. Rewritable DVDs can be erased many times. DVDs are used in DVD-Video consumer digital video format and in DVD-Audio consumer digital audio format as well as for authoring DVD discs written in a special AVCHD format to hold high definition material. DVDs containing other types of information may be referred to as DVD data discs; the Oxford English Dictionary comments that, "In 1995 rival manufacturers of the product named digital video disc agreed that, in order to emphasize the flexibility of the format for multimedia applications, the preferred abbreviation DVD would be understood to denote digital versatile disc."
The OED states that in 1995, "The companies said the official name of the format will be DVD. Toshiba had been using the name ‘digital video disc’, but, switched to ‘digital versatile disc’ after computer companies complained that it left out their applications.""Digital versatile disc" is the explanation provided in a DVD Forum Primer from 2000 and in the DVD Forum's mission statement. There were several formats developed for recording video on optical discs before the DVD. Optical recording technology was invented by David Paul Gregg and James Russell in 1958 and first patented in 1961. A consumer optical disc data format known as LaserDisc was developed in the United States, first came to market in Atlanta, Georgia in 1978, it used much larger discs than the formats. Due to the high cost of players and discs, consumer adoption of LaserDisc was low in both North America and Europe, was not used anywhere outside Japan and the more affluent areas of Southeast Asia, such as Hong-Kong, Singapore and Taiwan.
CD Video released in 1987 used analog video encoding on optical discs matching the established standard 120 mm size of audio CDs. Video CD became one of the first formats for distributing digitally encoded films in this format, in 1993. In the same year, two new optical disc storage formats were being developed. One was the Multimedia Compact Disc, backed by Philips and Sony, the other was the Super Density disc, supported by Toshiba, Time Warner, Matsushita Electric, Mitsubishi Electric, Thomson, JVC. By the time of the press launches for both formats in January 1995, the MMCD nomenclature had been dropped, Philips and Sony were referring to their format as Digital Video Disc. Representatives from the SD camp asked IBM for advice on the file system to use for their disc, sought support for their format for storing computer data. Alan E. Bell, a researcher from IBM's Almaden Research Center, got that request, learned of the MMCD development project. Wary of being caught in a repeat of the costly videotape format war between VHS and Betamax in the 1980s, he convened a group of computer industry experts, including representatives from Apple, Sun Microsystems and many others.
This group was referred to as the Technical Working Group, or TWG. On August 14, 1995, an ad hoc group formed from five computer companies issued a press release stating that they would only accept a single format; the TWG voted to boycott both formats unless the two camps agreed on a converged standard. They recruited president of IBM, to pressure the executives of the warring factions. In one significant compromise, the MMCD and SD groups agreed to adopt proposal SD 9, which specified that both layers of the dual-layered disc be read from the same side—instead of proposal SD 10, which would have created a two-sided disc that users would have to turn over; as a result, the DVD specification provided a storage capacity of 4.7 GB for a single-layered, single-sided disc and 8.5 GB for a dual-layered, single-sided disc. The DVD specification ended up similar to Toshiba and Matsushita's Super Density Disc, except for the dual-layer option and EFMPlus modulation designed by Kees Schouhamer Immink.
Philips and Sony decided that it was in their best interests to end the format war, agreed to unify with companies backing the Super Density Disc to release a single format, with technologies from both. After other compromises between MMCD and SD, the computer companies through TWG won the day, a single format was agreed upon; the TWG collaborated with the Optical Storage Technology Association on the use of their implementation of the ISO-13346 file system for use on the new DVDs. Movie and home entertainment distributors adopted the DVD format to replace the ubiquitous VHS tape as the primary consumer digital video distribution format, they embraced DVD as it produced higher quality video and sound, provided superior data lifespan, could be interactive. Interactivity on LaserDiscs had proven desirable to consumers collectors; when LaserDisc prices dropped from $100 per
Fait Accompli (album)
Fait Accompli is the twelfth studio album by American rapper Canibus. The album was released on June 2014, by RBC Records. On June 3, 2014, the album's first single "Historic" featuring The HRSMN and Tragedy Khadafi was released. Martin Connor of HipHopDX gave the album three out of five stars, saying "One of the knocks on Canibus over the course of his solo career has been his ear for production. Fait Accompli does nothing to remedy this opinion. Producer JP Beats and his martial sonic world, full as it is of hard-hitting military snare drums and pugilistic army marching chants, assist Canibus, but sonically, the project falls flat. A lack of variety and overall hollowness plagues each production, as the snares and low ends all suffer from a dated, cheap sound. Combined with the fact that Canibus gives you only this one apocalyptic look, the lack of versatility in both his delivery and the production, Fait Accompli becomes an difficult listen." All songs produced by JP Beats
Second Round K.O.
