The Five-Percent Nation, sometimes referred to as the Nation of Gods and Earths or the Five Percenters, is a movement founded in 1964 in the Harlem section of the borough of Manhattan, New York City, by Clarence Edward Smith, a former member of the Nation of Islam who took the name Clarence 13X, came to be known as Allah the Father. Allah the Father, a former student of Malcolm X, left the NOI after a dispute with Elijah Muhammad over Elijah's teaching that the white man was the devil, yet not teaching that the black man was God. Allah the Father rejected the assertion that Nation's light-skinned founder, Wallace Fard Muhammad, was Allah and instead taught that the black man was himself God personified. Members of the group call themselves Allah's Five Percenters, which reflects their concept that ten percent of the people in the world know the truth of existence, those elites and their agents opt to keep eighty-five percent of the world in ignorance and under their controlling thumb; the New York City areas of Harlem and Brooklyn were named after notable Islamic cities by members of the organization.
Other areas include Detroit, New Jersey, Queens, Connecticut, St. Louis, New Rochelle, Dallas; the Nation of Gods and Earths teaches that black people are the original people of the planet Earth, therefore they are the fathers and mothers of civilization. The Nation teaches that Supreme Mathematics and Supreme Alphabet, a set of principles created by Allah the Father, is the key to understanding humankind's relationship to the universe; the Nation does not believe in a God but instead teaches that the Asiatic Blackman is God and his proper name is Allah, the Arabic word for "God". The Nation of Gods and Earths was founded by Allah the Father after he left the Nation of Islam's Temple Number Seven in Harlem, New York. Multiple stories exist as to why the father and the NOI parted ways: some have him refusing to give up gambling; the story states that Allah the Father was disciplined by the NOI and excommunicated in 1963, but another version of events says that he left on his own free will along with Abu Shahid, who agreed with Allah's questioning of Wallace Fard Muhammad.
That same year Allah met James Howell, a sea merchant, who would become known as Justice, Allah's closest associate until his death. Allah the Father proselytized the streets of Harlem to teach others his views based on his interpretation of NOI teachings. After failing to reach elder adults whom he saw as set in their ways, he found success with street youth. On October 10, 1964, this young group formed the First Nine Born of what became known as the Five Percent Nation, or the Nation of Gods and Earths. Allah the Father taught his Black male students. Allah taught them. In Supreme Mathematics, the Black man is symbolized as "Knowledge." The Black women who came into Allah's growing movement to study along with the males were taught they were symbolic of the planet Earth, because women produce and sustain human existence as does the Earth. Female Five Percenters are referred to as "Wisdom." The Nation of Gods and Earths Supreme Wisdom states: "Wisdom is the Original Woman because life is continued through her cipher."
The NGE does not consider itself a religion—its position is that it makes no sense to be religious or to worship or deify anyone or anything outside of oneself because adherents, are the highest power in the known universe, both collectively and individually. Allah the Father developed a curriculum of eight lessons that included the Supreme Alphabets and Mathematics, which he devised, as well as lessons from developed by the Nation of Islam's Elijah Muhammad and Wallace Fard Muhammad; the eight lessons were taught in the order which follows: Supreme Mathematics Supreme Alphabets Student Enrollment English Lesson C-1 Lost-Found Muslim Lesson #1 Lost Found Muslim Lesson #2 Actual Facts Solar Facts Each Five Percenter was required to "master" each lesson and was expected to be able to "think and reason by forming profound relationships between the lessons and significant experiences within life." Five Percenters were required to share what they had learned with others, thereby recruit new members.
