Saturday 31 August 2013

Music really is like a drug, researchers say

drugging Music

You know that feeling you get when you listen to a favorite part of a favorite song?  Some scientists have a refreshingly unscientific word for it: They call it the "chills." In the lab they can measure the chills, which correspond with a specific pattern of brain arousal and often are accompanied by increases in heart and breathing rates and other physical responses. 

Now neurologists report that this human response to music -- which has existed for thousands of years, across cultures around the world -- involves dopamine, the same chemical in the brain that is associated with the intense pleasure people get from more tangible rewards such as food or addictive drugs. The research will be published Sunday in the journal Nature Neuroscience.

- RICKY STRIKES

(rapper)

BOHEMIA the Punjabi Rapper

Roger David (born 15 October 1979), known world wide by his stage name Bohemia or Raja is a Pakistani American, Punjabi rapper and a music producer from California. He is known as the King of Punjabi Rap. Bohemia is the founder of Punjabi Rap.
Bohemia quickly gained popularity in 2002 with his independent first album, Vich Pardesan De (In The Foreign Land) which reached the Top 10 on BBC Radio 1 UK.[citation needed] The following album, Pesa Nasha Pyar, released in 2006 became the first full-length Punjabi-rap album released by a major record label. It brought Bohemia increased popularity, including a multi-record deal with Universal Music Group Pvt. Ltd. India. It also brought his creation of Punjabi rap to mainstream recognition making Bohemia known as a pioneer of a new genre of music: Desi-hip-hop or Desi-rap.
In 2006, Pesa Nasha Pyar reached #2 on Maxim India magazine’s Top 10 downloads, and #3 on the Planet M chart. Bohemia appeared in XXL magazine in New York. He entered Bollywood in 2009 with the title track for the Warner Bros. feature film Chandni Chowk to China, in which he appeared with Akshay Kumar and Deepika Padukone. His voice was used for the film Desi Boyz, rapping to set the scene for Sanjay Dutt's cameo with Akshay Kumar, John Abraham, Deepika Padukone and Chitrangda Singh. Da Rap Star, his third album, received four nominations at the UK Asian music awards and PTC Punjabi music awards, including Best Punjabi Album and Best Music Director. Da Rap Star remained at #1 on the Planet M chart in India for several weeks. Bohemia toured for the rest of 2009 performing all over Europe, Asia and America. He has appeared on many of Universal India’s mega-compilations including three tracks on The Chart Busters. Universal called this compilation "The biggest hits in Punjabi on one massive album!" Bohemia was one of the best-selling artists of the year, making him the flagship artist of Universal Music Group India.
Bohemia was ranked 25th on Desiclub.com’s list of the 50 Coolest Desis. "Ek Tera Pyar", his second single from Da Rap Star, entered the B4U Top 10 chart, becoming the first non-film track to do so. Bohemia was amongst the top 100 most searched Asian artists on yahoo.com. He has appeared on over 30 major label compilations and collaborations to date.
Bohemia is #3 on the Top 15 Desi Artists of the Decade. "This list is like no other," said Urban Desi radio. The list has artists that came onto the urban Desi scene and changed it forever.[5] He released the album Hazar Gallan (Thousand Thoughts) in 2012.
In May 2012, Sony Music Entertainment signed Bohemia. As part of the association, Sony Music will take care of Bohemia's music albums, launches and shows under tits artist management program.

Friday 30 August 2013

The Healing Power Of Music

Music has touched the human soul across all boundaries of time, space, and genre. Indeed, the healing power of music has been documented for millennia. An account involving two of the legendary kings of Israel is thought to have been written during the reign of Solomon. "And whenever the evil spirit from God was upon Saul, David took the lyre and played it with his hand; so Saul was refreshed, and was well, and the evil spirit departed from him." Saul's experience is echoed in our daily lives, leading William Congreve to observe, "Music has charms to soothe a savage breast," and Yo-Yo Ma to comment, "Healing? I think that is what music is all about. Don't you?"




Music and healing at the bedside

Anne was admitted to the Palliative Care Unit of Montreal's Royal Victoria Hospital with unrelenting back pain due to breast cancer involving her spine. Within days our worst fears were realized. Her symptoms worsened and, in spite of treatment, she became paralyzed from the waist down. A single mother with a new mortgage, precarious employment, and strained finances, Anne was devastated. Her perennial optimism evaporated and a sense of inadequacy mushroomed within our palliative care team.

