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Unlock-Jailbreak.net Team has released Unlock-Jailbreak RC3, which is an update to a 1-click unlock and untethered jailbreak/unlock iPhone 5/4/4S iOS 6.1 and ios 6.1.2 that adds activation options and an add-on SoftSn0w, which unlocks iPhone 5/4/4S and iPhone 3GS any baseband version. To Unlock and Jailbreak your iPhone, Visit The Official Website: www.Unlock-Jailbreak.net It is pretty easy to use and worked perfectly with any iPhone 5/4/4S and 3Gs. Besides the tool, there's a Unlock-Jailbreak application that gets automatically installed on the iPhone after jailbreak, which gives you an option to install Cydia and some other alternatives like RockYourPhone and the 'sn0w' option to use fastsn0w unlock solution as well. Another day, another successful iPhone jailbreak story to report to you. Today, on the heels of purplera1n, iPhone OS www.Unlock-Jailbreak.net delivered Unlock-Jailbreak to the masses. With it, Windows and Mac users will have available to them a jailbreak iPhone 5/4/4S 6.1.2 and unlock on all iPhone and iPod touch generations. Installation is pretty simple: download and install the app on your PC, then plug in your device. Yesterday, Apple pushed a new firmware update for all iPhone and iPod touch users that brought some important security and bug fixes. Features wise, there was nothing new to be seen in the firmware. Since this firmware updates the baseband on iPhone 5/4/4S 3GS and 3G, therefore, you can update to this firmware if you want to preserve your unlock on iPhone 3G and iPhone 3GS. Jailbreaking will also work with iPod touch 2G(new MC models) and iPod touch 3G. The only devices that can be currently jailbroken using Unlock-Jailbreak RC3 is iPhone 5/4/4S and 3Gs 6.1.2 and ios 6.1.2. While Unlock-Jailbreak does the jailbreak part and unlocks, the iPhone's baseband for use with any carrier's services, including pre-paid cards. Those looking to hack their devices start out by downloading their appropriate version of Unlock-Jailbreak. Available for both Mac and Windows, the tool currently provides the fastest untethered jailbreak iPhone 5/4/4S 6.1.2 and 6.1.2 process, although it doesn't support the latest iPhone 5/4/4SS. And while it is able to jailbreak devices running iPhone OS 6.1.2 and 6.1.2, it doesn't pave the way for a software unlock in the future, so it's not too highly recommended for people who don't know much about these two aspects (jailbreak / unlock). After jailbreaking with Unlock-Jailbreak, the user is required to connect their device to the Internet via WiFi and download some more stuff, which ultimately will allow them to unlock their phones. At the moment, www.Unlock-Jailbreak.net tools work only for any versions of the iPhone OS, including the latest, ios 6.1.2.
Source: pressdoc.com
Video: How to Jailbreak iPod Touch 2G full Tutorial
Download Seasn0npass to Jailbreak Apple TV 2G on iOS 5.2
Download Seasn0npass to Jailbreak Apple TV 2G on iOS 5.2 - It has been more than a week when Evad3rs released the most awaited untethered Jailbreak for iOS 6, 6.0 and 6.1. This Jailbreak was released for iPhone, iPod Touch, iPad and iPad mini. Well, we have a good news for all the Apple TV 2G owners because the Firecore has updated the Seas0npass to Jailbreak Apple TV 2G on iOS 5.2.
Source: absinthejailbreak.com
How to Jailbreak an iPod Touch 2G with Redsn0w « iPod & MP3 Players
The iPod Touch 2G might seem outmatched and outdated in the presence of the iPhone, but they are dirt cheap and have many of the same functionalities once you jailbreak them. How do I jailbreak them, you ask? This video will show you how to do it quickly and easily using a program called Redsn0w, allowing you to do almost limitless things with your iPod Touch. Just follow these steps and you're good.
Source: wonderhowto.com
Download Seasn0npass to Jailbreak Apple TV 2G on iOS 5.2 — jailbreakjunkie.com
4.3 Android Android Market Android Police Apple App Store Carl Zeiss EVO FREE Galaxy Nexus Galaxy Tab GB Gingerbread GSM HD HTC Ice Cream Sandwich ICS iOS jailbreak Jeff Bradley Jelly Bean LTE MB Motorola News Writer Nokia Lumia Official Android Police OS OTA PC Play Store RAM Related Posts ROM SD Steve Jobs TV UI United States US USB Wi Fi Windows Phone XDA
Source: jailbreakjunkie.com
Download free WhiteD00r Custom iOS 6 iPhone 2G/3G – iTouch 1G/2G
Notification Center is also there, and a replica of Apple's iCloud service, which is, of course not the real thing, but an alternative that gets the job done in the same manner and lets you share data between two Whited00r toting devices. So if you're stuck on an older device and have been teased by those running the slick new iOS 6 firmware, you can grab this iOS 6 lookalike firmware from the official site of Whited00r.
Source: iphonerock.com
iPod Touch2G Jailbreak On 4.2.1 Firmware by Using RedSn0w
The following steps would take you to the liberty of Jailbreak on iPod Touch2G. RedSn0w for Windows is used to jailbreak on 4.2.1 firmware in the following steps to enjoy the restriction free usage of iPod Touch2G. iPod Touch2G is ultra slim and light weight fun machine. Great number of photos and songs can be stored into it. Three various storage capacities are available in this apple device. It is more environment friendly with its new features. Large display of iPod Touch2G makes it fantastic to experience the fun. With 17 languages it has made things easy for its users of different parts of the world. Dictionaries of 19 languages are also installed in the iPod Touch2G. It is a fun box to entertain its users.
Source: jailbreakforiphone.com


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(KTSF by Sean Au)
California governor Jerry Brown wants voters to decide if the state should increase the tax of the rich. Based on a poll conducted by the Chinese Progressive Association, more than 75% of Chinese voters in San Francisco support such a measure.
Zhou Ruifang migrated from Guangzhou, China in 2004. She has since seen how the state's fiscal crisis affected her family. She has seen college tuition rising substantially over the past few years. More state cuts would mean further tuition fee hikes. Zhou's husband works odd jobs and does not have a stable income. Zhou is concerned about her ability to pay for her children's tuition fees in the future.
"The government is cutting services everywhere," says Zhou. "The cuts in schools affect my children's studies. I am worried that I may not be able to pay for their college tuition."
The Chinese Progressive Association surveyed 5,400 Chinese immigrants late last year and found that 75% of voters support a tax hike on the rich.
However, there are some Chinese voters who oppose such a measure. Chinatown businessman Pius Lee believes that the government has to to live within its means. Lee thinks that raising the tax of the rich will discourage individuals from wanting to earn more as they may end up paying more in taxes. Lee thinks that the government should instead focus on attracting companies to come to operate here, a way to increase the tax base. "The long term solution is to attract companies to invest in California," says Lee. "Get them to open factories here, do business, boost construction and create more jobs."
Governor Jerry Brown's tax measure will raise the income tax of those making more than $250,000 between 1% and 3% for seven years, and also includes the proposal to increase sales tax by a quarter of a cent for four years.
(Copyright 2012 KTSF. All Rights Reserved. This material may not be published, broadcast, rewritten, or redistributed.)

subset: commoncrawl


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Reinvented Desserts: 13 Creative New Takes on Timeless Treats
Classic desserts are great and all, but today's creative culinary minds are taking some liberties with timeless recipes and producing some delicious results in the process. Check out these 13 reinvented desserts that will have you itching to try new takes on doughnuts, croissants, ice cream, cake, pies, and more.
Looking for more fun desserts? Check out these iconic frozen treats to make at home.
By Zoe Bain
Savory Ice Cream
When making ice cream, you typically incorporate sweet flavors into a sweet base, but chef Daniel Roberts of Café de Rey in Los Angeles makes savory, vegetable-focused ice cream. He uses market-fresh ingredients to make Radish, Corn, Beet (pictured), and even Rosemary Brown Sugar Braised Bacon ice cream.
CAFÉ del REY


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PrevNext 1 of 1 Return to Article
It's David Banda Ritchie's 5th Birthday!
PrevNext 1 of 1 Return to Article
Happy Birthday, David! We know with your wonderful family — and doting mom, Madonna — you're bound to have a great day!
David, it's your big day and we hope that sisters Lourdes, 13, and Mercy, 5, and big brother Rocco, 9, make sure today is full of fun birthday surprises!
With a cool mom like Madonna and an adventurous dad like movie director Guy Ritchie your day is going to be exciting! Happy Birthday!


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WS Bath Collections Pika 51571.81 Linea Medicine Cabinet, Stainless Steel
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This WS Bath Collections Medicine Cabinet comes in a stainless steel/frosted glass finish.
WS Bath Collections Linea Medicine Cabinet
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Bandera 100k 2012: Hot and Bothered
Well, not bothered really. But definitely hot.
Pre-race story Number 1
I woke up in my tent race morning and grabbed my phone to see what time it was. The phone was dead, so I reached into my drop bag for an extra watch I'd brought along. 5:30 am. Perfect. I had two hours to eat and then slowly get myself together for the race start. I breakfasted wrapped in my sleeping bag and then headed over the porta potty row. I was impressed with how quiet everyone was. The stars were brilliant in the dark sky. Okay, let's just skip to the bit where I think it's 7:14 and can't understand why more people aren't checking in at the race start — and why it's still so dark. Yes, my watch was set for some random time zone from some random trip. Happily there were enough insomniacs around to share caffeinated pre-race cheer with.
