darealBugsyCalhoun @BugsyGma

I'm from Brooklyn NewYork Emcee / Poet now lives in South Carolina member of The Unusual Suspect's & Black on Black Rhyme contact me (803)206-3661 for booking Metro Columbia S.C. Joined July 2012

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OldSchool @xacct01

6 months ago

Why You Get Funky On Me (1990) Today

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Hip Hop History Guy @HipHopHistoryGy

6 months ago

Big Daddy Kane - 'Rap Summary (Lean On Me)' (HD) (60fps) [1989] (prod. Marley Marl | Warner Brothers Records | Album: Lean On Me (Soundtrack)) #hiphop

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The Art of Sampling @Art_of_Sampling

7 months ago

Boogie Down Productions - “My Philosophy” The biggest misconception about KRS-One is that he’s a “conscious” rapper. But long before that label was ever used to describe some rappers (often in a derogatory manner), KRS-One was dropping science. Not sure when it became a thing for any rapper to *not be conscience. But if you really listen to the pioneering rappers from Melle Mel to Run-DMC to LL Cool J to Rakim to Chuck D to Kool G Rap to MC Lyte to Queen Latifah…you’ll notice one thing for certain: They were all “conscious”. That is to say, they were all obliviously intelligent, aware of their environment and surroundings, and completely at ease with expanded vocabularies and nuanced poetry. And yet, none of them were ignorant of the streets. KRS-One, of the greatest MCs of all time (and an automatic win in ANY MC battle), displayed intelligence right from the start. He was also from the streets. And while over time labels have been used to misinform people about what hip hop/rap music was, is, and can be, these two things should never be seen as mutually exclusive. Especially since hip hop/rap music’s roots are deeply embedded in the streets. In fact, this is one of the primary elements that gives hip hop/rap music it’s distinct flavor. Another primary element that distinguishes hip hop/rap music from all other music forms is sampling. Here, on the aptly titled “My Philosophy,” a sampled-based song built around menacing drums and flip of sample of Stanley Turrentine’s and Milt Jackson’s “Sister Sanctified,” we feel the force of sampling in hip hop/rap music. As I say in my book The Art of Sampling, 3rd Edition, hip hop beatmakers (producers) can convert anything to hip hop form. And the reconceptualization and recontextualization of a small sample from an obscure jazz fusion tune like “Sister Sanctified” goes a long way in proving this point…