Late one morning, during my daily ward rounds, perhaps two or three weeks after this crisis, I walked into Anne's room and sank into the chair by her bed. Our brief chat about her current symptoms was followed by the silence that arises from mutual recognition of shared impotence: not much to say! Groping, I asked, "Do you like music, Anne?"

"Yes, I do," she replied.

"What kind?" Her eyes met mine in a glance that conveyed her uncertainty as to whether she should tell me the truth. Did she trust me enough? There was a pause. Then, almost in a whisper, she said, "Elvis."

"Really?" I exclaimed. "Well, do you know, in 1957 I went to his concert in Ottawa?"

Her response was explosive. With eyes wide in astonishment, she fairly shouted, "YOU were at the Ottawa concert?!" I had never previously admitted that I had attended an Elvis Presley concert, but her evident awe was encouraging.

"Yeah," I found myself responding, "I was at the Ottawa concert!"

What followed was one of the most intense, deeply engaging conversations of my life. It probably lasted about half an hour. I told her about that memorable night, so long ago. And Anne told me about the King, his generosity, and the sense of accompaniment she had always experienced through his music. She was vibrant, fully engaged, and deeply probing for further details. As I left her room, her face was radiant. I felt privileged, like I had been on sacred ground. The significance of our conversation for Anne was evident. It was not just a transient "feel-good" thing. It was much more than that. For the first time since becoming paralyzed she had experienced a sense of wholeness and the exhilaration of being fully alive. No one attempting to offer hope could have given to Anne what she had now experienced. Though paraplegic, she could be as fully alive as she had ever been.

Anne's experience and those of other palliative care patients led our team into research areas that posed new questions. What determines quality of life? What is the significance of the inner life and what is its impact on illness? What is healing? How do these issues relate to music?

Quality of life and its determinants

"Quality of Life" (QOL) may be defined as subjective well-being. It is the basis for answering the question, "How are you today? How does it feel to be in your skin?" QOL is a composite assessment that is influenced by all aspects of personhood – physical, psychosocial, and spiritual. Surprisingly, physical health contributes relatively little to QOL. For instance, emotional well being and life satisfaction (two constructs that determine QOL) have been found to be the same for people with serious physical disability as for those in the general population. Furthermore, QOL significantly improves in response to skilled, compassionate whole-person care, even in the face of imminent death. The existential or spiritual domain has been found to be a major contributor to QOL, particularly in cases involving life threatening illness.

The relationship of music to QOL and healing

Our QOL varies from moment to moment along a continuum that extends from suffering and anguish at one extreme to a sense of integrity and wholeness at the other. Healing involves a response shift toward the latter. What enables an experience of healing such as Anne's? Wisdom traditions, depth psychology, and recent research suggest several factors. Healing occurs when we are drawn into the present moment and away from the ruminations about past and future that consistently dominate our lives. It requires a letting go of literal, rational, linear patterns of thought and an acceptance of an intuitive, imaginal, metaphoric way of experiencing reality (expressed in some traditions as a shift from head to heart). It is associated with a sense of enriched personal meaning and a sense of connectedness. We may experience these healing connections at four levels: at an inner level, between ego and "Self"/"Deep Centre"/the essential self (the "individuation" of Carl Jung); secondly, healing connections with others, in community (the I/thou relating of Martin Buber); thirdly, connectedness to the phenomenal world, as perceived through our senses -- for example, in response to music, nature, long distance running, the creative arts; finally, through a sense of connection to ultimate meaning/God/"the More," however that is perceived by the individual.

Music, when it is truly healing, may be acting through any or all of these four paths to cut through our carefully constructed defences, thus liberating a deeper appreciation and acceptance of mystery and the potential for healing that lies within. Newtonian physics told us that at base we are particulate; quantum physics, that we are vibratory. It seems that the reality is that we are not either/or, but both/and. Perhaps, in its vibratory nature, music opens us to a greater appreciation of our essential connectedness to the cosmos, our oneness with all that is.

- RICKY STRIKES
(rapper)

Where Have All the Fat Rappers Gone? Or, How Hip-Hop Lost All the Weight.


For whatever reason, summertime in New York is when all the ghosts of hip-hop past come out of the woodwork. It’s mid-June, and I’m at a Celebrate Brooklyn! concert headlined by the ’90s hip-hop group Blackalicious. Big Boi is supposed to be performing, but he had to cancel thanks to a mistimed jump at his last concert. The Gift of Gab, the only original member of Blackalicious present, is twice as big as Big Boi but only half as well known. All 300 pounds of him slowly makes its way onto the stage, one of his feet lagging behind the other in a sort of smooth swagger. He’s wearing a huge bright orange polo, nondescript blue jeans, and a pair of Nike Air Force 1s. I turn to my friend and say, “Who is this guy?” I can’t remember the last time I saw anyone on stage who looked like him.