Pre-race story Number 2: In which I think I've lost my water bottle in a porta potty
I realized suddenly that I didn't have my handheld water bottle with me. It was filled with drink mix for the race and the sleeve was packed with GUs, Tylenol, and imodium, and I thought I'd taken it with me when I left the campsite. I walked quickly back to the car. No water bottle. Where did I last remember having it? The porta potty. I power walked to the porta potty line. Which porta potty in the row of 15 did I go in earlier? One of the ones on the left… Picture me waiting for five people to exit the five different porta potties and then shining my flashlight inside each stall to see if my water bottle was there. It was not. I walked back to the car to deal. And I found my water bottle on the front seat. Of course.
Pre-race story Number 3: Surprise! It's that time of the month. Really?!?
The Racing Part
I almost didn't run Bandera this year. I'd been feeling flat physically and my foot pain had flared up. I certainly wasn't feeling in love with running the week before the race, or up for any "life lessons from suffering." I thought maybe I should volunteer and save myself for Rocky. But Bandera is in my backyard and I do love everything about running there. Rocks, sotol, the whole catastrophe. And all my running buddies were running. And ultimately, I figured my chances for being run over by a truck would go up exponentially between now and Rocky if I thumbed my nose at my blessings and stayed away. (It's a harsh cosmology, but it gets the job done.)
It wasn't all that hot objectively this year. Only 69 or 70 degrees, but I struggled to run in it anyway. I stopped to walk a number of times because I felt like I was overheating. I even picked up an Endurolyte capsule off the ground at one point and ate it. In my defense, I had plenty of access to S-Caps and Endurolytes. But I was about 20 minutes out from an aid station resupply when I saw an Endurolyte capsule on the ground. I didn't pick it up (because who does that?). Then I passed a second one a few feet farther down the trail. I figured the third capsule was a sign and I ate it. (I'll be reading tea leaves, gazing into crystal balls, and making astrology charts for runners before Rocky if you're interested.)
Cassie was very nice when she passed me just before the halfway point. She told me to run along with her. I told to stay to the left going up Lucky's and waved goodbye instead. (It's nicer to the left if you're not a tall person.) Being passed wasn't as disheartening as I'd thought it'd be. Keeping going was my battle yesterday, not keeping up. My legs ached and my feet hurt and I was tired of running. I tried to fantasize about stopping, but it wasn't a good fantasy because it involved answering 97 "Why?" questions from Asa and then taking care of him for the rest of the day. Make no mistake, parents of small children do have an advantage in ultramarathons. So I shut the door on any thought of dropping and started repeating the Kurt Hahn/Leadville mantra: "You're stronger than you think you are. You can do more than you think you can." I repeated it to myself for two miles. Then I thought about how Brian and Chris (at 6'5 and 6'8) were suffering more than I was in the heat and I tried a little tough love. "Your suffering does stink any worse than anyone else's suffering out here today. Get moving!" Eliot and Asa and all the sweet people cheering at the aid stations kept me plugging along. Finally my friend David yelled, "Remember what it is you love about this!" when I was leaving Crossroads for the Three Sisters Loop. That did the trick — along with some sotol excoriation and a breeze. I concentrated on losing myself in the running and the loveliness of the hill country wilds. I bombed some downhills and started smiling again. When I came into Last Chance, Eliot and Asa and my friends Tony and John were there and everybody at the aid station was so nice, I started crying. And then I couldn't breathe. And then they told me Pam was only three minutes behind me. Ahhhh!!! Pam and I played the same game last year and the only thing that saved me was Bandera's rocky downhills. But three minutes! Shoot. I wiped away the tears and threw myself down every hill I came to. I fully expected Pam to pass me in the last flat half mile. That sprint has me walking around like a robot this morning. I talked to a young friend after the race who told me how Pam helped him run the last 10 miles well. She's awesome — and so fast. I'd be glad the distance between Oregon and here kept her from training on the course, but I'd much rather have her as a running buddy and get properly trounced by her at Bandera.
(Wish I felt as well as my clothes match in this picture.)
This was the best post-race ever for me. I am usually lying in a corner throwing up — or being carted off to the hospital. I finally got to share a beer with my friend Steven Moore and sit around telling war stories with old and new friends. What a fine ultrarunning family we get to be a part of, eh? Eliot and Asa turned in after they made me a S'more and I decompressed late into the night.
I feel like I put in an honest day's work out at Bandera. And that's just right.
Congratulations to everyone out there. Thank you to the volunteers. Thank you to Joe and Joyce. Thank you to Drymax socks for keeping my feet in such good shape throughout the day and to Bob MacGillivray for his cheering. Thank you to New Balance for the rock protection and support! And to GU Rocktane for keeping me so well fueled throughout the 9 hour and 56 minute day.
Next stop: Rocky Raccoon and something under 14:57! (Lord willing and the creek don't rise.)
P.S. All the women in the USATF Championship race had to wear these on their backs.
"Female Open" or an unfriendly message to people coming up behind them.
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AutoplaneAuto transport, while you fly. Read More +
AmenitiesEnjoy a variety of amenities, from WiFi to gourmet coffee. Even pick up some local wine as a souvenir on… Read More +
ParkingFind out info on parking at MacArthur Airport. Click "Read More" to find out rates and other information. Read More +
TV/Film Shooting Info
Long Island MacArthur Airport encourages the use of its facilities for film, video and commercial still photographers, and will make… Read More +
- 1
Airport Information
- Book A Flight
- Flights
- Parking Map
- TSA Pre✓™
- Calling All Musicians!
Looking to book a flight?
Click on the logos below, to get you where you need to go!
- Long Island MacArthur Airport has joined the growing number of participating U.S. airports that have launched the TSA Pre✓™ program that allows low-risk travelers to experience a FASTER, MORE EFFECIENT screening experience for DOMESTIC and INTERNATIONAL travel. This program is just another reason for Long Islanders to choose MacArthur as their preferred airport!
- For travelers, this implementation TSA Pre✓™ means: Quicker transit through airport lanes; Shorter lines, Shorter wait times, and an overall Improved customer experience
- Qualified travelers will no longer have to remove their: belt, shoes, light outerwear/jacket, 3-1-1 compliant bag and laptop from carry-on
- TSA Pre✓™ is available to certain frequent flyers of participating airlines OR members of existing Customs and Border Protection (CBP) Trusted Traveler programs including Global Entry, NEXUS, and SENTRI programs.
- The TSA will continue to incorporate random and unpredictable security measures throughout the airport, to ensure the safety of all passengers and visitors using LIMA.
- The TSA Pre✓™ is an immeasurable convenience for both business and leisure travelers who are already taking advantage of the ease of traveling into and out of MacArthur Airport.
- We applaud the TSA for implementing this innovative program that will provide travelers with a more pleasurable experience, but while still maintaining the highest level of security.
- HOW IT WORKS: Passengers present boarding pass and Government-issued ID to the Travel Document Checker who then will scan boarding pass barcode. If eligible, passengers and their children ages 12 and under, proceed to the TSA Pre✓™ where they can keep on your shoes and belt, laptops in case, and 3-1-1 compliant bag in a carry-on.
For more information on this TSA program, please click here.
Preparations are underway for the Sixth Annual Holiday Concert series at Long Island MacArthur Airport, scheduled for Dec. 8 through Dec. 23 and we're inviting your band, orchestra and/or chorus to take part in the activities!
The concert series kicks off with the Annual Tree Lighting Ceremony on Monday, Dec. 8. The festivities will start at 5 p.m. with the tree lighting at 7 p.m. Over the last five holiday seasons, we've been proud to host a number of local school groups at various times throughout the day to perform in the Main Terminal at MacArthur Airport for the traveling public.
As we are getting more performances each year, we are reaching out well in advance of the holidays to see if your school would be interested in participating in this unique concert series, during the peak travel time of the year at Long Island's only commercial airport. Scheduled over the course of 16 days, we will be able to accommodate groups during the school day or after the normal school day has ended and performance time is also available on the weekends. We are asking for a response no later than November 1, 2014, from any school bands, orchestras or choirs that would like to perform.
Parking for buses and parents that wish to attend will be provided, and we invite you to check out some of the previous performances that have been posted on MacArthur Airport's Facebook (LongIslandMacArthurAirport) and YouTube (LIMacArthur) accounts to get a better idea of the success we've experienced with the Concert Series.


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Thu, Feb 14, 2013
Garmin has introduced the GRA 5500, a high-performance, all-digital radar altimeter for transport category, helicopter, business and general aviation aircraft. Using patent-pending digital signal processing technology, the GRA 5500 works to provide smooth altitude tracking resulting in a consistent and highly accurate altitude above ground indication, even over the most challenging environments like rough terrain, tree canopies, sand and choppy water.
"The GRA 5500 meets the highest altitude accuracy standards only previously seen in products for transport and military aircraft, providing pilots unprecedented confidence in their actual altitude," said Carl Wolf, Garmin's vice president of aviation sales and marketing. Because of its all-digital design, the GRA 5500 is able to intelligently process hundreds of altitude measurements per second and apply advanced digital filters to help detect and mitigate false altitude returns. In addition, the robust and rugged hardware is designed to withstand even the harshest environmental conditions, meeting the latest, more rigorous flight test standards recently issued by the FAA.
Patent-pending technology in the GRA 5500 incorporates built-in self-test monitors that continuously cross check the data and system integrity, assuring the pilot of an accurate measurement of the height above ground. This technology also provides for a simpler installation, with easy calibration, and eliminates the requirement for long lengths of antenna cables that are traditionally required in the installation of radar altimeters. An industry-standard ARINC 429 interface allows the GRA 5500 to integrate with a breadth of Garmin integrated flight decks and flight displays, as well as third-party products. Compatible Garmin displays include the G1000, G1000H, G2000, G3000, G5000, G5000H, G600, G500 and G500H. It can also integrate with existing systems to enhance NVIS operations and fulfill the radar altimeter requirements for Class A TAWS, CAT II ILS operations and TCAS II/ACAS II. The GRA 5500 is also compatible with Garmin's new TCAS II/ACAS II solution. A number of aircraft manufacturers
have already selected the GRA 5500 as standard equipment on new aircraft including the Cessna Citation X, Citation Sovereign, Citation Latitude, Citation Longitude and the Bell Helicopter 525 Relentless.