The FBI opened a file on the Five Percenters in 1965, the height of the Civil Rights and Black Power Movements in America. In “Disturbance by Group Called ‘Five Percenters,’” the FBI refers to the organization as a “loosely knight group of Negro youth gangs.... These particular gangs emanate from New York City Public School Number 120, a junior high school...” The FBI file stated that the organization’s name meant, “The five percent of the Muslims who smoke and drink.” 1965 New York newspaper articles referred to the Five Percenters to as a “gang,” “hoodlums,” and “terror group.” Allah the Father and the Five Percenters "had a reputation for being unreachable, anti-white criminals." With the goal of preventing New York from having a race riot or uprising, New York Mayor John V. Lindsay sent Barry Gottehrer, the head of the mayor's Urban Task Force, to meet with the organization the FBI
Chiptune known as chip music or 8-bit music, is a style of synthesized electronic music made using the programmable sound generator sound chips in vintage arcade machines and video game consoles. The term is used to refer to tracker format music which intentionally sounds similar to older PSG-created music, as well as music that combines PSG sounds with modern musical styles. By the early 1980s, personal computers had become less expensive and more accessible than they had been previously; this led to a proliferation of outdated personal computers and game consoles, abandoned by consumers as they upgraded to newer machines. They were in low demand by consumers as a whole, thus were not difficult to find, making them a accessible and affordable method of creating sound or art. While it has been a underground genre, chiptune has had periods of moderate popularity in the 1980s and 21st century, has influenced the development of electronic dance music; the terms "chip music" and "chiptune" refer to music made by the sound chips found within early gaming systems and microcomputers.
A waveform generator is a fundamental module in a sound synthesis system. A waveform generator produces a basic geometrical waveform with a fixed or variable timbre and variable pitch. Common waveform generator configurations included two or three simple waveforms and a single pseudo-random-noise generator. Available waveforms included pulse wave, square wave, triangle wave, sawtooth wave. Two notable examples of systems employing this technology comprise the Nintendo Game Boy portable game console, the Commodore 64 personal computer; the Game Boy uses two pulse channels, a channel for 4-bit pulse-code modulation playback, a pseudo-random-noise generator. The Commodore 64, used the MOS Technology SID chip which offered 3 channels, each switchable between pulse, saw-tooth and noise. Unlike the Game Boy, the pulse channels on the Commodore 64 allowed full control over wave duty cycles; the SID was a technically advanced chip, offering many other features including ring modulation and adjustable resonance filters.
Due to limited number of voices in those primitive chips, one of the main challenges is to produce rich polyphonic music with them. The usual method to emulate it is via quick arpeggios, one of the most relevant features of chiptune music; some older systems featured a simple beeper as their only sound output, as the original ZX Spectrum and IBM PC. The earliest precursors to chip music can be found in the early history of computer music. In 1951, the computers CSIRAC and Ferranti Mark 1 were used to perform real-time synthesized digital music in public. One of the earliest commercial computer music albums came from the First Philadelphia Computer Music Festival, held August 25, 1978, as part of the Personal Computing'78 show; the First Philadelphia Computer Music Festival recordings were published by Creative Computing in 1979. The Global TV program Science International credited a PDP-11/10 for the music. Chiptune music began to appear with the video game music produced during the golden age of video arcade games.
An early example was the opening tune in Tomohiro Nishikado's arcade game Gun Fight. The first video game to use a continuous background soundtrack was Tomohiro Nishikado's 1978 release Space Invaders, which had four simple chromatic descending bass notes repeating in a loop, though it was dynamic and interacted with the player, increasing pace as the enemies descended on the player; the first video game to feature continuous melodic background music was Rally-X, an arcade game released by Namco in 1980, featuring a simple tune that repeats continuously during gameplay. It was one of the earliest games to use a digital-to-analog converter to produce sampled sounds; that same year, the first video game to feature speech synthesis was released, Sunsoft's shoot'em up arcade game Stratovox. In the late 1970s, the pioneering electronic dance/synthpop group Yellow Magic Orchestra were using computers to produce synthesized music; some of their early music, including their 1978 self-titled debut album, were sampling sounds from popular arcade games such as Space Invaders and Gun Fight.