MTV TRL Fat Joe
Rapper Fat Joe performs onstage during MTV’s “Total Request Live” at the MTV Times Square Studios in New York in March 2008. (Jason DeCrow/AP)

That humid night, I realized I had forgotten how much I loved and missed performers like Gift of Gab, the Fat Boys, and Raekwon. The original funky diabetics. The gangsters and goofs whose performances entertained us while at the same time cultivated respect. They may have looked like giant teddy bears, but some of them were scary as shit. But what happened to them? Where did all the fat rappers go?

Of course, not all rappers in the past were fat, and not all rappers now are skinny, but after the mid-’90s, the hip-hop scene began to slim down noticeably. In the early ’90s there was Biz Markie, Chubb Rock, E-40, Heavy D, Scarface, Raekwon, and Notorious BIG, among others. Then, of course, the mid-’90s produced the fat rapper power couple Fat Joe and Big Pun. But the millennium saw the last of the truly fat rappers: Gift of Gab, J-Live, Bone Crusher, and Fatman Scoop. By around 2005, Rick Ross, Joell Ortiz, and Gorilla Zoe were some of the only ones left. In 2007 the transformation was made complete when Dr. Dre shocked the music world by showing up on stage at the MTV Music Awards looking like a professional bodybuilder. And Eminem, 50 Cent, and the beautiful D’Angelo? They all went through chubby phases of their own, but ended up looking sculpted. Even Fat Joe is just an average Joe now.

Over the years, the world of hip-hop lost a handful of members to health complications as a result of their size, most notably Buffy of the Fat Boys, Heavy D, and Big Pun. The failing health of some of the world’s most beloved performers served as motivation for rappers to change what they put in their bodies.

“Once Pun died, I went on a diet and lost like 100 pounds,” Fat Joe told VladTV. “I didn’t know what I know now ... I had to turn it up because I lost, like, six friends last year to heart attacks. All younger than me ... They looked healthy to me. They was just like me—they was tellin’ jokes like me, they was cool like me—but they all died.” Rappers like Big Pun took their platinum records and big paychecks and lived large. “Us rappers,” said Fat Joe, “we start thinking we’re superheroes, but we’re not. We’re human beings.”

If you’re not skinny, like Action Bronson, the chef turned rapper, your weight becomes a self-deprecating way to promote yourself.
In the ’90s, when rappers like Biggie, Heavy D, Big Pun, and even the Gif of Gab hit it big, hip-hop became mainstream, and artists became known not just by insular communities but also by fans worldwide. For rappers who were already large, their weight became a part of their image. But today, when celebrity and pop culture has a firm grip on every inch of our existence, image for celebrities is manufactured and calculated down to the very last pound.

Along with the rise in image-consciousness, the ’90s also saw the beginning of real obesity in America—when heaviness was first considered a “problem,” not just a way of being. A study by researchers at the University of North Carolina, Chapel Hill, found that from 1990 to 2000, the average weight of a a 5-foot-9 18-year-old man rose from 149 pounds to 166 pounds. An average 5-foot-5 woman’s weight increased from 132 to 147 pounds. Those numbers have only gone up since. Now rappers in New York City can’t even buy a large soda without feeling the wrath of Mayor Michael Bloomberg. While Americans as a whole may not be slimming down, those in the public eye feel the pressure to lose weight as they build a public image.

At the next Celebrate Brooklyn! concert I saw this summer, Theophilus London performed in his signature skinny jeans and designer-hipster getup. The place was packed. Instead of seeing performers in big white “hip-hop T’s” (all right, besides Kanye), we see rappers like Theophilus London, A$AP Rocky, Nas—the list goes on and on—collaborating with upscale designers and sitting front row at New York Fashion Week. Unlike rappers of the past, hip-hop artists today work hand in hand with brands and have become walking brands themselves (“I’m not a businessman/I’m a business, man,” raps Jay Z). Rappers like Jay Z now act as corporate vessels, so in addition to their myriad side projects, they also rake in millions to promote the latest electronic device or alcoholic beverage. Any significant weight gain could result in a financial hit. And if you’re not skinny, like Action Bronson, the chef turned rapper, your weight becomes a self-deprecating way to promote yourself. (Rick Ross is, of course, an exception. But we all knew that already.)

