Top Reasons Why You Should Have a Rap Beat Maker

MAKE OWN RAP BEATS:

If you are someone who really loves to spend your time listening to rap beats or even hip hop beats and you are curious as to where it comes from then you can try out the rap beat maker. Now you might think at only someone who has enormous knowledge of music and someone who can really think of things in a creative and unconventional way and someone who has the technical skills can be able to produce the rap beats. Let me tell you straight, you are definitely wrong!

Top Reasons Why You Should Have a Rap Beat Maker

Yes, this is far from the truth. Even ordinary people like you and me can use a rap beat maker to make the beats of your choice where you can let your imagination run wild! Before, people would spend days after making these beats using different sounds from different instruments. Apart from the fact it took up too much time, it also need a lot of back up financially. Imagine the need to purchase those various instruments plus taking up lessons to learn to play each instrument. It is not a joke. Sometimes one would think, this is one hobby that only rich people can afford.

Now you can simply download all the different types of rap beat makers online and it won't even take you all that much money. Depending on the amount you are willing to spend on the maker. This way all you have to do is explore the software bit. Try out a few things, and you will be making your own beats in no time! Never be afraid to experiment. Your first few tries may not always be your masterpiece, but if you keep trying and playing, you will get into the rhythm and produce wonderful beats.

All those rappers who are newbie's usually use these software's so that they can make really good beats and so that their beats even sound like they were made professionally. No one will be able to tell the difference. Listeners won't recognize that they are not listening to a professional rapper. Now even if you don't want to become a rap beat maker then you can simply use the software for recreational purposes. Like if you want to perform during family gatherings, office parties or just playing around with friends.

You can let all your creativity go with this. The best thing about the downloadable ones is that you can simply download something which is of a low price and then later on if you want to buy an upgrade you can simply do so by paying whatever is necessary. It sort of gives the chance for buyers to find out for themselves first if they did make good buy initially and eventually if they do get satisfied with the purchase, get more add ons. This way you get advanced software and you don't have to pay for it all at a time, it's almost like an installment for the rap beat maker. Also a good alternative who don't have enough budget to make an upgraded purchase.


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How To Make Beats for Free

MAKE OWN RAP BEATS:

Do you have the talent to create beautiful music beats but don't have the resources to start big? Worry no more. Your problems are solved. Where there is a will, there is a way. Today, there are ways to make beats for free. There is nothing better than a free source and commodity. It saves you a lot of money and it's accessible to almost everyone. Yes, you can create something for nothing!

How To Make Beats for Free

Music is a combination of sound waves which normally have whole number ratios between the frequencies associated with their notes. With this in mind, a modified way of combining two or more sound waves has popular use/application in the music industry, creating what are call beats. Musical beats make use of the interference of sound waves of two different frequencies. With the intention of creating a resultant new sound wave that is in a periodic and repeating pattern. The result is music.

Online or offline, there are many ways and places where you can surrender to your music, your muse and your lyrics. This is not an instant process. It takes time to get your hands on this stuff and go through the basics until you can make it on your own. You can take Free E-courses for starters. It's not a bad idea to enroll and learn as much as you can. The experience will enhance your skills and the musical direction you want to delve into. E-courses can last from a few days to weeks.

Another idea is a Rap Beats Manual, which is a blueprint for making Hip Hop beats or similar sources and can usually be found in your local library. It's another good way to learn about beats and how to make them that won't cost you a penny.

If you really want to make things easy, try a search engine. There are ample music websites that allow viewers and visitors to make beats for free. You can peruse online video samples and articles that relate to making beats for free.

Yet another option is to attend a free hip hop or beat seminar or class that is located nearby. Having experts to ask questions of can be a very fast way to learn. Lastly, you can also research the fundamentals of making beats yourself and once you have the knowledge you can take it from there.
You can make beats for free if you have the will and the patience to find the right sources.


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Freestyle: The Art of Rhyme & Spiritual Roots of Hiphop

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"Freestyle: The Art of Rhyme" is a creation that was seven years in the making with a large-scale collaboration including a variety of original, passionate and active Hiphoppers. This thought-provoking and intimate documentary takes a closer look into the world of freestyle emceeing, providing a unique, honest, and accurate representation of true Hiphop and rap culture; its roots and art forms, and a fleeting moment where the spiritual force is manifested in spontaneous verbal outbursts.

Freestyle: The Art of Rhyme & Spiritual Roots of Hiphop

Background

The roots of emceeing can be traced back to the Africation tradition of oral story telling, to Southern preachers elaborating on gospel teachings, to the 1970s with DJ Kool Herc throwing a party for his sister, "Jamaican toasting" (shouting random things into the mic to hype the crowd) to music that was popular to the crowd at the time. The artforms of emceeing and deejaying evolved simultaneously along with graffiti art and breaking, leading to the birth of the Hiphop culture.

Emceeing (MC) is composed of two artforms: freestyle and written rhymes. Usually people who are good at one, aren't so flash with the other. Sometimes you can't tell whether a lyricist is a true freestyler if they claim to be, but one way to determine truth from BS is through battles.

Battles

The film commented that a freestyle rap battle looks (and sounds) violent, but it's really just humour in exaggerated tones. This really made me think. To me, the violent aspect of the description is reminiscent of a krump battle or a true bboy battle in its truest, rawest form; the energy, attitude and aggression is all there, but it's just a front, their battle face which they (usually) take off as soon as they step off the battlefield. It's more about the moves or the rhymes you can pull off while you're in that zone, and what happens during the battle stays there.

One of the first real freestyle battles I seen live happened very recently: one side was experienced and one of the best in Australia; the other, was a first-time battler but not new to freestyling at all. To see the reaction of the inexperienced one after the other did his first set, crucifying him and continuing to do so in his following sets, was kind of awkward - we know battles can be cruel but it's part of it, but just seeing the guy getting really offended and disheartened made me think twice about battles and their significance.

The other MC apologized and claimed defeat, admitting he was too harsh; I remember him saying a while ago that he wasn't really into battling because of the spiritual nature of emceeing and how battles can really become quite derogatory and negative, and now I finally see that for myself.

I am reminded of that battle while the documentary shows the most highly anticipated MC battle in '93, pitting MC Supernatural against Craig G of the legendary Juice Crew in the Lyricist Lounge; they were considered the best freestyle MCs at the time and the first battle saw Supernatural get smoked, some even saying it was the beginning of the end for his career.

Supernatural - The Greatest Freestyle MC?

Nevertheless, Supernatural is still going strong, still doing what he loves and what he does best, his famous technique for getting a crowd to bring items and hold them up to him as he goes along each one, rhyming about all sorts of random things. They say nothing rhymes with "orange" but Supernatural has ways to make it work; to arrive at such skill he read the regular English and rhyming dictionary daily as well as using anything and everything as a source of inspiration for his lyrical flow.

Freestyle emcees are urban poets with mental stamina improvising verses over a beat - unedited, unrestricted. Freestyle, as claimed in the documentary film, is "somewhere between a song and a speech"; the art of improvisational rap that is rarely recorded and often neglected by the media or portrayed negatively as violent and derogatory.

Why all the negative connotations of Hiphop and rap?

Think about the socio-economic backgrounds of the people, the community from which the Hiphop culture evolved - poverty, racial discrimination, stereotyping and inequality. Individuals speak on their experiences and their views on the world in a sincere and candid manner; this is not all the time, but the media for so long has chosen for the general public what they listen to, creating a misconstrued truth which commercial rap artists adapt to for their own personal benefit.

What we can do as individuals is get educated and contribute to the positive reinforcement of what Hiphop is really about - a culture, a community that promotes peace, love and unity.

Through DJs whose instruments are turntables, beatboxers who can replicate drum sounds - they provide the music and beats for the dancers to physically express themselves and for the MCs, the urban poets, to tell a story; graffiti artists who substitute paintbrushes for aerosol cans and those that recognize and 'live' this culture lead a spiritual life, seeing the potential for the Hiphop culture as a catalyst for social change and self-empowerment.

"The ultimate in Hiphop is that fleeting moment of escape."

The art of rhyme, this spiritual, raw form of creative expression will find that one can become so immersed in the zone that they really can't explain or teach people what they're doing - rather, tell them about the basics and foundations and allow them to explore and find meaning for themselves, hence the terms "free" and "style".

There are no boundaries, no limitations, no prepared lines - just the moment.


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Make Your Own Pro Beats

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So you want to make your own pro beats. Now What?

Make Your Own Pro Beats

If you're like me and absolutely love music, then I'm sure that at one point or another, you've probably considered looking into things like "How to make your own killer beats", or "how to DJ like a pro" or other similar topics.

Once I started looking into this further I began to become disheartened by the inaccessibility of killer beat making software. At one point I thought I might have found a good one but after doing my research, it seemed far to complicated to use and didn't quite seem to have all the tools I was hoping for. It also spoke mostly about making 'Rap Music' which isn't really what I was interested in.

I basically let go of the idea of making music for several years and totally forgot about it. It wasn't until a few weeks ago that I stumbled upon an interesting site by accident and thought to myself "hmmm, am I still interested in making music?" and the answer was "Yes, yes I am".