In addition to incorporating sounds from contemporary video games into their music, the band would have a major influence on much of the video game and chiptune music produced during the 8-bit and 16-bit eras. Sega's 1982 arcade game Super Locomotive, for example, featured a chiptune cover version of YMO's "Rydeen". By 1983, Konami's arcade game Gyruss utilized five sound chips along with a digital-to-analog converter, which were used to create an electronic rendition of J. S. Bach's Fugue in D minor. In 1984, former YMO member Haruomi Hosono released an album produced from Namco arcade game samples entitled Video Game Music, an early example of a chiptune record and the first video game music a
Hip hop or hip-hop, is a culture and art movement that began in the Bronx in New York City during the early 1970s. The origin of the word is disputed, it is argued as to whether hip hop started in the South or West Bronx. While the term hip hop is used to refer to hip hop music, hip hop is characterized by nine elements, of which only four elements are considered essential to understand hip hop musically; the main elements of hip hop consist of four main pillars. Afrika Bambaataa of the hip hop collective Zulu Nation outlined the pillars of hip hop culture, coining the terms: "rapping", a rhythmic vocal rhyming style. Other elements of hip hop subculture and arts movements beyond the main four are: hip hop culture and historical knowledge of the movement; the fifth element, although debated, is considered either street knowledge, hip hop fashion, or beatboxing. The Bronx hip hop scene emerged in the mid-1970s from neighborhood block parties thrown by the Black Spades, an African-American group, described as being a gang, a club, a music group.
Brother-sister duo Clive Campbell, aka DJ Cool Herc, Cindy Campbell additionally hosted DJ parties in the Bronx and are credited for the rise in the genre. Hip hop culture has spread to both urban and suburban communities throughout the United States and subsequently the world; these elements were adapted and developed particularly as the art forms spread to new continents and merged with local styles in the 1990s and subsequent decades. As the movement continues to expand globally and explore myriad styles and art forms, including hip hop theater and hip hop film, the four foundational elements provide coherence and a strong foundation for Hip Hop culture. Hip hop is a new and old phenomenon. Sampling older culture and reusing it in a new context or a new format is called "flipping" in hip hop culture. Hip hop music follows in the footsteps of earlier African-American-rooted musical genres such as blues, rag-time and disco to become one of the most practiced genres worldwide. In 1990, Ronald "Bee-Stinger" Savage, a former member of the Zulu Nation, is credited for coining the term "Six elements of the Hip Hop Movement" by being inspired by Public Enemy's recordings.
The "Six Elements Of The Hip Hop Movement" are: Consciousness Awareness, Civil Rights Awareness, Activism Awareness, Political Awareness, Community Awareness in music. Ronald Savage is known as the Son of The Hip Hop Movement. In the 2000s, with the rise of new media platforms and Web 2.0, fans discovered and downloaded or streamed hip hop music through social networking sites beginning with Myspace, as well as from websites like YouTube, SoundCloud, Spotify. Keith "Cowboy" Wiggins, a member of Grandmaster Flash and the Furious Five, has been credited with coining the term in 1978 while teasing a friend who had just joined the US Army by scat singing the made-up words "hip/hop/hip/hop" in a way that mimicked the rhythmic cadence of marching soldiers. Cowboy worked the "hip hop" cadence into his stage performance; the group performed with disco artists who would refer to this new type of music by calling them "hip hoppers." The name was meant as a sign of disrespect but soon came to identify this new music and culture.
The song "Rapper's Delight" by The Sugarhill Gang, released in 1979, begins with the phrase "I said a hip, the hippie the hippie to the hip hip hop, you don't stop". Lovebug Starski — a Bronx DJ who put out a single called "The Positive Life" in 1981 — and DJ Hollywood began using the term when referring to this new disco rap music. Bill Alder, an independent consultant, once said, "There was hardly a moment when rap music was underground, one of the first so-called rap records, was a monster hit. Hip hop pioneer and South Bronx community leader Afrika Bambaataa credits Love-bug Starski as the first to use the term "hip hop" as it relates to the culture. Bambaataa, former leader of the Black Spades did much to further popularize the term; the words "hip hop" first appeared in print on September 21, 1982, in The Village Voice in a profile of Bambaataa written by Steven Hager, who published the first comprehensive history of the culture with St. Martins' Press. In the 1970s, an underground urban movement known as "hip hop" began to form in the Bronx, New York City.
