Posts Tagged ‘Hip Hop’

Rapper’s Delight

Wednesday, February 17th, 2010

One of my buddies from way back in the day, Mike Lin, recently launched B-Rhymes, a half/oblique/slant rhyme dictionary, to much acclaim. On Monday it hit metafilter and was picked up by nerdcore hip hop superstar MC Frontalot on his Twitter feed:

A slanted rhyme dictionary that makes your rap writing lots easier (but won’t help you w/ musical theater writing): http://www.b-rhymes.com/

Mike used to work for local a company that uses software to do genetic research (his academic background is in both Computer Science and Chemistry), and the B-Rhymes dictionary is a cross-pollination of DNA sequence alignment algorithms, linguistics, and cloud computing.

I’ve been privy to Mike’s behind-the-scenes development cycle and I chatted with him to get the facts straight for this article. I guess that means this is our site’s first interview!

Here’s the chat log, edited and tagged:

Jack: What flavor of algorithms does B-Rhymes use? DNA sequencing or something? What’s the buzz word?

Michael: It’s loosely inspired by DNA sequence alignment algorithms, where different nucleotides lining up get different scores because the rates of mutations from one nucleotide to another aren’t random.

Jack: And you built the database using Amazon’s cloud?

Michael: Yeah, everything is pre-calculated using an Amazon high compute node.

Jack: The dictionary was generated using a genetic algorithm?

Michael: No, this is the opposite — It’s an algorithm applied to genetics :P

Jack: So what’s this about mutations?

Michael: Oh. The point of aligning DNA like this is to determine how likely it is that these two sequences have a common ancestor. So trying to find the same gene in people as, say, mice. It’ll be different because of mutation, but similar because they have common ancestry.

Jack: So you’re looking for similar things with sounds in words?

Michael: Yeah, instead of nucleotides you have phonemes, sounds, and instead of likelihood of mutation, you have likelihood of those two sounds rhyming.

Jack: That’s why it’s kind of rough? It’s more like a list of words that might rhyme?

Michael: Sort of. It just rates consonance. Sometimes that’s not enough. The big fix I need to do is make it skip words where the last consonant doesn’t rhyme, but the rest does, so it gets a high score, but people say it doesn’t rhyme.

Jack: You used the Amazon cloud to run these algorithms on the whole dictionary?

Michael: Yeah, so 40k x 40k. That’s how many words are in the dictionary.

Jack: Each word compared to each word, gotcha.

Michael: It took about a day on Amazon versus 10 days the last time I did it on my laptop.

Jack: It’d be cool to allow people to star-rank matches. So you preserve the algorithmic rankings, but allow a search on what people think are better.

Michael: Yeah, that’d take some work to scale though.

Jack: Then the more people use the app the better it’d get.

Michael: It’s really fast right now because the web server doesn’t have to do much.

Jack: Also you’d probably need to make it regional — Aussies will rhyme things differently than Canadians.

Michael: Yeah, take accents into account. It’d be interesting to find an algorithm for different accents. If it’s a direct mapping you wouldn’t have to write too much code.

Jack: Why “B-Rhymes” — does that have a meaning?

Michael: Like, B-list celebrities.

Jack: Oh, I gotcha.

Michael: It’s short, but some people don’t seem to get it… :P

Jack: I was thinking it might relate to rhyme schemes being given as ABAB, eg. Like, “secondary rhymes”.

Michael: Hahah. People seem to think it means Busta-Rhymes.

Mike’s working on an iPhone App that’s coming along nicely (the mobile version of the site is here). You can follow Mike’s progress on the B-Rhymes blog here and on his personal blog here (Mike’s also a member of MPF’s audience).

This is a really sweet project; I’m looking forward to seeing how it develops and what kind of stuff Mike gets up to in future! Very exciting. :)

Life Just Got A Little Better

Thursday, February 4th, 2010

This is just a straight-up repost. Die Antwoord rules (and so does their site):

[Also Jack Parow (no relation):]

Enter The Magical Mystery Chambers

Saturday, January 23rd, 2010

Wu-Tang vs. The Beatles. If you missed (or loved) The Grey Album you might want to peep this:

DJ Tom Caruana comes with 2010’s first online underground megahit mashup. Google around — it ain’t hard to find — or hit me up for linkage (thx Yams).

