2009. április 12., vasárnap

Madlib - Live at Sesc Pompéia, Săo Paulo



Bit rate : 1 074 Kbps
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Height : 240 pixels
Display aspect ratio : 4/3
Frame rate : 29.970 fps


Bit rate : 224 Kbps
Channel(s) : 2 channels
Sampling rate : 44.1 KHz
Resolution : 16 bits

2009. április 11., szombat

FatBeats Records

Since its inception on July 14, 1994, Fat Beats, Inc. has had one mission: to become the international Mecca for true lovers of Hip Hop. Owned by Joseph Abajian (DJ, B-Boy, and producer, DJ Jab), and partners with Ryan Sikorski in the Amsterdam operation, Fat Beats first opened it's doors as a small, retail store in a basement location at 323 East 9th Street in Manhattan's East Village. Since then, Jab has seen his company explode all over the place -- worldwide that is -- Fat Beats Retail has locations in NYC, LA and Amsterdam; Fat Beats Distribution is the premier international independent distribution company specializing in vinyl; Fat Beats Records is a rapidly emerging force as an independent label marketing and promoting it¹s own releases to tremendous early success; and the newly operational www.fatbeats.com is destined to corner the market in on-line hip hop sales.

Specializing in hard to find vinyl independents, classics, break beats, dj paraphernalia and merchandise such as clothing, turntables, slip mats, and dj needles (as well as cd¹s and cassettes), Fat Beats Retail is THE spot for the music lover with a passion for all things hip hop. The retail stores super-serve the market that the owner and CEO considers himself a part of: the true Hip Hop head. Nothing happens in Hip Hop that the Fat Beats consumer doesn¹t know about. To keep up with the consumer, Fat Beats employees are likely to be top area djs and a true representation of the customer visiting the store. There are current discussions on going regarding the opening of new Fat Beats Retail locations in several major markets spanning the globe.

Fat Beats Distribution has a worldwide clientele for wholesale and mail-order selections of various independent releases, crucial hard to find classics, Hip Hop videos, magazines, and graffiti paraphernalia. The Fat Beats Distribution customer is, no doubt, that crucial mom & pop retailer or dj store that every Hip Hop artist and record company needs to 'break' their record. Decidedly not a one stop, Fat Beats Distribution only carries exclusive lines and titles that the underground Hip Hop consumer is dying to throw on their turntables. Fat Beats Distribution boasts a customer base that extends to nearly every corner of the globe and puts records on the shelves of retailers and in front of consumers in every continent. Fat Beats Records, due to it¹s earned reputation, has an open door relationship to all of the hottest young, underground producers and emcees in the Hip Hop community and has already received much attention from major labels eyeing Fat Beats as an A&R source in hopes of landing the next big artist.

The Fat Beats website is a natural extension of the existing worldwide Fat Beats consumer population and the ever evolving Internet shopping experience. Having already established the brand name as interchangeable with independent Hip Hop, the Fat Beats web site has long received 'hits' from hungry consumers looking for a way to obtain product. The demand is there and now Fat Beats is primed to fulfill that demand. In it¹s short but exciting history, Fat Beats has worked with a series of artists; distributing and marketing a continuous flow of some of the most successful young artists in Hip Hop today. Artists affiliated with Fat Beats include D.I.T.C. (Showbiz, AG, Diamond, Lord Finesse, Big L., Buckwild, O.C. and Fat Joe), Atmosphere, J-Zone, Jurassic 5, Mos Def, Pharoahe Monch, Dilated Peoples, Bumpy Knuckles, Afu-Ra, Reflection Eternal, Non-Phixion, El The Sensei, Kool Keith, Indelibles (Company Flow, The Juggaknots, and J-Treds), The X-Ecutioners, Roc Raida, Diezzle Don and Redman and many others.

Record labels that have worked closely with, and profited tremendously from their relationship with Fat Beats include ABB Records, Battle Axe Recordings, DITC, D&D Recordings, Fondle'Em Records, Stones Throw, Audio Research, Guesswyld, and every other exciting and young independent record label. Newly formed alliances with companies such as Loud, Tommy Boy, Interscope, Caroline, and Koch speak volumes to the impact that Fat Beats is making at all levels of the Hip Hop landscape.

