It’s true that Lupe Fiasco’s representative from Atlantic Records contacted me last fall and he did so while I was in mourning over the sudden death of my cousin Heavy D. I gave the representative a conditional “yes” to use T.R.O.Y. for Lupe’s album but only based on the condition that I be involved on the project. It’s what I always say when approached by people who want to use that particular song. I was never contacted again. At no point was there any follow up from Atlantic Records. Now, the story gets twisted and it’s being said that I said “yes.” The part about my conditions has been left out to make me seem like I’m a hypocrite. When I heard about the song again, it was done, completed, and playing on the radio…and that was Monday night.

It’s true that people have made T.R.O.Y. over. I can’t control what’s done with my work after it’s already out there but I can control who gets my blessings. Those who involve me and respect me in the process, get my blessings. Those who work behind my back – but all the while putting up a front like I’m down with it – don’t.
I’m flattered that they wanted to remake my song and that they respect it for the classic that it is. I just think they should have talked to Atlantic Records to make sure things were done right. The biggest violation is from Atlantic Records but what can you expect? Labels are corporations and their whole point is to sell records. If they respect the artist in the process that would be nice, but they’re not required. For as political as Lupe as, I expected him to know that and to have hopefully made them more accountable. I’m surprised that he’s siding with the corporation on this.

Technically, there was no crime committed with the release of Lupe’s version of my song. Technically, the song can be out there but I’m not talking about legalities. I’m asking: Where’s the respect for the code among artists?

No ego, but I know my place in this game. I’m recognized as a legend and I accept that. But most of all, I’m a grown man. The love and admiration that people have for me as a producer and as a man of honor has been non-stop, consistent for over 20 years. That’s based on something that can’t be touched. My music and my character stands for itself. T.R.O.Y was a career-defining song has gotten me invited to the White House. It’s not just because people think the production is dope. It’s also because of what the song stands for. I want my music to touch people but I don’t want to be walked over or lied on in the process.
I admit that my outburst on Monday night on Twitter was based on my reminiscing about Heav and Troy. I think about them every day. I apologize for being emotional about this. I had no intentions of hurting Lupe’s career. That’s not me. I’m known for building up not breaking down careers. Moving forward, I’m 100% in control and focused on what’s good.

Pete Rock:

Who ever Re-created that didn’t do a good job @ all. #nohate

I’m not flattered @ all. Dat shit is wack, and the producer should be ashamed of his fuckin self. Smh

As G-Bo rightfully points out:

It is UN hip-hop to impose limits on ANYTHING. It’s detrimental to creativity. My generation was the best to ever do it. Why NOT jack us?

So yo, the point is, do your thing, sampling is the foundation. Ain’t nobody ask Jefferson Pilot or Tom Scott before producing a heartfelt tribute to a lost friend. And it’s not like they just threw on the instrumental. But, BUT, knowing the resonance and historical context of the song AND knowing that the OG cats involved in the production are around and reachable, why not give a heads up? Ask for a dap maybe if you really think you’re that fly? Humble? Respectful?

EPMD reminisce

Buying records is easy. You can find them by the milk crate at yard sales, for a few dollars apiece in used record stores, and there are new, special pressings by contemporary musicians like Shelby Lynne, whose “Just a Little Lovin’” album, at $30, is a top seller. But buying the instrument needed to listen to them, a turntable, is a different matter.

previously: seen: Breakbeat Lou and James Mtume @ 2012 EMP Pop Con

via

In response to Ernie Le Saviour’s planned Congressional testimony, outed by Davey D, three Dj’s have travelled back in time, banded together and created this instructional video on how to ruin other people’s music.

related:
Octomom’s new break compilation will secure her financial independence and change the face of hip-hop

When we were doing “Rolling In The Deep,” even though the song itself was something we felt very comfortable with, we wanted the impact and feeling of the track to have a little bit of “Seven Nation Army” by the White Stripes. But for the bridges, we were trying to make the piano sound like “Brooklyn Zoo” by Ol’ Dirty Bastard. And when it came to the whole feeling of her vocal relationship to the track, we thought most like Cee Lo Green and Nina Simone. So those were the kinds of elements that were going into our thought process of how the song should come together in terms of production aesthetic and technique.

via

Feel privileged to have been there for the Dan Charnas moderated panel on the history and impact of Breaks. Also got to witness Breakbeat Lou and James Mtume do a little sparring on the importance of preservation of musicality in youth culture. As noted by @Wayneandwax, Lou held it down for the SP-1200!

Musical Typing with Garageey Band Piano Sounds

My hi-hat is like tsh-tsh-tsh, your sh*t is like tsh-tshhtshh

via @EEDDAANN

A lot of history covered. Still writing, producing & recording; for fun.

“So what do Prince Paul, K-Def, Buckwild, Evil Dee and Pete Rock do in 2012 ? Simple. They’re LOOKIN4GALT”, MacDermot that is.

Peace to Math.