Beat Down Pro

DJ Premier, DJ Scratch, dj honda, Jazzy Joyce and EPMD @ BET

This battle was held on the 11 April 2009 at Vestax To The Core which is located a floor below Vestax HQ. This is the “Eliminations”. Visit our Myspace: www.myspace.com

www.blacktree.tv On February 24, 2010 New York will celebrate a major cornerstone in hip-hop history with the Ultimate Breaks and Beats Live to commemorate the original release of the Ultimate Breaks and Beats compilation (1981-1991) and its creators, the late Breakbeat Lenny Roberts and Louis Break Beat Lou Flores. The event will showcase some of the most talented DJs in New York City that will display their extraordinary turntablist skills as they pay tribute the music collection that transformed the face of hip-hop for over three decades. The historic night will take place at BB Kings with doors opening at 6 PM and the show beginning at 8:00 PM and will also serve as a launch party for the upcoming Ultimate Breaks and Beats national tour. The Ultimate Breaks and Beats compilation played a pivotal role in shaping hip-hop by providing DJs with the essential tools they needed to create many of the popular party anthems of the era, legendary mixes, and ultimately the foundation of early hip-hops infamous eclectic sound. The 25 volume compilation was co-created by the late Breakbeat Lenny and Break Beat Lou who released the collection over a span of 10 years (1981-1991) as hip-hop was just beginning to take shape. The compilation conveniently extracted drum breaks from hit rock, disco, and funk songs and created entire songs worth of what would become the most sought after beats providing a critical library for DJs and producers. This style become integral to every aspect …

Rafik chops up the “Block Rockin’ Beats” sample from the Chemical Brothers, triggering individual cue points so he can restructure the lick in his own way. On the left deck, he runs a hi-hat that is routed that the Gater, Filter and Beatmasher effects in Traktor, all controlled via the upcoming X1 controller. Check Rafik’s MySpace: www.myspace.com For more information on Traktor, see www.native-instruments.com

www.djtutor.com The first move in scratching/editing sounds on record dx, cd dx. Fr hundreds more DJ tutorial vieos like this go to djtutor.com

learn how to scratch

So i love music and i want to become a dj and i want to scratch. But i know nothing about it. so how do i get started? what equipment do i need to get?

Recorded live at BB Kings 10.14.06

• ORTOFON OM SCR KIT OM SCRATCH KIT

Product Description
For DJs that require increased tracking ability, the Scratch is up to the task. Featuring a reinforced rubber suspension, DJs need not worry about compromising sound quality and stylus life when working with higher tracking forces. With solid bass reproduction and extended highs, the Scratch is great for any style, providing energetic, in-your-face sound…. More >>

Ortofon OM Scratch Kit – DJ Cartridge includes extra stylus

DJ Hero has better songs in it
Scratch has more Hip Hop songs in it
DJ Hero has better graphics and u can play as DJ Idols
Scratch’s turntables controller is better and very very realistic

which one too choose i want DJ Hero but Scratch is controller is very realistic.

http://www.youtube.com/watch?v=-ZTxd7Twnbw <—– Scratch cont.

http://www.youtube.com/watch?v=hMErWbjmohM <—- Hero cont.

http://en.wikipedia.org/wiki/Dj_hero

http://en.wikipedia.org/wiki/Scratch:_The_Ultimate_DJ

This might be a stupid question but, can I use a regular, old-school turntable to scratch a record on? Like a dj would?

Just a question. no real story behind it. my parents think scratching on vinyl turntable destroys vinyls, but my friends think that scratching has no real effect on the vinyl and that’s why DJ’s do it. im not gonna test it out because im not willing to risk any vinyls.

I need a sound effect for one of those scenes like at a dance or something and theres a DJ and the music stops playing, and the turntable does that scratchy noise? I really have no idea how to explain what I’m trying to say but it sounds like this:

http://www.tradebit.com/filedetail.php/5655095-record-scratch-wav-sound-effect-2

but I need a free one that doesn’t have that beep in it.

From what I see, DJs use one for playing music and the second to scratch. Im not going to get into DJ-ing too much, just for fun and kicks. My question is, can I use ONE turntable with my Macbook and scratch to the music playing for my Macbook? I see Mixers that include docking stations for Ipods. So again, from what I see, it looks like theres music playing all the time and then only one turntable is used for scratching. So would I be able to mix my own music on my laptop and then scratch to it using my solo turntable? Also, if I do only need one turntable to scratch, would I even need the mixer? Thank you.