Over the course of eight years, Fat Beats has developed from a small basement store to an international force in the Hip Hop music business. Pioneering a market (vinyl sales) that previously seemed intentionally forgotten by the music industry, Fat Beats single handedly breathed life into the format. The resurgence of vinyl product (from such labels as Rawkus, Loud, Tommy Boy, Def Jam, etc.) over the last several years is a direct testament to the accomplishments of Fat Beats. Fat Beats is clearly capable of assessing what it is that the people want to hear. The company is highly selective in deciding which artists and labels to become associated with because Fat Beats believes in meeting a certain standard of quality. This method of operation is what has caused our customers to develop a trust in all Fat Beats products. It is the source of the company¹s credibility and the basis for every new area of growth that Fat Beats intends to move into.


B-boy Slonenok - B-boy Connection (Part I-II) (2005)


02 Hardy's Jet Band - Frucade Hit
03 Kraak and Smaak - Squeeze Me
04 James Brown - Funk Power
05 RJD2 - 1976
06 Paty Drew - Fever
07 Rare Earth - I Couldn't Believe What Happened Last Night
08 Herbaliser - Goldrush
09 Electric Indian - Raindance
10 Incredible Bongo Band - Apache
11 Layafette Afro Rock Band - A.I.E. (A Mwana)
12 MFSB - Family Affair
13 Herman Kelly - Dance To The Drummers Beat
14 Rhythm Heritage - Blockbuster
15 Inner Life - You got me dancing
16 DJ Ben - Mexico Style



2.Mac monkey
3.Transitional I
4.B-boy Stage
5.B-boy’s and b-girl’s(Part I)
6.Break the body
7.Transitional II
9.Get down
10.Transitional III
11.In electric city
12.B-boy’s and b-girl’s(Part II)
13.My funk show
14.Freestyle(Sample track)
15.Lose Battle
16.Transitional IV(The end)
17.Selfes(In electric boogie)

Armory Survival Gear by Freestyle Session



Sarah Bouyahyaoui AKA BGirl Sarah, 19 years old and danced for 8 years, Professionnal Dancer/Choreographer, Cie FIGURE 2 STYLE / MOSUFU. I practiced breakdance, newstyle, hype, lockin, house. Judge international battle bgirl R16 2009(Corea), winner battle Energies Urbaines 1vs1 Bgirl 2009 (France), winner Battle Of The Year Bgirl international 2008 (GERMANY), Winner battle We B*girlz 2008 (GERMANY), Winner Battle Of The Year Bgirl France 2008, Winner Europe 2 HIP-HOP AWARDS 2008, Publication on GRAFF IT Magazine/BOD Magazine, Interview in PASSION HIP-HOP...

Lady Flavor from Spain

Saym from france (BodyTalk)

Dóra from Hungary

Miwa and Fabgirl from Brazil


I..m Bgirl, MC, producer and manager. Recently I produced the most biggest Brazilian Breaking competition BATALHA FINAL (www.myspace.com/batalhafinal) outside of Brazil, in Buenos Aires, Argentina. The pics are disponible in my album. In 2009 we..ll have much surprises and our event will be in more 12 or 15 countries. About me: I started in 2000, in this time I already was singing Rap but didn..t know the Breaking. I could never stop to dance, never more! I was judging in several competitions in Brazil, Chile and Argentina. I did a lot of works on television and I won the last South american Bgirls Battle (www.sudaka.cl), and the We Bgirlz Battle Brazil and I was in Germany to represent my country for the first time in this competition and first time to Brazil. I love what I do and my life is it! Miwa


Misslee and Hemmy from Korea


I'm a bgirl and I love breakin. I love hearing the right song and feeling like you can dance forever. I grew up in Utah, but I was born in Korea. I went to Seoul for a year, came back, and went back again to dance. I work as a bgirl now in Able Crew. I love to do many things like dance, art, music, and almost anything. I try to keep busy, but I also love sleep. www.cyworld.com/bgirllee


Emiko from the USA

About Emiko:

