New mixtape from Getrightmusic.com feat Nobi on track 11.. DOWNLOAD HERE
Tuesday, October 21, 2014
“Citizenfour,” the new documentary about Edward Snowden, by Laura Poitras, is, among other things, a work of journalism about journalism. It opens with quotations from correspondence between Poitras and a new source who identifies himself only as Citizenfour. This source turns out to be Snowden. Soon, Poitras and Glenn Greenwald, at the time a columnist for the Guardian, travel to Hong Kong to meet Snowden in a hotel room. They don’t know, at this point, if Snowden is who he says he is. They don’t know if his materials are authentic. Yet Poitras turns on her camera right away. Greenwald, who attended law school, questions Snowden, quite effectively. Gradually, Snowden’s significance becomes clear. The sequence is enclosing and tense and has many remarkable facets. One is that we witness a historically significant exercise in reporting and source validation as it happens. It is as if Bob Woodward had filmed his initial meeting, in a garage, with Deep Throat. Snowden comes across in the film as shrewd, tough, and hard to read. (My colleague George Packer, in his recent Profile of Poitras, captures the film’s range brilliantly. Snowden also spoke to Jane Mayer remotely at this year’s New Yorker Festival.) Snowden has said that he had never spoken to a journalist before he contacted Poitras. “I knew nothing of the press,” he told the Guardian last summer. “I was a virgin source, basically.” This is not entirely persuasive: he may never have talked to a journalist, but he behaved with exceptional sophistication, both then and later— he is very far from the proverbial “naïve source.” In fact, one of the least remarked upon aspects of the Snowden matter is that he has influenced journalistic practice for the better by his example as a source. Famously, when Snowden first contacted Greenwald, he insisted that the columnist communicate only through encrypted channels. Greenwald couldn’t be bothered. Only later, when Poitras told Greenwald that he should take the trouble, did Snowden take him on as an interlocutor. It had been evident for some time before Snowden surfaced that best practices in investigative reporting and source protection needed to change—in large part, because of the migration of journalism (and so many other aspects of life) into digital channels. The third reporter Snowden supplied with National Security Agency files, Barton Gellman, of the Washington Post, was well known in his newsroom as an early adopter of encryption. But it has been a difficult evolution, for a number of reasons. Reporters communicate copiously; encryption makes that habit more cumbersome. Most reporters don’t have the technical skills to make decisions on their own about what practices are effective and efficient. Training is improving (the Tow Center for Digital Journalism, at Columbia Journalism School, where I serve as dean, offers a useful place to start), but the same digital revolution that gave rise to surveillance and sources like Snowden also disrupted incumbent newspapers and undermined their business models. Training budgets shrank. In such an unstable economic and audience environment, source protection and the integrity of independent reporting fell on some newsrooms’ priority lists. Snowden has now provided a highly visible example of how, in a very high-stakes situation, encryption can, at a minimum, create time and space for independent journalistic decision-making about what to publish and why. Snowden did not ask to have his identity protected for more than a few days—he seemed to think it wouldn’t work for longer than that, and he also seemed to want to reveal himself to the public. Yet the steps he took to protect his data and his communications with journalists made it possible for the Guardian and the Post to publish their initial stories and bring Snowden to global attention. It took an inside expert with his life and liberty at stake to prove how much encryption and related security measures matter. “There was no risk of compromise,” Snowden told the Guardian, referring to how he managed his source relationship with Poitras and the others before their meeting in Hong Kong. “I could have been screwed,” but his encryption and other data-security practices insured that it “wasn’t possible at all” to intercept his transmissions to journalists “unless the journalist intentionally passed this to the government.” In fashioning balanced practices for reporters, it is critical to ask how often and in what ways governments—ours and others—systematically target journalists’ communications in intelligence collection. For all his varied revelations about surveillance, this is an area where Snowden’s files have been less than definitive. It seems safe to assume the worst, but, as for the American government’s practices, there are large gaps in our understanding. White House executive orders, the Patriot Act, and the Foreign Intelligence Surveillance Act might all be grounds for targeting journalists for certain kinds of collection. Yet the government has never disclosed its policies, or the history of its actual practices following the September 11th attacks. (For a chilling sense of how vulnerable a journalist’s data would be if targeted by sophisticated surveillance, read “Dragnet Nation,” by Julia Angwin, an investigative reporter, formerly at the Wall Street Journal and now at ProPublica.) In September, the Reporters Committee on Freedom of the Press and more than two dozen media organizations asked the Privacy and Civil Liberties Oversight Board, an independent federal body, to look into these questions and report their findings publicly. “National security surveillance programs must not be used to circumvent important substantive and procedural protections belonging to journalists and their source,” their letter said. “Sufficient details about these programs must be disclosed to the public so that journalists and sources are better informed about the collection and use of their communications.” From a working journalist’s perspective, the Edward Snowdens of this world come around about as often as Haley’s Comet. It is not possible to report effectively and routinely while operating as though every communication must be segregated in a compartment within a compartment. The question of what constitutes best practices is a work in progress, as is the protection of personal privacy more broadly.