I took a class over the summer on being a scratch DJ and want to continue practicing, but can’t get a turntable or any vinyl. is there any other way to practice, and if so what is it? Thanks!

I am an aspiring DJ looking for USB turntables in which i can scratch on. I would like to hook them up to my pc, scratch with them and run the tables off of virtual dj. If this is possible please inform me with any information.

I am an aspiring DJ looking for USB turntables in which i can scratch on. I would like to hook them up to my pc, scratch with them and run the tables off of virtual dj. If this is possible please inform me with any information.

ok im 16 years old and I am Going to buy a turntable so I can lean how to Be a Turntablist/D.J.
I want to D.J with Vinyl so if Buy this package Do I need anything else besides this to D.J. like do you have to have a Computer to have this turntable work I see D.J’s that have there laptop connected to theres or is it because they are using music that is on there Laptop?

(Turntable That I’m going to get)

http://www.samash.com/webapp/wcs/stores/servlet/product_DJ%20in%20A%20Box%20DJ%20Package_-1_10052_10002_-49952665?cm_mmc=Froogle-_-Turntable%20Packages-_-DJ%20in%20A%20Box%20DJ%20Package-_-NDJINABOX

~~~~~~~~~ALSO~~~~~~~~~~~
what are some good Vinyl Records to Scratch to?

THANKS! =)

Basically, I know what it is obviously you put the two CDs in your turntable (unless u have vinyl) connect it to the box then laptop then just drag mp3 on the computer n boom. Couple questions though, 1. Can you use programs like Virtual DJ or does it just have its own program your only allowed to use and if you can use multiple programs which one is the best? 2. For most DJ programs, the BPM is read and when you drag a song, it automatically matches the BPM, or theres a one-click feature for that, do the DJ Programs that are compatible with the Serato Scratch live have that feature? and 3. Stupid question not expecting to get a solid answer but where’s the cheapest I could find it? So Far I’ve found it for around 500 on eBay. Thank you.

Im 14 y/o and I really want to be a DJ. Ive always really been into stuff like Girl Talk and such, but I dont want to be a dj like him and mix songs on the internet. I want to be an old-fashion and use an actual turntable. I have a record store I can go too, I just need too know what other equipment and skills I need. Any knowledgeable answers would be greatly appreciated! Thanks!

i wana get a semi cheap turntable that can scratch and do some dj tricks, does anyone know if a cheap turntable like http://www.amazon.com/Sony-PSLX250H-Turntable/dp/B00005T3XH/ref=pd_bbs_sr_1/002-9527983-2808868?ie=UTF8&s=electronics&qid=1180637978&sr=1-1 can scratch and make some nice sounds like fast paced djing?

and by scratching, I mean every now and then. not excessively as I were a DJ, which I’m not.

I’m looking at the specs, and I don’t see where this feature is listed, but I’m pretty sure I’ve seen DJs doing this. How does that work? Do you need software and a laptop?

http://www.panasonic.com/consumer_electronics/technics_dj/prod_specs_sl1200mk5.asp

it uses vinyl or cd for scratching? i would like to start with cd turntables. any suggestions?

Featuring top hip-hop and R&B songs from mainstream and underground artists, Scratch: The Ultimate DJ will combine real DJ turntable tricks with great rhythm game play, distinctive urban environments and an array of customizable DJ characters.

Live band demo with The Opensouls using Scratch LIVE.

by thetet

Another SidLocks video production…

Hip-Hop Love Stories and the Construction of Socially Acceptable Urban Identities

Hip-Hop has historically existed as a male-dominated industry. Being a reflection of urban life and struggle, past Hip-Hop artists have been forced to maintain a certain level of masculinity in order to be accepted by their urban communities. Old school rappers who talked about love were often viewed as soft or corny. Because of this perception, the existence of love in Hip-Hop is a fairly new concept.

As the movement has gained support and recognition throughout the world, love has become an increasingly common theme in Hip-Hop music and poetry. However, the taboo still exists. Even today, Hip-Hop artists and poets present their love stories in a manner that allows them to maintain socially acceptable identities. Hip-Hop stories about love must still meet the masculine ideology in which the movement is rooted in order to be perceived as real and true.

The purpose of this study is to analyze Hip-Hop love narratives and how artists present these love stories in order to construct socially acceptable identities. I believe personal narratives are closely tied to the construction of identities. It is through personal narratives that people can recount life-changing events, realize socially acceptable behavior and create individual identities.