I'm a crazy Japanese girl who moved to the USA 7 years ago, and I dance everywhere I go. I dance in night clubs, streets, restaurants, bathrooms, even when I'm sleeping. I started dancing at age of 7. I dance ballet, modern, breakin', house, hiphop, salsa, jazz, african....anything called dance. Dancing is my life!!! Without dancing there will be no me here right now. I'll be dancing for all my life!!! Moreover I love my occupation very much since we are the one reaching to others spirits and energies, heart to heart! No one else can do that! I'm happy to be a dancer. By the way, I don't dance like other girls....sometimes.....but not often....shaking my ass is not dancing!!!! I battle everybody in circles and take them out! Heeee! Don't be scared, I'm just dancing. my bio Emiko Sugiyama ( Energetic Motion In Kinetic One) Began dancing at the age of 7 in Japan. She was trained in ballet for 10 years but eventually stopped and came to the U.S. to study physical therapy at UC Davis in 1999. At this time she met Michael Cagly a hip hop teacher who introduced her into breaking. Emiko Soon became a member of “Flexible Flave” crew and traveled to battle other crews in NY, AZ, and TX. In 2001 Emiko moved to LA to be a professional dancer. She trained ballet, jazz, hip hop, and modern at the Edge, Millennium dance complex, and Zeal studios at the time. Also, She joined the hip hop dance company called “One Step Ahead”. After Emiko performed with the company and several artists in LA, she moved to NY to learn more about hip hop culture and joined Illstyle and Peace Production. While she lived in NY, she taught at Broadway Dance Center, Peridance, and other dance studios. Currently, she lives in Philadelphia working with Illstyle and Peace Production, Rennie Harrise Puremovement, Montazh Performing Arts Company. Her credits: Sacramento Kings (NBA and WNBA) half time show, Breakestra Music Video “ Get Your Soul Together,” Warp Tour in Las Vegas, Thalia feat. Fat Joe “I want you” Lipton tour 2003 on ABC Good Morning America. KRS One Warren G & Lil Ai Music video, AMC Into Character “Electric Boogaloo”, NIKE Town in store commercial, and Emiko has been performing with Illstyle and Peace Production nationally and internationally such as Russia and Poland. Emiko aspires to share not only her skills and abilities but her individuality and personality through dance.

Aya from Japan (faith exist,qween of qweenz)

Julie from Italy

Cuji from Italy

Anne from France

Bgirl Shorty from the USA

Bgirl Red from Extreme crew (Korea)

Bgirl Marie from Legiteam Obstruxion (France)

2009. április 10., péntek

Manuela, Sarah from figure2style(france) vs Melusine from LO(France),Tania from Warriors (Spain)

Temple O Style


Mortal Combat vs Body Carnival (Battle of the Year Japan 2008)



Dj Scream-Scream Got Beats

Size: 46,3 Mb
Length: 50:39 min
Quality: 128 Kbit/s
Format: MP3
Style: Funk/Break's/
Release: 2009


no tracklist... It's a dope mixtape from Ukraine

Download Link: http://rapidshare.com/files/208641322/Scream_Got_Beats_.MP3

Stones Throw Records

Everybody's got a story, here's mine,
by Peanut Butter Wolf

I first discovered popular music as a young kid in the mid 1970's. The first song I remember making an impact on me (besides Schoolhouse Rock) was "What's Goin On" by Marvin Gaye. The TV station I used to watch would play it saturday morning right before cartoons started at 6AM. I remember liking the music, the vocals, and even the message it brought. (Kids understand more than we give them credit for). In the late 1970's I started buying records. My second grade teacher would play us disco songs on Fridays. I was maybe 6 years old and would get a record for my birthday or Christmas. Some favorites were "Saturday Night Fever," "Boogie Nights," and "YMCA."

1979 was my "coming of age" year. I was nine years old and started getting allowance. What that translates to is: I started buying records weekly. I could only afford the 45 singles, but that was enough for me. Holidays would get me a 12" (Double Dutch Bus) or an album (Cameo). I would also save my lunch money and eat when I came home so I could buy more records.

Coincidentally, 1979 was also the year that hip hop records started to spring up at the neighborhood record store. It was mostly songs on an independent label called Sugarhill Records that made it to the West Coast (They had their promotion, as well as their distribution together.) I soon noticed that whatever I bought from that label would be consistant to the other songs from the label.

In 1982, I bought "Planet Rock" on Tommy Boy Records. I started to realise that they always had it together. With songs like "Pack Jam", "Play That Beat," "Space Is the Place," and "Play At Your Own Risk," you always got your five dollar's worth.

Then I noticed a pattern. Sunnyview Records was cool because of "Jam On Revenge" and "ET Boogie". Beauty & the Beat Records had "Triple Threat," "King Kut," and "What the Party Needs." Vintertainment had "2,3 Break," "Hip Hop On Wax," "Girls," and "Pee Wee's Dance." Def Jam had "It's Yours," "I Need A Beat," "Drum Machine," "Beat The Clock," and "Party's Gettin Rough" (They couldn't go wrong.) At this time, I was a bedroom DJ, making mixtapes for my friends at school. I also borrowed a drum machine and started recording demos with a group called The Slobs.

Dreams of being the next Cold Chillin

For me, 1986 was the year that I first considered starting a label when I grew up. I wrote a high school essay about it that year (Just recently found it). I even went so far as to decide against college, since I figured it wouldn't help my music career anyway. (I later changed my mind and got my degree in Business Marketing).

Four years later while still in college, I put out my first record ("You Can't Swing This" by Lyrical Prophecy) with a label called PMR Records. It was run by Kim Collett, who DJed with me at the local radio station (KSJS). I got my dad to pitch in $500 to get the thing released, making me a part owner in the label. We only pressed 500 copies, never mastered it, cut and pasted the artwork, and didn't even know you could sell them to a distributor. We gave some copies away to our friends and family and local radio stations and sold some to the local stores. After all that, we still had about half of the records leftover. But our goal was to make a record and we had reached it! We were local heros. Who would ever think a group from San Jose, California could put out their own hip hop record?

Later, that year I met Charles Hicks AKA Charizma. We hit it off right away and before you knew it, we were a group. Charizma was a lot like myself in that he was weird, liked to take chances musically, and had a good knowledge and appreciation of hip hop (even though he was only 16 when we met.) After a while, Charizma and I decided that we wanted to sign with a label that had already proven themselves. Wild Pitch and Tuff City came to mind, since we liked their artist rosters, but we were thinking bigger like an Elektra (Leaders, KMD, Del, Brand Nubians) or Jive (Tribe, BDP, Too Short). The Source had just come out as did Yo MTV Raps and hip hop promotion was becoming the fifth element of hip hop.

After shopping our tape to a few labels, we decided to "settle" for Hollywood Basics (Walt Disney). We were never too excited about the deal (we were cocky back then), although we were fans of Organized Konfusion. We figured that at least we would have artistic freedom with them, since they were the most interested in us. Besides, they were promising us soundtracks, a movie role in "Sister Act 2" alongside a then unknown Lauryn Hill, and a big wad of cash.

As far as the artistic freedom, the exact opposite was the case. Since they hadn't proven themselves as a hip hop label, they wouldn't give any of the groups freedom. Being owned by Walt Disney made it even a harder situation, because the people in charge had no experience with hip hop. Charizma and I eventually got out of the deal right before they ended their hip hop division. Two months later, in December 1993, Charizma passed away.

Of course, this put my life into perspective. At first I quit music completely. Eventually, making beats and DJing was a way for me to deal with the pain of losing both my music partner and my best friend. I also decided that our music had to be heard. I made some demos and gave them out to a few industry people I knew, but nobody was serious about the project.

While I was giving out tapes, Dave Paul from the Bomb Hip Hop Magazine put out an album featuring the best hip hop artists of the Bay Area. It featured (among others) Blackalicious, Mystic Journeymen, Qbert, and of course Charizma.

The next two years brought several compilations (Return of the DJ), instrumental beats (Peanut Butter Breaks), and production work (Kool Keith) for me. I even released an EP called "Step On Our Egos" for Southpaw Records. Still in the back of my mind, I wanted to release the Charizma songs. Making the dream a reality

After recording for these other labels, I realised that I was having as much fun promoting the records as recording the songs. I also became confident that I could do a good job running a label, and more importantly convinced a distibutor (Nu Gruv Alliance) that I could do it. 1996 saw the release of "My World Premier" by Charizma and Peanut Butter Wolf on Stones Throw Records. The name "Stones Throw" came from a saying my mom used that Charizma and I teased her about (We were big on mom jokes). It had been three years since he died, but people still thought it was a new song. A year later, I was at KRS One's "Step Into A World" video shoot when Kenny Parker played it. KRS was nodding his head and asked Kenny who it was and how he could get a copy. At that point, I realised another goal had been met - approval from someone who influenced us.

So, why am I telling you this personal story? Because Stones Throw Records is a very personal label for me. I put out what I personally like and save the rest for the other labels out there. As executive producer, I don't put out what I think the people will like, I put out what I like. This has worked for me so far, and if it stops working for me, it will be the end of Stones Throw as a label. I've passed on some artists that I knew would sell a lot of units because I didn't like the songs. That sounds like a bad business move and from a purely financial standpoint it is one, but profit isn't the only thing that drives my label. If money were my sole motivation, I'd be rich by now because so far I've attained everything I've put my mind to. I may be wealthy someday, but only as an indirect consequence of putting out what I believe to be good music.