It focused on emceeing over neighborhood block party events, held outdoors. Hip hop music has been a powerful medium for protesting the impact of legal institutions on minorities police and prisons. Hip hop arose out of the ruins of a post-industrial and ravaged South Bronx, as a form of expression of urban Black and Latino youth, whom the public and political discourse had written off as marginalized communities. Jamaican-born DJ Clive "Kool Herc" Campbell pioneered the use of DJing percussion "breaks" in hip hop music. Beginning at Herc's home in a high-rise apartment at 1520 Sedgwick Avenue, the movement spread across the entire borough. On August 11, 1973 DJ Kool Herc was the DJ at
Hip hop production
Hip hop production is the creation of hip hop music in a recording studio. While the term encompasses all aspects of hip hop music creation, including recording the rapping of an MC, a turntablist or DJ providing a beat, playing samples and "scratching" using record players and the creation of a rhythmic backing track, using a drum machine or sequencer, it is most used to refer to recording the instrumental, non-lyrical and non-vocal aspects of hip hop. Hip Hop Producers credited as the record producer and songwriter, are composers of a musical composition and creative directors involved in guiding and supervision of recording sessions; this can range from a single song to a full-length album or EP. A hip hop instrumental is colloquially referred to as a beat or musical composition and its composer is referred to as a programmer, songwriter or beat maker. In the studio, a hip hop producer functions as a traditional record producer, being the person, responsible for the final sound of a recording, for guiding the artists and performers and giving advice to the audio engineer on the selection of microphones and effects processors and on how to mix the levels of the vocals and instrumentals.
Since Hip hop producers co-write the original music such as the beat, they are known as Record Producer / Songwriters, that's wearing two hats. They receive production and songwriting credits for both acting roles esp Pharrell Williams, J. R. Rotem, Tricky Stewart, Teddy Riley, Bryan-Michael Cox, Rodney Jerkins, Dr. Dre, Scott Storch, Timbaland etc. Modern producers use producer tags known as audio tags, musical tags or tags, they function as a watermark for beatmakers to make sure that they are given credit. These can range from producers reciting the producer's name or stage name to a phrase unique to them. An example of the former is when Drake starts his song "In My Feelings" with the lyric "Trap, TrapMoneyBenny", shouting out one of the song's co-producers. An example of the latter is Metro Boomin's " Metro Boomin want some more, nigga!" which comes from a sample of Young Thug on his track "Some More" in which he shouts out Boomin, who co-produced the song along with Sonny Digital and TM88.
Producers and beatmakers times utilize a number of tags in order to personalize the track. A prime example is producer CAB's variation between "CAB you're crazy for this", "CAB!", "Yo, it's Charlot". These originate from hip-hop record producers shouting their name over a track before it started, vocal processing became involved, resulting in tags that sound like part of the song, in artists shouting the producer's name rather than producers doing so themselves; the Roland TR-808 drum machine was introduced in 1980, consisted on an analog machine with step programming method. The 808 was used by Afrika Bambaataa, who released "Planet Rock" in 1982, in addition to the electro hip hip groundbreaking classic "Nunk" by Warp 9, produced by Lotti Golden and Richard Scher, giving rise to the fledgling Electro genre. An notable artist is the genre's own pioneer Juan Atkins who released what is accepted as the first American techno record, "Clear" in 1984; these early electro records laid down the foundations that Detroit techno artists such as Derrick May built upon.
