✰ salemmorningstar ✰

| W i l l k o m m e n . | Just a neurotic black teen lookin to post whatever. / 18 /

[timmurleyart]

Follow the leader.💲💵🟦⬛️

[postpunkindustrial]

DJ Shadow - Endtroducing 2XLP

[public---mags]

The Mix Master | DJ Shadow for Vanity Fair, November 2001

photographed by annie leibovitz

[dance-seen]

Wild Style, 1983

[mtvscreengrabs]

It Takes Two - Rob Base & DJ EZ Rock (1988)

RIP Rob Base

[vintage-tigre]

The story of the Akai MPC begins in 1988, when Japanese company Akai partnered with drum machine pioneer Roger Linn to release the Akai MPC60.

Technically, it was a sampler, sequencer, and drum machine in one. Culturally, it became something else entirely. The MPC transformed music production from a studio process into a physical performance.

What followed was less a product cycle and more a cultural shift. The MPC arrived at the exact moment hip hop was evolving from turntables and drum breaks into a fully formed production language. Its 4x4 pad grid allowed producers to slice fragments of vinyl records and rearrange them into new compositions, turning sampling into an art form of its own. Suddenly, a bedroom could function like a studio, and someone with a stack of records could build entire worlds from fragments of sound.

Over the following decades, the MPC became the quiet engine behind some of the most influential music ever made. Producers like J Dilla, DJ Premier, and Kanye West turned the machine into an instrument with its own personality.

Dilla famously disabled the quantization on his MPC to create loose, human rhythms that reshaped how beats could feel, proving the machine was not just a tool but a new kind of musical language.

[the-big-mood]

Here's what YouTube looked like in 2006 exactly 19 years ago

[fuzzyghost]

[fuzzyghost]

[yodaprod]

Mona Lisa by Lili Lakich (1985)

[legendaraye]

i need to lower the right side more

[i-am-a-lazy-mess]

hate when I type :) and this 🙂 fucker appears. Go away you evil soul

[archivist-crow]

The Jesus and Mary Chain - “Just Like Honey” (1985)

On this day—September 30, 1985—“Just Like Honey,” the third and final single from the album Psychocandy by the Jesus and Mary Chain, was released. The opening track on the band’s debut album, “Just Like Honey” brazenly co-opts the opening drum line from the Ronettes’ “Be My Baby,” before launching into a plaintive, reverb and distortion soaked song to a girl. A noise pop/shoegaze milestone, the song has been featured in several films, perhaps most memorably in the closing scene of Sofia Coppola’s 2003 film, Lost in Translation.

[scramratz]

I think people would be less suicidal if they were allowed to talk about being suicidal without risk of being sent to the Torture Dungeon

[thegroovyarchives]

1952 Kellogg's Frosted Flakes advertisement detail from: Ad Boy: Vintage Advertising with Character, 2009.

[silentoatmeal]

Ohara (1987-1988)

[pixiecaps]

big fan of whatever the youth is doing to torment scientology buildings