So, I began my research to see if maybe this time I would luck out and find the right killer beat making software for what I needed. By the end of my search I was pleasantly surprised. Here are some of the things I discovered.

DJ Software Features

  • This killer beat making software made beat production simple.
  • It was very easy to download and install
  • It already came with thousands of hot sample beats and I could upload more if I wanted
  • It came with tons of free tutorials for each musical element
  • And, I could use this DJ software to create any kind of music I wanted. NO Limits!

When I say ANY kind of music I literally mean ANY! From Ambient, trance and house to reggae, country and rock.. Even Classical!!! Now, this is what I was waiting for!

I can only speak for myself but this DJ Software really blew me away. And, no you don't have to be a seasoned expert, you don't have to be a DJ, you don't have to be in the recording industry. But its OK if you are too! This DJ Software is easy enough for beginners and flexible enough for professionals.


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Hip Hop Beat Maker - Make it Yours to Make Your Own Beats

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Hip hop bit maker is one of the amazing software ever created in the modern music technology. It's the answer to the call of many music lovers who aspire to become professionals to make your own beats without using a bigger platform since hip hop beat maker would take care of this for you.

Hip Hop Beat Maker - Make it Yours to Make Your Own Beats

Regardless of the brand, as long as the hip hop beat maker software provides an easy to follow video tutorial, you are good. Manipulating the software and its controls will no longer be a pain. In a long run, you will also determine how to master these controls as well as acquire techniques in music blending to produce a cool hip hop music. And Sonic Producer as an example can guarantee these all.

To operate a beat maker software doesn't need a music platform. A single computer with access to the Internet is all you need to make your own beats attainable instantly. A wide array of these software is out in the market and Sonic Producer is one of those who have many distinct features you would love.

It is easy to make your own beats with a hip hop beat maker software. Here are the basics to start off:

1. Select for the best hip hop beat maker software that has many features that's learnable with controls that's easy to operate. Many of these software are available in the market and the best way to determine which is the best, read reviews and forums. Among the brands, the most recommended is Sonic Producer.

2. Decide the beats that you want to make. Listen to rap music for your guide. You can also download for samples from the Internet to blend with the existing sounds in the library. Sonic producer has thousands of these pre-existing sounds so to make your own beats should be easy for you.

3. With a music producer like Sonic Producer, experiment when making your own beats following a pattern from your own unique selection. You should be able to make a good foundation first and then later on, you can add some elements like high hat for variations.

4. It depends on the type of hip hop beat maker software, you can add some extra elements like horn or vocal samples, followed by layering. This should beef up the sounds. The best layering sample can also be from the pre-existing sounds in the library or downloaded ones.

Having a good quality hip hop beat maker, it doesn't matter if you are just a beginner. To make your own beats would still achievable and guarantee that you can produce a professional hip hop beats that you can share to friends and take pride of.


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Nice Things About Free Rap Beats

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There are many musicians who oftentimes find themselves in search of free beats that they can use as part of a musical composition that they are putting together. This is actually something that has turned into a very big business considering the fact that most people just don't have the time to come up with their own beats. By the same token, many of these struggling musicians don't necessarily have the financial resources to go out and buy premium quality beats.

Nice Things About Free Rap Beats

Now, before you start thinking that free beats are basically all lousy and poorly put together -- think again. The reality is that the overwhelming majority of beats that you'll find on the Internet that don't cost any money can be quite good. This is especially true when it comes to rap beats.

Just imagine yourself working on a musical project only to discover that you just don't have the beats that you need to get the job done. This is one being able to have access to beats that don't cost any money can be so incredibly useful. Not only will you be able to finish up your musical project in less time, you'll be pleasantly surprised by just how well it turns out.

From a licensing standpoint, you still need to be careful whenever you choose to use free beats. Read all of the terms and conditions very carefully because you don't want to make the mistake of assuming that you can utilize the beats that you have found a no-cost in your project without special permission or attribution. This is critical because many people sometimes make the assumption that any kind of beats that they find it doesn't cost any money can basically be used for whatever purpose. That's not always the case, and so it makes a lot of sense to be sure.

The nice thing about beats that don't cost any money is that you can sample a bunch of them to see which one ultimately makes the most sense to use for your musical project. Just be sure that you know the sound you're looking for before you really begin the process of searching because you can quickly find yourself feeling overwhelmed because of all the different choices that exist out there when it comes to free beats that are available over the Internet.

Good luck with your music project and hopefully you'll be able to use some of the free rap beats that you find a no cost on the Internet with your project to get it done.


Do You Ever Wish YOU Had The Ability To Make REAL Hit Music Like That?


Beats 365 Review - Download Beats 365 Rap Maker Program

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Are you working on a hip hop project but you seem to be stuck with the same old beats? Beats 365 is the solution that you are looking for. This website is expanding to a hundred thousand beats so you will never have to limit your creativity ever again.

Beats 365 Review - Download Beats 365 Rap Maker Program

From hip hop beats to rap beats to rap instrumentals and hip hop instrumentals, Beats 365 is the place for aspiring and professional beat makers who want to express themselves through the sound of their beats. Having access to this large website of beats enables beat makers to listen to and download virtually unlimited numbers of beats. You can also get your hands on custom made and royalty-free beats, plus bonus updates and about 10 gigabytes of sounds, samples, sound effects, a cappella tracks, instruments, and many others. You will also have direct access to major hip hop and R&B labels.

The number of sounds and samples that this database offers is dizzying but you need not be confused because all of them have been classified into thirty-nine different genres and styles. These include East Coast, West Coast, Mid West, Dirty South, A-Town Stompers, California Love, Hip Hop, Hard Core, Reggae Ton, R&B, Chopped and Screwed, Club Bangas, and lots more.

More than just a database of sounds, it also allows you to record your audio live while you pick and choose from many different beats. At the same time, you will also be able to market your music to record labels and distributors, as well as add license to your individual tracks.

If you are in need of beats, you need not worry yourself too much. You can simply download Beats 365 rap maker program and have access to a database full of hundreds of high quality beats. The best part is, you need not pay any "per track" fee.


Do You Ever Wish YOU Had The Ability To Make REAL Hit Music Like That?


How To Setup Your Own Recording Studio

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Setting a studio for audio recording is among one of the most popular business in the world. In old days, setting up of the studio was difficult because at that time several hard wares including outboard processors, multi-track recorders, mixers and loads of cables were required for recording purpose but today, the recording software has diminished the requirement of the hardware for recording. Special software can be found just for this and it is the latest and a very useful invention in the world of music and audio. This software can easily perform the functions of several hard wares together. Almost every sound and recording requirements are being monitored by this software. It also reduces the need to buy expensive hard wares that occupy much space. The hard wares required by the software for recording is a computer, condenser microphones, preamplifiers, soundcard, studio monitors and MIDI to get a great quality in recording.

How To Setup Your Own Recording Studio

The process of recording cannot be imagined without the software. We can purchase and download a paid or a free version of recording software depending on their specifications and our needs. With the help of these soft wares, we can record our song live and also play various instruments at the same time to make the recording more effective. The MIDI device is needed to play guitar and recordings that are unplugged but if we want to add virtual instruments or to mix and control all their parts, the software is needed to solve the purpose of a fine recording. Audacity is the popular software used for recording. It provides simple recording with tools for editing. It also has a sound finder plug that helps us to get a better audio. Software like the fruity loops is integrated with drums track and sound editing. These soft wares offer us everything that we require while recording, editing and producing the music loops. With the help of these soft wares, we can clean old recordings and digitize the existing recordings. They make the recording more exciting, pleasurable and enjoyable.

With the help of the recording software, we can also learn making beats online and freestyle rap. This software is an alternative for hard wares and equipments used for recording. It gives us the quality in recording with a fine sound clarity. Audio editing software can also be used to delete the vocals from a recording. For the people who dream to start a recording studio, this software turns their dream into reality. With the help of this software, we learn the important basics of recording with a multi track audio editing program. The software providing companies offer the tutorials and the soft wares designed by them on the internet with the step-by-step guidelines to use them properly. They also provide videos that help the people in making their recordings easier. Therefore, the best option is to search the software online. As soon as we search the software, we must download it to simplify the recording and to enjoy the world class recording.

There are also different type of recording softwares such as guitar recording software.


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Review for Dr. Drum Digital Beat Making Software

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The Dr. Drum digital beat making software program has everything a budding (or professional) DJ could want or hope for. Dr. Drum says it can make any type of music you love. If you love to make your own rap beats, hip-hop sounds, techno pop, urban, house, and dance tunes, then this is definitely the program for you. You'd probably be able to squeeze out some very decent R&B, rock, or jazz - any one of the eight music/beat file samples that you can download from the Members area are very convincing.

Review for Dr. Drum Digital Beat Making Software

Here are some of the features of the Dr. Drum Beat Making Software:

- A powerful 16-track sequencer

- Single click ability to move sounds where you want them in the track

- 12-pad sound with each drum kit

- Drag and drop import ability to bring in your own beats

- 4 Octave Keyboard for pianos, strings, synth, sax and more

- Good selection of bass samples

- Special effects to create unique sounds

At the heart of the software is the 16 track sequencer. There are two visual representations of it. One is the mixing board where you can adjust each track's volume, equalization, pan, mute, and solo, and a Master volume. To the right of these controls are the minimize and maximize window buttons (in case the ones in the corner of your application window aren't working), and a very nifty 'YouTube Upload' button.