When I saw Action Bronson perform in Bushwick this summer, I left with a ton of respect for the guy and his music, but I wasn’t about to go buy his “fried hard smashed potatoes” from his food truck. People swarmed around him in the hopes of getting an Instagram selfie, but it wasn’t your usual celebrity meet and greet. Fans were touching him unreservedly, asking him if he would pose with their dog and snickering behind his back about how sweaty he was. No one would ever have dared do that with Big Pun or Biggie. There was nothing malicious about the scene, but there was something exploitative about it. There was no give-and-take—he was there purely for everyone’s entertainment.

I guess it’s hard out here for a plus-size pimp.

HOW CAN I BECOME A RAPPER?




I got most of the guys on my step when they get me rapping a Freestyle, a written one, Some famous track or something like a statement spoken in a ghetto, and mostly all they ask is, "HOW YOU BECAME A RAPPER?" or "HOW CAN I BECOME A RAPPER?"
Well, this article is for the guys who want to become a rapper.

To become a rapper, start by acquiring information about rap music and rapping. You need to know as much as possible about rap music, the techniques, and other related fundamentals. Next thing to do is to improve your English language and learn new words. Get your oral skills right. perk up your English language and try to learn fresh words. Keep practicing, practice makes perfect. When you feel you have something building up, start participating in rapping competitions. This will not only get your talent in the open, but also allow you to learn fresh rapping skills. Choose a rap name for yourself coz this will give you a different identity as a rap artist.

In today's internet driven culture it has become easier to become a rapper. Simply record a few songs and post them online. You won't be successful overnight but keep writing songs and just concentrate on maturing your lyrics and beats. Eventually someone will like your music and help you produce more. Organize some shows wherever and whenever you can.

You can become a rapper by creating lyrical rhymes. You will need to present these rhymes to the public. This can be done in many ways. The simplest way is to begin with your friends.

You can become a rapper by creating raps. You can also become a rapper by joining rap contests at your local rappers nightclub. You can also freestyle rap on the street corner.

- RICKY STRIKES
(rapper)

Thursday 29 August 2013

POETRY VS. RAP – ONE OF A KIND?


 WORDS IN A POD: Is poetry and rap the same?

In the Art of Rap documentary, Ice T said: “Rap means something to every emcee. Whether it is writing something simple to rock the crowd, or writing something deep meant to move the world, one thing I do know is that Hip Hop requires skill – the skill of a great DJ, the ability of a great breakdancer, the style of a great graffiti writer or the flavour and technique of a talented emcee. To me, rap was always one of two things. I was either out to drop some knowledge and give the streets some game or it was straight up combat. I always look at the microphone as my weapon – my ammunition is my intelligence, and my caliber; that’s my cadence and flow. This is not a game – this is the art of rap.”

Some would say that poetry and rap is one in the same, but that is if we are looking at the structure of lyrics alone. Poetry’s home used to be in front of a microphone, with no music. Then, you come across group duos like Floetry, who took that foundation, added a beat and made people feel good. Yet still, I don’t know if that can be classified as rap.

I think what helps to classify the difference between the two word forms is the person who is actually expressing the sentences. He or she has the ability to label their own way of sharing words. What is poetry to them may berapping to another, but only they will really know.
Rapping has been divided into two categories – an emcee and a rapper. A rapper is said to just speak with no conscious thought, but an emcee aims to share a message, and impact an individual or groups of people. Either way, these words placed on top of music consist of some sort of ‘depth’ to the listeners on the other side of the stage. The same goes for poetry.
I think, like everyone, there are millions of opinions to follow, and this has changed with time and people who have chosen this career path.

Slam poetry, for instance, is where quite a few rappers began their journey with words. It was a means of taking what was written on a piece of paper and then sharing it with a crowd. Add some music and it was called a rapsong. Articles have been written saying that poetry, or spoken word, has tapped into a part of rap that Hip Hophasn’t reached yet.

When having this conversation with a friend, he raised a very strong point of what the difference really is betweenpoetry and rap, and does it matter? Words have a very strong impact on people everywhere, without even being realised.

So, how do we fair between the two medians of expression? With poetry known best for its depth and emotional nature and rapping stereotyped as hard-hitting and raw, who is to say that a bit of both isn’t necessary for our ears to understand.

- RICKY STRIKES
(rapper)

Get Your FAVORITE RAPPER, Talking About His FAVORITE RAPPER.

JAY Z

During a 2006 AOL fan chat, Jay-Z said, "Right now, I don't have a favorite rapper, but right now, I'm listening to Lil Wayne and T.I."