In 1983, Run-DMC recorded "It's Like That" and "Sucker MC's," two songs which relied on synthetic sounds, in this case via an Oberheim DMX drum machine, ignoring samples entirely. This approach was much like early songs by the Furious Five. Kurtis Blow was the first hip hop artist to use a digital sampler, when he used the Fairlight CMI for their 1984 album "Ego Trip", specially on the track "AJ Scratch"; the E-mu SP-12 came out in 1985. The E-mu SP-1200 promptly followed with an expanded recording time of 10 seconds, divided on 4 banks. One of the earliest songs to contain a drum loop or break was "Rhymin and Stealin" by the Beastie Boys, produced by Rick Rubin. Marley Marl popularized a style of restructuring drum loops by sampling individual drums, in the mid 1980s, a technique, popularized by the MC Shan's 1986 single "The Bridge" which used chops of "Impeach the President" on two Korg Delay/sampling triggered by a Roland TR-808; the Akai MPC60 came out in 1988. The Beastie Boys released Paul's Boutique in 1989, an entire album created from an eclectic mix of samples, produced by the Dust Brothers using an Emax sampler.
De La Soul released 3 Feet High and Rising that year. Public Enemy's Bomb Squad revolutionized the sound of hip-hop with dense production styles, combining tens of samples per song combining percussion breaks with a drum machine, their beats were much more structured than repetitive beats. The MPC3000 was released in 1994, the AKAI MPC2000 in 1997, followed by the MPC2000XL in 1999 and the MPC2500 in 2006; these machines combined a sampling drum machine with an onboard MIDI sequencer and became the centerpiece of many hip hop producers' studios. The Wu Tang Clan's producer RZA is credited for getting hip hop attention away from Dr. Dre's more polished sound in 1993. RZA's more gritty sound with low rumbling bass, sharp snare drum sounds and unique sampling style based on Ensoniq sampler. With the 1994 release of The Notorious B. I. G.'s Ready to Die, Sean Combs and his assistant producers ushered in a new style where entire sections of records were sampled, instead of short snippets. Records like "Warning", "One More Chance" epitomized this aesthetic.
In the e
Electronic music is music that employs electronic musical instruments, digital instruments and circuitry-based music technology. In general, a distinction can be made between sound produced using electromechanical means, that produced using electronics only. Electromechanical instruments include mechanical elements, such as strings, so on, electric elements, such as magnetic pickups, power amplifiers and loudspeakers. Examples of electromechanical sound producing devices include the telharmonium, Hammond organ, the electric guitar, which are made loud enough for performers and audiences to hear with an instrument amplifier and speaker cabinet. Pure electronic instruments do not have vibrating strings, hammers, or other sound-producing mechanisms. Devices such as the theremin and computer can produce electronic sounds; the first electronic devices for performing music were developed at the end of the 19th century, shortly afterward Italian futurists explored sounds that had not been considered musical.
During the 1920s and 1930s, electronic instruments were introduced and the first compositions for electronic instruments were made. By the 1940s, magnetic audio tape allowed musicians to tape sounds and modify them by changing the tape speed or direction, leading to the development of electroacoustic tape music in the 1940s, in Egypt and France. Musique concrète, created in Paris in 1948, was based on editing together recorded fragments of natural and industrial sounds. Music produced from electronic generators was first produced in Germany in 1953. Electronic music was created in Japan and the United States beginning in the 1950s. An important new development was the advent of computers to compose music. Algorithmic composition with computers was first demonstrated in the 1950s. In the 1960s, live electronics were pioneered in America and Europe, Japanese electronic musical instruments began influencing the music industry, Jamaican dub music emerged as a form of popular electronic music. In the early 1970s, the monophonic Minimoog synthesizer and Japanese drum machines helped popularize synthesized electronic music.
