Jayou Ayen wrote:Yeah, but where is Hard 2 Obtain? (jokes, Blockhead)Reggie wrote:The honorable mentions post is practically better than the nine preceding choices.
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FLAWLESS ALBUM.
Moderators: TheBigSleep, stype_ones, Philaflava
ALASKA wrote:haha.Blockhead wrote:Hmm...never heard that one but i'm fairly certain There's no way it's better than "MUSE ICK INDY H-OUR OF K-OSSSS".
almost as good as the ost for boiler room
hangar 18 only had 2 albumsReggie wrote:I suggested top ten worst rap albums...or I guess the bottom ten best rap albums, however you want to slice it.Philaflava wrote:thoroughly enjoyed all these write-ups. good closer too.
you should do a spin-off, top 10 albums that aren't really as good as you think and break it down.
good call. added unifying tag (top tenest) and added a recap to the Number 1 thread.Thun wrote:Alaska - can you do the hip hop nation a solid and tag all of the posts from this series under a unifying tag, say "Top Ten-est Albums." This would allow us to see all of them together. You didn't consistently label your posts "Tim-Laska." It also doesn't hurt to have a recap post linking to each one specifically. I guess these are anal-retentive suggestions but they are a godsend to us Large Professor Watch Roger Do His Nerd Thing niggas out here.
Groups like Public Enemy pushed technological and creative boundaries to the limit, crafting elaborate collages that might layer dozens of nearly unrecognizable aural quotations over the course of one song. As we document in our film, the sample clearance system that emerged in the early 1990s put the brakes on this type of music making. Chuck D once told me that a Public Enemy song that contained 20 short samples would more or less cost 20 times what it would take to sample a single chorus of someone else's song.
Northwestern University Law Professor Peter DiCola and I demonstrate this problem in a forthcoming book titled Creative License (out in early 2011 on Duke University Press). We asked what would it would cost at today's rates to clear the audio fragments that make up Public Enemy's classic 1990 album Fear of a Black Planet. We crunched the numbers, and in our conservative estimate the group would lose roughly five dollars per album. That's a loss of five million dollars on a platinum record!
No, too long (nh).Philaflava wrote:Timlaska's Top Ten-est Albums You Probably Think Are Great And I Probably Think You're A Fucking Faggot For Liking.
Too harsh?
fuckingEmployee wrote:http://www.theatlantic.com/culture/arch ... lly/38189/
Groups like Public Enemy pushed technological and creative boundaries to the limit, crafting elaborate collages that might layer dozens of nearly unrecognizable aural quotations over the course of one song. As we document in our film, the sample clearance system that emerged in the early 1990s put the brakes on this type of music making. Chuck D once told me that a Public Enemy song that contained 20 short samples would more or less cost 20 times what it would take to sample a single chorus of someone else's song.Northwestern University Law Professor Peter DiCola and I demonstrate this problem in a forthcoming book titled Creative License (out in early 2011 on Duke University Press). We asked what would it would cost at today's rates to clear the audio fragments that make up Public Enemy's classic 1990 album Fear of a Black Planet. We crunched the numbers, and in our conservative estimate the group would lose roughly five dollars per album. That's a loss of five million dollars on a platinum record!