Merry Christmas From The NBA

Friday, December 25th, 2009

Sounds like KRS-ONE (ft. Kobe and LeBron) and references Criminal Minded’s “The Bridge is Over” (one of the original hip hop diss tracks):

Muppets bring the ruckus. Apparently there’s a whole series of Puppet LeBron commercials.

Arts & Entertainment

Thursday, October 29th, 2009

Masta Ace’s new album drops next week. Ace and Edo G combined forces to release A&E:

I got an “advance” copy this morning around 6am. It’s definitely worth a listen. It’s going into my rotation, not least for a banging track featuring KRS. There’s also piles of shouts to Obama’s crew. I doubt Rahm Emmanuel ever thought he’d end up an imperfect rhyme, but wasn’t it Public Enemy who said hip hop is the black CNN?

The album also touches on the “hip hop is dead” meme with some vague promises of hope. I’m toying with a new three-star hip hop album rating system:

  1. Hip hop is dead.
  2. There’s still hope.
  3. Wu Tang is forever.

I’m still working on the ranking names but this album is a solid deuce. It just barely failed to fully gel in my 6am listening session, but I’m not sure if that’s a “if you want my old shit but my old album” thing or what. Could be the beast just needs a couple of listens.

High-tech disses too:

We cowboy these fools like Tony Romo,
Rip they posters, spit on they logo,
Open they Pro Tools, erase they vocal.

Ohh, snap!

The Master

Thursday, October 29th, 2009

I’ve finally starting listening to the MC’s MC, Rakim:

That’s from 1999’s The Master, which is full of amazing lyricism. Rakim says “if I wasn’t then why would I say I am?” (or is that a sample?) and a year later Eminem referenced that in his hit “The Way I Am”.

That’s a big loop closed for me, because I never understood Em’s lyric, it seemed like disappointing say-it-to-rhyme nonsense: “I am whatever you say I am,/ If I wasn’t then why would I say I am.” In a chorus that’s just unforgivable laziness. Except now I know that it was a Rakim shout. “My bad.”

Hip hop bibliographies are about copying lyrics or lyrical structures, but not both. That’s the thin line between shouting someone out and plagiarism as I understand it.

I’m listening to Ace’s Disposable Arts to track down another obvious shout to illustrate what I mean about the difference between lyrics and lyrical structures, but I couldn’t guess the track. In any case, does Enuff say there aren’t enough Caucasians in hip hop (like Paul from Saskatchewan)?! Say word.

Oh, right, this is supposed to be a review of The Master, okay: It’s masterful! Sounds glib, but I’m not kidding: liquid, healing rhymes. Srsly. Not a lot to say: Hearty recommendat.

Teh Darkness

Tuesday, August 18th, 2009

Pac and Biggie are right: I should get angry.

I’m hitting up the DX release list to see what’s what from today’s drops. This is the week of the well-named album.

Here’s Get Over by Fresh Daily off The Gorgeous Killer In Crimes Of Passion, and this should be your one song if you’re pressed for time:

Here’s When You Fall by Breez Evahflowin’ off Breez Deez Treez. Good flow, but the chorus is for shit.

Here’s Fire (remix) by Mac Mall off Mac To The Future. One of Mac’s first videos was produced by Tupac back in ‘93. Passable West Coast track, doesn’t really push the envelope tho:

Hip hop musicals are a genre now?! Why was I not informed? Jesus this looks awful. Too bad, the idea is pretty fantastic:

Here’s Big Twins’ track Trip Thru The PJ’s off of The Project Kid:

Apparently 50’s first album is authentic enough to sample now! I ain’t hatin’, Many Men is the fucking bombtrack.