The GRA 5500 has received the FAA's Technical Standard Order (TSO) authorization and is available immediately for $13,995 (antennae sold separately).
(Image provided by Garmin)
Airborne 12.17.14: Evergreen Woes, Foolish Pilot Tricks, No 757 Replacement -- Yet
Airborne 12.15.14: A380 Future, More USA Today Disappointments, Jetman FORMATION!
Aero-TV: AML's 'Smart Seat' – Avoiding Old Hazards Via Brilliant Innovation
See All
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Below is the link to the new release Hypothalamus by Keith Science
Honestly one of the best BEAT TAPES we have heard till date. "Hypothalamus" by Keith Science in our opinion has set the bar for all producers in this Indie Hip Hop game when it comes to premier Hip Hop production. Any listener would be able to listen closely and hear the many sounds, beats, snares & high hats Keith Science uses and how he mixes it all together to pretty much give the listener the FULL EXPERIENCE. A MC's best friend we have to say, Keith Science has developed himself as a nationally recognized Hip Hop producer by being able to masterfully use samples unknown to other producers and create a sound that is Highly in demand in this over saturated Hip Hop producing scene…..
We appreciate Keith Science for reaching out to www.UndergroundHipHopBLOG.com, which showed us that he really takes this Art Form serious……This 12 track Beat Tape is a true classic in our book and Honestly!!, for any MC out there that is looking to move up in the game you should hit up Keith Science (New Jersey) for those beats………………www.UndergroundHipHopBLOG.com
- See more at: http://www.praverb.net/2014/07/keith-science-sample-based-producer.html?m=1
Producer Keith Science 'Beats' Hiphop 90s Style | by James Choy | January 19, 2014
Keith Science's contribution to music will be appreciated by fans/purists of hiphop during its golden age (1986-1998).
Originally known as Keith Dittmar, the 38-year-old New Jersey native has been making beats and instrumentals since 1992, inspired from the jazz melodies of the late 60s, and the funk-laden tunes of the 70s.
During our discussion, I was listening to two of his albums, "Vessels of Thought Volume II" and "Hypothalamus" skimming through each track.
Immediately, I was taken in to each song with its jazzy melody and 95 BPM tempo. To me, those two elements are basic but significant makeups of a true 90s hiphop sound and were noticed in each of the tracks.
I began vibin' on his first album, 'Vessels…' and was not expecting too much from his debut project. To my appreciation, I discovered that most of the LP was in the range of 95 BPM. This allowed me to focus more on his use of instruments/sounds for layering, how it was inputted and arranged and what added elements were done on post-production.
The second album 'Hypothalamus' brought a more mature sound and was provided with the underground boom-bap noise, a more purified hiphop flavor. The tracks were provided with numerous sampling excerpts and unique sounds assimilated to producers like Ali-Shaheed Muhammad from a Tribe Called Quest, Buckwild and 9th Wonder.
NOTE: The 'Vessels Part I' album never saw completion and was broken up and distributed out to rappers for mixtape purposes, according to Science.
The one thing that impressed me firsthand was his adding extra layers to a song. Many producers today have no concept or understanding of making a separation from a verse to a chorus/hook. Science utilizes this and shows his multi-dimensional mind in making music.
"I like to use layers," he said. "I wanted to make sure each song has substance."
With the use of electronic and computerized music in today's sound, Science grew up learning and playing 'vintage' instruments and applying that while making his beats.
"I've been a musician since birth,' Science said. "Both my uncle and my dad were musicians. I picked up playing it almost immediately and used it as my form of musical expression for the first 16-17 years of my life."
Science's dad was a blues guitar player while his two uncles were heavily involved in rock and 70s progressive rock. Science grew up influenced by his family's music but also with other genres including funk and straight-edge hardcore.
"I really tried to expose myself to many different forms of music as possible," he said.
Ironically, it was the uncles who played a heavy part in Science's musical upbringing. His parents divorced when he was 9 leaving his mom raising him and his three siblings. Science's dad moved to Florida to start a new family of his own.
Despite the separation, the music kept the family close together. For Science, it was a life-changing experience.
At 8, Science's uncle bought a Tascam Portastudio 4-track cassette machine along with a drum machine and experimented in layering sounds to create music. Science's love for working on music soon became a passion—a passion so tremendous he would dedicate his life to exploring.
Along with playing guitar, Science also played drums, keyboards, bass and other instruments.
Years after learning to play instruments, a friend of Science introduced him to hiphop and instantly he fell in love and began hearing and 'learning' the music. Science was already familiar with the sound and often watched Yo! MTV Raps growing up, he said.
It was at this time (1992) that he began making beats.
"I started to learn how to 'listen' to hiphop properly," he said. "I was listening for all of the layers and nuances … I would just study, study, study—but I was familiar already with recording and creating music so it was a natural progression for me to get into producing beats."
I spoke to Keith about his beginnings and everything surrounding hiphop in the 90s and beyond:
James: The culture was rich in the 90s for hiphop. Did you take time to backtrack the music learning its history and growth?
Keith: Of course! The first thing I did when I got into hip-hop was study as much about it as possible. It was clear to anyone at the time that you weren't going to be accepted into this hip-hop thing without knowing your history and paying homage. You HAD to know your shit back then. I knew that I had to pay dues like anyone else. Besides, you can't really understand what hip-hop is without studying the birth. You probably can't be a positive contributor to this art form without studying before you just jump right into it. I feel like this music deserves and commands that kind of respect.
James: Hiphop in 1992 was blowing up in a major way. What rappers/groups were you jumpin on when you first got into the music?
Keith: The first one that I can think of was a Tribe Called Quest (the Low End Theory album). I was listening to Showbiz & AG, Lord Finesse, Fat Joe, Diamond D, Big L, KRS-ONE, Kane, The Main Source, etc. But the hip-hop album that really changed my life was Daily Operation by Gang Starr.
James: What is your take on hiphop today and the gradual change from what the 90s was - do you accept it? do you hate it? is it OK? Or is it wrong?
Keith: I really feel that hip-hop has gone in a commercial direction that has brought us very far from the original intent. It seems like once people found out that they could make big money on it, all of the artistic requirements and ideals went right out the window. I never really thought that hip-hop should have went that direction, but it is what it is. Having said that, there is still some GREAT stuff out there right now. I'm a big fan of Roc Marciano and Joell Ortiz. I also love what Alchemist has been doing with Prodigy.
James: The thing that becomes difficult for 90s rappers who release albums today is that some are far away from their original sounds. Others are changing their music assimilated to what it sounds like today and I think that most of us hiphop junkies loved our rappers from how they did it then. Do you find more disappointment in hearing 90s rappers change their music as they progress?
Keith: One possible perspective is that some 90's rappers feel that they want to progress and break new ground. They don't feel that it's necessary to go back to that "old" sound.
If you listen to "Stuck In The Past," a single that I produced for Kool Keith, you'll understand that perspective if you listen to the lyrics. But here's another possible take on it: I don't really hear those kind of beats coming out of most producers at all. So if those sounds don't exist, then rappers don't have those beats to choose from. These days everyone is using computers to make beats and it really reflects in the sound. The magic art of sampling is really suffering and dying right now. I feel that a lot of what I hear these days lacks imagination. Back in the early 90s, almost everything had imagination. Shit was clever, and it HAD to be or you wouldn't be accepted. It was almost like the artists were also the protectors and judges of the art. I think people challenged themselves more back then. I would personally rather hear my favorite rappers over beats that are at least a little more in alignment with golden era hip-hop, but maybe I'm just too nostalgic or something.
James: How did you and Kool Keith hook up?
Keith: It all happened through Kool Keith's manager, Erik Perry. He's a great guy and he set it up for us. I actually pursued the collaboration and set it up with Erik. Kool Keith was feeling this one beat that I sent him, which is the one he used for 'Stuck In The Past' so he wrote a song to the beat and we recorded it and made a song out of it. It's an honor to be able to work with Kool Keith. He's a pioneer and an innovator. Shout out to Erik for making it happen!
James: Did you get paid for the hookup?
Keith: No, I donated the beat... I wasn't interested in making money off it... I just wanted to work with Kool Keith.
James: What future projects/venues do u have coming up
Keith: To be honest, I'm not sure yet. I try not to pre-plan things too much. This year I would like to put out a 6-song EP, probably all instrumental. But I also would like to work with any emcees that might be interested in working with me.
I do have another song coming out soon with Kool Keith.
James: Changing gears, give me 5 of your favorite rappers ever:
Keith: In no particular order:
2. Nas
4. Biggie
5. KRS-1 (he loves KRS-1)
James: Give me 5 of your favorite producers now:
Keith: Again in no particular order:
1. DJ Premier
2. Pete Rock
3. Alchemist
4. Large Professor
5. Showbiz
James: Im gonna go to short answers with you now. I give you a word, you give me brief or 1-2 word answers.
James: The greatest rapper of all time is ____
Keith: Nas
James: The greatest hiphop group of all time is ____
Keith: Gang Starr
James: Name 3 rappers/hiphop group u would love to produce
Keith: Nas, Jeru and Roc Marciano
James: Name 3 cities you would love to migrate to for better living/music producing
Keith: I am fine where I am... NJ
James: What is name of any woman you wanna have as your wife
Keith: My girlfriend, Denise Wilson.