The YouTube Upload button does exactly what you think it would do. It prepares your song/beat creation to be uploaded as a video to your YouTube account. The video is simply what you see on your screen as your creation plays, the Dr. Drum 16 track sequencer showing its progress through the song's timeline as it plays. Very boring. But you can do something slightly cooler. You can add your own pictures! Doing so creates a slideshow of your pics, evenly spaced out, for the duration of the playback of your creation. A little jab in the jaw at Apple's iPhoto I suppose. But still, very cool.

The second representation of the sequencer is below all of that, and serves as the primary working area and time line for your musical and beat creation. So there are 16 time lines (or tracks) for you to assign any one of three working 'kits' - Drums, Bass, or Keys.

There are 44 drum kits, 48 bass kits, and 292 (4 octave) keyboard kits to choose from. You can assign any one of these kits to a track. For instance, you could have 5 drum tracks, 3 bass tracks, and 8 keyboard tracks to make up your beats and songs. Or you could use 8 drum tracks, 2 bass tracks, and 6 keyboard tracks - or whatever it takes to create your music.

These kits are studio quality samples. When you're all done creating and are ready to share your beats, you can export it out in full 44.1 KHz stereo 16 bit PCM.wav format.

There is only one thing missing, and it's an important one for me - there is no place on the display that tells you the name of the file you're working on. Perhaps Dr. Drum will be able to add the file name display on a future update. (Hint!)

The visual interface is very simple while still providing intricate control of the sounds and their placement. Overall, this is a very powerful and easy to use beat maker. It's also very affordable at .95. And it works on PC or Mac operating systems.

I'll get down to the nuts and bolts of song and beat creation in future articles.


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Why Buy Beats On The Internet

MAKE OWN RAP BEATS:

Making one of a kind sounds and music can be hard and frustrating, but it can also be a rewarding task. A lot of people can eliminate some turmoil by buying a beat base that is already done and infuse it into their own songs. These recordings can be purchased and downloaded from a wide range of sites and may cost next to nothing or might be rather expensive depending on the length and the complexity of the recording.

Why Buy Beats On The Internet

There are many different license agreements available for the various tunes. The person who is making the purchase should be sure that he or she fully understands the kind of license that they are buying. If they want to have full rights to the song, which means that they can use the file in a song to be sold, they will have to make sure that they purchase full rights and have an exclusive agreement so that they can avoid legal issues. The buyer should be sure to read through all the fine print prior to making any purchase.

Some party DJs purchase these tunes to use during their shows to make cool sound beds or jazzy transitions or for another reason. The usage agreements might be less money than a full usage and exclusive agreements. The DJ should be sure that he is complying with the licence that he purchased and should only use the tunes in the way that is legal.

The customer should also be aware of the location of his download. Most sites are legitimate businesses and offer their songs legally, but some are not and have malicious intentions. They might attach viruses or Trojans to the files that will go into people's computers as they click through the files.

The buyer ought to make sure that the site that they are downloading from is only selling legal files. Some of these sites that offer these kinds of files pirate music and sell it illegally. If the site owners are acquiring their songs illegally, customers should not download and contribute to the illegal activity.

A lot of web sites will give their buyers a preview of the song before they have to pay for them. Some may offer some free files to new or faithful customers. The files range from whole songs to small samples.

Irregardless of the project, both professional and non-professional musicians can find and buy beats on the Net. There are quite a few outlets where they can find them, but the buyer should investigate the site to make sure that it is legit. There are is a certain degree of danger associated with downloading files from the net as they may contain a virus or may not be legal files.


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The History of House Music

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Every time you walk into a popular club, there is a good chance that music will be blasting through the sound system. When people go to the clubs, they want to dance and have a good time - house music provides the perfect atmosphere for this. But, where did it get its start, and how did it become so popular?

The History of House Music

It made its arrival on the club scene sometime during the early 1980's in Chicago. The DJs at these clubs got tired of playing the same songs over and over again, and wanted to try and put their personal spin on some of these songs. They started mixing them together and adding in other instrumental tracks to make the songs their own. The people in the club loved it! Before anyone knew what was going on, DJs were releasing completely original music that they composed themselves through the combination of other artist's beats.

As time went on and house music spread to different parts of the country and the world, different DJs from different cultures put their own spin on this musical genre, introducing distinctive sounds and instruments from their local area. House music spread from Chicago to Detroit, and then made the jump over the pond to the UK. This all happened before the 1990's. House music had become an international phenomena.

One thing that has been true of it all throughout it's history is the fact that it mirrors the current music style that is popular with the general population. As rap and hip-hop started to become more popular in the early 1990's in the United States, DJs started incorporating more hip-hop style beats into their house mixes. The same thing happened when pop was the predominate musical genre in the late 1990's.

As the 21st century came around, the popularity of it was at an all time high. DJs began touring like rock stars or traditional musical artists, performing in different clubs all around the world and getting paid quite a bit of money for it. Now, they are commonly accepted as traditional musicians - but instead of playing the drums, the guitar or the bass, they play with turntables and electronic mixers.

In a relatively short period of time, it has gone from an underground genre of music to one of the most popular forms of music around the world, both inside and outside of dance clubs. No one knows what the future holds, but one thing is certain - house music will be one of the most popular musical genres for generations to come.


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Equipment to Make Beats - The 4 Things You Need to Make Your Own Rap Beats

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A Music Production Software

Equipment to Make Beats - The 4 Things You Need to Make Your Own Rap Beats

This is probably the most important piece of equipment to make beats. Your choice of software could have implications in the style you develop as a music producer. But for somebody starting from zero I would recommend to not pay too much for this yet.

Most of the peripherals needed to make beats come with light versions of popular music software. Even though the purpose is to temp you to upgrade to the more expensive versions, these light editions have more than enough sounds to keep anyone going for a long time.

If you have absolutely no experience you could check something like Sonic Pro, a very popular online program that for only .00 USD offers a sequencer, sounds, instruments and more important, video tutorials on how to make your own beats.

An Audio Interface

One of the most important reasons why to get a decent audio interface is their handling of a common problem with computers and music, latency. This is the amount of time that it takes the computer to process an incoming signal.

Latency can create very annoying issues when making beats, like playing a midi note and hearing the sound a second later. It would be extremely difficult to record live that way. Also if you want to connect instruments, external synths and drum machines, audio interfaces feature the proper inputs.

A Midi Controller

Most of today midi controllers plug to the computer via USB and are recognized automatically by most music software, requiring almost no technical knowledge to get them going.

The most popular midi controllers come in 2 flavors, keyboard or pads. The keyboard is the most popular and the most practical, but rubber pads can yield more rhythmically interesting beats. Even better is the new breed of controllers that blend both together.

Monitors

It might seem like the least important feature for someone getting started, but this depends on how much you enjoy making music. The issue lies in the reproduction of the entire frequency spectrum. Small computer speakers by default mess with the audio content, hyping up frequencies because of their inability to fully reproduce them.

Even though the monitors at beginner prices are not the full solution, as you go up in price you start to get a more realistic image of the sound you're working on. At lower prices most monitors still hype up the sound a little, but in a way that compliments music making and not video game playing.


Do You Ever Wish YOU Had The Ability To Make REAL Hit Music Like That?


Make Rap Songs Online

MAKE OWN RAP BEATS:

Make Your Own Rap Online

Make Rap Songs Online

If you want to learn how to make your own rap online well then you should look to a cheap and easy way to start first! You can make your own rap songs online real easy, if you have software on your computer that contains over 100,000 beats all at your finger tips. There is lots of software out there that allows you to download these beats and tools you will need in your rap making journey.

How do you think you would do over the coarse of a year? If you are serious about making your own rap songs, then software like this is just what you need to stay on top of your beat making game in your attempt to make rap songs, and that`s exactly what this type of software will do. You will have all the beats in the latest songs out now, and future updates to all the newest beats as there made. If you stick with this online, you will be producing great rap songs with the rap beat maker tools you get.

To Make Your Own Rap Online Start With The Mixing

To make your own rap songs online the first thing you need to do is learn the mixing, and when your only learning, the easiest way to get really great at the mixing, there is no better place to start than online. Making music online is getting very popular. Mixing is one of the most important skills you need to learn, if your going to make any kind of great rap songs. If you want to become great over time at making your own rap songs this is were you start. When you have all these beats in one place it would not be hard for you to come up with some great ideas.

To Make Your Own Rap Online Its Not That Difficult

You are probably thinking to yourself, how difficult is it really to make your own rap songs online. You can search online for free software that will not do you that much good because you will not get all the latest beats. You will get beats that are 'gone out with the indian's'. You see if you do not have the software to make beats, then you can't do it full stop. For you to mix different sounds and then put these beats into your own songs, it does not take a lot of skill but it does take a bit of your time up. If you listen to rap all the time, you should already have a good idea of rap music, which will be a bonus to you, because then you will know what type of beats you want in your song, with this software you do not need to worry about anything it will all come together nicely for you. Just like it did for me.