And the winner this week is… Fresh Daily, hands-fucking-down. I’m in a Masta Ace kinda mood tho — I might be biased :)

Detoxing Dr. Pepper

Thursday, August 13th, 2009

I don’t watch live TV so this is new to me:

The Globe, somewhat predictably, hates it (“Is it better to be a fossil or a sellout?” — I dunno, is it better to be inflammatory or hyperbolic?). Rolling Stone, somewhat predictably, is pimps it. I like the commercial, for a couple of reasons.

First, it’s getting Dre out there in front of the public months before his first album since 2001 drops. Second it teases an album track without telling you that’s what it’s doing (besides hinting to you that it should be considered a hit). When you hear the album it’ll sound familiar. Last, the track is actually good.

This is a great little PR move, well-executed.

[Quick aside via Boo: Multitask is a fucking stellar little game.]

Straight Out The Boondox

Tuesday, July 28th, 2009

I’ve been working on a horror movie. As I’ve said before, Tarantino starts with music and I find that really helps.

The other little trick I’ve learned is to start by writing from the point of view of the antagonist. They’re the hero of their own story — we all are — so their scheme has to make some kind of dramatic sense. I find it’s easiest to put together a plot by writing what the bad guy wants to have happen and then confounding him at key moments with the actions of the hero.

Like in Star Wars: Palpatine successfully executes his decades-long ultimate-power plan, then Luke et. al. come and smash everything. Simple, right?

So, how do I get in that horror movie frame of mind? I’ve been listening to The Grateful Dead, partly because they’re awesome, partly because the protags are all hippies, and partly for the name-archetype which I think will be useful. Yesterday I decided to try some horrorcore, that rap-metal-horror flick hybrid.

Psychopathic Records is the Disney, or Coca-Cola, of the horrorcore market. Don’t get me wrong: It’s an indie label, but their fanbase is big enough to do things like send their new acts to #1 on Billboard Heatseekers.

Psychopathic’s flagship act is ICP, of whom I used to be a giant fan. Boondox is their first non-urban, Dirty South act. His thing is a kind of Chainsaw-Massacre-Deliverance-Meets-Black-Magic. Here’s Dox’s track Inbred Evil:

This video is deceptively good. Family is a key element of horror (eg/ Mrs. Vorhees). In the video Dox kills because of his childhood — the argument in the car triggers him. Plus, little kids and sped-up footage just look creepy.

Horrorcore albums are supposed to be concept-centric and cinematic, like a horror movie. Listening while I write is reminding me of some key elements of the genre: Evil should be “ancient” (in Scream the evil is a year old, which is good enough). The family element also helps because, and this is my own untested theory, family is the closest most people get to insanity so it’s a good way in.

Here’s Dox’s party track Sippin’:

You need horrorcore party tracks just like you need comic relief in horror films: The lows are lower if the highs are higher.

Here’s Rollin’ Hard, the crazy-drug-murder track. I recommend you don’t listen, it’s certainly NSFW:

You do need gore. The Blair Witch Project, psychological horror film extraordinaire, had that little pouch with a bloody tooth in it. A little goes a long way. (A quick note on that user video: Images that directly represent your soundtrack look terrible. Go for implication.)

Despite hitting the top of Billboard Heatseekers, The Harvest isn’t a genre-beater. It’s no The Great Milenko or The Amazing Jeckel Brothers — fantastic albums in their own rights, let alone in horrorcore.

July’s Upcoming Drops

Monday, July 6th, 2009

I’m grokking The Ecstatic, review possibly to follow. Here’s Google Current’s Mos-in-Japan video, wherein he busts sixteen from Casa Bey a cappella:

Via DX, Royce Da 5′9″, Bizzy Bone, The Cunninlynguists, Twista, and the late J Dilla all have albums out this month. Remember Royce Da 5′9″ from Em’s tracks Bad Meets Evil and Scary Movie from back in the day?

Remix culture FTW. That video rules.

I love rapid-fire rap and toasting like Twista, Busta, and Damian Marley. Here’s Twista’s classic Slow Jams:

The censored word at the start of Twista’s verses is “cannabis”.