Flea Market and New Merchandise Update

Through 27 years of being an avid hip hop fan, I decided to compile a list of the 50 baddest white boys to every hold the microphone. I know sometimes the white rappers gets a bad rap! This article and list is my personal opinion, but I think it’s a pretty spot on list. This is in no particular order and I couldn’t put EVERYONE on here, so I used my best judgment from mainstream music to the underground.

Again this is in NO PARTICULAR ORDER! Just a list of 50.

1 Eminem – hate him or love him, he’s insane lyrically and one of the greatest rappers ever!

2 Slug – again…hate him or love him he’s insane lyrically and one of the greatest white MCs ever!

3 EL-P – tremendous MC. End of story…NO wait! Maybe top 3 white mc’s of all time!

4 Cage – started out as a dope MC, now he’s even better than that.

5 Copywrite – anyone need a dope punch line? Ohio’s shining son!

6 MC Chris – nerd? Yes! Skills? Yes and he’s also pretty entertaining

7 Necro -The Devil with a mic! Necro took Horrorcore to another level!

8 Adeem – From mc battles to albums, Glue is the man. Great live performances also.

9 3rd Bass – lest not forget our history people! The first to put Vanilla Ice on Blast! Pop pop goes the…

10 Aesop Rock – In the conversation for top 3 best white boy’s ever!

11 Diabolic -Complete arrogance, can back up every word he spits! Battles or Wax!

12 Sage Francis – The John Lennon of Hip Hop. Dynamic, creative and one of the best ever!

13 Vinnie Paz – Yes he has mad skills and may actually possess the mind control of a JEDI!

14 Okwerdz -Battle rappers can’t make music? He is starting to change that tide & help bring Cali back!

15 Apathy – Wizard on the mic,. Witty, Rugged, whatever needs done. It gets done!

16 Ill Bill – Necro’s brother, what do you expect besides sick wicked rhymes on the mic!

17 DZK – Mr. internet earned his fans 1 at a time, the old fashion way! When he’s on, it’s beast mode!

18 Haystak – Earned all of his stripes the hard way. Many years & many albums. Also MANY Fans!

19 Eyedea – Wow! From the humble beginnings of Scribble Jam to pristine albums! Eye is the man!

20 Beastie Boys – once again lest not forget our past! Some true classic albums under their belts!

21 Mac Lethal – They rap in Kansas City? Brilliant delivery and song writing! Not to shabby at battling either!

22 Jamie Madrox -The illest lyricist on Psychopathic records! He’s no gimmick! He’s got skills for days!

23 Esoteric – Creative, witty, true lyricist.

24 The Saurus – Battle raps galore. Some good songs also. Helping pave the fresh coast’s comeback!

25 Lil Wyte – Selling over 250,000 indie, of his debut album without marketing! Game over!

26 Dirtball – Now officially a member of KMK, he will continue to dazzle fans with solid material.

27 Ra The Rugged Man – This man is always underrated! He is a true beast!

28 Grayskul – Maybe unknown to some of you, very skilled MC.

29 Ryu – Demigodz- He and the rest of his crew just simply murder microphones

30 Mini Thin – What are they putting in the moonshine in West Virginia? This hillbilly rapper melts mics!

31 Celph Titled – Often overlooked & underrated, He’s a complete package of pen & delivery. A credit to FL.

32 JoJo Pellingrino -Haven’t heard from Joey in awhile, but he’s put out a lot of solid material in NYC.

33 Alchemist – Producer extraordinaire and blazes the mic with heat also.

34 Blaze Ya Dead Homie – another solid artist from psychopathic. Never sleep on this guy!

35 Remedy – White boy in the Wu Tang Clan? Nuff said!

36 Big B – Great MC who has carved a very nice lane for himself. Truly talented! A left coast gem!

37 Illmaculate – One of the sickest battle MC’s to ever live and his songs keep getting stronger!

38 YelaWolf – The only guy in Alabama making noise and it’s LOUD! He’s got skills & wit for days!

39 Prozak – Strange Music! How can you argue with any of the skills coming from that camp!

40 Kno – Cunninlynguists- Versatility, Humor, Stage Presence and kills the mic!

41 Evidence – Dialated Peoples- Impressive Skills all the way around. Solid resume & rep!

42 Bubba Sparxxx – Haven’t heard much from him lately, He did have is day though. Truly talented.

43 Asher Roth – Please don’t judge this guy on his first album. His freestyles are better than that!

44 Iron Solomon – NY Battle Don! Some solid tracks and commanding presence!

45 Non Phixion – If you don’t know, then you have you been hiding under a rock!

46 The Streets – The only non- U.S. member of the list. (UK) Some people don’t get it, I Do!

47 Boondox – The Scarecrow of Georgia, When he’s on, the track gets murdered & it’s psychopathic!

48 Yak Ballz – Terrific delivery, punches, and comedic flow. Great MC.

49 Paul Wall – Mr. bling grill put out some solid material, Haven’t heard a lot in awhile, had his time though!

50 Kottonmouth Kings -The West Coasts Version of ICP but hey rap a lot better & get a lot higher!

So that’s my list of the top 50 white MC’s. Some you assuredly know, some you might be sleeping on, I promise everyone on this is top notch and deserves a listen or an album purchase. I’d appreciate comments and anyone else’s insight on who you would add to the list.