James: What is the best 'love' hiphop song __________________ (ie: Electric Relaxation by Tribe Called Quest)
Keith: Method and Mary J, You're all I need to get by.
For more 411, you can log on to Keith Science's website at:
With 2012 almost out the door, it's about that time for magazines, websites and blogs to take the customary look back over the last twelve months to highlight those releases most worthy of recognition for really hitting the sonic bullseye during the course of the year.
Whilst the usual debates concerning the state of Hip-Hop have continued to rage on street corners, social media sites and everywhere else music fans may congregate, inbetween the vast amount of mediocre and downright terrible music that's come from the mainstream / underground rap worlds during 2012, there's also been a decent number of impressive album and EP releases from various corners of Planet Rock which have all delivered in terms of quality, creativity and overall dopeness.
As I always say when putting a list like this together, the projects and artists included in this 2012 round-up aren't the only names and releases that were worth checking over the last year, but they are the ones that spent the most time booming out of my headphones and speakers.
So, in no particular order…
Roc Marciano – "Reloaded" (Decon) – With the release of 2010′s "Marcberg" album transforming Strong Island's Roc Marciano from respected underground emcee to Hip-Hop cult hero, the former UN member refined his Rotten Apple sound even further on this sophomore solo shot, delivering a relentless barrage of vivid wordplay over melodic, minimalist production.
Nas – "Life Is Good" (Def Jam) - Arguably Queensbridge's favourite son's most cohesive and consistent body of work since 1994′s timeless "Illmatic". Nas might not have chalked-up another universal classic with his latest album, but he did sound more comfortable in his own skin on this project than he has done in a long time, as he reminisced about 90s New York, dealt with parental responsibility and reflected on his recent marriage problems.
Mystro – "Mystrogen" (Don't Bizznizz) – Having started 2012 amidst rumours of retirement, veteran London emcee MysDiggi laid any such talk to rest with the release of his long-awaited debut full-length, lacing a varied selection of up-beat production from the likes of Mr. Thing and Black Einstein with his witty verses, leftfield life observations and sharp humour.
DJ Premier & Bumpy Knuckles – "Kolexxxion" (Gracie Productions / Works Of Mart) – The infamous Freddie Foxxx teaming-up with hardcore composer DJ Premier for a full-length project was always going to result in something memorable and "Kolexxxion" definitely lived up to expectations. Bumpy proudly displayed his OG stripes, schooling upcoming artists on the rules of the game and giving his opinion on the state of the culture, whilst Premier crafted an impeccable selection of thoroughbred bangers tough enough to crack concrete.
Keith Science – "Vessels Of Thought Volume II" (Central Wax Records) – A polished collection of instrumentals from the New Jersey-based producer, this album encompassed a number of different musical vibes and emotions, ranging from jazzy optimism to aggressive boom-bap, with each track maintaining its own unique sonic personality thanks to Science's mastery of true-school Hip-Hop production.
Apollo Brown & OC – "Trophies" (Mello Music Group) – Having built himself a solid reputation as the go-to man for drum-heavy underground production, Detroit's Apollo Brown tested his talents to the limit by joining forces with legendary D.I.T.C. emcee OC, resulting in a quality concept-driven album full of head-nodding beats and lyrical jewels that contained enough creative chemistry to make the uninitiated think the pair had been recording together for years.
Timeless Truth – "Brugal & Presidentes" (Timeless Truth) – Steeped in Rotten Apple heritage, Queens, NY brothers Solace and Oprime39 paid homage to their city's traditional boom-bap sound on this EP unleashed at the top of 2012 without sounding like they were simply chasing the musical ghosts of a lost era. The duo's intense, sample-heavy style and ferocious verbal artillery kept heads salivating all year for the release of their recent full-length "Rock-It Science".
Del The Funky Homosapien & Parallel Thought – "Attractive Sin" (Parallel Thought Ltd) – Ice Cube's cousin has faced criticism in recent times for being just a little too off-the wall on some of his solo material, but whether it was a conscious decision or just natural creativity, on this Parallel Thought-produced project the Hiero emcee sounded more focused than he has in a long time. Backed by beats ranging from anthemic West Coast funk ("On Momma's House") to breakbeat-driven old-school flavour ("1520 Sedgewick"), Del delivered a potent lession in lyrical excellence that recalled the brilliance of his early critically-acclaimed work.
DJ Format – "Statement Of Intent" (Project Blue Book) – A rejuvenated Format returned to burn on his third album, pulling together musical influences that ranged from old-school New York block parties and 80s electro to golden-era greatness, creating a diverse but ultimately-satisfying musical mosaic featuring the likes of Edan, Mr. Lif and Phill Most Chill holding down microphone duties. An entertaining sonic journey back to the future.
House Shoes – "Let It Go" (Tres Records) – A close friend of the late, great Dilla and a talented producer in his own right, Detroit's House Shoes pulled together an impressive line-up of Motown talent such as Black Milk and Guilty Simpson plus a few out-of-towners (Roc Marciano, The Alchemist etc) to ensure his official debut album was something to remember. Clearly feeling he had something to prove to the non-believers out there, "Let It Go" wasn't just the sound of a producer putting together a typical compilation-style album, this was the sound of a man on a musical mission.
Ryan Proctor
Part Two coming soon.
Tell us a little about yourself. Where you are from? How long have you been making Hip Hop?
Hi, my name is Keith Science and I'm an experimental/underground hip-hop producer from New Jersey. I've been making hip-hop music for over 2 decades now. Although I've been doing this for the love of it for many years, it wasn't until the last few years that I started to formally release my work. I really fell in love with hip-hop back in 1992. Prior to getting into hip-hop, I was a musician and audio engineer for years, playing various instruments and even performing live. So as soon as I started to be majorly inspired by hip-hop, it was a natural progression for me to want to create beats. Early on, I connected with a couple of emcees from Dover, NJ and we recorded constantly for years. That's how it all began for me… just making beats for my friends and having fun recording and making tracks. We were big fans and we wanted to be a part of it. These days I have a fully equipped studio and I take it much more seriously.
What influences you in making Hip Hop?
I still feel that love for hip-hop that I felt when I was initially exposed to it and that's what drives me to continue. I don't think I could stop even if I tried. I love to explore various sampling techniques and experimental sounds. I'm also really into vintage studio equipment and traditional recording techniques. I like to combine all of those passions into my hip-hop productions to produce a unique sound.
Describe your music, and what separates you from other producers?
I would probably describe my sound as Atmospheric Boom Bap. I was heavily influenced by the golden age of hip-hop, and I try to take a purist approach. I use an old Akai S2000 rack sampler to make all of my beats and I try to keep computers out of the beat-making process as much as possible. It isn't uncommon for me to create my own samples with real instruments. I spend a lot of time on each individual sound due to the nature of the gear that I use and how I record. I also do all of my mixing on an old analog recording console with two large racks full of new and vintage rack gear. Because of my influences and the traditional methods that I use, many people associate my music with the early 90's New York sound. My music tends to sound dirtier and grittier than many of today's hip-hop recordings.
Who have you collaborated with? Who would you like to collab with in the near future?
In the last couple of years I have collaborated with Kool Keith, Rampage (Flipmode Squad), Punchline (eMC) and Mista Spyce from the UK. Right now I am working on a single with Krumb Snatcha from the Gang Starr Foundation. I'd love to collab with Roc Marciano, Joell Ortiz or Prodigy from Mobb Deep.
Your definition of "Underground Hip Hop"?
This is a tough question. To me, underground hip-hop is a unique sound that is not made for commercial purposes. It is a creative street art form with participants who respect the craft and the culture by making positive contributions. Real underground hip-hop stays in alignment with the original concepts developed by its pioneers. Underground hip-hop is where it's all about having skills.
Production wise, who are your influences? Who does your production?
I do all of my own production and mixing. I like to work alone. It really allows me to focus on opening creative channels in my mind. My biggest influences are Pete Rock, DJ Premier, The Large Professor, Showbiz, Diamond D, Lord Finesse, Buckwild, Ali Shaheed Muhammad, J Dilla, RZA, Easy Mo Bee, Erick Sermon, Havoc, Da Beatminerz, Alchemist & DJ Muggs.
Any current or future projects you are promoting?
The current project that I am promoting is my new instrumental album, Hypothalamus, which is available on 12" vinyl, CD or digital download. You can buy it almost anywhere, including iTunes, Amazon and UGHH.com. Later this year, I plan to release a 6-song EP, featuring various emcees. The entire EP will be produced and mixed by myself. My last two albums have been all instrumental, so now I want to show people what I can do with vocals over my tracks.
Can you give us a brief description of the creative process of Hypothalamus? Also/ what was the idea or concept description about your Album Art Cover.
Hypothalamus was intended to be an artistic exploration of boom bap beats, created using unique sampling techniques and sounds. It is basically a formally-released beat tape that is intended to be listened to from start to finish. I spent more time on this album than any other before and I am extremely pleased with the outcome. I hope everyone enjoys it because I really poured my heart into it.
That's actually my own brain on the Hypothalamus album cover! A while back I had to get an MRI of my head and when it was finished, they gave me a disc that contained all of the pictures from it. I ended up creating the album cover artwork with my own MRI photo. It's pretty wild!
Where can we find your music and info?
