HK LOUNGE VIDEO RELEASE SCREENING FOR MOOLAH HOSTED BY MAYA THE B, WITH DJ NOE AND DJ OMINIYA JUNE 30TH
June 11th, 2011
MOOLAH BEHIND THE SCENES WITH QUESFIRE BY CROSSPHASE FILMZ FT LETHAL LIPPS, BOBBY TRENDS,JOVON, ERIC SOSA, Ominiya, DJ N.O.E and more!
June 5th, 2011shout out to ALEX at HK
Eve Lora, Lethal Lipps, Edaney, Chia, Eric Sosa, Danielle, Spate Mag, March and Mike Spits, Jovon, Sire, Danse, DJ Ominiya, DJ. Bobby Trends and Dj Noe for coming out.
Peace to Nina for keeping me focus and sane during the shoot. lol
special thanks you to James Calinda and Cross Phase Filmz for pulling out all the tricks and super effects and for making this expierence one of the best i ever witnessed for a video shoot.
WHO IS GIL SCOTT HERON?????????? U SERIUS!!!!!!!!!!!!????
May 27th, 2011Scott-Heron’s influence over hip-hop is primarily exemplified by his definitive single “The Revolution Will Not Be Televised,” sentiments from which have been explored by various rappers, including Aesop Rock, Talib Kweli and Common. In addition to his vocal style, Scott-Heron’s indirect contributions to rap music extend to his and co-producer Brian Jackson’s compositions, which have been sampled by various hip-hop artists; among the most notable is rapper/producer Kanye West, who has sampled Scott-Heron and Jackson’s “Home is Where the Hatred Is” and “We Almost Lost Detroit” for his song “My Way Home” and the single “The People,” respectively, both of which are collaborative efforts between West and Common. Scott-Heron, in turn, has acknowledged West’s contributions, sampling the latter’s 2007 single “Flashing Lights” on his latest album, 2010′s I’m New Here. West has gone on to name Gil Scott-Heron, among others, as a major influence on his own latest offering, My Beautiful Dark Twisted Fantasy, where portions of his work “Comment #1″ appear on the album. “We Almost Lost Detroit” has also been sampled by Brand Nubian member Grand Puba (“Keep On”), Native Tongues duo Black Star (“Brown Skin Lady”), and underground notable MF DOOM (“Camphor”).[22] Furthermore, Black Star MC Mos Def has sampled Scott-Heron’s “A Legend in His Own Mind” on the Q-Tip-featuring song “Mr. Nigga,” and producer Dr. Dre (some of whose early G-Funk compositions mirror Scott-Heron’s musical style in both texture and sentiment, specifically “Lil’ Ghetto Boy,” which in fact samples Scott-Heron contemporary Donny Hathaway) recorded the song “Blunt Time,” on which former Death Row Records rapper RBX interpolates the opening lyrics from Scott-Heron’s
Gil Scott-Heron died Friday afternoon in New York, his book publisher reported. He was 62. The influential poet and musician is often credited with being one of the progenitors of hip-hop, and is best known for the spoken-word piece “The Revolution Will Not Be Televised.”
Gil Scott-Heron Makes A Striking Return
Scott-Heron was born in Chicago in 1949. He spent his early years in Jackson, Tenn., attended high school in The Bronx, and spent time at Pennsylvania’s Lincoln University before settling in Manhattan. His recording career began in 1970 with the album Small Talk at 125th and Lenox, which featured the first version of “The Revolution Will Not Be Televised.” The track has since been referenced and parodied extensively in pop culture.
Scott-Heron continued to record through the 1970s and early ’80s, before taking a lengthy hiatus. He briefly returned to the studio for 1994′s Spirits. That album featured the track “Message to the Messengers,” in which Scott-Heron cautions the hip-hop generation that arose in his absence to use its newfound power responsibly. He has been cited as a key influence by many in the hip-hop community — such as rapper-producer Kanye West, who closed his platinum-selling 2010 album My Beautiful Dark Twisted Fantasy with a track built around a sample of Scott-Heron’s voice.
Scott-Heron struggled publicly with substance abuse in the 2000s, and spent the early part of the decade in and out of jail on drug possession charges. He began performing again after his release in 2007, and in 2010 released a new album, I’m New Here, to widespread critical acclaim.
Quantum Theories and Interdimensional space travel facts
May 8th, 2011The basic notion of an intra-universe wormhole is that it is a compact region of spacetime whose boundary is topologically trivial but whose interior is not simply connected. Formalizing this idea leads to definitions such as the following, taken from Matt Visser’s Lorentzian Wormholes.
If a Minkowski spacetime contains a compact region Ω, and if the topology of Ω is of the form Ω ~ R x Σ, where Σ is a three-manifold of the nontrivial topology, whose boundary has topology of the form dΣ ~ S2, and if, furthermore, the hypersurfaces Σ are all spacelike, then the region Ω contains a quasipermanent intra-universe wormhole.
Characterizing inter-universe wormholes is more difficult. For example, one can imagine a ‘baby’ universe connected to its ‘parent’ by a narrow ‘umbilicus’. One might like to regard the umbilicus as the throat of a wormhole, but the spacetime is simply connected. For this reason wormholes have been defined geometrically, as opposed to topologically, as regions of spacetime that constrain the incremental deformation of closed surfaces. For example, in Enrico Rodrigo’s The Physics of Stargates a wormhole is defined informally as
a region of spacetime containing a “world tube” (the time evolution of a closed surface) that cannot be continuously deformed (shrunk) to a world line [(the time evolution of a point)].
Inter-Universe travelA possible resolution to the paradoxes resulting from wormhole-enabled time travel rests on the Many Worlds Interpretation of quantum mechanics. In 1991 David Deutsch showed that quantum theory is fully consistent (in the sense that the so-called density matrix can be made free of discontinuities) in spacetimes with closed timelike curves.[21] Accordingly, the destructive positive feedback loop of virtual particles circulating through a wormhole time machine, a result indicated by semi-classical calculations, is averted. A particle returning from the future does not return to its universe of origination but to a parallel universe. This suggests that a wormhole time machine with an exceedingly short time jump is a theoretical bridge between contemporaneous parallel universes.[22] Because a wormhole time-machine introduces a type of nonlinearity into quantum theory, this sort of communication between parallel universes is consistent with Joseph Polchinski’s discovery of an “Everett phone” in Steven Weinberg’s formulation of nonlinear quantum mechanics.[23]
[edit] MetricsTheories of wormhole metrics describe the spacetime geometry of a wormhole and serve as theoretical models for time travel. An example of a (traversable) wormhole metric is the following:
One type of non-traversable wormhole metric is the Schwarzschild solution (see the first diagram):
PUBLIC ANNOUNCEMENT FEAT MYSONNE AND RALPH RANDOM (AUTO BOT MUSIC)
April 25th, 2011
URL BATTLE HOLLOW THE DON VS GOODZ ( YOU DECIDE )
April 25th, 2011
ONE WORD—TERRIFYING..WORLD ACCOUNTS ON UFO’s.
April 19th, 2011
FIRST LOOK BEHIND THE SCENES WITH OUNP, JADAKISS, FRED THE GODSON, LLOYD BANKS RMX VIDEO WHAT CHU TALKING BOUT PROD BY REMO
April 6th, 2011N.O.Etv
Live on set w/ Director Mills Miller First Look Behind The Scenes
What Chu Talking Bout Rmx Video
Oun-p, Fred The Godson, Jadakiss & Lloyd Banks
Shot By: @NOENYC
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At glance with Pual Porter former B.E.T exec
April 3rd, 2011BET Loses Sponsorship Over Contentune 27, 2008 | Anthony Springer Jr
BET suffered another setback this week when several advertisers pulled spots from popular network programs due to images of violence and profanity. According to Paul Porter of media watchdog group, Industry Ears and CNN, Proctor and Gamble, Pepsi and General Motors pulled their ads from Rap City and 106 & Park after the companies viewed “The Rap on Rap,” a content analysis of BET and MTV programming. The study found that children were exposed to violence, profanity or obscenity once every 38 seconds. According to a CNN report, BET Chairman and CEO, Debra Lee dismissed the study, saying the network pays attention to the content it airs and edits videos. “It’s geared for kids but the content is for adults,” Porter told HipHopDX. “That’s what the study shows.” Porter also asserts that responsibility for monitoring content should not solely rest on parents of minors. “The standard excuse is about parents, but there’s supposed to be corporate responsibility too.” He goes on to add that the images of black people on networks like BET effect more than just the young people exposed to the content. “We’re the only ones presented like this in the world. It effects you globally, on your job, with the police.” While Porter—a former media executive himself—is a harsh critic of the network, he is not without solutions for the Viacom network. “Balance,” he says of the solution, adding that every video shown does not have to be about violence, sex, or materialism. “We’ve been stuck on this fake gangster stuff. Black people have so many different shades and nobody is talking about lifting each other up.”