Please stay tuned for some future articles of mine, the worst rappers of all time! The top 10 lyricists of all time, The biggest flops albums of all time and the top 10 female MC’s of all time!

What is a reggae “riddim?”

“Riddim” is the Jamaican Patois term for the instrumental “rhythm” track of a song, also known as the “groove” or the “beat”. Jamaican popular songs, and many other types of Caribbean music, are built on riddims.

Riddims usually consist of a prominent bass line and a particular unique drum pattern and are truly the backbone of dub, reggae, lovers’ rock, ragga, roots, dancehall, etc. Many riddims originate from a hit song and the riddim carries the name of the song, for example I-Wayne’s 2004 hit “Lava Ground” on the Lava Ground Riddim. Or, in some cases, the riddim takes the name of the most popular song recorded on it. For example, the Satta Massagana Riddim is named after The Abyssinians’ original song “Satta Massagana”.

Occasionally, an artiste will voice two completely different songs on the identical riddim. And it’s very common for different artistes to voice over the same riddims with different lyrics and different vocal styles, ranging from singing to toasting. For example, Jah Cure’s “Call On Me”, Gyptian’s “Butterfly”, and Tanya Stephens’ “Reminiscing” are all on 2009’s wonderful Good Love Riddim. The success of a riddim is judged by how many artistes “juggle” it, or make their own vocal interpretations of it. Jamaican audiences will judge whether or not the tune is big and, if so, other artistes will write new lyrics to “ride the riddim”.

There can be more than a dozen popular current riddims, but there are usually only a few “hot” riddims at any given time. Artistes have to record over these hot riddims if they want a better shot at getting their songs played in the dancehalls or on the radio. Many times a dance is even created in honor of the riddim, like Pepperseed, or Gully Creeper, or who can forget the world’s fastest man Usain Bolt’s victory dance, “Nah Linga”?!!

The riddims don’t always originate from reggae; some urban contemporary songs may become riddims as well. The instrumental of Ne-Yo’s “Miss Independent” has become a popular riddim; many dancehall artists have recorded songs using the track. Other songs have inspired riddims too, such as George Michael’s song “Faith,” which became a riddim of the same name, and R. Kelly’s “Snake,” which became the Baghdad Riddim.

Types of riddims

Riddims are African in origin and are generally one of three types. The oldest, the “classical” riddim, provides the instrumentals for dub, roots reggae and lovers’ rock (well known producers include Sly & Robbie). The “ragga” riddim backs (or used to back) raggamuffin and dancehall songs. And “digital” riddims (e.g., King Jammy’s Sleng Teng Riddim) are created with computers, synthesizers and drum machines; in other words, they are really electronic riddims.

The advent of technology changed the entire business. No longer do you need to pay for studio time and hire musicians! This opened up the business to a whole new generation of producers, musicians and performers. Today, most riddims backing dancehall and Soca are digital. Digital riddims, along with the global reach and popularity of dancehall, have also spawned the creation of more and more popular riddims outside Jamaica.

Versioning

“Versioning” is the term for recycling or rejuvenating old riddims using computers and samplers, and voicing over them with new artistes. Jamaica has been versioning since the 1960s. Some of these riddims are decades old, many of them coming out of Clement “Coxsone” Dodd’s renowned Kingston studio, Studio One. Some great riddims came out of Studio One in the ’60s and ’70s, and you will still hear them versioned in constant rotation by sound systems today.

Versioning can be controversial, however, because many of those who produced the original classic riddims never got paid for the riddims themselves. It would be nice to get some “royalties”!! But today’s artists argue that they’re inspired by these classics and paying respect by versioning and re-popularizing them. Many Jamaican producers rely heavily on versions although, in the past decade, we saw less of this practice with hundreds of creative new riddims being released.

The explosion of dancehall in recent years generated many great new riddims. But some are already being versioned as well. The Unfinished Business Riddim, popular in 2008, was a version of 1998’s hit Showtime Riddim. So it seems old riddims never die!