I'm very pleased to announce that you can now create a "Keith Science" station on Pandora! In addition, here are my links:
Homepage: www.keithscience.com
Facebook [1]: https://www.facebook.com/keith.dittmar.77
Facebook [2]: www.facebook.com/keithsciencebeats
Twitter: https://twitter.com/Keith_Science
iTunes: https://itunes.apple.com/us/artist/keith-science/id586856633
Amazon: http://www.amazon.com/s?_encoding=UTF8&field-artist=Keith%20Science&search-alias=music
CDBaby: http://www.cdbaby.com/cd/keithscience3
Bandcamp: http://keithscience.bandcamp.com/
Soundcloud: https://soundcloud.com/keithscience
Any shout outs?
Yes, I'd like to give a shout out to DJ Uncut Raw, Nasty Newman, Kid Sean, Krumb Snatcha, Bobby Nelson, Luis Feliciano, Karen Noe, Ken Dittmar, Denise Wilson, Mr. Mackie, Korey Costa , Ryan Proctor and C-Red. Thanks!
Although he's been making beats since the 90s, New Jersey-based producer Keith Science might not be a familiar name to many. Keeping his talents under the radar from everyone other than his closest friends and family, Science has only been making his unique brand of sample-based boom-bap production available to the masses for the last couple of years.
Aside from dropping his debut instrumental project "Vessels Of Thought Volume II" in 2012, the NJ beat junkie has also worked with Kool Keith and the UK's very own Mista Spyce of The Brotherhood fame.
Keith's latest release, the hypnotic "Hypothalamus", finds the talented music man once again putting his own spin on the traditional sounds of East Coast Hip-Hop with sublime results.
Here, Science discusses his passion for 90s Hip-Hop, the art of sampling and his personal approach to making music.
How were you initially introduced to Hip-Hop?
"Okay, well I've been a musician my entire life, y'know. When I was growing-up my dad was a blues guitarist and my uncle, who was real close with the family, he was a rock guitarist. So I grew-up primarily as a guitarist, playing different styles of music, and I really always wanted to keep the range of music that I listened to as diverse as possible. As a musician, I was constantly looking for something to inspire me. I was definitely listening to rap music as I was growing-up in the 80s and you had "Yo! MTV Raps" on all the time and I would watch that. But then when I heard what was happening in Hip-Hop in the early-90s, it hit me like a ton of bricks. That early-90s East Coast feel is just such a magical sound and I'd never really heard anything like that before. It was just so captivating and so creative. The music I was hearing gave me this unbelievable feeling compared to anything that I'd ever listened to before. Now, this was probably when I was about eighteen-years-old. That's when I really fell head over heels in love with Hip-Hop. I mean, before that I'd been playing the guitar, writing my own music, and that really seemed like it was the direction I was going to go in. But then when I really got into Hip-Hop, it just changed everything."
Can you remember some of those first early-90s albums you heard that really gave you that feeling you mentioned?
"Absolutely. The first album that comes to mind is "The Low End Theory" by A Tribe Called Quest. I was just glued to that one instantly. But the album that really did it for me and made me a Hip-Hop fan for life was Gang Starr's "Daily Operation". When I heard that it just changed everything. I can't even really explain it. I mean, first of all, it just sounded so different to the other Hip-Hop records that I was listening to at the time. It was Premier, y'know (laughs). He's the greatest ever. But there's something about that "Daily Operation" album, even to this day, that just reminds me of why I love this music and why I want to be involved with it."
For me, "Daily Operation" is the album that bridged the gap between the straight jazz loops Premier had been using on the first two Gang Starr albums and the boom-bap sound that became his trademark…
"Absolutely. I think you're right on that. Also, that album is deceptively simple. It's so simple but also so rich in terms of the creativity heard on it. "Daily Operation" is an album that literally gives me chills. I mean, if you listen to something off it like "Soliloquy Of Chaos", that track in particular just puts you in such a trance the second it comes on and you don't want it stop, y'know (laughs). It's amazing."
So as you were really starting to immerse yourself in Hip-Hop, was it a journey you were making on your own or did you also have friends at the time who were listening to the music?
"It was actually my friends who helped me get into it. A friend of mine had moved from our town to another town in New Jersey and over there they were listening to a lot of Hip-Hop. So he would come back with a lot of tapes and we would be listening to this stuff and were just being blown away by it. Some of the guys in this group of friends had already been listening to Hip-Hop and really studying it. I mean, I would see my friends all huddling around the stereo listening to a new Hip-Hop track and they would really be speaking in-depth about each different sound and the way the samples had been layered, all this kinda stuff. It really just blew my mind because before then I'd never really seen anyone sit there and really analyse music like that. So it taught me a lot about how to approach the music when I did start making beats. Plus, with the musical experience I already had and being able to play various instruments, it was just a real natural progression to me."
So is that where the Science part of your name comes from, seeing your friends really studying the music and then doing that yourself?
"Exactly. The name was definitely born out of that original group of friends I had back in the early-90s. It just came from me studying Hip-Hop and I really feel the stuff I learned from being around those guys at that time are lessons that I still apply when I'm making music today. Unfortunately, I don't know if many people still listen to music and study it in that same way today. I think a lot of people now jump into this style of music without even attempting to study the history which I think is a huge mistake. But I definitely think there seems to be more of an interest in that old sound now among the newer generation that are coming up which is pretty amazing."
Speaking of studying the history, when you first started really listening to Hip-Hop in the early-90s were you aware of the rich heritage that New Jersey already had with the whole Flavor Unit movement, YZ, Poor Righteous Teachers etc?
"I kinda learnt about it as I went along. I mean, when I first got into the music I used to just study it all the time. I was so into it that I wanted to know everything about it. At one point, I was almost like a walking encyclopedia. Unfortunately, it's not like that anymore as I can barely remember what I did yesterday (laughs). But there was a time when I was very dedicated to learning about the music and culture of Hip-Hop and making sure that anything I did didn't violate the original principles."
So did you start making beats almost immediately?
"Pretty much. What happened was, my uncle, who I mentioned earlier, had some old studio equipment. So back in the day he got hold of an old Tascam four-track cassette machine and he also got a couple of drum machines and a keyboard. So there was equipment around and I already knew how to work the stuff because I'd been using it for years. So when I started hanging-out with my group of friends who helped get me into Hip-Hop, one dude was an emcee and he wanted to make a beat. So he was asking me about it because he knew I had access to equipment. So I said I'd call my uncle up and see if he'd let us borrow some of the stuff. So my uncle let me borrow the four-track and the drum machines and my friend, who went by the name Swift Wisdom , he had a really cheap sampler. So we just started messing around and the first thing we did, I helped him make his beat because he already knew what he wanted to do and I knew how to use the equipment. So once that first beat was made, I was like, 'You know what? I could learn how to do this and really go crazy with it.'"
Were you trying to shop beats at this point or were you really just keeping what you were doing within your own circle?
"Yeah, I was just keeping my beats within the crew. To be honest, I really didn't feel like I was that good back then. I needed to learn and grow. I was still experimenting and it wasn't really my time yet. Furthermore, on top of that, I really had bulls**t equipment (laughs). So it would have been really difficult for me to approach a big name emcee or something when I didn't feel my beats were good enough. Or even if it was a good beat, it would have been made on crappy equipment so you wouldn't have been able to record with it."
Who would you say were some of your earliest influences when you started making beats?
"I've obviously gotta say DJ Premier as he was such a huge influence on me and there's no way I'd even be able to do what I do today without what he did first. I was a huge Pete Rock fan, then there was Diamond D, Showbiz, Buckwild, all that D.I.T.C. stuff. Plus, all the Tribe stuff was a huge influence on me."
Those influences can still definitely be heard in your music today because you're very much about drums but there's often a lot of melody in there as well…
"No doubt. I can't tell you're listening, man. That really is my thing so I'm glad you noticed that. The type of beats that I really liked the most back in the 90s were the ones where the drums were really hard but there was a nice semi-friendly melody going on over that with the samples and everything. There's just something about the marriage of those two things together that I really like. I mean, one beat that immediately comes to mind when I think about that is DJ Premier's remix of Fat Joe's "The S**t Is Real". That beat is hard as hell but it's got a nice melody behind it as well. So that's something I always try to do. I mean, not all of my beats are melodic, but that is a huge part of what I do. I think being a musician by nature, I always try to make things sound as musical and as organic as possible."
I think that's always the challenge with instrumental Hip-Hop, for a producer to take it beyond just being a good beat for someone to rhyme over and to make music that stands on its own, keeps your interest and doesn't make you think, 'I wish there was an emcee on this…'
"Right, absolutely. You're exactly right. You've got to have some substance in there. That's one of the mistakes I think I made as a young producer, I didn't have enough layers or changes in the music I was making. Now, I've come up with a formula that works for me and I really try to make a song out of every track I do, even though there are no vocals. That's something that's especially evident to me on this new project "Hypothalamus" compared to the previous album, "Vessels Of Thought Volume II"."
So were you producing consistently throughout the 90s? Is there any particular reason why you didn't release any material during that time?
"That's a good question and, to be honest with you, I did actually stop making beats for awhile. When Hip-Hop started to decline towards the end of the late-90s, I really started to get frustrated. I wasn't happy about the direction the music was moving in and it made me lose interest. Also, around that time, I'd been doing a lot of music projects that included some stuff outside of Hip-Hop and I just felt burnt out. I felt like I didn't even want to mess with music for awhile. Then my brother, who goes by the name DJ Uncut Raw, he and I got hold of some equipment at some point and we started making beats together. I mean, he'd got into it a little bit through being the younger brother watching me as we were growing-up. So we started working together and that was the first time I got an actual sampling drum machine. We built a studio in a friend's house and were over there all the time. We had local emcees just coming through and we were just having fun with it. This was around the early-to-mid 2000s. Then I got to a point a couple of years ago where I decided that I wanted to try and formally release my music. So "Vessels Of Thought Volume II" kind of just started off with me making a beat-tape for me and my friends to listen to and a lot of people liked it, so I just ended-up formally pressing it up. I mean, I'm a pretty private guy. I'm not that person who's trying to be all up in the cameras and everything. I'm just doing this because I love this music and I can't sit back and just watch the art of sampling die."