In the 1970s, electronic music began having a significant influence on popular music, with the adoption of polyphonic synthesizers, electronic drums, drum machines, turntables, through the emergence of genres such as disco, new wave, synth-pop, hip hop and EDM. In the 1980s, electronic music became more dominant in popular music, with a greater reliance on synthesizers, the adoption of programmable drum machines such as the Roland TR-808 and bass synthesizers such as the TB-303. In the early 1980s, digital technologies for synthesizers including digital synthesizers such as the Yamaha DX7 were popularized, a group of musicians and music merchants developed the Musical Instrument Digital Interface. Electronically produced music became prevalent in the popular domain by the 1990s, because of the advent of affordable music technology. Contemporary electronic music includes many varieties and ranges from experimental art music to popular forms such as electronic dance music. Today, pop electronic music is most recognizable in its 4/4 form and more connected with the mainstream culture as opposed to its preceding forms which were specialized to niche markets.
At the turn of the 20th century, experimentation with emerging electronics led to the first electronic musical instruments. These initial inventions were not sold, but were instead used in demonstrations and public performances; the audiences were presented with reproductions of existing music instead of new compositions for the instruments. While some were considered novelties and produced simple tones, the Telharmonium synthesized the sound of orchestral instruments, it achieved viable public interest and made commercial progress into streaming music through telephone networks. Critics of musical conventions at the time saw promise in these developments. Ferruccio Busoni encouraged the composition of microtonal music allowed for by electronic instruments, he predicted the use of machines in future music, writing the influential Sketch of a New Esthetic of Music. Futurists such as Francesco Balilla Pratella and Luigi Russolo began composing music with acoustic noise to evoke the sound of machinery.
They predicted expansions in timbre allowed for by electronics in the influential manifesto The Art of Noises. Developments of the vacuum tube led to electronic instruments that were smaller and more practical for performance. In particular, the theremin, ondes Martenot and trautonium were commercially produced by the early 1930s. From the late 1920s, the increased practicality of electronic instruments influenced composers such as Joseph Schillinger to adopt them, they were used within orchestras, most composers wrote parts for the theremin that could otherwise be performed with string instruments. Avant-garde composers criticized the predominant use of electronic instruments for conventional purposes; the instruments offered expansions in pitch resources that were exploited by advocates of microtonal music such as Charles Ives, Dimitrios Levidis, Olivier Messiaen and Edgard Varèse. Further, Percy Grainger used the theremin to abandon fixed tonation while Russian composers such as Gavriil Popov treated it as a source of noise in otherwise-acoustic noise music.
Developments in early recording technology paralleled that of electronic instruments. The first means of recording and reproducing audio was invented in the late 19th century with the mechanical phonograph. Record players became a common household item, by the 1920s comp
Otis Jackson Jr. known professionally as Madlib, is an American DJ, music producer, multi-instrumentalist, rapper. He is one of the most prolific and critically acclaimed hip hop producers of the 2000s and has collaborated with different hip hop artists, under a variety of pseudonyms, including with MF DOOM, as well as J Dilla. Madlib has described himself as a "DJ first, producer second, MC last," and he has done several projects as a DJ, mixer, or remixer. Madlib was born in Oxnard, California to musician parents Otis Jackson, Sr. and Dora Sinesca Jackson. He sampled his first song at a song that he got from his father's collection, his younger brother is rapper Michael ` Oh No' Jackson. His uncle is the jazz trumpeter Jon Faddis, he was raised in Oxnard. In the early 1990s, Madlib formed a loose-knit collective composed of rappers that worked with Madlib in his Oxnard-based "Crate Diggas Palace" studio; this collective was composed of his friends, became known as CDP. Madlib's first commercially released music was production for the rap group Tha Alkaholiks in 1993.