"Second Round K. O." is a single from Canibus' debut album, Can-I-Bus. The song was produced by Wyclef Jean and his cousin Jerry Wonder and featured spoken vocals from boxer Mike Tyson; the song became Canibus's only top 40 single, peaking at number 28 on the Billboard Hot 100. "Second Round K. O." is a diss track by Canibus directed at LL Cool J. The feud had started after Canibus' appearance on LL's "4, 3, 2, 1. Canibus' original verse contained the lyrics "L, is that a mic on your arm? Let me borrow that", which LL took offense to. LL responded by writing an indirect diss towards Canibus on the same song. Prior to the songs release, LL approached Canibus and told him that if he wanted to remain on the song, he would have to change his lines, to which Canibus agreed, however, LL kept his original verse; when Canibus' original verse leaked, a feud started between the two rappers. LL suggested the two make a song together to squash the beef after he was done filming Any Given Sunday, however and released "Second Round K.
O." instead. LL would respond with "The Ripper Strikes Back" and "Back Where I Belong" and thanked Canibus in the liner notes of his album G. O. A. T. for "inspiration". In the song, Canibus says "the greatest rapper of all time died on March 9.", in reference to The Notorious B. I. G. who died on March 9, 1997. Canibus followed up his diss 1 year with a record entitled "Rip The Jacker", over a polished remake of the beat from LL Cool J's "I'm Bad". "Second Round K. O." - 4:02 "Second Round K. O." - 4:02 "Second Round K. O." - 3:53 "How We Roll" - 4:17 "How We Roll" - 4:18 Side A "Second Round K. O." - 4:02 "Second Round K. O." - 4:02Side B "How We Roll" - 4:17 "How We Roll" - 4:18 Lyrics of this song at MetroLyrics
Kool G Rap
Nathaniel Thomas Wilson, better known by his stage name Kool G Rap, is an American rapper from Queens. He began his career in the mid-1980s as one half of the group Kool G Rap & DJ Polo and as a member of the Juice Crew, he is cited as one of the most influential and skilled MCs of all time, a pioneer of mafioso rap/street/hardcore content and multisyllabic rhyming. On his album The Giancana Story, he stated that the "G" in his name stands for "Giancana", but on other occasions he has stated that it stands for "Genius", he has been cited as a major influence to some of hip-hop's most critically acclaimed figures such as The Notorious B. I. G. Nas and Jay-Z, as well as many underground rappers. Wilson grew up in the poverty-ridden streets of Corona, New York with legendary producer Eric B. In an interview with The Source he stated. I was like 15 years old, Ma dukes couldn't dress a nigga no more and at that age you want a little money in your pocket. That's, material possessions. A nigga got caught up in that mentality.