What is it about the actual act of sampling that really draws you in and keeps you feeling so passionate about it?
"The thing is, I use a really old style sampler and I do that for a reason. It's because it has a certain, beautiful organic sound to it and that's what really excites me about sampling. That sound is the sound of Hip-Hop. But it's that whole process of sampling and achieving that sound that you're hearing in your head that really excites me as well. I mean, a lot of people wouldn't even want to touch the equipment I make my music on because that old equipment is hard to use (laughs). I mean, my new album "Hypothalamus" only has twelve tracks on it, but that album took me a whole year to make. I can't be one of those people who pump out ten beats a day. I can't do that. I'll start a beat and maybe won't go back to it until a month later when I'm really inspired by something or a particular idea grabs me. But to really answer your question, you can just do so many things when you're sampling. The most exciting thing for me is to take sounds and try to make them sound completely different. I mean, the samples that I took from vinyl and used on the new album, you'll never be able to figure out where I got them from (laughs). I don't want to give away any tricks, but there's so many things you can do with sampling and I really wish people would try to challenge themselves more and see what they can come up with. I think anyone doing this just needs to at least try and elevate themselves above what they've already heard being done. That's how you end-up doing something creative. I mean, I love Hip-Hop more than other style of music but I'm open to listening to anything and I can be inspired by anything as long as it's something that's pure and great. Music speaks to you in general and if you want to be a good, well-rounded artist I think it's important for you to listen to other genres and really study how different types of music are put together."
What equipment do you use?
"I use an old Akai S2000 rack sampler for everything. If you look at the whole history of Akai, it's probably the cheapest sampler they ever put out (laughs). But the reason I chose this machine is mainly because I didn't know of anyone that was using it. Premier has the S950, Pete Rock did the SP12oo thing, but I wanted to use something that nobody else was using. So I decided to give this particular machine a shot. When I first started using it, the learning curve was definitely huge (laughs). It wasn't pretty when I first started with that machine but I think I've got it now. I mean, I don't use Pro-Tools or anything. This whole "Hypothalamus" album was mixed on my old analog recording console. If I could record to tape I would, but it's just way too expensive at this point. But a lot of the equipment I use today is the stuff that was being used in studios back in the 90s. For me, it's more fun sitting in front of a recording console than it is sitting in front of a computer screen with a mouse. I just think that all of this computer software used today makes it harder for people to differentiate themselves and really put their own character into their music. I mean, the way I work, it takes forever, but I run every single individual track in at its own time. So if I get the foundation of a beat down, before I go and record it I might sit there and mess with the sound of the bass drum for an hour or something (laughs). Then I'll record just that track, then I'll run in another track like the snare and layer it like that. So every single sound on my tracks gets attention. It takes forever and a lot of people wouldn't want to do it like that, but that's when you can have full control and really make what you're doing musical."
So do you think relying too heavily on computers whilst making music takes away from the creative process?
"It's too easy to sound like everyone else when you're involving computers too much in the recording process. I mean, I try to keep computers totally out of music if possible. Now, like I said, these days it's too expensive to record on tape, so you have to stick with digital, but there are so many things that you can do to mess with samples and get a more organic sound than just relying on a computer. As I said, I don't want to give away any secrets as it's taken me twenty years to develop some of the techniques I use, but I just think producers out there should challenge themselves more and explore the other things that can be done with samples rather than just doing the obvious stuff. There are a lot of great rappers out there and I think that when it comes to a lot of people who have complaints about Hip-Hop today, it's really the production that's ruining it for them. I just think that a lot of the computer-based production being heard today sounds very sterile and stiff and doesn't have that loose, organic bounce to it like it should. Those are the kind of things I try to focus on specifically when I'm making my records."
You definitely have a real talent for creating particular moods in your music and really taking the listener somewhere on each track…
"When I make my music I just try and take my brain to another universe or something (laughs). I don't even really know how to explain it. But it really feels good to hear people say that because it means they're really listening and getting what I'm doing. I mean, my music is designed that way and it is made to tap into certain moods and hopefully take you somewhere as you're listening to it. That is the ultimate goal, to create some type of emotion that really sticks with you after you've listened to the music."
It was actually the work you did in 2012 with the UK's Mista Spyce that put me on to you. How did you hook-up with him?
"First of all, big shout to Mista Spyce! To be honest with you, he's really part of the reason that "Vessels Of Thought Volume II" even happened in the first place. I started posting some beats online, some of which would actually end up on "Vessels…", and Spyce was one of the first guys to really listen and give me the nod of approval. He immediately wanted to work together, which we did and we made a couple of great tracks. Spyce was really encouraging and it kinda helped give me the confidence to formally release something and he continues to be supportive."
If you could choose one emcee to work with, is there anyone in particular who immediately comes to mind?
"Now, this is a totally unoriginal answer and probably every producer will say the same thing, but I would definitely like to work with Nas. As far as I'm concerned he's the greatest and there's nothing else really to talk about (laughs). Nas is the type of emcee who can really light up any type of track. Someone else I'd like to work with is Jeru The Damaja. I'd really like to do something with him. But in terms of working with different emcees, we'll see what happens in the future as a lot of people really still don't know that I'm even out there yet. I hope I do get to work with more emcees but it's tough to find the right people to work with. I mean, I'm not an emcee, but the one thing I will say about my beats is that I can see how some of them might not be considered easy to rap on (laughs). But as much as I enjoy making instrumentals, when you put vocals on a track it just takes it somewhere else and opens up a whole new level of creativity."
And when it comes to other producers, is there anyone who you really think is setting the standard today?
"Hell yeah, The Alchemist. I really love what he's doing and he really seems to always think outside the box. He's just a true original in my opinion. I mean, I loved that s**t that he did with Prodigy on their "Albert Einstein" album. That album is really creative to me. The first two tracks on that album are just so good and you really get pulled in quick. That s**t is just hard! But musically Alchemist is just so unpredictable and I'm always excited to hear what he's going to do next. Alchemist is definitely someone who, to me, is elevating the art of sampling and really showing what you can do with it."
Now that "Hypothalamus" is out, do you have any goals for the next twelve months?
"All I can really hope for is that this album lets people know that I'm out there and if people want to work together then come and see me (laughs). I mean, after getting "Hypothalamus" out there, I haven't even really made a beat in the last few months. I've been having to take care of a lot of business stuff with getting the vinyl finished and everything. But my girlfriend always tells me that the creative process needs a rest sometimes and I'm kinda in that rest period right now (laughs). I can't wait to get back in that studio but I just have to wait until that inspiration hits me. I mean, sometimes it's like that and you just have to wait until it's the right time. For many years I felt like I was just making music for myself, so it's great to have reached a point where people are receiving the music in the way it was intended to be received. It just makes me want to work harder."
Ryan Proctor
Follow Keith Science on Twitter – @KeithScience
Check "Vessels Of Thought Volume II" and "Hypothalamus" on BandCamp.
First and foremost I want to send a HUGE shout out to the homie Keith Science. This was an amazingly DOPE project. The music reminds me of times when folks put time and passion into their craft. This joint really had me zoning especially on tracks like Tropic and Coleco (which I automatically started writing to when I first heard it) that were just smooth compositions that took you on a journey. This tape is full of tracks like that but offers some variety with tracks like Soilders II and Century that offer much more grimey feels. All in all this is definitely something you need to check out. You can listen to the stream below and you can purchase the Beat Tape for only $8.99 dollars here. Hope you enjoy this experience as much as I did!


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Monday, December 22, 2014
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As we wrap up Brooklyn Week, we head to Bensonhurst, where Italians are trying to leave their mark on a neighborhood that's transformed into a Chinatown. NY1's Jeanine Ramirez filed the following report.
A five-story building opening in Bensonhurst this fall will be called "Il Centro," which means "the center" in Italian. "Italians in Italy congregate in a piazza," said Carlo Scissura, president of the Federation of Italian American Organization. "So here, we don't have land, but we have a center."
The Federation of Italian American Organization has been planning this facility for 10 years now, but during that time, Bensonhurst has transformed into Brooklyn's second Chinatown.
Warren Chan has opened three Asian senior centers in the neighborhood over the last several years.
"One of the great things here is that you don't need to speak English to survive in Bensonhurst," Chan said.
On 18th Avenue, also known as Christoforo Colombo Boulevard, there are all kinds of Chinese businesses, from banks to pharmacies. Caffe Italia now has one storefront when it used to have two.
"Only Villabate, the bakery. That's the only place left. And this place over here, Caffe Italia," said one person in the neighborhood. "But other than that, that's it."
According to City Planning, Bensonhurst has the second-highest number of immigrants, after Washington Heights.
Now, the Asian community is looking for more political clout. Lieutenant governor candidate Tim Wu visited Bensonhurst Thursday.
"I'm a big supporter of making New York a magnet for immigrants," Wu said.
So as Chinese make Bensonhurst home, where are the Italians going?
"I moved to Staten Island because my family is there," said one person in the neighborhood. "Not because I don't like. I love Brooklyn."
The Italians' love for Brooklyn will be symbolized here.
"Non-Italians are going to love it just as much because we're going to have food classes and cultural programming and opera," Scissura said. "Embracing all new cultures, but we're saying Italians were here for 70, 80 years. This is something in their honor and something that will last forever."
As Italians leave their mark, Chinese say they plan to do the same.
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Reader comments are listed below. Comments are currently closed and new comments are no longer being accepted.