He went on to record music of his own with the group Lootpack. Their 12-inch EP "Ill Psyche Move," was released by Madlib's father in 1995 on a label called Crate Diggas Palace; this record caught the attention of Peanut Butter Wolf, founder of the Stones Throw Records label, who signed the group in 1998. The Lootpack's 1999 debut album Soundpieces: Da Antidote ushered in a string of releases on Stones Throw centering on Madlib's production work which would continue for a decade, his first solo work, under the guise of Quasimoto, The Unseen, came in 2000. The album was met with critical acclaim, named by Spin Magazine as one of the top 20 albums of the year. In 2001, Madlib moved away from hip-hop music and began a series of releases from Yesterdays New Quintet, a Jazz-based, hip-hop and electronic-influenced quintet made up of alter egos or fictional musicians played by Madlib. Over the next several years, through several record releases on Stones Throw and other labels, the growing number of pseudonyms and fictional players came to be known as Yesterdays Universe.
Madlib was invited to remix tracks from the Blue Note Records archive in 2003, which he released as Shades of Blue. In addition to the remixes, the album contained newly recorded interpretations of Blue Note originals, many of which were credited to members of Yesterdays New Quintet. Beginning with the 2007 album The Funky Side of Life by Yesterdays New Quintet spinoff group Sound Directions, the Yesterdays Universe began incorporating additional session musicians who were not pseudonyms of Madlib. Returning to hip-hop music in 2003, Madlib announced two collaborative projects. Working with hip hop producer J Dilla, the duo known as Jaylib released Champion Sound; the other was Madlib's collaboration with rapper MF Doom, known together as Madvillain. Their 2004 Madvillainy album was anticipated and well-received, topping many critics' year-end lists; the 2005 Quasimoto album, The Further Adventures of Lord Quas was accepted well and continued the Quasimoto tradition of using vocal samples from Melvin Van Peebles, credited on the album liner notes as a collaborator.
Throughout the rest of the decade Madlib continued to release jazz material with his hip hop work: Perseverance with Percee P, Liberation with Talib Kweli, Sujinho with Ivan Conti of Azymuth, his own instrumental hip-hop series "Beat Konducta", "In Search of Stoney Jackson" with Strong Arm Steady, "OJ Simpson" with Guilty Simpson, production work for several artists such as Erykah Badu and De La Soul. In 2010, Madlib announced his own imprint called Madlib Invazion, formed to release a music series called Madlib Medicine Show; the series would take over two years to complete, culminating with 13 album releases and several vinyl-only EPs, spanning hip-hop, jazz and multi-genre DJ mix tapes. The label has continued to release records outside of the original series. In 2011, Madlib composed the film score for the A Tribe Called Quest documentary film Beats, Rhymes & Life: The Travels of A Tribe Called Quest. Freddie Gibbs and Madlib announced plans for a collaboration album late in 2011 with the release of an EP titled Thuggin.
A second EP titled Shame followed on June 22, 2012. A third EP titled Deeper was released on September 24, 2013; the duo's collaboration album Piñata was released to critical acclaim on March 18, 2014. Madlib produced "Cadillacs" with Snoop Dogg for his mixtape That's My Work Volume 3, released on February 27, 2014. In a 2010 interview with LA Weekly, Madlib stated that Kanye West put five of his beats on hold for the album he was working on at the time. While none of the beats were used, Madlib did take part in the recording sessions for the album, which evolved from Good Ass Job to My Beautiful Dark Twisted Fantasy, he was rumored to be a part of West's collaboration album with Jay-Z entitled Watch the Throne but was not. West was interviewed as part of the 2014 Stones Throw documentary film Our Vinyl Weighs A Ton, in which he opens up about working with Madlib and wanting more of his beats for future projects. On January 18, 2016, West released the Madlib-produced "No More Parties in L. A." featuring Kendrick Lamar on SoundCloud as part of his GOOD Fridays series.
According to reports, the track originated from the recording sessions for My Beautiful Dark Twisted Fantasy in 2010. West recited a few lines from the track in the Our Vinyl Weighs A Ton interview. "No More Parties in L. A." appears on his seventh album, which underwent several name changes. West also