Four years later, at an event promoting his book Decoded, someone stepped up to ask Jay to pick his top five, dead or alive (excluding himself). He chose Biggie first. "Well, I guess I would choose him because of his ability to tell stories, to be humorous, to be dead serious. He just had it all," Jay said. "I would choose 'Pac because his fire will overcome. What he doesn't have in technical skills will be overcome by passion. If you listen to that 'Tunnel' verse where Big is saying 'MC Hammer and them 357 women' and then you hear how ['Pac] comes on, he just screams on the track, like his passion could put a lot of guys to sleep." Kool G Rap, KRS-One, Eminem, and Nasalso made his roster.

- RICKY STRIKES
(rapper)

Wednesday 28 August 2013

How to dress like a Rapper. Make it SWAG

Have you ever seen a rapper on TV and just been mesmerized by their appearance? Is it the jewels? The clothes? The SWAG? Many people have wondered how to dress like a rapper. Here’s the thing though: not all rappers dress with swag.
You either have Swag, or you don’t.
The rappers you see on TV either have their own Swag, or they pay stylists who do.
There are a few easy steps you can do which will teach you how to dress like a rapper, and maybe even have you looking better.
Here they are:http://www.howtobearapper.net/wp-includes/js/tinymce/plugins/wordpress/img/trans.gif
·         Get your body & looks right.
Sex appeal is one of the most driving forces behind why rappers look good. This means not only eating relatively well, but sculpting your body in the gym. Let’s be honest though, there are rappers with less than perfect bodies (cough…Rick Ross) but his weight actually adds to his presence, and what he lacks in a lean body, he more than makes up for in style and appearance. In other words, he stays groomed. Well maintained beard, head always shaved/cut and he stays relatively clean looking. If you have body or grooming issues, take care of them and you’re more than halfway there to learning how to dress like a rapper.
·         Get your tattoos right.
I don’t feel this is a 100% mandatory step to learning how to dress like a rapper, but I do feel that tattoos can only add to your swag. This should go without saying but: You Get What You Pay For. This is especially true with tattoos. If you pay peanuts, you’ll get monkeys. That means, you should be picky about who you let ink your body. That shits (kinda) Permanent. It’s better to pay double or triple the price an amateur would charge, get your ink done right by going with an expert.
·         Get your clothes right.
Like I said above, “Swag-sense” (you like that? I made it up) is inherited, you either got it, or you don’t. If you feel like you can’t trust your swag-sense, or you just need an extra push in the right direction, then copy the swag of current famous rappers. Some rappers with notorious Swagger include Kanye West, Lil Wayne and Rick Ross. Whether you’re rockin skinny jeans and v-necks or loose fits and a jacket, make sure they’re clean and the whole outfit vibes together from head to toe.
·         Get your accessories right.
They say that “clothes make a man”. This is half true because the same can be said of accessories. Nothing compliments your body, tattoos and clothes more than accessories. A big face watch or chain that shines add the finishing touches to your rapper wardrobe. A word of caution though: if you choose to go with a grill (aka a mouthpiece) make sure it’s classy because they haven’t really been in style since late 2006.

So there you have it.
You’ve learned
 how to dress like a rapper; ain’t shit left but to do it.

Basics in body structures for rapping

I saw bugs do something like this, so I’ll do fundamentals in rapping 

There’s plenty of rhyming styless aabb abbb abab, those are basics and I’ll just show u how to, 
In text battles and raps, commas are import in showing you body structure 
If u cram shit, it looks like shit, need to space out, I’ll show I in this abbb rhyme 
Abbb 
Dropping knives from a pen, this way words hurt with real pain/ 
I insert the in in insain, and drop words not meant for weak brains/ 
Now here’s bad spacing, and no commas 

Dropping knives from a pen this way words hurt with real pain. I insert the in in insane and drop words words not meant for weak brain 

-I didn’t even read that, it’s just crammed and if u read it, u probably rushed it 
Abab 
This is kinda like iambic permiter, but way more basic, I usually put 2 rhymes together instead of making each rhyme a sentence, short bar style, you can decided your style in the new topic I drop 

I can drop right up front, we can 
ride tonight/ 
We can roll up a blunt, ourselves for the night 

Aabb 
Not very used style but basic in the end 

I can pick mc’s with super human strength, seeing how hurt who knows the damage to extent 
Caus when u see me recognize, or end up beat to be hosplitizes 

This Is a small basic of rapping and setting your body 
I’ll post rhymes and iambic Permiter on a different topic