Nigga started selling drugs at a certain point, all that shit, it's what was goin' on in the streets... all my friends got smoked. Everybody was droppin'. All my friends started packing burners everyday, we was wild shorties. Around this time, Wilson was looking for a DJ, through Eric B. he met DJ Polo, looking for an MC to collaborate with. Juice Crew producer Mr. Magic and DJ Marley Marl allowed Polo and Kool G Rap to go to their studio to record a demo, which resulted in the song "It's a Demo." The song was written and recorded in one night, had Marley so impressed, that he embraced Kool G Rap and DJ Polo as Juice Crew members. In 1986, the duo appeared on Mr. Magic's Rap Attack radio show on 107.5. They released "It's a Demo" as a single with "I'm Fly", along with two more singles. Shortly after this, Kool G Rap appeared on the Juice Crew's classic posse cut "The Symphony" before they released their debut album, Road to the Riches in 1989; this album and their two albums, Wanted: Dead or Alive and Live and Let Die, are regarded and considered hip-hop classics.
In 1993, Kool G Rap parted ways with DJ Polo to pursue a solo career. In 1995, Wilson started his solo career with the album 4, 5, 6, which featured production from Buckwild, guest appearances from Nas, MF Grimm and B-1, it has been his most commercially successful record, reaching No. 24 on the US Billboard 200 album chart. This was followed by Roots of Evil in 1998. In 1997 G Rap was featured on Frankie Cutlass' "Politic & Bullsht" album track titled "Know Da Game" which featured Mobb Deep, he planned to release his next album, The Giancana Story, on Rawkus Records in 2000. Due to several complications with the record label, the album release date was pushed back several times, the album was released in 2002. "My Life", the single from the album, featuring Talk Box legend G-Wise, reached No. 6 on the US Billboard Hot 100 Rap singles charts. Kool G Rap and his group 5 Family Click released a joint album, Click of Respect, on Kool G Rap's own Igloo Ent. record label in 2003, to mild success. There were rumors of Kool G Rap's signing to both Rocafella and G-Unit Records, at one point Maybach Music.
In 2007, he released Half a Klip on Chinga Chang Records, featuring production from, among others, DJ Premier and Marley Marl. A full LP was released in 2011, Royalty, Respect showcasing his true to form style and lyricism; the promise and prospects of collaboration albums were announced the next year on his own, newly formed label FullMettle. The first of these new projects came in 2018 with the album Son of G Rap with Rochester, New York based rapper 38 Spesh. In years, Kool G Rap's interests extended outside hip-hop, he stated in further interviews his desire to begin writing movie scripts, an ambition taken in for a few years as he sought out various collaborators, as well as his desire to work on a clothing line at one point. Kool G Rap is regarded as a hugely influential golden age rapper. Music journalist Peter Shapiro suggests that he "created the blueprint for Nas and everyone who followed in their path". Kool G is described by Kool Moe Dee as "the progenitor and prototype for Biggie, Jay-Z, Treach, N.
O. R. E. Fat Joe, Big Pun, about twenty-five more hard-core emcees", Kool Moe Dee claims Kool G Rap is "the most lyrical" out of all of the artists mentioned. MTV describes Kool G Rap as a "hip-hop godfather", adding that he paved the way for a lot of MCs who we would not have heard of otherwise. Rolling Stone says, "G Rap excelled at the street narrative, a style that would come to define Queens MCs like Nas and Mobb Deep". Other artists who have named Kool G Rap as a major influence include The Notorious B. I. G. Eminem, Jay-Z, Tajai of Souls of Mischief, Vinnie Paz of Jedi Mind Tricks, Steele of Smif-N-Wessun, Havoc of Mobb Deep, Rock of Heltah Skeltah, MC Serch, Black Thought of The Roots, M. O. P. R. A. the Rugged Man, Bun B of UGK, Rah Digga. C. of D. I. T. C. Memphis Bleek, Pharoahe Monch of Organized Konfusion, Action Bronson, Twista, among others, he is often highly rated in terms of his technical ability and is ranked alongside other regarded golden age MCs, such as Big Daddy Kane, KRS-One. In Jay-Z's track'Encore', Jay-Z raps, "hearing me rap is like hearing G Rap in his prime".
The Horsemen Project
The Horsemen Project is the first full-length album released by the hip hop supergroup The HRSMN through Think Differently Music/Proverbs Music Inc. in October 2003. The album itself is rare as only a limited number of copies were produced
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular