<rss version="2.0">
    <channel>
        <title>Shocklee Entertainment Headshopx.tv Feed Channel</title>
        <link>http://www.shocklee.com</link>
        <description>Shocklee Entertainment - www.shocklee.com</description>

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            <title> <![CDATA[DOLK & M-CITY: EUROTRASH May 8th-29th @ Brooklynite Gallery]]></title>
            <link>http://www.shocklee.com/index.php?content=headshop&amp;id=111 </link>
            <description><![CDATA[Reclusive, Norwegian stencil artist DOLK, emerges from the shadows to 
showcase a new collection of cutting imagery. Often monochromatic with 
one precisely placed color, DOLK crafts strangely beautiful story-lines 
into his work, infusing a wry sense of humor into such wide ranging 
topics as celebrity, religion and societal pressures. 

Look closely at a satellite picture of the earth and you just might see 
an M-CITY mural. Listen to the echoing sounds of metal forging, pistons 
firing, and air compression as M-CITY, Poland's most prolific artist 
working in the public space, erects yet another large scale mural on any 
number of continents. Using his graphic brand of stencil artillery that 
includes images of smoke-stack factories, cogs and gears, steam ships, 
and repetitive city blocks, M-CITY redefines the Industrial Revolution. 

Thank heavens half the space at Brooklynite Gallery is outdoors ---quite 
conducive for these two addicts of outdoor activity who also plan on leaving 
many gifts to the people of NYC.


&quot;EUROTRASH&quot;
DOLK &acirc;€&cent; M-CITY 
MAY 8 - MAY 29
OPENING RECEPTION: SATURDAY, MAY 8, 7-10 PM (NY)
Featuring Special Musical Guest DJ EVIL DEE (Da Beatminerz)

BROOKLYNITE GALLERY






]]></description>
            <pubDate>Thu, 29 Apr 2010 00:00:00 Z</pubDate>
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            <title> <![CDATA[Go Get Your Shinebox Exhibit at Brooklynite Gallery]]></title>
            <link>http://www.shocklee.com/index.php?content=headshop&amp;id=85 </link>
            <description><![CDATA[Go Get Your Shinebox Exhibit at Brooklynite Gallery Thru Dec 19

Featuring 100 International Artists

What does it mean for an artist to &acirc;€śsurvive&acirc;€ť in a tough economic climate? 
Can business ever be &acirc;€śbad&acirc;€ť for a diligently working artist? Making an honest 
living ---in a group show like NO OTHER, these artists, some legendary and 
some suitably hungry, will dissolve the line between utility and luxury for 
an exhibition entitled, &quot;GO GET YOUR SHINEBOX&quot;.


Brooklynite Gallery
334 Malcolm X Blvd.
Brooklyn, NY 11233 

GO GET YOUR SHINEBOX!

]]></description>
            <pubDate>Sat, 21 Nov 2009 00:00:00 Z</pubDate>
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            <title> <![CDATA[PERU ANA ANA PERU @ Brooklynite Gallery Oct 17 - Nov 14]]></title>
            <link>http://www.shocklee.com/index.php?content=headshop&amp;id=82 </link>
            <description><![CDATA[..AND THEN WE JUMPED INTO THE ABYSS OF NUMBERS: 
Memories in Absurdity From the Bowels of Peru Ana Ana Peru

You&acirc;€™ve seen it on the streets &acirc;€“ just a black square with white text.  Two
names, a mirror image of themselves.  These discreet signs of whoever 
or whatever refers to itself as PERU ANA ANA PERU are backed up by 
an eclectic collection of ornately designed pieces of artwork-- pasted, 
fastened, scribbled or dangling to your left or right.

WHO ARE THEY?  WHAT DOES IT MEAN?  We are often asked these 
questions.  PERU ANA ANA PERU's use of different mediums is a treat 
if you enjoy such things and will certainly cut up a neat freak looking to 
compartmentalize them.  Well we may not have all the answers you've 
been searching for,  but we do have their first solo show and hope to 
bring you as close to their identities as you have been so far.

&quot;...And Then We Jumped into the Abyss of Numbers: Memories in 
Absurdity From the Bowels of Peru Ana Ana Peru&quot;, is the title of their 
exhibition.  A bit long?  --Maybe.  Very telling? --Yes.  Their  &quot;abyss of 
numbers&quot; will explore the unknown, the bizarre and the surreal through 
multi-media paintings/drawings, sculpture and installations.  Video art 
pieces telling strange narratives will be a key focus of the work and will 
offer viewers yet another peek into this duo's collective psyche.  This 
work, harmonious with a gallery space, is also intimately connected to 
their street presence.   At their request, we dizzily revel in the irrational.   

The soundtrack to the opening night event will 
be performed by Hank Shocklee [BOMB SQUAD; Future Frequency]

October 17 - November 14
Brooklynite Gallery

Opening Reception October 17
7-10PM Eastern (19:00 UK)

Live Streaming Coverage on the Brooklynite Gallery Website 
PERU ANA ANA PERU on Flickr

]]></description>
            <pubDate>Sat, 10 Oct 2009 00:00:00 Z</pubDate>
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            <title> <![CDATA[Where were you in '22?]]></title>
            <link>http://www.shocklee.com/index.php?content=headshop&amp;id=80 </link>
            <description><![CDATA[Nikolai Roslavets (1881-1944) is sometimes called the &quot;Russian Schoenberg&quot; and was certainly the first Russian composer to use a system of tone organization similar to Schoenberg's serialism. Before the 1917 revolution, Roslavets was regarded as a cutting-edge composer comparable to Scriabin. Interestingly, Marc-Andre Hamelin describes Roslavets's music as &quot;Scriabin on acid.&quot; After the revolution and the formation of the RAPM (Russian Association of Proletarian Musicians), Roslavets was criticized and harrassed for his modernism. In the late 1920s, he left the Communist Party and in 1931 moved to Tashkent. There he conducted for a music theater and composed simple pieces in accordance with Socialist Realism. He died in obscurity and his name and music was mostly forgotten until the 1970s.

Roslavets - Five Preludes (1922) 

thanks to zomby 
]]></description>
            <pubDate>Tue, 15 Sep 2009 00:00:00 Z</pubDate>
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            <title> <![CDATA[DAIN Show at Brooklynite Gallery September 12 - October 10, 2009]]></title>
            <link>http://www.shocklee.com/index.php?content=headshop&amp;id=79 </link>
            <description><![CDATA[Brooklyn born artist DAIN uses the platform for his first solo show to take us back to a time when life was simpler---the 1940&acirc;€™s. The good ol&acirc;€™ days as some might call them--- New York City Style. A time when words like cosmopolitan, elegant and modest, were a lot more relevant. A time when families spent the day on amusement rides at Coney Island and in the evening common folk mixed with celebrities in nightclubs like the Copacabana.

The term &acirc;€ścopasetic&acirc;€ť meant that everything was fine and dandy. Even as war news dominated the headlines, a craving for fun and refuge abounded . . . a diversion. Much like today when the economy looms large and America&acirc;€™s still at war, we too need a diversion. DAIN&acirc;€™s work and installations for &acirc;€śCOPASETIC&acirc;€ť will create just that. Infusing the glamour and glitz of the 1940&acirc;€™s together with a Brooklyn working class edge, he seeks to turn 
back the hands of time&acirc;€” Even if we were never there before.

DAIN
&quot;COPASETIC&quot;
September 12 - October 10
Opening Reception September 12, 
7-10PM Eastern (19:00 UK)

Special Musical Guest: 
Big Band Swing Machine

Live Streaming Coverage on the Brooklynite Gallery Website
DAIN on Flickr]]></description>
            <pubDate>Fri, 04 Sep 2009 00:00:00 Z</pubDate>
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            <title> <![CDATA[Deadly Dragon Sound Brings Out Reggae Massive for 2yr Ann.]]></title>
            <link>http://www.shocklee.com/index.php?content=headshop&amp;id=46 </link>
            <description><![CDATA[Since opening two years ago amidst the hanging BBQ ducks of Chinatown, Deadly Dragon Sound has firmly established itself as one of the top flight record shops in the world; albeit one that concentrates solely on the music of Jamaica. 

In celebration of of their 2 Year anniversary on February 28, 2007, the shop amassed an incredible lineup of sound systems and live performers to mirror the golden days of Jamaican Rub a Dub.  It was truly an incredible evening with performances by Father Downbeat, Majestic Twin Sound, Johnny Osbourne, Carlton Livingston, Ranking Joe, Devon Clarke, Lady Ann, Tuffest, Judah Eskendar Tafari, and Ian Sweetness.

Check the photos &amp; sound for a taste&Ouml;.

For more info:http://www.deadlydragonsound.com

Photos: AGirlNamedDisaster]]></description>
            <pubDate>Sat, 17 Mar 2007 00:00:00 Z</pubDate>
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            <title> <![CDATA[Lord Finesse B-Day Bash: A Classic Hip Hop Moment]]></title>
            <link>http://www.shocklee.com/index.php?content=headshop&amp;id=47 </link>
            <description><![CDATA[Yo! I've been to some shows before, but this one was sick as hell! Peace to everybody who was in the building for the packed and sold-out show:  Chuck D &amp; Hank Shocklee (Public Enemy), DJ Premier, DJ Boogie Blind, T La Rock, Showbiz &amp; AG, OC, Das Efx, Joeski Love, Freddie Foxx,  Dres (Black Sheep), The Beatnuts, Big Jeff (Zulu Nation), Grandmaster Caz (Cold Crush Bros), Grandmaster Melle Mel, Jazzy Jay, Sway (MTV), Grand Puba &amp; DJ Alamo (Brand Nubian), Lord Finesse, Nice &amp; Smooth, Christie (Toolsofwar), DJ Eclipse, Immortal Technique, etc, etc, etc!

If you missed this one shame on you! Hip-hop was definitely in effect and peace to Nice &amp; Smooth who tore the place down! Enjoy the pics and see you real hip-hop heads at the next real hip-hop show. 
- B Ward

This classic hip hop moment took place February 23, 2007 @ Irving Plaza NYC

Photos: AGirlNamedDisaster]]></description>
            <pubDate>Tue, 27 Feb 2007 00:00:00 Z</pubDate>
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            <title> <![CDATA[What Should The Music Biz Do Next?
Mark Cubanís Suggestions for a Better Music Industry]]></title>
            <link>http://www.shocklee.com/index.php?content=headshop&amp;id=19 </link>
            <description><![CDATA[What Should The Music Biz Do Next?
MARK CUBAN

Steve Jobs asks for DRM free music, something the entire world has been asking for. If anything, Steve is a catalyst, but towards what ? What should the music industry do ?

It should learn from the rise of Google, Youtube and even the disastrous SDMI to create a new world of music. Here is what I suggest:

1. Create an Itunes competitor that is a joint initiative open to all music companies and independent artists, supported by the Big 4 and funded by a private equity group.. Hire an entrepreneurial CEO that you can agree on, let that person hire the people to run the show and get out the way. If its a compromise effort it Will fail. 

Then let the company find the best multi-platform user interface that they can find. Build, lease or buy it. Whatever it takes to get you a front end that rivals Itunes and ITMS.

2. Populate the above site with 100pct of each participants' available catalog. Cd's and Downloads in DRM free format. 100 pct of catalog is critical. If its available anywhere, it has to be available here. Exceptions weaken the new company and create opportunities for politics and gamesmanship. Make sure that the labels participating are either all in, or dint let them in.

3. Price the music based on a holistic variable pricing algorithm that incorporates all sources of revenues. More about this in a minute.

4, Make a requirement of all labels/participants that any websites they have , 100pct of them prevent search engine crawlers . To make this work, references to your content can't appear in any search engines other than the one you are about to create.

5. Create a search engine that is all things music and has the exclusive index to all things on all your websites, and reaches out onto non participants sites that allow indexing. 

6. Go to Google and Yahoo and make them bid against each other to provide a Panama/AdSense like system that sells advertising on the Search engine and all the music sites owned by the participating labels, but ALSO calculates the optimal price for the DRM free music sold or offered for free on the site. 

Why limit variable pricing to advertisers for PPC ads ? Why not incorporate the total value proposition of music across the entire spectrum of platforms offering the music ?. Does anyone question the interdependency of value among all outlets of music ? Does the popularity of downloads of a song, its ring tone, its video, its CD sales, even ticket sales, licensing, sponsorships and merch sales affect the other elements ? The total revenue available from the artist ? Of course it does. Leverage Google, Yahoo, maybe even MicroSoft or Amazon or others to create a system that takes input from all revenue sources and prices (with constraints as defined by the owner of the content, ie min/max price for a product, and/ or break even point in net margin dollars for an artist or the entire label) to optimize whatever the goals of the company are, whether its overall sales/profitability , or possibly, maximizing the number of downloads and visibility for an artist. (which could of course mean that the entire structure extends to formulas for optimizing the career earnings of an artist feeding into this system)

The challenge isn't understanding the interdependencies. The challenge is optimizing revenue across the entire scope of options.

Put in simpler terms, there is a place for a vertical search engine for music to come in and dominate just as Youtube did for video. (only with legal access to the content this time). Call it AllofMP3.com for fun :). It could generate enough traffic to actually have more value than the aggregate value of the record labels themselves if done right.

The more traffic the site gets, the more advertising it sells and more clickthroughs it generates Whether the ads are audio, video or text, PPC, preroll, variable pre roll (every X full length song streamed as a demo , get a 10 sec ad) display or whatever is next, the more you generate there, the less you can charge for music. The pricing can even vary for music on a minute by minute or day by day basis. That alone will drive tons of traffic as people follow the &quot;stock price&quot; of their favorite artists.


The numbers and the holistic approach will hopefully teach the industry what drives total revenues in a given period for a given artist,or the label as a whole. Is the right price for music in this environment 10c, 25c, 50c or a dollar a song ? Is it an annual subscription for an artist ? No one knows now, but this type of environment will teach the industry the right way to sell music, just as Google's pricing algorithms have dominated the search advertising world.

7. Extend the system to provide real time sales information from sales outlets whether they are brick and mortar or on line. This makes the system smarter and provides better opportunities for all outlets to make money

This is a business that would change and dominate the music industry. Unfortunately, its more dream than anything else. It would take cooperation in an ego driven industry. It would mean taking a quantitative approach in and industry that is driven by art.

None of which changes the facts. The marginal cost of delivering a song digitally is minuscule, its minimally perishable and fully replenishable (it may decline in value only as interest declines, but it never disappears and never has to be re manufactured). That creates an opportunity to develop a yield management system that changes how music is offered to the public. 

Or the industry just gives Steve Jobs DRM free music and we all buy from Apple. 

Source: Mark Cuban&iacute;s Blog Maverick
http://www.blogmaverick.com]]></description>
            <pubDate>Wed, 07 Feb 2007 00:00:00 Z</pubDate>
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            <title> <![CDATA[Copyright Criminals: This is a Sampling Sport ]]></title>
            <link>http://www.shocklee.com/index.php?content=headshop&amp;id=20 </link>
            <description><![CDATA[ A one-hour broadcast documentary, Ben Franzen and Kembrew McLeod's forthcoming film, &quot;Copyright Criminals: This is a Sampling Sport&quot; is the first film to explore the turbulent world of digital sampling. 

Drawing from more than fifty interviews with prominent musicians, artists, scholars, lawyers, music industry representatives and copyright and sampling superstars, the film explores the complicated impact that copyright law has had on the creative practice of sampling and examines the conflicting opinions artists and others have about appropriation.

With an all star cast that includes Pete Rock, Coldcut, Hank Shocklee &amp; Public Enemy, De La Soul, DJ Qbert, Lawrence Lessig, Matmos, DJ Spooky, and Negativland among others, this documentary&iacute;s central theme has implications far beyond hip-hop music: &igrave;Who owns culture and what does it mean to be creative in a digital environment?&icirc;

We can&iacute;t wait for this film to drop but in the meanwhile, check this juicy 10-minute sneak peak trailer.

http://www.copyrightcriminals.com/]]></description>
            <pubDate>Thu, 01 Feb 2007 00:00:00 Z</pubDate>
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            <title> <![CDATA[Five For The Reload!  Joe Nice Live from Grime City]]></title>
            <link>http://www.shocklee.com/index.php?content=headshop&amp;id=21 </link>
            <description><![CDATA[Check the wicked live mix by US Dub Step representative and B-More&iacute;s own Joe Nice getting down with Emcee Child holding down mic duty at San Francisco&iacute;s Grime City 1 year anniversary party June 16, 2006. The dub step &amp; grime monthly is presented by the B.I.G. Crew.

Lickshot.

http://www.myspace.com/joenice
http://www.gourmetbeats.com
http://www.grimecity.sfdubstep.com]]></description>
            <pubDate>Thu, 18 Jan 2007 00:00:00 Z</pubDate>
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            <title> <![CDATA[Book Spotlight: Book of Exodus: The Making and Meaning of Bob Marley and the Wailers' Album of the Century]]></title>
            <link>http://www.shocklee.com/index.php?content=headshop&amp;id=22 </link>
            <description><![CDATA[Bob Marley is one of our most important and influential artists. Recorded in London after an assassination attempt on his life sent Marley into exile from Jamaica, Exodus is the most lasting testament to his social conscience. Named by Time magazine as &quot;Album of the Century,&quot; Exodus is reggae superstar Bob Marley's masterpiece of spiritual exploration.

Vivien Goldman was the first journalist to introduce mass white audiences to the Rasta sounds of Bob Marley. Throughout the late 1970s, Goldman was a fly on the wall as she watched reggae grow and evolve, and charted the careers of many of its superstars, especially Bob Marley. So close was Vivien to Bob and the Wailers that she was a guest at his Kingston home just days before gunmen came in a rush to kill &quot;The Skip.&quot; Now, in The Book of Exodus, Goldman chronicles the making of this album, from its conception in Jamaica to the raucous but intense all-night studio sessions in London. 

But The Book of Exodus is so much more than a making-of-a-record story. This remarkable book takes us through the history of Jamaican music, Marley's own personal journey from the Trench Town ghetto to his status as global superstar, as well as Marley's deep spiritual practice of Rastafari and the roots of this religion. Goldman also traces the biblical themes of the Exodus story, and its practical relevance to us today, through various other art forms, leading up to and culminating with Exodus. 

Never before has there been such an intimate, first-hand portrait of Marley's spirituality, his political involvement, and his life in exile in London, leading up to his triumphant return to the stage in Jamaica at the Peace Concert of 1978.

Here is an unforgettable portrait of Bob Marley and an acutely perceptive appreciation of his musical and spiritual legacy. 

Paperback
ISBN: 1400052866 325 pages

http://www.viviengoldman.com]]></description>
            <pubDate>Sun, 07 Jan 2007 00:00:00 Z</pubDate>
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            <title> <![CDATA[Skream Live @ Dub Warís First B-Day Bash NYC]]></title>
            <link>http://www.shocklee.com/index.php?content=headshop&amp;id=23 </link>
            <description><![CDATA[Heavy dubs and dark pulsating bass lines was the mode at Dub War&iacute;s recent first birthday bash which featured the 1st North American appearance by Skream, [Tempa, DMZ Recordings; London, UK].  The line up also included Joe Nice [Gourmetbeats, Breaks FM; Baltimore], Dave Q [Dub War; Brooklyn], The Lexxus [Turntablaze, Bassism; San Francisco], John Ask [Downtempo soundsystem; Baltimore] and Emcee Child [B.I.G. Crew; San Francisco]

It was a night of lovely dub plates and hot &amp; sweaty dancing indeed.  Turn your speakers up and press play for a sample of UK Dub Step Specialist Skream getting down.

Big up to Dub War &amp; Direct Drive.

http://www.tempa.co.uk/
http://www.dubwarnyc.com 
http://www.directdrive.net]]></description>
            <pubDate>Mon, 04 Dec 2006 00:00:00 Z</pubDate>
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            <title> <![CDATA[EXCLUSIVE!  Shocklee @ NYC Native Instruments Lab: Kore Event]]></title>
            <link>http://www.shocklee.com/index.php?content=headshop&amp;id=25 </link>
            <description><![CDATA[Native Instruments recently hit the road with KORE, the world&iacute;s first Universal Sound Platform, for a three-city tour of workshops and parties in which Native Instruments representatives were on hand to provide deeper insight into KORE&iacute;s features and functionality both in the studio and onstage.

Our very own Hank Shocklee was invited to present a workshop during the NYC stop at Tonic on August 19th.  Where he discussed his adventures in software, synths &amp; samplers, making digital funky and dropped some production gems.  Hosted by Josh Fielstra, this one&iacute;s surely to be on heavy rotation on your ipod.

For more on Kore:
http://www.native-instruments.com/index.php?id=kore_us]]></description>
            <pubDate>Mon, 04 Sep 2006 00:00:00 Z</pubDate>
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            <title> <![CDATA[The cutting room floor with Hank Shocklee: Outtakes from the Scratch Magazine Interview ]]></title>
            <link>http://www.shocklee.com/index.php?content=headshop&amp;id=26 </link>
            <description><![CDATA[In case the recent interview in Scratch magazine left you wanting more, these outtakes will provide a deeper glimpse into Shock&iacute;s world&Ouml;

GOOD VIBRATIONS
Frequencies are funny: there are frequencies that I can play to you that will make you sick, there are frequencies that I can play to you that will make you feel a level of comfort, there are frequencies that I can play to you that will make you feel a level of stress. It&iacute;s all a matter of what I&iacute;m tapping into. Once again, frequency is nothing but another form of energy. Matter is nothing but another form of energy as well. So we&iacute;re all frequencies. Everything that we see is all frequencies, it&iacute;s just vibrating at different speeds. (He modulates his voice for effect.)
This frequency is denser than skin because its vibrating at a slower frequency than our skin is. That&iacute;s how you can take something like water, you change its frequency, it changes its look or its characteristic. For example, you heat it up which means you&iacute;re speeding up the frequency, it will evaporate and turn into a gas. You slow it down it will freeze and become a solid. That&iacute;s the beautiful thing about life, life is all frequencies.

I see there are some flowers here. If you take frequencies and throw it AT THAT FLOWER, that is what we would call non harmonic frequencies, basically creating a level of disjointedness, disorganized noise. You feed that flower noise all day long and you feed another flower more harmonies and comforting sounds, you are going to see a difference in the growth of those two plants. And that&iacute;s not theory; that&iacute;s fact.