Do You Ever Wish YOU Had The Ability To Make REAL Hit Music Like That?


How to Make Professional Rap Beats in FL Studio in 4 Steps

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There are many factors that need to be taken into account if you wish to be successful at creating professional, industry standard beats in FL Studio. In this article I will touch on the key factors that you will need to master and this is what separates the pros from the amateurs when producing hot rap beats.

How to Make Professional Rap Beats in FL Studio in 4 Steps

Where to Start

Some people have a preference in what instrument they first want to layout when producing beats in FL Studio. Some prefer the melody, some prefer the bass line and some prefer the drums. No answer to this is wrong or right, and it is mostly a matter of opinion, but for starters I will recommend laying out a good drum pattern first.

Before we get started, set your BPM (beats per minute) to something between 85 and 95.

Creating the Drum Pattern

First, search through your sounds for a nice, hard-hitting kick sample. In the example that we're going to create, you'll want to try to find a kick sound that hits hard but does not contain a lot of low-end sub bass (this will make it easier to mix with the bass later). Once you have found a good drum kick sound, fill in the steps on the step sequencer of where you would like the kick to be heard. Now, right-click on the sound in the step sequencer and select "Send to piano roll." This will put your drum kick pattern in the piano roll where you will want to adjust your velocity. Velocity is what gives the sound a human feel and not so robotic. Technically, velocity is to adjust how hard something is hit, or how hard a string is plucked, a piano key is pressed, etc. Play with this a little bit until your drum kick pattern starts to sound more human and natural.

Next, find a hi-hat sound that you like and again, click the steps where you want the hi-hat to be. Generally, every other note on the step sequencer is a good place to start. Now, do the same thing that you did with the kick sound and send the channel to the piano roll and adjust the velocity. This is even more important on the hi-hat than it is with the kick.

Now for the snare drum(s). I usually like to layer a few together to get the sound just right. I usually like a tight and hard-hitting sound, so I might mix a clap sound with a rim shot and then take 2 different traditional snare hits and turn the level down a little bit on those and then pan one to the right and one to the left at about 35%. For starters, you'll want to put your snare drum on every 4th step in the step sequencer.

Now, you can add more personal touch if you want using the same techniques already mentioned. Feel free to throw in a cowbell, tambourine, cymbal, etc.

Creating the Bass Line

In most hip hop, a low bass sound is used so really all it provides is power and thump and possibly a catchy tune that helps to "glue" the drum sounds together with the rest of the instruments. Choose a low bass sound that will give a good rumble when being bumped, and if there is too much high-end frequency to the sound then you can always cut it out with proper EQ or low-pass filter. I usually like to have the bass frequency set at 50 to 75hz and have the kick set at about 85 to 90 hz. You can also do this in reverse (have the kick lower frequency than the bass). The most important thing is that they don't both occupy the SAME frequency space. This is where most amateur beat makers struggle. It can take a lot of practice to mix the drum kick and the bass line together so that they don't sound weird or cause distortion when they're on top of each other. This will probably be the last thing that you master when learning to make beats because it can take precise EQ and compression to make it sound crisp and professional.

When writing the bass melody, start out simple. Choose a note scale that you want to use and stay within that scale. If you don't know music theory, start out by researching scales and pick one at random. Next, put a blank sound (use a sampler channel, or just turn the volume all the way down on the sound) in your step sequencer in fruity loops. Right click it and open the piano roll. Fill in all the notes in that scale, in every octave, and drag the edge of them so that they show up for the whole duration of the full pattern. Now, open the piano roll for your bass and click the little piano icon in the top left corner of the window. Select view > Ghost Channels. Now every note in the scale will be highlighted gray and you know to stay in these notes while writing your melody. This is a tip you really don't want to ignore because it can help you a lot!

Writing the Main Melody

First, choose your instrument. Let's pick something simple like a piano. Write a melody that goes along with the bass line. Sometimes you can copy your same bass line but then add more notes in between (remember I said to keep your bass line simple). If you have researched some music theory, you should use some chords here and there and use some type of chord progression. Remember to stay in the scale and always view Ghost Channels to make sure you're in the scale in you're unsure. If you want to stay simple you can just have the piano playing for the melody, but feel free to select a couple other complimentary instruments and add some accents here and there. Sometimes I like to use something like a violin just to emphasize certain notes or phrases in the melody.

Writing the Hook

The hook is where you can really go wild because it is the most climactic part of the song. You still want to stay in the correct scale of course, but you can add lots of strings and other instruments. You should either elaborate on the normal verse melody and make it more complex or you should write a totally new melody in the same scale. Remember to try to picture it with vocals on top of it and try to add things that will compliment a finished product / song.


Do You Ever Wish YOU Had The Ability To Make REAL Hit Music Like That?


Best Rap Beat Making Software - 3 Steps to Help You Find It

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So, you want to find the best rap beat making software, but where do you start? There are a myriad of choices out there, all producing varying results. Some software will allow you to create professional results but comes at a price. However, there is software available that doesn't cost the earth and with it you can create awesome rap beats. Below are 3 steps to help you find the best rap beat making software for you.

Best Rap Beat Making Software - 3 Steps to Help You Find It

  1. Make sure the software has a user friendly interface and not like a control board at NASA. The reason for this is obvious. If the controls are complicated and technical, then it may take you a long time to learn how to use them, and no doubt you would rather spend your time creating awesome rap beats.
  2. Try out the software first. Again, an obvious one but a lot of people skip this step, so make sure you get a good test run of the software you are thinking of buying. You should be able to download a demo version online which will allow you to try out the software for 30 days or so. Make sure while testing the software that it does exactly what you want it do and that the results are of excellent quality.
  3. Make sure there are no royalties attached. Some music creation software requires that you pay royalties on your productions so make sure the software that you want to buy does not. This is something that many people may miss but at the end of the day it is far better if you own everything you create, that way, you reap all the benefits.


Do You Ever Wish YOU Had The Ability To Make REAL Hit Music Like That?


Marketing Rapport - 3 Tips!

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Establishing & maintaining rapport with your online audience is perhaps the single most important ingredient in marketing online. Actually in marketing period, but even more so online because of the lack of personal contact. Rapport is at the core of selling, always has been, always will be.

Marketing Rapport - 3 Tips!

Let me tell you a little story.

Earlier this week, I got a call from a salesman after leaving a message about getting my stereo repaired. My expensive, but aging Nakamichi CD player is on the fritz, & I'm virtually tuneless. Not good.

It was a notable conversation for anybody interested in the art & science of persuasion. And in particular, the role rapport plays in that process.

My apprehension was this.

I bought the unit about 8 years ago, & I'm thinking. OK, this is going to cost me some money. I could probably now go out & buy a new CD player for the same amount. Just getting an estimate is going to cost me.

So the guy calls up, & immediately starts building rapport with me. How does he do it?

After introducing himself, he says, "So you've got an MB-1s, awesome unit, what do you listen to?" I tell him, "I'm into rhythm & blues & jazz". He probes a little to see what kind of blues I dig, & we find ourselves rapping for a bit about how much we both love the music of Stevie Ray Vaughan.

And then without missing a beat, he says "So I suppose you're wondering whether technology has advanced so far in 8 years that you could replace your MB-1s with a new unit for pennies on the dollar?

I say, "yes".

And then he goes on to tell me. "Unless you're prepared to fork out a sizable chunk of change on a relatively high end unit, your going to lose some of the raw analog warmth & character that oozes faithfully from Stevie's Fender Stratocaster every time you slide a CD into that Nakamichi".

And I'm like, Wow, thanks for saving my life dude.

This wasn't the only guy I called, but I can tell you this. He was the only one I considered doing business with. And it came down to the rapport he created.

So what can we learn from this?

First off, let me point out that while this was a personal interaction, you should take the principle of rapport very seriously when it comes to your marketing.

The fundamentals are thus.

I liked this guy. Because I liked him, I listened to him. Because I listened to him, I believed him. And because I believed him, I bought from him. Sure it wasn't a huge purchase. But what happened in those few minutes on the telephone takes place in virtually every sale you make, whether you're an active participant in the process, or not.

You are developing an unspoken relationship with your customers, as a result of both your personal interaction, & every piece of online marketing you deliver.

The challenge is this. How do you generate rapport, when you don't have the expensive luxury of personal contact with all of your clients at every stage of the buying cycle?

Here are a few ideas.

1) Be a person in your online marketing. Far too many businesses make the dreadful mistake of coming off as stuffy, corporate, & boring, in the name of professionalism. Your business can be professional, & still have character.

This is just as true in b2b & technical sales, as it is in consumer sales.

One of the best things you can do is deliver your marketing message in the first person. You should voice a friendly, rapport-building persona in virtually every kind of direct response advertising you do.

2) Communicate with your prospects, in their own words. If you're marketing to engineers, & you know they use acronyms, use acronyms. If you're selling to the CEO, speak in plain English. Just common sense, but so often ignored. If you're selling b2b, understand that there are multiple decision makers involved. Find a way to speak to them all. Use multiple campaigns if need be.

3) And finally, give your customers more than they expect. It is rare to do business with a company that demonstrates a genuine concern for the actual outcomes that their customers experience as a result of a purchase.

This is very different than simply being committed to the satisfactory performance of your product or service. You build rapport by showing your prospects exactly how what you're selling "fits in" to what they are already doing.

In the final analysis, your prospects & customers should feel like they know you as a person from your marketing & advertising. More importantly, they should know you as the kind of person they would call a friend, & look forward to hearing from.

Copyright 2005 Daniel Levis


Do You Ever Wish YOU Had The Ability To Make REAL Hit Music Like That?


One Stepfather's Story - Sergeant Philip Harrison

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An All-State guard in high school, James Toney, was offered a basketball scholarship to play at Seton Hall. James struggled with drug addiction. In 1973, he was jailed for drug possession when his son was still an infant. When he was released, James agreed to give up his parental visitation rights to his son's stepfather, Philip A. Harrison, and his mother, Lucille.

One Stepfather's Story - Sergeant Philip Harrison

At 21 years old, his stepson wrote, "When my mother needed someone 21 years ago, Philip Harrison was the man...My father joined the Army when I was two so he could make a better living and also so he could get us out of the 'hood. I was born two years before my parents were married." In an interview, he expressed, "Just because you bring a child into the world, it doesn't make you a father."

Sergeant (Sgt) Harrison watched his stepson leave the house for his first day of school. He was the one who admired his elementary school artwork on the refrigerator. Sgt Harrison was the one who disciplined his stepson. He saw his first basketball dunk. Sgt Harrison eventually moved his family to Wildlflecken (Bavaria), Germany where he was stationed as a drill instructor. Even after entering his stepson's life, his stepson had a habit of acting out and getting into trouble.

Life for his stepson was difficult, but eventually Sgt Harrison was able to help his stepson reverse his course. While living in Germany, he continued to rebel (getting in fights, hitting teachers, breaking into cars, etc.) in hopes he would be sent back to the U.S. Sgt Harrison ended that dream telling his stepson, " Look, son, now matter what you do, I'm not letting them send you back. And if you don't listen to me, I'm going to beat your butt. Every...single...day."

Sgt Harrison's stepson went on to play basketball in college and the NBA. Here are just a few of his son's career highlights and awards:

  • NBA Rookie of the Year (1993)
  • 4x NBA Champion (2000, 2001, 2002 & 2006)
  • 3x NBA Finals MVP (2000-2002)
  • NBA Most Valuable Player (2000)
  • Gold Medal Olympic Games (Atlanta 1996)

During his playing days, he went by many nicknames: Superman, The Big Cactus, The Diesel, or The Big Shamrock. Now retired from basketball, Shaquille O'Neal or Shaq is best known as one of the most dominant players in the history of the NBA. In addition to his basketball career, Shaquille O'Neal has released four rap albums, with his first going platinum. He's also appeared in several films and starred in his own reality shows. Shaquille is currently an analyst on the television program "Inside the NBA."

As a result of his stepfather's influence and military background, Shaquille O'Neal has made a public service a priority in his life. His service ranges from donations to charities and organizations across the country to working as a reserve police officer in Los Angeles, Miami and Phoenix. As far as his career in law enforcement, "I am not a hero. My [step]father was my hero growing up."


Do You Ever Wish YOU Had The Ability To Make REAL Hit Music Like That?


Can Beat Making Programs Produce Great Beats?

MAKE OWN RAP BEATS:

Using a beat making software is a great way to begin your career as a musical producer. This newest type of musical technology has emerged as one of the best ways to make great beats plus the Internet has contributed towards the exponential increase in its demand.

Can Beat Making Programs Produce Great Beats?

There are many beat making systems and software readily available for download on your PC. But do you know the advantages of using hip hop beat programs? Here are four of the main reasons why should you consider having your own beat making software.

Flexibility and Accessibility

The first thing to consider with any music writing program like hip hop software is does the program have a easy to use interface. it does not seem sensible to jump into a investing in a very complicated sequencer if it is going to take you months before you really learn how to use it.

However the nice thing about most beat making software programs is that many realize this and are designed with the beginner songwriter at heart. With the help of tutorials and aids, it shouldn't take you too long until you are comfortable enough that this program doesn't impede your creativity.

Most beat makers today work on any kind of computer so it doesn't matter if you prefer MAC or PC, the beat maker probably will work on most machines but it's something you should double check before buying.

Access to Creative Features

The best thing about Beat making programs is the boost and speed they grant in your creativity. By having the ability to sample many different types of sounds and beats, with in built libraries you are able to cycle through quickly to find what you are searching for, vastly accelerating the beat making process.

You can also take command exactly like you can on a standard 16-track sequencer that let you adjust the tempo, track volumes, and piano sets. It is therefore important prior to deciding to purchase a beat making program that you consider its features and its particular abilities so that you can choose one that you'll be satisfied with.

Cost Savings

This is a practical benefit you can enjoy with a beat making software, especially if you're able to get beat maker software for nothing. However, music production can be an expensive venture, and that's why only some are given the chance to really produce and release rap or hip hop music commercially. The cost of renting a musical studio to record your beats is often rather expensive even on a hourly rate this is why beat maker programs have become so widely popular. Once you find one, it can literally save you 1000s of dollars.

While it's true you can blow your brains out buying expensive beat makers, nearly every one is actually quite affordable and you should be able to pick one up anywhere between to 0.

It is advised that you look around and compare rates to make sure that you can get the most value for your money. I will make one point that I feel is essential. The costliest beat making program isn't always the most suitable. Don't be deceived many of the cheaper alternatives are just as good as if not better then expensive ones.

Customizing Your Beats

Being able to customize sounds and samples out of the box, is surely an important feature to think about in any beat making program. Creativity and freedom is why great music is so cool. So being able to take even a preset sound sample and edit it and use it to create new fresh sounds, is great way to produce great sounding hip hop beats. Get a program that can meet every one of these criteria and you'll be well on your way to writing and producing great songs.


Do You Ever Wish YOU Had The Ability To Make REAL Hit Music Like That?


Mobsters, Gangs - Johnny "Dio" Dioguardi

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If there was a way to make an illegal buck, Johnny" Dio" Dioguardi, called by Bobby Kennedy the "master labor racketeer," had his sticky fingers in the pot. Dio was such a treacherous thug at a young age, in 1936, U.S. Attorney Thomas E. Dewey claimed Dio was, "A young gorilla who began his career at the age of 15."

Mobsters, Gangs - Johnny "Dio" Dioguardi

Johnny Dio was born Giovanni (John) Ignazio Dioguardi on April 28, 1914, on Forsyth Street in downtown Manhattan. Dio had three brothers: Frank and Vincent, who were legitimate guys, and Tommaso, or Thomas, who became, as did Johnny Dio, a capo in the Luchesse crime family. Dio also had an unnamed sister who can be identified only as "Mrs. Dioguardi-Priziola."

Dio's father Giovanni B. Dioguardi, who owned a bicycle shop, was murdered in August 1930 on a street in Coney Island, in what police called a "mob-related execution." It seemed that the elder Dioguardi and another enterprising gentleman had robbed a rich lady of her jewelry, and the two men had were arguing over how to split the proceeds. The elder Dioguardi, who had been arrested twice for murder but never convicted, took six shots to various parts of his body, and it is presumed the other gentleman kept all the jewelry.

Johnny Dio graduated grammar school, but after less than two years at Stuyvesant High School, Dio dropped out and went to work for his uncle on his mother side: gangster James "Jimmy Doyle" Plumeri. By this time, the handsome Dio (who was said to have looked like silent movie star Rudolph Valentino) had already gotten a reputation on the Lower East Side as a tough youth, who terrorized street vendors into giving him a good portion of their wares for free. Uncle Jimmy Doyle (nobody called him by his real name Plumeri), recognizing Dio's talents for thuggery, immediately put Dio to work as a schlammer (leg-breaker) in the Garment Center for Doyle's Jewish associates Louie "Lepke" Buchalter and Lepke's partner Jacob "Gurrah" Shapiro, who were affectionately known as "The Gorilla Boys." Lepke, along with Albert "The Lord High Executioner" Anastasia, was the head of Murder Incorporated, a group of stone killers who murdered whomever the mob bosses in New York City and around the country said needed to be murdered. However, there is no proof that Dio ever joined that august group. Dio's specialty was union-related extortion, and in that, he was tops in his field.

Dio and Doyle started a garment workers trucking association, whereby the truckers working in the Garment Center were forced to join the trucker's union, headed, of course, by Dio and Doyle. If a poor sap trucker decided he didn't want to join the union, a trip to the hospital was inevitable, if not a trip to the morgue. The union dues was hefty, but at whatever price they were forced to pay, it was a small price indeed to ensure the trucker's continued good health. Of course, the "union dues" never made it into the union's coffers (it went straight into Dio's and Doyle's pockets instead), and phony books were established to satisfy whomever decided to enquire about the trucker's union's financial solvency.

Members of the trucker's union were even told where to spend their money and how much to spend on specific items. Dio and Doyle were pals with a local barber, and they ordered their truckers to patronized this special barber to the nifty tune of .50 a month. The truckers were also told where to buy their wine, where to buy their meats, and where to buy their clothing, and how much to spend on each item, which was certainly not at bargain prices.

For several years in the 1930s, Dio and Doyle, with nobody to stop them, had a sweet deal going for themselves in the Garment Center. Besides extorting the truckers, the dynamic duo of Dio and Doyle profited from the other end of the totem pole too. They forced the Garment Center's clothing manufacturers (bosses) to employ only union truckers. Then they used the clout of their trucker's union to bulldoze the clothing manufacturers into paying hefty off-the-books fees in order to keep their business up-and-running, and profitable.

If the clothing manufacturers refused to pay the extortion fees, Dio and Doyle would order their union truckers to go on strike, putting a dead stop to the clothing manufacturer's cash flow. On occasions, if the bosses didn't play ball, union thugs (schlammers) would break the bosses' fingers, their arms and legs; and sometimes all three body parts on the same visit. In extreme cases, like if a boss threatened to talk to the Feds, Lepke's Murder Incorporated boys would enter the scene, and seconds later, the chatty boss would exit the face of the earth, toes up.

In 1932 and 1933, Dio and Plumeri were indicted twice for extortion, but they beat the rap both times, because their victims refused to talk to the Feds. In 1934, Dio was lucky enough to be elected executive secretary of the Allied Truckmen's Mutual Association, an association of employers. Even though Dio was boss of the trucker's union, he represented their employers during a strike by 1,150 Teamsters in September 1934.

Nice work if you can get it.

However, in 1937, both Dio and Doyle ran out of luck. The nephew and uncle duo were indicted for extortion and "atrocious assault." During the trial it was alleged that Dio and Doyle, and several other of their gangster underlings, had been extorting as much as 0 from each trucker. Plus, it was alleged they had forced the clothing manufacturers to add a hefty "tariff" to every suit, coat, and pair of pants manufactured in the Garment Center. This tariff went straight in the pockets of Dio and Doyle, and that increased the cost of good for the general public.

Sweet deal indeed.

According to an article in the New York Daily Mirror, "At the trial, frightened witnesses testified how recalcitrant employers and employees were beaten when they refused to pay. One man said he was confined to bed for two weeks after an assault. Another said the hoodlums had threatened to cut off his ears."

Realizing they were dead in the water, during the middle of the trial, both Dio and Doyle pled guilty as charged. In return they received free room and board in upstate Sing Sing Prison for a period of three-five years.

After he was released from prison, Dio decided New York City was too hot for him, so he moved to Allentown, Pennsylvania, where he took up roots long enough to open his own dress manufacturing plant; non-union, of course. He later sold the plant, and to guarantee the new owners would have no trouble, Dio took ,200 under the table to ensure that his erstwhile plant would remain non-union.

Dio sped back to New York City, and using the same tactics he had employed in Allentown, he set up a dress wholesaler. Using his profits from the business, Dio was smart enough to buy legitimate businesses, which included real estate and trucking. He also dabbled in the stock market, making him seem to the IRS as just another tax-paying citizen. But the New York City police knew better. They just couldn't pin anything illegal on Dio, although they continued trying.

Back in his old Forsyth Street neighborhood, Dio decided to start a family. He married the former Anne Chrostek (a non-Italian). She bore Dio two sons (Philip and Dominick) and one daughter (Rosemary) who sadly passed away from an unknown illness. It was during this time that Dio, before the age of forty, was officially inducted into the Luchesse Crime Family, making him all the more untouchable on the streets of New York City. Even though they were only Italian on their father's side, both of Dio's sons eventually followed in their father's footsteps into a life of crime. Philip Dio, who was called "Fat Philly," was later inducted into the Colombo Crime Family, while Dominick, like his father, became a made man in the Luchesse Crime Family.

(Editor's note: The Mafia rules changed around this time to allow more members to be inducted into the "Honored Society," to fill the gaps of those who either were killed or sent to the can; "college" as the mob likes to call it. At this point, only your father (not both parents) had to be Italian for you to get "your button." If your mother was Italian and your father a non-Italian -- you were spit out of luck. Them's the breaks.)

By the 1950's, Dio had become a powerful captain (capo) in the Luchesse Crime Family, and with money pouring into his coffers in bundles (he allegedly earned 0,000 a week), he started living the life of a colonial baron. In the early 1960s, Dio moved his family into a spacious estate out on Freeport, Long Island, which cost Dio ,000 in cash (Dio didn't like banks or bank loans). During the week, Dio ate with his cronies in the best New York City eateries (his favorite being the trendy Black Angus Steakhouse). But, as is the Italian custom, Sundays were strictly for the family (famiglia). Inviting family member and close friends, Dio was proud of the fact he was an expert cook and was personally able to conjure up the best Italian delicacies to delight his guests. Dio was especially gracious to his wife, whom he loved dearly (unlike most mob men, Dio was faithful to his wife). Instead of personally buying his wife Christmas presents, Dio would give her a shoe box stuffed with cash, with a little note saying, "Buy yourself some nice clothes, honey."

During the 1950's, through his connections with New York City Teamster leaders Martin Lacey and John O'Rourke, Dio became tight pals with Teamster big-wig Jimmy Hoffa. Dio and Hoffa first met in a secret meeting in a New York City hotel room, and Hoffa, who had hoped to unseat Teamster President Dave Beck, figured Dio, with his union background, would be the perfect person to become chums with. In late 1955, Dio was able to obtain charters from the Teamsters to set up seven Teamster locals, called "paper locals," because they did not have actual teamsters as members. The roles were filled with Dio's relatives and pals, and their vote for teamster president was in Hoffa's back pocket.

Dio's modus operandi for more than 30 years was this: control the unions, then use the unions as a sledgehammer over the heads of the bosses. Dio would tell the bosses, "Pay or my boys will strike." The bosses always paid, the workers always got screwed, and Dio made out like a bandit every time.

During his illustrious criminal career, Dio controlled the unions to the detriment of its members to such an extent, that during the 1950's McClellan Committee hearings into organized crime, the committee issued the statement, "It cannot be said, using the widest possible latitude, that Johnny Dioguardi was ever interested in bettering the lot of the workingman."

Famous Mafia turncoat Joe Valachi owned a dress factory on Prospect Avenue in the Bronx for 12 years. Valachi once said, "I never belonged to any union. If I got into any trouble, any union organizer came around, all I had to do was call Johnny Dio and all my troubles were straightened out."

However, in 1956, as the Teamsters elections neared and they were scheming for control, both Hoffa and Dio had a stone in their shoe, and his name was syndicated newspaper columnist Victor Riesel.

Victor Riesel was born on March 16, 1913 on the Lower East Side to Jewish parents in a mixed Italian/Jewish neighborhood, not far from where Dio grew up. Victor's father, Nathan Riesel, was very proactive in union activities and was instrumental in creating the Bonnaz, Singer, and the Hard Embroiderers Unions. In 1913, he also helped organized Local 66 of the International Ladies Garment Workers Union, and soon he was elected secretary-treasurer of that union, then finally president.

When Victor Riesel was a young child, his father taught him how to make union speeches, which the young Victor fiercely gave at union meetings and at outdoor union rallies. Nathan Riesel was hard-line anti-communist, and he was strident in preventing the communists from infiltrating his locals. Victor saw his father return home many times, beaten and bloodied from fights he had with communists activists, or the mobsters (schlammers) who were hired by the factory owners to break up union strikes that Nathan Riesel had participated in. This formed the notion in Victor Riesel's young mind that gangsters were the bane of legitimate unions.

In 1926, Nathan Riesel moved his family to the Bronx, where Victor attended and graduated with honors from Morris High School. While in high school, Riesel began working as an "stringer" for several newspapers throughout America. His writings were mostly about the labor movement in the United States, and how they were hampered by a "gangster element," who sought to play both ends of the spectrum by infiltrating the unions, then working for the boss manufacturers to physically quell any union strikes or demonstrations. In 1928, Riesel enrolled in night classes in the City College of New York City (CCNY), where he took courses in human resource management and industrial relations. To support himself while attending night school, Riesel worked at strenuous jobs, both in a steel mill and in a saw mill. While in college, Riesel also worked as a columnist, then as an editor on the student newspaper. Besides writing columns on the labor movement, Riesel also wrote columns on varied subjects like literature, and the theater.

While in college, to get needed experience in the outside newspaper world, Riesel took a job as a general office boy at The New Leader, a political and cultural weekly magazine that was both liberal and anti-communist. Riesel cuts his teeth in the business by doing anything his bosses at the newspaper told him to do, including sweeping the floors, and writing columns for the newspaper. In 1940, after 12 long years of hard work, both in and out of school, Riesel finally earned his Bachelor of Business Administration from CCNY. He was offered the job as the managing editor at The New Leader, and he took the job with the determination of ridding the unions of "gangsterism."

Riesel caught his first big break, when in 1941, he was hired as a columnist for The New York Post. In the 1948, when the Post changed management, Riesel switched to the New York Daily Mirror, owned by newspaper magnate William Randolph Hurst. By 1956, Riesel's column was syndicated in 193 newspapers throughout the United States. In that same year, Riesel began working in conjunction with United States Attorney Paul Williams, with the expressed purpose of taking on the gangsters who ran the New York City garment and trucking unions.

This was a double whammy for Johnny Dio, who was heavily involved in both unions, and for Jimmy Hoffa, who was trying to unseat Dave Beck as head of the Teamsters.

On April 5, 1956, Riesel was asked to be a guest host on Barry Gray's WMCA overnight radio talk show. Riesel had recently been on a rant in his columns concerning the International Union of Operating Engineers and its President William DeKoning Jr., who Riesel claimed was conspiring with known labor gangster Joseph Fay to reinstall DeKoning's father William DeKoning Sr. as the president of the union. DeKoning Sr. had just exited the can after being imprisoned for extortion, and Riesel felt that having the senior DeKoning back as president of the union would be a downright disaster.

As a result of his columns on both DeKonings and Fay, Riesel received numerous death threats. However, Riesel shrugged them off, knowing only a fool would hurt an esteemed member of the press. Doing so would certainly result in the law coming down hard on all union racketeers, and their rackets.

On this particular radio show, Riesel invited two members of the International Union of Operating Engineers, who were challenging the DeKonings for control of the union. This did not sit too well with Johnny Dio, or with Jimmy Hoffa, who both figured Riesel would go gunning for them next.

Gray's show originated at Hutton's Restaurant on Lexington Avenue and 47th Street. After the show, which ended at 2 a.m., Riesel and his secretary moseyed over to Lindy's restaurant, on Broadway between 49th and 50th Street, to grab a bite to eat and drown the food down with hot steaming coffee. (Ironically, this was the same Lindy's Restaurant in front of which small-time gambler Herman Rosenthal was shot to death in 1912.)

At approximately 3 a.m., Riesel and his secretary emerged from Lindy's and started walking toward the secretary's parked car on 51st Street. Riesel wore his eyeglasses to work, but when he was out in public, for appearances sake, he normally removed his eyeglasses. Just as Riesel and his secretary neared the secretary's car, Riesel took off his eyeglasses, put them in an eyeglass case, and inserted the case into the breast pocket of his overcoat. Suddenly, a tall, thin man, wearing a blue and white jacket, sprung from the shadows of the Mark Hellinger Theater and flung a vial contain sulfuric acid into Riesel's eyes, rendering Riesel blind for the rest of his life. Then the assailant calmly walked away and disappeared into the night. Thereafter, Riesel wore sunglasses to shield the public from the sight of his severely disfigured eyes.

The day after the attack, the Daily Mirror offered a ,000 reward for information that led to the capture and conviction of Riesel's assailant. The Newspaper Guild of America, the New York Press Photographers, the New York Reporters Association, and the Overseas Press Club chipped in with another five grand. In less than a week, donations from assorted groups, including the labor unions and radio station WMCA, had raised the reward total to ,000.

With tips coming in in droves, some reliable, some not so reliable, in August of 1956, the FBI ascertained that Riesel's assailant had been small-time hood Abraham Telvi. The only problem was, Telvi was now deceased; apparently murdered on July 28 because he had demanded another ,000 on top of the paltry 0 he had already been paid for throwing the acid in Riesel's face.

On August 29, Dio was arrested for conspiracy in the Riesel attack. Dio pled not guilty and was released on 0,000 bond.

On October 22, Dio's pal Joseph Carlino pled guilty to hiring Telvi to attack Riesel. Carlino implicated two other men, Gandolfo Maranti and Dominick Bando, as accomplices in hiring Telvi. Carlino also said that Dio had ultimately given the order for the attack. Dio lawyered up with a top New York City mob attorney, and his attorney was able to get Dio's trial severed from the trial of Maranti and Bando.

At their trial, both Maranti and Bando verified Carlino's assertion that Dio had engineered the attack against Riesel. Maranti and Bando were both found guilty of conspiracy. But their sentencing was delayed until after the Dio trial.

Dio's attorney was able to delay his trial for almost six months, and during this time Maranti and Bando began to have bouts of memory loss. When Dio's trial finally commenced, both Maranti and Bando recanted their testimony, and with no corroboration of Carlino's claim that Dio ordered the Riesel attack, all charges against Dio were dropped. Maranti was given 8-16 years in prison, and Bando 2-5 years in prison, and another 5 years for contempt of court. Amazingly, Carlino received a suspended sentence for aiding the law in the convictions of Maranti and Bando. However, no matter how the situation was cleared or not cleared up in court, Dio has forever been remembered as the man who "blinded Victor Riesel."

In October of 1956, Dio was indicted, along with several Teamster officials, on extortion and conspiracy charges. The indictment said that Dio had extorted money from New York City Garment Center truck drivers, and had also extorted money from Garment Center manufacturing bosses not to have the same truck drivers go out on strike. Also included in the indictment was the alleged extortion of New York City stationery store owners, whose stores Dio's men had picketed. The store owners were allegedly told that if they wanted the picketing stopped, they would have to force their employees to join Teamster Local 295, and hire Johnny Dio's "labor consulting" firm, Equitable (not) Research Associates, for a ,500 retainer, and 0 a month salary.

Because Dio's attorneys were so adept at stalling tactics, and the fact that key government witnesses had recanting their testimony, Dio's trial did not take place until November of 1957.

The trial took four weeks, but when it ended, Dio was convicted as charged and sentenced to two years in prison. While in prison, Dio was indicted again on extortion charges. This time, instead of the victims being stationery store owners, they were the owners of electroplating shops. In 1958, Dio was convicted again, and this time the judge threw the book at Dio, sentencing him to 15-30 years. Dio began serving his time in Sing Sing Prison, while appealing his sentence. On June 23, 1959, an appeals court inexplicable overturned the decision in Dio's trial, saying that since Dio didn't issue the threats personally, he should not have been convicted of extortion. A split court ruled, "Extortion cannot be committed by one who does not himself induce fear, but who receives money for the purpose of removing or allaying pre-existing fear instilled by others."

Jonathan Kwitney said in his book Vicious Circles, "The decision seemed to legitimize the whole purpose of the Mafia."

However, the law was not finished with Johnny Dio. On June 24, 1959, one hour after he finished his two-year bit on the first extortion charge, Dio was pinched by the Feds and charged with income tax evasion; for non-payment of taxes for three dress manufacturing companies he owned (non-union, of course), and two labor union locals. Dio went on trial in March of 1960. He was found guilty and was sentenced to four years at the federal prison in Atlanta, Georgia. Dio was released in March of 1963, partially on the basis that he had obtained a real job in a legitimate industry. Dio claimed he was now a salesman for Consumers Kosher Provision Company, another sham job that provided Dio the opportunity to do what he had done in several other industries before. This time it was the kosher meat business that would pay the piper for Dio's Machiavellian machinations.

At first, the scam worked like a charm. Dio and a bunch a his mobster buddies separately approached two rival kosher meat companies and convinced both of them that their business would be ruined if they did not hire their group of thugs to fight back against the other company's group of thugs. The two competing companies were the Consumers Kosher Provision Company, run by a dupe named Herman Rose, and the American Kosher Provision Inc., who had employed mobster Max Block (he had just been forced to resign as head of the butcher's union) to make sure other mobsters didn't try to shake down American Kosher. Block's muscle was provided by Genovese thug Lorenzo "Chappy" Brescia, who had been extorting the butcher's union for years. According to Vicious Circles, Block was receiving an annual salary of ,000 a year from American Kosher, and Brescia's cut was ,000 a year.

This is where Dio began working his magic in the kosher meat business. Through two intermediaries, Dio approached Herman Rose and convinced Rose that in order to compete with American Kosher, it was imperative Rose hire Johnny Dio to protect his interests. Rose figured this was the right thing to do and he hired Dio at the salary of 0 a week; not an exorbitant amount of money. But it gave Dio the appearance of an honest job, and it gave the Mafia the opportunity to control the prices in the two top kosher meat companies in the area. (This is why, overnight the price of kosher meats skyrocketed.)

After Herman Rose died in 1964, Dio convinced the Kleinberg family, which owned the majority of stock in Consumer Kosher that it was good business to merge with American Kosher. The Kleinbergs, trembling in their boots, agreed with Dio's assessment, and with the mob running both companies, the "bust-out business" in the kosher meat industry began in full throttle.

Soon, Dio and his pals, using their usual tactics, began scooping up, and creating from scratch, other small kosher meat companies. Stock was transferred back and forth between the companies, and so were the assets, which included the kosher meat itself. First, Consumer Kosher went bankrupt; then did American Kosher. The other Dio-controlled companies started acquiring the meats (that had not been paid for), and one by one, they too declared bankruptcy, only to be acquired by another sham company owned by, what the newspapers called, "The Kosher Nostra." The suppliers of the meat out west, because of the multiple bankruptcy proceeding, were stiffed of their meat payments. According to New York Post reporter Marvin Smilon, one of these meat providers had the temerity to ask one of Dio's meat cronies, "Why do we have to deal with Dio?" He was told, "Sit down and be quiet. You ask too many questions."