2014 is turning out to be a dismal year for record sales. Although, 60 digital singles have crossed the 1 million units sold, not one artist has made million-unit mark. The frozen Soundtrack is this year’s best seller with over 3 million units sold according to Billboard.
Missy Elliott has always been supa dupa fly, but now that fly has a new frame! Thanks to a lifestyle change prompted by her six-year battle with an autoimmune disorder, the 43-year-old rapper looked slim, trim and nearly unrecognizable this weekend as she attended and performed at Alexander Wang’s H&M launch in New York City. Having already lost 70 pounds in 2002, Missy says she lost an additional 30 pounds recently, which she credits to eating healthy and Shaun T workout videos. The rapper began taking her health seriously after being diagnosed with Graves disease (an illness that causes the thyroid gland to produce too much thyroid hormone) in 2008. Things got so bad at one point that Missy says she couldn’t even hold a pen to write! But since then, she appears to be doing really well. Hopefully this means we get a new album!
Monday, October 20, 2014
A few years ago with the release of Nobi's 'The halloween massacre 5" Mixtape he decided to drop a 20 minute spoof film to help push the project. The film "Done in fun" was a spoof of slasher films such as the "Friday the 13th, Halloween and texas chainsaw massacre" franchises and features some of the actual music from the mixtape. Directed by Cliff Digi, Press play and enjoy
Charlamagne Tha God is known for speaking his mind, and previously called Ma$e a hypocrite for retiring from rap to become a minister alone to return years later. Apparently, Ma$e didn't like that and confronted him during the recent REVOLT Music Conference... and got into a heated exchange, reports HipHopWired. Word is Ma$e actually pushed Charlamagne, prompting security to step in and diffuse the situation before it escalated. After, the pair is rumored to have talked out their differences. Despite reports, Charlamagne later tweeted about the incident, saying Ma$e did not push him... and invited him to The Breakfast Club to discuss the fiasco. "FYI no rapper turned pastor turned rapper again pushed me. He did run up and he got pushed and then we prayed together," he tweeted. "What we going to do is Mase going to come on the Breakfast Club if he's not afraid too and we can discuss all this then. He got the invite."
Backstage at the Def Jam 30th anniversary concert Ja Rule said:
We tried to deliver that album. It was a situation where egos all just played a part in its demise. We couldn’t get X and Jay in the same room. From long ago, their storied battle on the pool table with the guns out – that carried over into our careers and we were all trying to do our thing separately. It was hard to get all of us into a room to do what we needed to do. We did a few records together and those records will always be classics to a lot of people in the history of Hip Hop. I wish that album would’ve came to fruition. It would’ve been real dope… I think there might be one or two joints that’s still out there that you haven’t heard.
Gotta give Diabolic a huge shout out for giving props to Nobi on his #InteGRITTY2 Album on facebook. Check out Diabolics new music vid produced by the great Dj Premier
Stream here at IKEEPSIT100
Sunday, October 19, 2014
Twitter has teamed up with SoundCloud to launch Twitter Audio Cards, a feature on Twitter’s iOS and Android apps which allows users to listen to audio on their timelines. The new feature enhances the listening experience, as you can dock the audio card and continue listening as you browse your timeline. SoundCloud is the first of the myriad of third-party streaming services to receive access to the technology, with the feature being rolled out to SoundCloud partners such as NPR and artists including Deadmau5, Chance the Rapper, and Migos.
Representing his hometown of Brooklyn, New York is recording artist/ audio engineer Che Rhenosonce is proud to present his brand new EP titled, “The Undisputed Truth”. The project features guest verses from the likes of Chase Innis, Rizzo Corleone, Akinola & HighLight with production from Tone Jonez, Wit & Serious Beats. The EP features Che’s lead off single, “Around The Way” and very well conceived content over the project’s duration, a very solid offering indeed. You can check out the e.p. Here
New York rapper Bobby Shmurda recently vented his frustrations on not making any money with his music and now his mother, who is his manager, has decided to come forward and speak on his no money rant. According to Shmurda’s mom, Bobby is just new to the business side of the music and doesn’t understand it. “It’s not that he’s not getting paid, it’s that he’s new to the business,” Leslie Pollard tells Billboard. “There’s a chain of command that he has to go through before he gets his payment. I guess he’s thinking all the money should go from the front man to his hands — it doesn’t work like that. Of course they hold onto it so he actually does the show. Then it goes to his business manager, then to the touring accountant, and then to him.” (Billboard)
Check it out HERE