RED LIGHT SPECIAL
The other thing that we wanted to make sure of, you know tape has a nice compression when you hit it hard. If you go back and listen to a lot of the old record company tapes, they would always record their levels, you know, like before it hits the red, which means that the volume &ntilde; and Sony didn&iacute;t even let it hit the red at all &ntilde; Sony would bring it back maybe two or three DB below before it reaches zero. So Sony would basically have all this hiss on the tape. You&iacute;d get music but you&iacute;d get a lot of tape hiss. So one thing I wanted to do is I wanted to saturate it. I wanted to hit it hard. (He pounds his hand into palm for emphasis.) I learned that from being with Steve Ett in the studios at Chung King. When I recorded with Steve, he was recording in the red. If you&iacute;re in a recording studio all engineers always want to make sure that they&iacute;re never distorting. Tape distortion is like the biggest no-no in the business when you&iacute;re an engineer. So they always would be very cautious to make sure they were not. And Steve Ett was pushing it into the red.

GROOVE THEORY
You listen to those Def Jam records, those records where not only great from the beats and the rhymes but sonically they were louder than every other record on the market, aight. And it was louder for two reasons. Back then mastering--we can go for days, you got to stop me if I get too far off&oacute;mastering, there are two types of situations. There is the recording process and then there&iacute;s the mastering process. And those are two different scenarios. For instance you can have an incredible sounding cassette or tape when you&iacute;re coming out of the studio but it can get messed up in mastering if its not mastered properly. This is what I learned from Rick [Rubin]. Rick would always say he doesn&iacute;t want his records over 2 minutes and 30 seconds because he&iacute;s taking two minutes and thirty seconds and putting it on a 12-inch vinyl, which is enough space to record an album. What happens is something unique. Now the groove in the record becomes bigger. The groove in the record is now bigger, your bottom end is bigger. Your bottom end is now tighter. The overall loudness of the record &ntilde; the dynamic range increases, alright. If you listen to those Def Jam records you used to sit there and say &igrave;Damn how are those Def Jam records so incredible?&icirc; First of all they were minimal, meaning they didn&iacute;t have many instruments playing and they were compressed and they were just louder than anything else. That&iacute;s why when you were a DJ and you have a pair of headphones on and you have a record and the turntable is on and you&iacute;re trying to bring in turntable two&Ouml;The first thing you notice with Def Jam is the firs hit is always (smacks his hand for emphasis) solid! Boom, Boom, Boom, Boom. So it made fun when you&iacute;re a DJ you could always do a little diggety-do, diggety-do. And when you&iacute;re hitting that you&iacute;re getting a lot of that compression from that kick.


ART OF SCRATCH
I bet if you do polls of Scratch DJs, find out what they use to scratch. Scratching is a thing where you don&iacute;t really care about the material, what you&iacute;re concerned about is if there&iacute;s a bassline that you want to freak. That bassline got to be big and loud. Or if it&iacute;s a kick drum, in order to get vucko, vucko, vucko, you gotta get a crazy tight loud kick on the first hit. You listen to all them Def Jam Records, all them Def Jam records start off with that boom-ka-chick-boom. So from a DJ standpoint those records are really fun to play with.

BELIEVE THE HYPE
I remember trying to sign Flavor Flav to Def Jam. Cat&iacute;s were like, &euml;Yo man, what does he do?&iacute; I was like, &euml;He&iacute;s Flavor, man. He&iacute;s there to give flavor to whatever Chuck has got going on. &euml;But does he rhyme?&iacute; &euml;Nah, he doesn&iacute;t rhyme. That&iacute;s what he does.&iacute; He says, &euml;Yo Chuck, that shit is crazy, let them niggas know what time it is!&iacute; That&iacute;s the shit [now] in hip-hop. Everybody is taking [the hypeman] to mad levels.

FRANCHISE MARKETING
We were the ones who took the merchandising to another level. As the opening act we were selling as much merchandise as the closing act &euml;cause everybody liked the target [logo]. Everybody wanted to be a Public Enemy. We had different types of arrangements, T-Shirts, long sleeves, hoodies and hats. We made sure we had a gamut of things available. Well, those were the old merchandising deals.