I have researched and studied several Hip-Hop love songs and analyzed the lyrics as text and poetry. In my research, I have found five common narrative forms used by Hip-Hop poets to tell their love stories: contrasting, perceptual, spiritual, conversational and metaphoric. These five narrative forms are used not only to present the story correctly, but also to maintain positive perception among a society that might view this sensitivity as weak or disrespectable. I plan to demonstrate each of these narrative forms and show how the poets use them to tell their love stories while establishing acceptable identities.

The Contrasting Narrative

One of the most common forms of Hip-Hop love stories is the contrasting narrative. Many artists use Hip-Hop music and poetry to tell stories about the negativity surrounding their urban environments. The contrasting narrative allows the poet to express his or her love story as a contrast to this negativity while constructing an acceptable identity because that negativity is real and understood in urban communities.

A great introductory example to the contrasting narrative would be the following passage from Method Man’s “All I Needâ€:

Back when I was nothin’You made a brother feel like he was somethin’That’s why I’m with you to this day boo no frontin’Even when the skies were grayYou would rub me on my back and say “Baby it’ll be okay”

In this song, the poet uses the contrasting narrative to show his love for someone who stood by him when “skies were gray.†He speaks of his love interest as someone who helped him get through troubled times, thus providing a positive contrast to his negative surroundings.

Another example of the contrasting love narrative can be seen in this passage from Guru’s “All I Saidâ€:

This world is crazy, she’s supposed to help me stay saneSupposed to help with the pain, supposed to help me maintain

In this song, Guru uses the contrasting narrative to share his view of what love should be. He admits that his “world is crazyâ€, and that his love interest is the one person who can make it bearable.

In “She Triedâ€, Bubba Sparxx uses the contrasting narrative to tell a story that actually recalls his love being there for him when he was in trouble with the law:

A fly country girl, just workin’ them giftsShe’s my queen, was a virgin I guessBut I ain’t never ask and I ain’t never tellBut Betty had the cash every time I went to jail

This song further illustrates the use of contrasting narratives to express love. Though the poet confesses spending a lot of time in jail, Betty was always there to bail him out, again acting as a positive contrast to his troubles.

The Perceptual Narrative

Another common narrative form of Hip-Hop love stories is the perceptual narrative. Like the contrasting narrative, the perceptual narrative is based around the negativity that surrounds the poet’s life. But instead of presenting this love as a contrast to that negativity, the poet uses this narrative to explain how that love changed his or her previously negative perceptions. This narrative form also allows the poet to construct a socially acceptable identity due to the acknowledgement of the negativity of urban life.

In “Jazzy Belleâ€, Andre of Outkast uses the perceptual narrative to tell of how his love changed his former perception of women:

Went from yellin’ crickets and crows, witches and hoes to queen thangsOver the years I been up on my toes and yes I seen thangs …Now I’m willin’ to go the extra kilo-Meter just to see my senorita get her pillowOn the side of my bed where no girl ever stayHouse and doctor was the games we used to play But now it’s real Jazzy Belle…

In this song, Andre talks about a personal change of perception caused by love. He admits that at one time he thought of women as “witches and hoes.†But “now it’s realâ€, and he has a new perception of women as “queen thangs.â€Another great example of the perceptual narrative can be found in the following passage of Black Star’s “Brown Skin Ladyâ€:

I don’t get many compliments, but I am confidentUsed to have a complex about, gettin’ too complexYou got me, willin’ to try, looked me in the eyeMy head is still in the sky, since you walked on by

In this example, the poet admits to having relationship issues, but tells of how love helped him to overcome these issues. The poet’s love interest helped him to change his perception of love and fear of “gettin’ too complexâ€. In “Ms. Fat Bootyâ€, Mos Def further illustrates this point by demonstrating the perception of other men and speaking to his love on how he is different:

Yo, let me apologize for the other nightI know it wasn’t right, but baby you know what it’s likeSome brothers don’t be comin’ rightI understand, I’m feelin’ youBesides, ‘Can I have a dance?’ ain’t really that original

In this song, the poet uses the perceptual narrative to acknowledge that some men “don’t be comin’ rightâ€, but that he has a different perception of women than these other men.

In “Come Closeâ€, Common uses the perceptual narrative to express how love has made him change from his old ways:

I want to build a tribe wit youProtect and provide for youTruth is I can’t hide from youThe pimp in me May have to die with you

Although the poet used to be a “pimpâ€, an urban term for a man who romances a large number of women, he tells of how his love interest has changed his actions and perceptions.