As an artist myself, I have the artists help decide how much money to spend on promoting their records. We all split the profits after expenses, so it makes sense that we collectively decide how much to spend on promotion. This includes video budget, advertising, radio promotion, video promotion, street teams, snippet tapes, stickers, flats, posters, 8x10 glossies, etc.

As a DJ myself, I have always been commited to releasing vinyl LPs as well as breakbeat records. I put out instrumental versions of the albums because (1) the artists should be able to rock a show from vinyl, and (2) the DJs ask for it.

Since my record buying "career" started as a kid buying 45's, I'm now releasing 45's and have found several artists commited to joining the cause of preserving this endangered species, even if it means selling only 1,000 units per title. Does the reality live up to the dream?

So is it stressful running a record label? Of course.

First of all, there are never enough hours in the day to answer every letter, phone call, and email. People get straight up offended when you don't respond. In the morning you brainstorm about work while taking a shower and at night your dreams revolve around deadlines that you missed. Collecting money from people and for people also takes a toll after a while. Monthly phone bills the size of a house payment can bring on an ulcer. Also, you want to help people starting out because you were there once, but when people get aggresive and demanding, you have to draw the line. Others are upset with you perceived success and want to keep you down so they talk about you and of course it gets back to you.

Is it challenging? Of course.

Maintaining relationships is the biggest challenge because it is so time intensive. You have relationships with your artists, distributors, radio stations, video stations, stores, writers, promoters, publicists, designers, pressing plants, and of course the people buying your records. Sometimes you piss people off by giving your opinion and at other times people piss you off by giving you theirs. The challenge is to move ahead with that person, because the industry is small and incestual and you'll probably have to work together in the future.

Is it fulfilling? Of course.




2009. április 5., vasárnap

Flowzaic bgirl crew from The UK

About me:

YoYoYO!We are a group of bgirlz located in London UK. The Group are: Sunanda "SunSun" Biswas, Yami "Rowdy" Lofvenberg, Danielle "Genesis" Petrie Flowzaic International: Daria Skowronska. We all have diffrent specialitys mainly in breaking but we also get down with the: Lockin,Poppin,new style,hip hop,house,Lindy hop,Tap,Capoeria etc.. We where formed in the spring of 2005 by Sunanda biswas and Yami Löfvenberg and with some help from Dj Renegade and Independance.We have done several shows/Battles both in the UK and International such as: Breakingconvention UK, Uk Bboy championships(bgirlshowcase), Int Battle Of the Year 2005 Germany(bgirl showcase), Break on Stage Spain 2006(3rd place), Nike promotions tour, We bgirlz 25th Anniversary Lincoln Center New York, IBE Rotterdam 2004(Final placement), Boty France(bgirl battle 2007 winners!) Thursday night throwdown, Urban Games, NASS, Bsupreme, Somerset House, Jump Off,etc...

Flowzaic show

Flowzaic vs Nu_Age bgirls

We B*Girlz Battle 2008 Flowzaic vs. Faces of the circle

We B*Girlz Battle - Under-Revolution vs Flowzaic

Flowzaic from England BOTY 2005

We B*Girlz Battle - Flowzaic vs. Crush EffectZ

Lady Jules from The USA

2009. április 4., szombat


Pro d'am 2004 bgirl battle

B-Girl Battle 2004: Emilie vs Babyson

Fatima vs Beebish

Final 2004: Beebish vs Anne

QWEEN OF QWEENZ japanese bgirl crew

japanese b-girl S}HIE-chan,Narumi,Toshie,Aya,A -chan,Nagi,Momo from Osaka,Tokyo

Japan Bgirl Battle (little bgirls)

All the Way Live Philippines 2009

Bgirl Narumi

Bgirl Beatch

Bgirl Ling(China) vs bgirl ???

Bgirl Narumi is the win vs Eyevee

All the Way Live Philippines 2009 final..

Bgirl narumi win

2009. április 3., péntek

We Bgirlz 2007 at Boty (Brounschweig)

Tania,Jess from Spain (winner) vs Cuji, Julie from Italy

Valentine, Nadine from France (winner) vs Cugi, Julie from Italy

Jess,Tania from Spain vs Narumi,Shie Chan from Japan (winner)

Mini Mish,Lil Mish from Izrael vs Narumi, Shie Chan from Japan (winner)

Final Battle : Valentine, Nadie from France vs Narumi, Shie Chan from Japan.

The winner : France Team