Now all that happened is the rap artists took the merchandising deals to another level. So now it becomes Ruff Ryder Jeans, Roc-A-Wear. It&iacute;s still a merchandising deal. Everybody knows its Jay-Z. It serves the same purpose as Jay-Z putting his face on a t-shirt and you buying it. The only difference is we&iacute;re more sophisticated so its now in a slicker form.

For More info:Scratch Magazine]]></description>
            <pubDate>Fri, 01 Sep 2006 00:00:00 Z</pubDate>
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            <title> <![CDATA[Shocklee At Red Bull Academy ń Seattle, 2005]]></title>
            <link>http://www.shocklee.com/index.php?content=headshop&amp;id=27 </link>
            <description><![CDATA[What happens when you have a room of aspiring international musicians, artists and audio technicians and transplant them in a distant city for 2 weeks where they can be creative and vibe with unlimited supplies of Red Bull on hand?  Why The Red Bull Music Academy of course.  This annual traveling music camp brings together a crew of international music virtuosos, which are carefully hand selected by the RBMA for an all expense paid trip.  During their stay, they get to participate in master classes held by music pros &amp; gurus by day and record, collaborate and check out the local music scene around the city at night.

Public Enemy is without a doubt the most influential rap group of our planet. Thanks to Hank Shocklee. The founding member and legendary DJ/producer gives you an insight into the beginnings of P.E.. Hank Shocklee talks about the night he discovered Chuck D., their first recordings, and the early Def Jam years. When it comes to sound mastery, Shocklee digs deeply into frequencies. Whether it is the complementary combination of the voices of Chuck D. and Flavor Flav, or the legendary noisy and soulful sound design of Public Enemy, making Rock&iacute;n Roll by the means of Hip Hop &ntilde; Shocklee&iacute;s beats have always been balanced out ingeniously in order to be charged with fierce energy. Being a DJ the turntable have always been a fundamental part of the instrumentation. Moreover Hank Shocklee provides some really exquisite recipes for unique production results. Just remember: The snare of &iacute;Impeach The President&iacute; is to a fat beat what milk is to baking a cake. 	-RBMA

Check the audio section for the 4-part discussion

Red Bull Music Academy
http://www.redbullmusicacademy.com

Red Bull Music Academy Shocklee Lecture Transcript
http://www.redbullmusicacademy.com/LECTURES.95.0.html?act_session=184]]></description>
            <pubDate>Fri, 01 Sep 2006 00:00:00 Z</pubDate>
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         <item>
            <title> <![CDATA[Book Spotlight: Music Supervision: The Complete Guide to Selecting and Licensing Music & Sound Design for Media]]></title>
            <link>http://www.shocklee.com/index.php?content=headshop&amp;id=24 </link>
            <description><![CDATA[Music supervision, or matching music to TV, live events, film, video games, ring tones, and a host of other media, is one of the fastest-growing careers in the music industry. But finding the winning song for a national ad campaign or compiling a platinum movie soundtrack takes more than just good taste: music supervision today requires serious multitasking and the ability to navigate licensing, relationships, and cultural trends with ease. This book guides you through real-world scenarios and legal landmines, explores sound design, profiles key players with insightful interviews, and provides project form templates that will save time for seasoned music supervisors. Composers, bands, DJ&iacute;s and producers also get valuable tips for connecting with music supervisors, who are being called &igrave;The New A&amp;R&icirc;. For those who want to break into the field of music supervision, this book tells you how to get the job. 

Authors Ramsay Adams, Dave Hnatiuk &amp; David Weiss; three music supervisors with broad experience across the field do a fine job of bringing us into the world of music supervision.
ISBN:0-8256-7298-8 245 Pages

For more info:
http://www.musicsupervisioncentral.com]]></description>
            <pubDate></pubDate>
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