Chelsea hooligans in the bush?
Hutu are from Rwanda. There is no Hutu government in DRC. If you do not know the tribes of Congo, better to say nothing. Instead of this nonsense. This is from a Congolese who lives in Matadi.
M23 takes its name from the date of peace accords (March 23) when they signed a peace treaty with the DRC government. The soldiers were allegedly assimilated into the Armed Forces of the Democratic Republic of the Congo (FARDC). Lack of trust and broken promises between the two sides led to the current situation.
The Economist is missing one of the major factors that impact events here, namely the Hutu / Tutsi divide. We need to see these events in the light of the M23 being a dominant Tutsi group being supported by Tutsis in Rwanda battling it out against the Hutu government in the Congo and against other Hutu militias in the eastern Congo. The real issue here is: will the Tutsis or Hutus control the mineral wealth?
To present the events without touching on the tribal issue is misunderstanding the recent history of wars, revolts and genocides. They happened precisely because these two tribal groups are in a deadly conflict.
I wondered why it was that the Economist missed this. It is because the Economist writers don't fully understand tribes outside Europe. They can see that a Scotsman is different from an Englishman and understand why the Scots seek independence. But they fail to see that the difference between a Tutsi and a Hutu is even greater than the difference between a Scotsman and an Englishman. If the English had recently killed 200,000 Scots, the Economist would write differently.
Leaving that then – what is the solution to the conflict in the Congo?
Partition. Divide the country up. Just as Czech Republic divided, Sudan was divided, Kosovo was stolen from the Serbs and the Catalans seek independence, so too the Congo must be divided.
But right now given the current government in the Congo and widespread chaos, there is no appetite for this. So we must expect a few more 100,000 dead before a conference can be held around partition. I remain pessimistic about the future.
"When Mr Kabila hinted in April that he might arrest Mr Ntaganda..."
At whose instigation? If you break it, you own it. Rwanda isn't responsible for pulling apart the March 23 agreement. Others are (like the Economists' backers),
Yes, it is a sweeping generalisation. Having read the Economist for many years and noted how they reported conflict around the world, it was a conclusion I drew some years back. When I noticed the same pattern in this article where the impact of different tribes was not touched upon, but is of immense importance in understanding the conflict, I included my generalisation. As it is unsubstantiated, I take your good point about 'bad blood' and it inviting unnecessary comment. Thank you.
Some recent cases are as follows. The Economist comments on the war in Ivory Coast between Ouattata from a tribe in the North against Gbango in the South also spoke little of the impact of being different tribes. Similar case when discussing the recent war in Lybia where little is made of the tribal factor. In the war in Afghanistan there has been only a bit of recognition that Pashtuns are quite different to Tajiks and Uzbeks. The war in Sudan was also tribal.
The Economist are good at presenting the other factors that cause conflict, but seem to mostly miss the tribal one, and hence my speculation on why – Europe is becoming less tribal with the EU and the various treaties.
-- It is because the Economist writers don't fully understand tribes outside Europe --
Well thats a sweeping conclusion, its like me saying I wonder why the Economist failed to mention the weather in Congo, it must be that they have no understanding of climate conditions outside Rain drenched England. Please be careful with conclusions such as these, they incur unnecesary bad blood in debate.
Such opportunities for progress in the Congo, but overshadowed by greed, desire for power, and fear. Too bad.
"They will probably be back"? Not in a year. :-D
Champions League, OUT. Premier League, 10 pts behind Man Utd.
Funding European airports: Flights of fancy
Money talks: December 22nd 2014: End of year edition
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Monday, April 23, 2012
Purity Ring - "Obedear"
Speculation has been fluttering briskly since the news of Canadian indie pop project Purity Ring's signing to 4AD Records, and tonight is finally the night where we get four tasty bits of news all at once: an album title (Shrines), a release date, the album art, and most importantly, a new tune from the album to tide us over until the July 24th drop date.
"Obedear", another strange title, but they haven't lost their touch:
If you want it on your hard drive to caress softly at night, you can download the tune for free over at Purity Ring's official site.
12 comments:
Thanks for the download, I really like the song!ReplyDelete
This is such a seriously good tune buddy, thanks for sharing this mate, definitely going to get it downloaded.ReplyDelete
Bryan Adams watch out!ReplyDelete
This is pretty good lolReplyDelete
started off bleh but got goodReplyDelete
Surrealist pop music is where it's at. Loving this bit of tuneage.ReplyDelete
Great track!ReplyDelete
Haha, yeah, it is a bit strange. Not bad though.ReplyDelete
That cover is awesome and so is the track. Love that voice.ReplyDelete
I hadn't heard this specific song, but every purity ring song I hear I usually enjoy.ReplyDelete
And I downloaded it as soon as I saw the link last night, amazing little track and I can't wait for July.ReplyDelete
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What does AUDI mean in Funnies?
This page is about the meanings of the acronym/abbreviation/shorthand AUDI in the Miscellaneous field in general and in the Funnies terminology in particular.
Automobile Unsafe Designs, Inc.
Find a translation for AUDI in other languages:
Select another language:
What does AUDI mean?
- Audi
- Audi AG designs, engineers, manufactures and distributes automobiles and motorcycles. Audi oversees worldwide operations from its headquarters in Ingolstadt, Bavaria, Germany. Audi-branded vehicles are produced in nine production facilities worldwide. Audi has been a majority owned subsidiary of Volkswagen Group since 1966, following a phased purchase of AUDI AG's predecessor, Auto Union, from Daimler-Benz. Volkswagen relaunched the Audi brand with the 1965 introduction of the Audi F103 series. The company name is based on the surname of the founder, August Horch. "Horch", meaning "listen", becomes "Audi" when translated into Latin. The four rings of the Audi logo each represent one of four car companies that banded together to create the company. Audi's slogan is Vorsprung durch Technik, meaning "Advancement through Technology". Recently in the United States, Audi has updated the slogan to "Truth in Engineering". Audi is part of the "German Big 3" luxury automakers, along with BMW and Mercedes-Benz, which are the three best-selling luxury automakers in the world.
Discuss this AUDI abbreviation with the community:
Use the citation below to add this abbreviation to your bibliography:
"AUDI." Abbreviations.com. STANDS4 LLC, 2014. Web. 21 Dec. 2014. <http://www.abbreviations.com/term/14121>.
AUDI also stands for:
- Accelerates Under Demonic Influence
- Accelerating Unintentionally Designed In
- Actual Use Devours Income
- Affordable Using Double Income
- All Unnecessary Devices Installed
... and 6 more »
Nearby & related abbreviations:
Alternative search:
- Search Automobile Unsafe Designs, Inc. on Amazon.com
- Search Automobile Unsafe Designs, Inc. on Google


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Coalition of the Willies launch an online war against global warming
Coalition Of The Willies from coalitionfilm on Vimeo.
Free tofu or something at the launch party for The Coalition of the Willies tomorrow, 30th of June. 35-47 Bethnal Green Road.
"A war on global warming needs to be a war on consumerism – the status quo in our developed societies. So really: a war on the mainstream constituency of the capitalist state. Fortunately, the war on global warming isn't in the hands of government alone. It's time for a new approach – an approach that mobilizes the creative energies of the global population and turns the way we see the problem on its head. We need to find a way of waking people from their consumerist daze and showing them how empowering a war-effort could be. People could contribute so much more than just turning off the lights. We can use the internet to kick-start our own revolution – harnessing the energy of the human swarm, and focusing it on THE problem of our time. Get ready to change the world. There are millions of others waiting to play their part. All that they need is the infrastructure to make it happen. We have the tools that we need to construct this infrastructure. We have the talent and intelligence to make it a system people will want to use. Lord knows we have the motivation to get busy. So get started, before it's too late. Log on, converge, and swarm.
Swarm? Aye, it's warm, I think I'll give it a miss and enjoy a beer and BBQ instead.


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The International Sugar Organization and DATAGRO have chosen the Empire Room, at the Waldorf Astoria, as the perfect location to organize their VIII New York Sugar & Ethanol Conference. Its elegance and symbolic meaning to the business community of New York, and the entire world, reflect the same consideration and care that both ISO and DATAGRO devote to their respective members and clients. The choice of the Empire Room is a tribute to all participants of our Conference, and of the highly traditional New York Sugar Dinner. read more
Want to be aware of what is going on at the VIII ISO DATAGRO New York Sugar & Ethanol Conference and other agribusiness world wide events? Fill the form below!


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93 Clinton St
Binghamton, NY
What antique shops were likebefore ebay...
Read our feature article in antiquetrader.com
Hours: Fri Sat noon-4 and by chance or appointment. Questions? Contact Laddie Vana 607-725-4208
93 Clinton St, Binghamton, NY 13905 - phone: 607-725-4208
Thanks for visiting www.oldoddandunique.com
Favorite Links:
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93 Clinton St, Binghamton NY 13905
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Keyboard Shortcuts for Excel 2003 Worksheets
Part of the Excel 2003 All-in-One For Dummies Cheat Sheet
Excel 2003 — any version of Excel, actually — is about creating spreadsheets (worksheets) contained in workbooks. To navigate around worksheets and workbooks in Excel 2003, use these keyboard shortcuts:
|Ctrl+Page Down
|Activate next sheet in the workbook
|Ctrl+Page Up
|Activate previous sheet in the workbook
|Shift+Ctrl+Page Down
|Select current and next sheet in workbook
|Shift+Ctrl+Page Up
|Select current and previous sheet in workbook
|Shift+F11 or Alt+Shift+F1
|Insert new sheet in workbook
|Rename current sheet (Format→Sheet→Rename)
|Hide current sheet (Format→Sheet→Hide)
|Unhide current sheet (Format→Sheet→Unhide)
|Select new color for sheet tab (Format→Sheet→Tab Color)
|-Move or copy current sheet in workbook or to new workbook (Edit→Move or Copy Sheet)
|Delete current sheet (Edit→Delete)
The worksheet cell that contains the cell cursor. Each worksheet can have only one active cell.