But all good things must come to an end. In 1966, Dio, along with four of his associates, were indicted for "bankruptcy fraud." In 1967, they were all found guilty, and Dio was sentenced to five years in prison. However, with his high-powered attorneys working their magic, Dio was able to stay out of prison for almost four years. This gave Dio the extra time he needed to work another scam, called "The Great Mafia Bagel War."

It started with Ben Willner, who had a machine that could make automated bagels, for around 50 cents a bagel, whereas a hand-rolled bagel cost about 65 cents to produce. This was not good news for the Bakery and Confectioners Workers Union, because it put their member's jobs at risk. Willner was great pals with Moe Steinman, who didn't care too much how the bagels were being made, because he had a stranglehold on bagel distribution, not bagel production. Willner ran to Steinman, and Steinman, hoping to help his pal out, introduced Willner to Johnny Dio, whom Steinman knew was an expert at "labor-related problems." Dio helped out Willner, for a piece of the pie of course, and soon Steinman was packing his supermarkets with anywhere from ,000 to ,000 worth of Willner's bagels a week.

The only problem was that Genovese Crime Family capo Thomas "Tommy Ryan" Eboli had his own bagel maker, who was being short-changed because of the Willner/Dio/automated bagel-making machine trio. This man was named Arthur Goldberg and he ran to Eboli, screaming. Eboli demanded a sit-down with Dio, who had been with the Luchesse Family for more than 30 years. At the time, in the New York City Mafia pecking order, the Genovese Family was much more powerful than the Luchesse Family, and Dio was effectively pushed out of the bagel business for good. Dio broke the bad news to Willner, and as a result, in December of 1969, Willner was forced to close shop. This led to the Eboli/Goldberg crew taking over Willner's business, and his automated bagel-making machines.

Dio felt bad about losing his bagel scheme, but he felt even worse, when in November of 1970, he ran out of appeals and was forced to go to prison for a five-year stretch at the federal prison at Lewisburg, P.A. on the bankruptcy fraud charges. (He did not Pass Go, and he did not collect the customary two hundred dollars.)

In 1972, while still in prison, Dio was indicted again, this time for stock fraud, concerning the At Your Service Leasing Corp., a luxury car leasing firm that did most of its business with organized crime figures. It was alleged that in 1969, before Dio went to prison, Dio, along with Carmine Tramunti, Vincent Aloi, and Michael Hellerman, "floated" 0,000 of false stock in the car leasing company. Dio's group then either bribed, or forced security dealers to sell the stock, and then turn over the money to the Dio investment group. The jury found Dio guilty, and he was hit when a knockout blow when he was sentenced to nine and ten-year prison terms, to run consecutively. Dio appealed his convictions twice, but he lost both appeals.

Johnny "Dio" Dioguardi never was a free man again. Dio died on January 12, 1979, in a Pennsylvania hospital, where he had been transferred to from federal prison. To add insult to injury, Dio was scheduled for parole in just a few short months.

The news of Johnny Dio's death did not receive an inch of space in any of the New York City daily newspapers, even though a paid death notice appeared a few days after his death in the New York Daily News.

It was as if Johnny Dio, a gangster's gangster if there ever was one, had never existed.


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Top 100 Rap Songs Of All-Time

MAKE OWN RAP BEATS:

Popular top rap songs have revolutionized music sending messages with unique beats. The top 100 rap songs are still enjoyed to this day by many.

Top 100 Rap Songs Of All-Time

Listing the top 100 rap songs throughout history:

100) Biz Markie: "Just A Friend"
99) Lil Jon & The East Side Boyz: "Get Low"
98) Warren G ft. Nate Dogg: "Regulate"
97) Eve: "Who's that Girl"
96) DJ Jazzy Jeff and the Fresh Prince: "Parents Just Don't Understand"
95) L'Trimm: "Cars With The Boom"
94) Master P: "Make 'Em Say Ugh"
93) N.E.R.D.: "Lapdance"
92) Yo-Yo: "Can't Play with my Yo-Yo"
91) Chamillionaire: "Ridin'"
90) Pete Rock & CL Smooth: "They Reminisce Over You (T.R.O.Y) "
89) Cam'ron: "Oh Boy"
88) Jungle Brothers: "What U Waitin' 43
87) Wyclef Jean: "We Tryin' to Stay Alive"
86) Heavy D. and the Boyz: "Now That We Found Love"
85) Black Star: "Definition"
84) UTFO: "Roxanne Roxanne"
83) 2 Live Crew: "Me So Horny"
82) Chubb Rock: "Treat 'Em Right"
81) PM Dawn: "Set Adrift On Memory Bliss"
80) Three 6 Mafia: "Hard Out Here For A Pimp"
79) DMX: "Ruff Ryders' Anthem (Stop Drop) "
78) Arrested Development: "Tennessee"
77) Cold Crush Brothers: "Cold Crush Bros. at the Dixie"
76) Big Punisher: "Still Not A Player"
75) Lil' Kim: "Crush on You"
74) EPMD: "You Gots To Chill"
73) Black Sheep: "The Choice Is Yours"
72) J.J. Fad: "Supersonic"
71) Whodini: "Freaks Come Out at Night"
70) 3(rd) Bass: "Pop Goes the Weasel"
69) Common: "I Used to Love H.E.R."
68) T.I.: "What You Know"
67) Mase: "Feel So Good"
66) House Of Pain: "Jump Around"
65) Spoonie Gee and The Treacherous Three: "Love Rap"
64) The Roots: "What they Do"
63) Kid 'n Play: "Rollin' With Kid N Play"
62) Digable Planets: "Rebirth of Slick"
61) Slick Rick: "Children's Story"
60) L.L. Cool J: "I Need Love"
59) Ol' Dirty Bastard: "Shimmy Shimmy Ya"
58) Ludacris ft. Shawna: "What's Your Fantasy"
57) Big Daddy Kane: "I Get the Job Done"
56) Busta Rhymes: "Woo-Ha! Got You All In Check"
55) Terror Squad ft/ Fat Joe and Remy: "Lean Back"
54) MC Lyte: "Cha Cha Cha"
53) Lox: "Money, Power, Respect"
52) Foxy Brown: "I'll Be"
51) Doug E. Fresh & the Get Fresh Crew: "The Show"
50) Lil' Wayne: "Tha Block Is Hot"
49) Boogie Down Productions: "My Philosophy"
48) Nas: "One Love"
47) Young MC: "Bust A Move"
46) De La Soul: "Me, Myself, And I"
45) Geto Boys: "Mind Playing Tricks On Me"
44) Method Man: "I'll Be There For You/You're All I Need to Get By"
43) Game, The ft. 50 Cent: "Hate It or Love It"
42) Roxanne Shante: "Roxanne's Revenge"
41) Funky 4 + 1 - "That's the Joint"
40) Run-DMC: "It's Like That"
39) Tone-Loc: "Wild Thing"
38) Coolio: "Gangsta's Paradise"
37) Rob Base & DJ E-Z Rock: "It Takes Two"
36) Nelly: "Hot In Herre"
35) Queen Latifah: "Ladies First"
34) Cypress Hill: "Insane In The Brain"
33) Bone Thugs-N-Harmony: "Tha Crossroads"
32) Puff Daddy & The Family: "It's All About The Benjamins"
31) Kool Moe Dee: "How Ya Like Me Now"
30) Tribe Called Quest: "Check the Rhime"
29) Digital Underground: "The Humpty Dance"
28) Ice Cube: "It Was A Good Day"
27) Beastie Boys: "Hold it Now, Hit it"
26) MC Hammer: "U Can't Touch This"
25) Fugees: "Killing Me Softly"
24) Eric B and Rakim: "Paid in Full"
23) Outkast: "B.O.B."
22) Naughty By Nature: "OPP"
21) Afrika Bambaataa & Soul Sonic Force: "Planet Rock"
20) Kanye West: "Gold Digger"
19) Ice T: "Colors"
18) 50 Cent: "In Da Club"
17) Sir Mix-A-Lot: "Baby Got Back"
16) Missy Elliott: "Get Ur Freak On"
15) Eminem: "Stan"
14) Tupac: "I Get Around"
13) Wu-Tang Clan: "C.R.E.A.M."
12) L.L. Cool J: "I Can't Live Without My Radio"
11) Jay-Z: "Hard Knock Life"
10) Kurtis Blow: "The Breaks"
9) Salt-N-Pepa: "Push It"
8) Snoop Doggy Dogg: "Gin and Juice"
7) Notorious B.I.G.: "Juicy"
6) N.W.A.: "Straight Outta Compton"
5) Grandmaster Flash & the Furious Five: "The Message"
4) Run-DMC: "Walk This Way"
3) Dr. Dre; "Nuthin But A 'G' Thang"
2) Sugarhill Gang: "Rapper's Delight"
1) Public Enemy: "Fight The Power"

The 1st song sent a strong message about racism that attracted listeners; some lyrics may have caused controversy. Many fans believe that Rapper's Delight is a song that is "true" and classic. The 3rd song on the list is an old school rap song that many fans believe sets a high standard for rap artists trying to be successful; there's just no match. The 4th top song successfully merged 2 of the most popular genres: rock and rap. The 5th of top rap songs is another classic that just doesn't compare. This list sets high standards for emerging rap artists.


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