From talking to Porter, it’s clear that his agenda is not geared toward outright censorship, but more about common sense. “I listen to the same crazy shit in my car,” he says before adding, “but I’m not going to play it for a nine-year-old.
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MUSIC VIDEO DARQ-FLY AWAY FEAT AMY DAVIS DIR BY TAYA SIMMONS
April 2nd, 2011BX ARTIST DARQ, GIVES A GREAT PERFORMANCE IN THE PIECE DIRECTED BY TAYA SIMMONS..TWO THUMBS UP! MIXTAPE AVALIABLE ON COAST2COAST.COM
The Don Hill report
April 2nd, 2011Don Hill, long a staple of the New York City rock and club scene, passed away Thursday at 66. The New York Times reports that he died after collapsing on the way to an East Side hospital.
Born Donald Mulvihill, he was managing such Manhattan clubs in the late ’70s as Kenny’s Castaways and the Bitter End. In 1984, Hill became the manager and talent booker at the Cat Club in the East Village. The hotspot was known to feature musicians like Jane’s Addiction, David Bowie and Duran Duran.
When the club eventually closed, he opened his legendary Don Hill’s in 1993. The nightspot, located at Greenwich and Spring Streets, not only showcased local bands like the Lunachicks and Psychotica, but such acts as Iggy Pop and Green Day.
Don Hill’s was home to several long-running parties, which were basically the nightclub equivalent of regular weekly or bi-weekly programming. The organizers of the influential SqueezeBox party sought a middle ground between the punk rock and drag queen subcultures, and ended up creating something singular under the Manhattan moon. It became a place where roughnecks in Mohawks would dance with transvestites, go-go boys would dance shirtless on the club tables, and everybody would have a good, blissed-out time (though many wouldn’t remember it the following morning.)
That it worked as well as it did is a testament to the open-mindedness — and androgyny — of the New York City punk scene. SqueezeBox was one of the safest and most enjoyable parties for New Yorkers with alternate sexualities, and it inspired copycat events elsewhere in the city. Club Luxx in Williamsburg became home to electroclash, and the hypersexual and gender-scrambled scene that went along with it, but much of that ground had already been broken at Don Hill’s.
The club was also a destination for stateside fans of Britpop. In the dark and Anglophobic days of the early-’00s garage rock movement, the Tiswas party kept the Union Jack fluttering over the local club scene. Billed as an “indiepop electro dance party,” Tiswas was friendly to English bands and New York groups with transatlantic sympathies. The Strokes, Interpol, the Mooney Suzuki, A Place to Bury Strangers, The Realistics and other popular New York bands all played Tiswas before achieving international fame. Spacehog — a British band living in the United States — rocked the party, as did Smiths guitarist Johnny Marr.
Don Hill’s did not share the seedy aesthetic that made so many mid-’90s rock clubs in New York City uncomfortable places to watch music. It was not modeled on CBGB’s tight cavern-like interior. Instead, it had a wide stage and dancefloor, with good sightlines. A certain amount of urban grit was expected, but Hill always managed to mix glamour with the grunge.
“Don Hill was a rock ‘n roll legend who was adored by everyone in the business and everyone he touched,” Nur Khan, a co-owner of the club Don Hill’s, told WNYC.
Details for Hill’s memorial are forthcoming.
AIR PLAY DJ CHALLENGE APRIL 7TH @ BOWERY FEAT DJ NOE SPONSORED BY COAST2COAST, GET YA BUZZ UP, HIPHOPDX, DTF, TIMO, BROADJAM AND MORE!
March 24th, 2011
COME OUT AND SUPPORT THE DJS….ESPECIALLY DJ N.O.E!