The Spiritual Narrative

A third common form of Hip-Hop love stories is what I like to refer to as the spiritual narrative. The spiritual narrative relies on the poet’s characterization of love as a kind of godly being, spiritual force or royalty, often with the feeling that the story teller has to protect that force. The spiritual narrative allows the storyteller to construct an acceptable identity by characterizing love as spiritual or perhaps even predetermined.

A great example of the spiritual narrative can be found in this passage of The Roots’ “You Got Meâ€:

Somebody told me that this planet was smallWe use to live in the same building on the same floorAnd never met beforeUntil I’m overseas on tour And peep this Ethiopian queen from Philly Taking classes abroad

Here, the poet uses the spiritual narrative to describe the time, place and emotions that his love was founded on, speaking of them as if they were somehow meant to happen. He also refers to his love interest as “this Ethiopian queen from Phillyâ€, using the royal characterization so common in spiritual love narratives.

In “Love Languageâ€, Talib Kweli also uses a spiritual narrative form and refers to his love as a kind of royalty:

Now if they call you out your nameThen that’s a different thingAnything but Queen I’ll go to war like a King

This example shows the protection aspect of common spiritual love narratives. The poet feels it is unacceptable for anyone to “call you out your nameâ€, or in other words, use derogatory language toward his love. If someone were to do so, he would “go to war like a Kingâ€, thus maintaining his masculinity.

In “Mind Sexâ€, Dead Prez uses the spiritual narrative to talk about love introductions:

African princess, tell me yo’ interestsWait, let me guess boo, you probably like poetryHere’s a little something I jotted down in case I spotted you aroundSo let me take this opportunity

In this song, the poet uses the spiritual narrative to tell a story about the introductory conversation he had with a love interest. He refers to her as “African princessâ€, once again showing the tendency of poets who use the spiritual narrative to refer to their love interests as royalty.

The Conversational Narrative

The fourth common form for Hip-Hop love stories is the conversational narrative. The conversational narrative allows the poet to recite or recreate a conversation with his or her love and present it as play-like story about a specific love experience. Conversational love narratives are typically characterized by introductory speech and compliments, and are most commonly used as tools to tell a story about a first meeting or impression. These narratives allow the storyteller to construct an acceptable identity mainly because they often include many smoothly-structured compliments, and make the poet look like a cool ladies man.

A great example of the conversational love narrative can be found this passage from Dead Prez’ previously mentioned “Mind Sexâ€:

Pardon me love but you seem like my typeWhat you doin’ tonight? You should stop by the siteWe could, roll some weed play some records and talkI got a fly spot downtown Brooklyn, New York

In this example, the poet is reciting the conversation between himself and a love interest. As with many conversational narratives, it is based around meeting someone for the first time. The poet is telling a story about a girl he met that “seem[ed] like my typeâ€. He then inquires “What you doin’ tonight?â€, and follows with a list of charming speech in an attempt to create a social relationship with the girl.

In a similar narrative, “Beautiful Skinâ€, Goodie Mob uses the following conversational narrative to retell the first phone conversation he had with his love interest:

This is Carlito from a couple of days ago, you sound tiredForgive me if I’ve called you too lateBut what better time to relate mind-states?
Where could I begin?Has anyone ever told you ‘You got beautiful skin’?

This example further illustrates the use of introductory language in conversational narratives. The poet asks his love interest if she would like to “relate mind-statesâ€, or get to know each other. He then tells her that she has “beautiful skinâ€, an often successful introductory complement given to women.

Cee Lo uses the following conversational narrative in “Slum Beautifulâ€:

Look at you, unbelievably, brilliant beautiful youYou’re looking deliciously divine darling you really and truly doThe very thought of has got me running at the speed of loveExploring everything about you from the ground to the God above

In this song, the poet uses the conversational narrative to speak directly to his love interest through the song. Note the wide range of compliments offered in this passage, as well as the charm, again illustrating a common aspect of the conversational narrative.

The Metaphoric Narrative