Producers

Of course, creating a new and original riddim is far more difficult than versioning an old one! Here are some of the best original riddim producers from the past & present: Black Chiney (sound system, DJ, producer), Bobby “Digital B” Dixon (producer), Clement “Coxsone” Dodd (producer, Studio One records), Donovan Germain (producer, Penthouse Studio), Joe Gibbs (producer), King Jammy (dub mixer, producer), King Tubby (dub mixer, producer 1960s-1980s), Duke Reid (producer, Treasure Isle records, dominated the 1960s), Sly and Robbie (producers, Taxi Records), Steely & Clevie (producers).

Two of the hottest young producers of the new millennium share a surname but are not related. Stephen “Di Genius” McGregor, son of veteran singer Freddie McGregor, can boast of one of my favorite dancehall riddims of recent years, the Tremor Riddim (2007), voiced by Mavado (“Amazing Grace”), Sean Paul (“Watch Them Roll”), and others. This talented musician’s riddims are so popular that more than a dozen people might voice over each of them.

The other young star producer is Kemar “Flava” McGregor, who is responsible for some of the hottest hits in recent years and, in my opinion, the very best roots reggae riddims to come out of Jamaica (or the world, for that matter) in years, for example: 2005’s Triumphant Riddim (Gyptian’s “Mama Don’t Cry”), 2007’s 83 Riddim (Richie Spice’s “Ah No Me Dat” & Queen Ifrica’s “Daddy”), and 2010’s Classic Riddim (Pressure’s “Thinking About You”, Duane Stephenson & Ras Shiloh’s “Soon As We Rise”), and Sweet Riddim (Etana’s “Happy Heart”, Beres Hammond’s “See You Again”, Ginjah’s “Prayer”). I love the wide mix of artistes voicing his riddims – veterans and novices alike – definitely something to appeal to everyone. These two producers are out in front of Jamaica’s current hitmakers!

For me, it’s the smooth reggae beats that get me grooving and swaying; for others it’s the hard bass lines they enjoy on the dancehall floor. No matter your preference, riddims are reggae music’s foundation! Enjoy!

Collaborating is one of the most rewarding and productive activities a songwriter can engage in. It’s also one of the most challenging. Co-writing will stretch you in ways you can’t even imagine up front.

Take a look at the Billboard Singles charts, and you’ll notice that the vast majority of hit songs were written by 2 or more writers. Why? Because many songwriters have discovered that the collaborative whole is far greater than the sum of the solo-writing parts. We’re all human, with strong suits we can capitalize on, as well as weaknesses we can supplement with the strengths of others.

Many artists find that writing alone year after year is limiting. The jack-of-all-trades approach may produce flashes of brilliance, but solo writers often find themselves stuck in a rut.

If you’re feeling the urge to merge with other talent, first take a hard look at yourself as a songwriter from an objective standpoint. Picture your next co-writing appointment as a potluck — what will you bring to the party?

o Are you passionate, enthusiastic, hard-working, and fun?

o Are you willing to commit time, energy, money, and your heart to the worthy cause of making great music?

o Do you have unique talents and powerful things to say in your songs?

o Are you willing to give and listen to constructive feedback?

o Are you familiar with the ground rules and terminology of your chosen field?

and, most importantly:

o Have you generated a body of work that shows off your strong suits as a writer?

BE LIKE A MAGNET

How can you attract quality co-writers? First of all, let’s face it, most successful, talented writers aren’t looking to pull you up by the bootstraps. However, many will want to collaborate if it looks like they’ll get something of value from the partnership. Therefore your job is to create material that other writers think will contribute to their success.

And keep in mind that most people to want to work with partners who have achieved a comparable level of development. I can’t expect Serena Williams to invite me over to play some tennis, or Tiger Woods to challenge me to a round of golf, until I work on my game just a wee bit more. Why should songwriting be any different?

Make it your goal to become a collaborator magnet. This means getting your contributions into the best possible shape before you walk in the door.

You will inevitably be judged by the actual goods you lay on the table. And if you’re honest you’ll admit you’re weighing your potential collaborators the same way. This is as it should be. Look with an objective eye over your body of work thus far.

Do you have:

o Neatly typed lyrics, laid out in identifiable song form?

o Best versions of instrumental tracks, melodies, hooks and/or riffs?

o Lists of possible titles?

o A few potential “song starts?”

o Any finished songs professionally demoed?

These are the “calling cards” you will present to other songwriters and artists. You want to hone them rigorously so you can show them proudly, secure in their value — not apologizing, cringing, or making excuses for their shortcomings. Isn’t that the standard of quality you’d expect in return?

You “pay your dues” by polishing up your talents, your diamonds, to a bright sheen. Eventually, if you take your own gifts seriously, word will spread that you have something valuable to offer. This process is sometimes called “eating your way up the musical food chain.” It doesn’t happen overnight. There are no “quick fixes,” as in any serious field of endeavor.