An Excel 2007 add-in program that adds extra financial, statistical, and engineering functions to Excel's pool of built-in functions.
A feature that looks at the entries that you make in a worksheet column and automatically duplicates them in subsequent rows whenever you start a new entry that begins with the same letter or letters as an existing entry in that column.
A feature that alerts Excel 2007 to common typing errors and your own typing errors (that you specify) and tells the program how it should automatically fix them for you.
An Excel 2007 feature that quickly creates a series of entries based on the data you enter in one or two cells. AutoFill works with days of the week, months of the year, yearly quarters; consecutive series of numbers; and formulas. You also can add your own custom AutoFill series.
A feature in Excel 2010 that enables you to temporarily hide everything in a table except the records you specifically want to view, based on criteria you specify.
A new feature in Excel 2010 — accessible from the green File tab — that enables you to manage files and to view the properties and stats about the workbook file you're editing.
The intersection of a column and row in the worksheet.
The cell identifier, determined by its column letter(s) followed by the row number, as in cell A1, the very first cell of each worksheet at the intersection of column A and row 1.
An electronic version of a sticky note that you can add to a cell but that does not print.
The black border that surrounds the active cell in a worksheet.
Readymade drawings, illustrations, and photos offered by Microsoft for use in Microsoft Office applications.
Graphical or text buttons located in groups on Excel 2007's Ribbon that you select to perform a particular action or to open a gallery from which you can click a particular thumbnail.
A utility in Excel 2007 and 2010 that you use to find potential compatibility issues if you plan to save an Excel workbook file in the older Excel 97–2003 file format.
A feature that enables you to have Excel 2007 change the appearance of your cell data if certain conditions (that you specify) are met.
The worksheet cell that contains the cell cursor. Each worksheet can have only one current cell.
A range of cells in a worksheet in which you enter a series of possible values that Excel plugs into a formula so you can perform what-if analysis on the data.
A rectangular window with settings and commands that appears when you click a dialog box launcher or certain other commands on the Ribbon.
A small icon in the lower-right corner of a group of command buttons on the Ribbon that you click to access a dialog box with additional related settings and commands.
A type of cell entry that instructs Excel to perform a calculation.
The horizontal toolbar located below the Ribbon that displays the cell address and the contents of the current cell. Use the Formula bar to enter or edit formulas and cell entries and assign names to cells.
A part of a formula that takes a number of specific arguments and then returns a single value based on those arguments.
A drop-down list of thumbnail selections that appears when you click certain command buttons on the Ribbon.
A section of a tab on the Excel 2007 Ribbon that organizes related command buttons into subtasks normally performed as part of the tab's larger core task. The name of a group appears at the bottom of the group, such as the Font group on the Home tab.
Specially formatted text that anyone can click to jump to Web sites, move to other cells or workbooks, or create an e-mail message.
A combination of keys that you can press to execute certain commands, as opposed to finding and clicking the commands' buttons on the Ribbon or elsewhere.
A feature in Excel 2007 that enables you to point to thumbnails on a drop-down gallery to see how a new font, font size, table style, or cell style would look on your selected data before you actually apply it.
A series of commands or actions in Excel that are recorded and saved together in a file. You can run the macro whenever you need to perform the task.
A small toolbar that displays commonly used formatting commands (along with a shortcut menu) when you right-click a cell in the worksheet.
The left-most section of the Formula bar that displays the address or name of the current cell.
The round button with the four-color Office icon at the top left corner of the Excel 2007 program window, which provides access to common file-related commands.
File format developed by Adobe Systems Incorporated that enables people to open and print documents without access to the original programs with which the documents were created.
A special type of table unique to Excel 2007 that enables you to summarize large amounts of data and pivot or rearrange the table's data to display different summaries of the information it contains.
A small toolbar to the right of the Office button that includes buttons for commands you use often, such as Save and Undo. You can add buttons to customize the toolbar.
A new feature of the Excel 2007 interface that replaces the menus and toolbars of previous versions; appears at the top of the Excel window, just below the title bar.
A small window that displays descriptive text when you point to but don't click a command on the Ribbon or other objects in a worksheet.
Horizontal and vertical bars that appear on the bottom and right side of the worksheet window and enable you to quickly move to a different area of a worksheet.
Icons that appear immediately to the left of the sheet tabs in a workbook, which enable you to bring new tabs into view for worksheets that contain too many sheets for their tab names to appear at the bottom of a workbook.
Small tabs near the bottom of a worksheet that you click to move between the worksheets in a workbook. You can assign descriptive names to sheet tabs.
A menu that displays context-sensitive commands when you right-click a cell or object in a worksheet.
New graphic objects in Excel 2010 that enable you to quickly filter the contents of a PivotTable on more than one field.
A type of graphic object in Excel 2007 that gives you the ability to quickly and easily construct graphical lists and diagrams in the worksheet.
Tiny graphs (miniature charts) that fit within a single cell in the worksheet, used to show basic trends in data.
A horizontal bar that appears at the bottom of the Excel 2007 window and keeps you informed of Excel's current mode. In addition, you can use the Status bar to select a new worksheet view and to zoom in and out on the worksheet.
The various "pages" of Excel 2007's Ribbon interface that you click to display command buttons relating to the tab's name, such as Page Layout and Formulas.
A pre-designed worksheet that can be used as a basis for creating new worksheets.
Stylized text objects that you use to add pizzazz and emphasis to headings and other text in Excel 2007 worksheets.
The basic file type that you create when you use Excel 2007. A new workbook consists of three worksheets by default.
The main document that you work in when you enter data into cells within Excel 2007. A worksheet is stored in a workbook file.
The portion of an Excel 2007 worksheet in which you enter cell data and add objects such as charts and graphics.
A file format developed by Microsoft that enables people to open and print documents in XPS Reader without access to the original programs with which the documents were created (such as Excel).
An object on the Status bar in Excel 2007 that enables you to increase the magnification in a worksheet or shrink it down to get an overall picture of the worksheet data.


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Wheelbarrow PiePosted: March 15, 2012 | Author: Jena | Filed under: Experimentation, Imagination, large motor skill, Outside, sensory, Water Play | 2 Comments »
The kids have been having a tremendous amount of fun in the sandbox of late, hours of fun, hours.
Last week, there was a mix of melting snow and sand in there, making lots of watery sandy puddles to bury action figures and to dig through.
This week, it's been 60-70 degrees, so the snow is completely gone and the puddles have evaporated.
To recreate the fun, I find the hose that's been stored in the shed all winter and connected it to the spigot. The hose does not reach all the way down the hill in backyard to the sandbox so we also dig out the wheelbarrow and use these to fill with water and commute to the sandbox to dump the water. The boys are absorbed in the process of spraying the hose into the wheelbarrow. They take turns spraying and trying to balance the heavy water down the hill without spilling.
They also make a project out of trying to fill the wheelbarrow with shovelfuls and handfuls of sand, making themselves wheelbarrow sand pies.
When the sandbox has enough water and the kids have had enough turns with the hose, we play in the sandy puddles. After hours of this play, the kids have shed layers of soaked clothes and are covered from head to toe in wet sand. They all go in the tub for an early bath. We'll be doing this again soon.
2 Comments on "Wheelbarrow Pie"
[...] natural aspect of this painting!Make music in the yard! Child Central Station has an awesome setup!Mixing sand & water [a childhood favorite of my own] can lead to hours of play as it does at Happy Little Messes. [...]
[...] Mixing sand & water [a childhood favorite of my own] can lead to hours of play as it does at Happy Little Messes. [...]


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Waste Basket - Quick ShipPrice: $69.00
Design by Gino Columbini.
Made in Italy by Kartell.
A classic geometric form that is well suited to its function. Kartell's Waste Basket is available in colored translucent and transparent plastic in a wide array of vibrant colors which can be used in the home or office, as well as outdoors.
Select from a variety transparent or opaque colors.
Material(s): Batch dyed or painted plastics
Dimensions: 9.9" Dia X 15" H
Manufacturer: Kartell
Kartell's steadfast dedication to technical and aesthetic innovation has earned the Italian brand its global recognition as the pioneer of modern day plastics.
Founded in 1949, Kartell is an established leader in the fields of modern furniture, interior design, and lighting for over 60 years. From its choice of cutting edge technologies, to its use of innovative and certified thermoplastic materials, the brand has revolutionized the use of plastics in modern furnishings. Their bold and charismatic designs are 100% Italian made, multifunctional, cross-sectional, easy to use, and possess an undeniable visual appeal. Colors, transparency effects, and unique shapes all define a signature Kartell product. Employing some of the most recognizable modern furniture designers of our time, Kartell is able to harmoniously blend functionality, style, durability, and modern appeal.
Kartell has won an enviable string of prestigious international awards, including nine Compasso d'Oro prizes (the most recent awarded to the Mobil Chest of Drawers in 1995 and the Bubble Club Sofa in 2001). In 2000, the Guggenheim Museum dubbed the Kartell Museum the "best industrial museum".View other products from Kartell


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JACC EIC Dr. Tony DeMaria discusses highlights from the 6/12/12 issue of JACC.
Anthony N. DeMaria, MD, M.A.C.C.
Statements or opinions expressed in this program reflects the views of the contributors
do not reflect the official policy of the ACCF, unless otherwise noted.


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