This fifth form of Hip-Hop love stories is possibly the most fascinating. It is the metaphoric narrative. The metaphoric narrative is used when the poet speaks of love in a metaphor of some kind. The most popular and socially acceptable form of metaphoric narrative is using Hip-Hop as the metaphor. Many followers of the movement view Hip-Hop as a driving force of love and happiness in their lives. Thus, many metaphoric love narratives revolve around Hip-Hop itself.

A good example of such a metaphoric narrative is the following passage from Black Eyed Peas’ “Rap Songâ€:

Yo, she got hips to hopAnd she ain’t goin’ popShe like a record that I wanna rockWhen I’m rollin’ in my ride cruisin’ down my block

In this example, the poet actually uses a unique play on words and speaks of a love interest as a Hip-Hop metaphor. He relates this person to “a record that I wanna rockâ€.

The group further extends the metaphor in the following passage:

She like a beat that makes me wanna grab the micShe like the lyrics that I wanna reciteShe like the old school mic with the cableYou can bring your records and I’ll bring the turntable

Again, the poet relates his love interest to other things he and his audience love, including “old school mic with the cableâ€, reciting lyrics and spinning records on a turntable.

Another great example of the metaphoric narrative is in The Roots’ “Act Too … Love of My Lifeâ€:

Learnin’ the ropes of ghetto survivalPeepin’ out the situation I had to slide throughHad to watch my back my front plus my sides tooWhen it came to gettin’ mine I ain’t tryin’ to argueSometimes I wouldn’ta made it if it wasn’t for youHip-Hop, you the love of my life and that’s true

This passage is unique because it utilizes both the metaphoric and contrasting narrative techniques. The poet refers to Hip-Hop as “the love of my lifeâ€, while simultaneously showing how that love created a positive contrast to the tough “ropes of ghetto survivalâ€. The poet admits that he “wouldn’ta made it if it wasn’t for youâ€, showing that his love for Hip-Hop was and is a driving force in his life.

And that leads us to the most popular metaphoric Hip-Hop love narrative of our time. In “I Used to Love H.E.R.â€, Common Sense uses the metaphoric narrative to express his love for Hip-Hop. He starts off the narrative with the following passage:

I met this girl, when I was ten years oldAnd what I loved most she had so much soulShe was old school, when I was just a shortyNever knew throughout my life she would be there for me

In this example, the poet starts off telling a story about a girl he met when he “was ten years oldâ€, and how she was always there for him. The poet continues to use the metaphoric narrative to speak of this girl, including the good times and hardships they faced together. Not until the end of the poem does the listener actually realize that the entire song is a metaphor. The song ends with the following passage:

I see rappers slammin’ her, and takin’ her to the sewerBut I’ma take her back hopin’ that the stuff stopCause who I’m talkin’ bout y’all is Hip-Hop

In this song, the poet used the metaphoric narrative to tell a story about the love of his life, the struggles she faced, and his desire to save her. In the end, he admits that this love is not a real person, but instead his love of Hip-Hop.

The presentation of Hip-Hop love narratives is a very difficult task. In order to talk about love and still construct a socially acceptable urban identity, artists tend to implement one of the five successful love narrative forms. I believe that our society’s analysis of Hip-Hop music and culture is lackluster at best. The Hip-Hop love narratives presented above could provide a great basis for linguistic and sociolinguistic studies. Not only are they presented in a variety of styled narrative forms, but they also include deep thought, perception and analysis of the urban environment that characterizes an increasing majority of American society. Through the analysis and study of these love narratives, linguists could come to a greater understanding of and appreciation for the Hip-Hop vernacular, literature and, ultimately, culture.

Works Cited / Discography

A Tribe Called Quest. People’s Instinctive Travels and the Paths of Rhythm. Jive Records, 1990.

Black Eyed Peas. Bridging the Gap. Interscope Records, 2000.

Black Star. Mos Def & Talib Kweli are Black Star. Rawkus Records, 1998.

Bubba Sparxx. Deliverance. Interscope Records, 2003.

Common. Electric Circus. MCA Records, 2002.

Common Sense. Resurrection. Relativity Records, 1994.

Dead Prez. Let’s Get Free. Relativity Records, 2000.

Goodie Mob. Still Standing. La Face Records, 1998.

Guru. Jazzmatazz Streetsoul Vol. 3. Virgin Records, 2000.

Method Man. Tical. Def Jam Records, 1994.

Mos Def. Black on Both Sides. Priority Records, 1999.

Outkast. ATLiens. La Face Records, 1996.

Outkast. Stankonia. La Face Records, 2003.

Talib Kweli & DJ Hi-Tek. Train of Thought. Rawkus Records, 2000.

The Roots. Things Fall Apart. MCA Records, 1999.

About the Author

Nathaniel Long is the creator and editor of Hip Hop Linguistics, a website dedicated to studying, interpreting and understanding hip-hop music, language, philosophy and culture. You can read more articles and reviews at http://www.hiphoplinguistics.com/?HipHopAlbum_Reviews.