“YA GOTTA KISSA LOTTA FROGS”

Participation is the key. Join up, play out, take risks… basically, you have to lay your talent, your heart and your soul on the line! No one comes knocking on your door out of the blue, begging you to co-write. You have to make a concerted, consistent effort to create writing relationships from scratch.

In fact, I’ve noticed that collaborating is very much like… dating!

o Some collaborations are flings: good for a few tunes, but not for the long run.

o Some are nightmares: you want to run screaming in the opposite direction.

o Some are unrequited: you feel the urge, but your partner doesn’t.

o And luckily, some are magical: you stick with them for a long while, maybe even forever.

And yes, it can be heartbreaking. But I guarantee you’ll feel fully alive! There’s never a dull moment in this quest, because you and your co-writer aspire to the high calling of creating great art together.

You just have to keep writing, re-writing and putting it out there, trusting that eventually you’ll attract like-minded souls. So where exactly are these like-minded souls hiding?

A few days of research can provide you with a wealth of opportunities. Here are some paths that have produced results for me, and I’ve collaborated with at least a hundred other writers since 1983:

o Take a songwriting class.

o Find a teacher, or better yet, a mentor.

o Start a local songwriting support group.

o Hire or start a band, even if it’s only for a limited number of gigs.

o Join a Performing Rights Organization (ASCAP, BMI, or SESAC in the U.S.)

o Check out programs offered by music business organizations such a The Songwriters Hall of Fame, The Recording Academy, Women In Music, Nashville Songwriters Association, etc.)

o Join the various online songwriting communities — just Google it! Myspace.com offers a whole new realm of possibilites.

o Check local publications and listings for showcases, classified ads & open mics.

o Search the Internet for performers in your vein of music.

o Go to local music stores and check their bulletin boards, or put up your own sign.

o Post a free ad on Craigslist.com.

o Read or subscribe to music business publications.

You’re only limited by your imagination and your level of commitment.

In summary, there’s no such thing as a free lunch, but there is a delicious feast available if you’re willing to tap the well of your own talents. How’s that for a mixed metaphor?

Finally, I suggest people delve fearlessly into their deeper selves when they write songs. Listeners can always tell when you’re being truthful and real.

In a nutshell:

o Write your truth, and write a LOT.

o Dare to write gawd-awful songs in the quest for the brilliant ones.

o Create a support team that will hold you to higher standards.

o Develop your strengths and supplement your weaknesses as a writer, player, singer and engineer.

o Read the books, do the exercises, subscribe to the publications… know your field!

o Participate to the hilt, creating relationships with a variety of potential partners.

Together let’s raise the level of songs in the world, so that these become the good old days of music again!

Copyright 2006 Alex Forbes

The world loves music. The soul of video games and films lies in music. Today, several websites and a number of other applications in industries, such as corporate, retail, radio and restaurant, music is widely used to both entertain and retain customers or clients. This is where royalty free music comes into picture. Many people are still not aware of this term and those who are, are taking full advantage of it in their productions. This type of music is especially for people looking for inexpensive music.

If you are a serious professional then royalty free music is your best bet not only because it is affordable but also for it is high in value and quality. The provider of this type of music requires you to pay one time fee and gives you the rights to use the purchased tracks innumerable times. This means that there is no need to pay royalties for using it again. In this sense, such music is rightly termed as royalty free. This type of music is basically used to lend background score to films, videos on the Internet, and video games.

The benefits of using music that is royalty free are immense. The biggest of these is that you do not have to worry about creating music or pay huge sums of money to renowned composers and artists. All you need to do is get the royalty free music license for once. In case of other music licenses you may have to pay a fee every time you use a particular piece of music. To add to their side effects the amount of fee gets proportionately increased if you plan to broadcast that music or show it to more people. However, in case of music that is free of royalty payment, you can offer the purchased piece of music to a large audience as well without any additional fee.

The World Wide Web is overwhelmed with a huge number of free music sites. However, the music offered at these sites is usually very low in quality. Also, such websites do not have enough stock to offer you good variety to choose from. This limits your options. These also may not allow you to use the music they way you would wish to. They may even have copied tracks that may eventually land the users into copyright infringement troubles. So, it is important that you only get royalty free music from authentic websites that offer only high quality music and have certain policies to follow.

Although, the quality of music that is royalty free was considered doubtful by many people years ago, the popularity of this type of music in only surging with time. Today, you can find truly outstanding compositions online in a wide array of genres and moods. It is advised that you audition a track before finalizing it or add it to your wish list to take a final call on it. This will allow you to choose only the best fit track for your production.