Tuesday, September 28, 2010
Monday, September 27, 2010
Urban Fashion Week Press Conference
For Immediate Release
###
September 27, 3010
Urban Fashion Week – “Fashion Night Out”, Nov 1-7, 2010
Press Conference Leading up to the BET Awards
Thursday, September 30, 2010 @ 8 pm London Bistro1950 Howell Mill Road NW, Atlanta, GA 30318
UFW will make a huge announcement on September 30th, 2010. There will be a major push to promote Urban Designers around the country. UFW will be joining forces with designers all over the country to allow their voices to be heard while presenting them with the opportunity to showcase their spectacular and unique designs in urban couture, urban contemporary, urban street wear, urban sports-wear, urban leisure wear and urban accessories, during the week of November 1st to November 7th, 2010.
There was recently a “Fashion Night Out” around the US main stream brands, which did not focus on the multi-billion dollar urban fashion industry. UFW has continuously supported businesses in promoting urban brands; therefore, this press conference is a precursor to the fashion week events scheduled in November, to increase the awareness of Urban Designers.
The ultimate goal of Urban Fashion Week – “Fashion Night Out” is to develop an atmosphere for consumers to support and spend money with urban fashion designers.
During the week of November 1st to the 7th, a drive will be made to get Urban Designers’ cash registers ringing.
On Saturday, November 6, 2010, UFW will also produce an URBAN POWER 100 DESIGNER SUMMIT in New York City to discuss different techniques and strategies that can enhance sales projections for Urban Designers. The discussion will also include ways to combine marketing programs with other designers who are trying to reach the same target markets.
UFW marketing strategies will include conducting fashion shows, driving urban boutique sales, trunk sales and online marketing. This event will be publicized in the United States, Canada, Belgium, England, Japan, Africa, and many other countries.
“So when you come to these events for urban ‘Fashion Night Out’, bring cash to spend and support these independent urban designers", quoted Billy D. Foster, Founder of the Urban Fashion Week™.
###
If you are interested in being a part of these festivities, please contact us at
404-391-6895
urbanfashionindustry@yahoo.com
Thursday, September 23, 2010
Easy Mo Bee made the list!The Best of the Best: the Greatest Rap Producers Ever
The Bottom Line Rap's elite - THE GREATEST BEAT MAKERS IN HIP HOP HISTORY - numbers 50-36.
Behind every great rapper, there's a great producer.
Yet why is it the man (or woman!) with the microphone generally gets the share of the limelight over the person behind the boards? Whatever the answer is, it's time to try and redress that balance by giving some shine to the VERY greatest hip hop producers EVER.
First and foremost – who do we include? Hip hop’s a huge music form. This list is concerned purely with the beats behind the rhymes. These can be manifested through producers in the singular form (they can be DJ-Producer combinations of course!),or production squads. Within that framework, we are talking about beatmakers who play all the instrumentation themselves, or composers who bring others together in playing instruments. DJs, turntabalists, scratchers, ALL serve their purposes in this great artform – but they’re not included here. Next, how am I going to judge this list of musical monsters? We need some rock solid a*s criteria... right? To make this list, you need to have demonstrated some of the following criteria. The more you have of the different categories, the better:
1. ABILITY. Being able to create hot, slamming, beats. Simples.
2. SOUND. Can you craft your own style of music? Signature checklists that signal your beats, etc.
3. LONGEVITY. To be the greatest producer ever you need to have done it to top level for a substantial period of time.
4. CRAFT. Or, the ability to mould one’s style of music to a particular emcee or group and then drop great rap albums. After all, it's relatively easy to manufacture a one-off hit single, but far, FAR harder to create a 16 track set of fresh beats. And incidentally that's a point in itself... being a big hitmaker isn't a negative, obviously, but it's not inherently fundamental to being a great producer. What I’m ultimately saying is if you are a producer who has the ability to maintain a hot sound over the course of a full length album... that WILL score big points.
5. ORIGINALITY/INFLUENCE. Producers who have the ability to create influential and/or amazing sounds will get massive props, particularly when compared to trend-followers. But it’s not entirely a black and white scenario, for sometimes producers who trend follow have better catalogues than those who created that particular sound. Ultimately, the question as to who is better - teacher or student - can only be answered looking at it from the overall perspective of body of work. The only exception is if they can’t be split i.e. all things being ‘equal’, then the originator will get the deciding vote.
Anyway, you’re probably bored of me rambling now. This is intended to be an interactive list; for lots of these producers have huge resumes, and I want to help you guys get the best idea of how they sound. I’ve listed production credits I have either remembered or are of particular distinction. You’ll see a load of links to reviews (mine – and others!) as well as the occasional youtube link if I feel you HAVE to listen to a song there & then.
Easy Mo Bee is # 42
Along with P. Diddy and his Hitmen, Easy Mo Bee is one of the pillars of strength behind Biggie’s: “Ready To Die”. He produced a string of tracks on this masterpiece release, which classed him as a jazz-influenced, boom bap come horrorcore producer who had the ability to meld the two into cinematic, threatening soundscapes on “Warning” in particular, and rumbling old school anthems like “Machine Gun Funk”, and one of Biggie’s pre-RTD singles “Party and Bullsh!t”. Mo Bee was a big producer back in the day, getting his start for the legend that is Big Daddy Kane, and going onto producing albums for Gza (“Words From The Genius”) and Craig Mack and tracks/hits for 2Pac, Das EFX, LL Cool J, Busta Rhymes and The Lost Boyz, as well as more work with Biggie on “Life After Death”. His work since the late 90s has been relatively sparse, though he has occasionally surfaced with releases like Now or Never: Oddysey 2000, which was an Eastcoast-centric collaboration project, and dropping tracks for the Wu, Kurupt, Ras Kass, Big Daddy Kane and others.
Behind every great rapper, there's a great producer.
Yet why is it the man (or woman!) with the microphone generally gets the share of the limelight over the person behind the boards? Whatever the answer is, it's time to try and redress that balance by giving some shine to the VERY greatest hip hop producers EVER.
First and foremost – who do we include? Hip hop’s a huge music form. This list is concerned purely with the beats behind the rhymes. These can be manifested through producers in the singular form (they can be DJ-Producer combinations of course!),or production squads. Within that framework, we are talking about beatmakers who play all the instrumentation themselves, or composers who bring others together in playing instruments. DJs, turntabalists, scratchers, ALL serve their purposes in this great artform – but they’re not included here. Next, how am I going to judge this list of musical monsters? We need some rock solid a*s criteria... right? To make this list, you need to have demonstrated some of the following criteria. The more you have of the different categories, the better:
1. ABILITY. Being able to create hot, slamming, beats. Simples.
2. SOUND. Can you craft your own style of music? Signature checklists that signal your beats, etc.
3. LONGEVITY. To be the greatest producer ever you need to have done it to top level for a substantial period of time.
4. CRAFT. Or, the ability to mould one’s style of music to a particular emcee or group and then drop great rap albums. After all, it's relatively easy to manufacture a one-off hit single, but far, FAR harder to create a 16 track set of fresh beats. And incidentally that's a point in itself... being a big hitmaker isn't a negative, obviously, but it's not inherently fundamental to being a great producer. What I’m ultimately saying is if you are a producer who has the ability to maintain a hot sound over the course of a full length album... that WILL score big points.
5. ORIGINALITY/INFLUENCE. Producers who have the ability to create influential and/or amazing sounds will get massive props, particularly when compared to trend-followers. But it’s not entirely a black and white scenario, for sometimes producers who trend follow have better catalogues than those who created that particular sound. Ultimately, the question as to who is better - teacher or student - can only be answered looking at it from the overall perspective of body of work. The only exception is if they can’t be split i.e. all things being ‘equal’, then the originator will get the deciding vote.
Anyway, you’re probably bored of me rambling now. This is intended to be an interactive list; for lots of these producers have huge resumes, and I want to help you guys get the best idea of how they sound. I’ve listed production credits I have either remembered or are of particular distinction. You’ll see a load of links to reviews (mine – and others!) as well as the occasional youtube link if I feel you HAVE to listen to a song there & then.
Easy Mo Bee is # 42
Along with P. Diddy and his Hitmen, Easy Mo Bee is one of the pillars of strength behind Biggie’s: “Ready To Die”. He produced a string of tracks on this masterpiece release, which classed him as a jazz-influenced, boom bap come horrorcore producer who had the ability to meld the two into cinematic, threatening soundscapes on “Warning” in particular, and rumbling old school anthems like “Machine Gun Funk”, and one of Biggie’s pre-RTD singles “Party and Bullsh!t”. Mo Bee was a big producer back in the day, getting his start for the legend that is Big Daddy Kane, and going onto producing albums for Gza (“Words From The Genius”) and Craig Mack and tracks/hits for 2Pac, Das EFX, LL Cool J, Busta Rhymes and The Lost Boyz, as well as more work with Biggie on “Life After Death”. His work since the late 90s has been relatively sparse, though he has occasionally surfaced with releases like Now or Never: Oddysey 2000, which was an Eastcoast-centric collaboration project, and dropping tracks for the Wu, Kurupt, Ras Kass, Big Daddy Kane and others.
Thursday, September 16, 2010
DFL Recordings and Positevely Alexzander on Redd Angel Radio Tonight
WE'RE BAAAAAAACK. REDD ANGEL RADIO IS BACK WITH NEW INTERVIEW, NEW MUSIC, AND GREAT FUN. JOIN REDD ANGEL AND HER CO-HOST JUDAH AS THEY CLIMB TO BECOME THE TOP INTERNET RADIO SHOW IN THE SOCIAL MEDIA RELM. THE KING AND QUEEN OF SOCIAL MEDIA SHALL WE SAY.
EVERY THURSDAY ON WWW.UWMIXRADIO.COM
EVERY THURSDAY ON WWW.UWMIXRADIO.COM
Subscribe to:
Posts (Atom)