4 Tips For Choosing An Mp3 Player, Part 2

Part III - So what am I looking for?

Probably the last question you need to ask yourself. Weigh up between image (size, shape, style, colour), performance (play time, memory, compatibility, gizmos, other functions) and quality (useability, interface, design, battery life). Work out what's important, and Google or eBay will do the rest for you (or if not, then your younger brother or sister will also suffice). There is always a cheaper price for something, but there is always more hassle to get something that you want exactly. If you've ever bid for an eBay item, then found something way cheaper than what you've just bought, then you'll know what I mean. Look, if you're going to spend money (any amount of money), then it's important to at least pick something that works long enough for you to at least look the part, and one that you won't throw out the window because that's all it's good for. Therefore, battery life, memory, interface and compatibility should not be taken lightly.

Part IV - So what do I do with it?

You've got yourself an MP3 player, so what's next. Well, you can use it as a fashion accessory, play some MP3 music, or just leave it sitting in the closet until a better model comes out. It's hard to say unless you've got one, and once you've got one, you'll work out what to do with it. Sometimes it's an expensive lesson to learn, but most times when you spend money for something, you invariably find a use for it, even if it's just another item on the eBay used section.

Useful advice? Well, don't just take my word for it, because even bad advice needs to be taken to be believed. Take these suggestions into account when you are choosing your mp3 player, and you'll be well equipped.

4 Tips For Choosing An Mp3 Player, Part 1

Choosing an MP3 player used to be a much easier shopping decision than it is today. Just a couple of years ago, only MP3 players played MP3 music. Nowadays, every man and his dog that has a mobile phone, laptop or memory storage device can play MP3 music. Now that there are a few more things to take into consideration, it is wise to think about a few issues before splashing out some serious money (or trying to save some serious money).

Part I - Do you need an MP3 player?

Probably the most important question you need to ask yourself. Why do you want one? Does your mobile phone already come with an MP3 player? What about your laptop? Why would you need one if you've already got one? The only reason MP3 players exist in their own right is because a mobile phone is a much better device for making phone calls on the go, and an MP3 player, well, it is a much better device for playing MP3 music. When there is a comprise in function, there is a comprise in function (i.e. quality and performance).

Part II - Do you need a good MP3 player?

Probably the second most important question you need to ask yourself. It does sound like a rhetorical question. Of course you want a good MP3 player, but please provide a definition for "good". Do you want something that looks good, plays good (well is probably a better word) or sounds good (or all three perhaps). Remember that these days people will buy things for the image (looks/sounds good), performance (plays good) and quality (lasts good). All three come at a cost (though not necessarily equal in weighting), and usually you'll find that two out of three ain't bad. Sometimes big name brands not only looks good (the Japanese designers are experts at this), sounds good (for example, hey look, I've got a Sony -insert model here- !), but they might actually have good performance or quality as well (Some say the iPod belongs in that category, but I don't want to start another online forum about it). But most of the time, practical people start with performance or quality, and just hope that it's something they can hide in their designer label clothing's MP3 pocket.

3 Steps to Playing Comfortably for a Crowd

Most people are not comfortable performing in front people. When I say of performing, such as an instrument, or singing, or acting, I mean more than just knowing how to do well at your chosen craft, I mean doing it well and in front of people. It’s the “in front of people” part that gets us every time. How many of us sing like a bird in the shower but then when people are watching we can’t carry a note. Here are three steps to start you on the road to comfort (never complete) when called on to shine.

1. Don’t neglect to practice. Whether you sing or play an instrument practice is the key to being relaxed. The more familiar you are with what you are performing, the less anxiety you will have about messing up.

2. Don’t back up. Piano teaches pass this on all the time. If you mess up in the middle, or any place in your piece, don’t back up and repeat the offending passage. Keep going. Chances are your audience didn’t even notice.

3. Try not to be critical of your technical skill. Focus more on your overall performance. How does it sound as a whole? If you’re a pianist and you worry during your piece about your fingering then you’re ignoring the song and how it sounds. Worry about technicalities when you practice. Which should be often.

With time playing in front of and for other people will come much easier. You'll be a natural. So use every opportunity to show your stuff!

3 Ways To Get The Most Out Of Your Music Lessons

Whether you are using a book, video, a real live human, or online lessons, keep these pointers in mind in order to get the most out our your studies.

1. Complete and master each section before moving on to the next: As you work through your studies make sure you have each new technique or idea conquered before moving on to the next. Lessons are planned to build upon each other and trying to rush through without fully understanding one will just lead to frustration and wasted efforts.

2. Study as if you were in school. Do some homework every night. If all you have is 15 minutes then use those 15 minutes. If you don’t have time to read/watch and apply then do the application of your last lesson or drills such as scales and chords. Reading/watching and not having the opportunity to apply immediately will usually mean you have to relearn your lesson. Take notes. Especially if you’re watching a video or working with a human. Also don’t be afraid to write all over your workbooks and sheet music.

3. Apply what you’ve learned: Play for others. Your church, your family, that spare piano sitting in your favorite department store (ask first). Nothing drives a music lesson home better than a recital. It will also magnify what you need to work on.

These tips work whether your a child or an adult. Learning to play an instrument is a wonderful activity.

3 Critical Truths About P2P File Sharing Networks.

If you're confused about file sharing networks, and the hazards involved, you're not alone.

Many people looking for for free downloading networks online have unanswered questions about p2p sites and RIAA lawsuit risks. So here are crucial facts and important information you need to know about p2p file sharing sites - before using them!

- File Sharing Download Truth #1: File sharing networks are extremely controversial.

Although file sharing applications have been ruled legal in a court of law, controversy lies in the fact that file sharing software can be used illegally. How? Anytime a user of a p2p software program downloads or shares copy-righted material they are breaking the law.

The RIAA (Recording Industry Association of America) is on an active campaign to track down and sue file sharers who are breaking copy right infringement laws. And in more recent developments, the RIAA has sent letters to p2p networks demanding them to "immediately cease-and-desist from enabling and inducing the infringement of RIAA member sound recordings."

The RIAA is very serious about finding and suing people who are breaking copy-right infringement laws. It's strongly advised to take the lawsuit risks very seriously yourself BEFORE using a free file sharing download site.

- File Sharing Download Truth #2: The only way to get 100% legal music is with the "legitimately licensed" music sites.

It's true. Legitimately licensed sites are Internet-based services that provide downloads of music legally licensed from established record labels and the artists themselves.

This combined partnership between the music industry and the legal music sites, (like Napster, iTunes & Emusic) guarantees you 100% legal music downloads. In comparison, when using p2p file sharing software it's almost (if not completely) impossible to stay legal while using the file sharing program. Why?

Legal file sharing is only possible by following and complying with ALL relevant copyright laws. This means that when using a file sharing application, in order to stay legal, you must never publicly share, reproduce or distribute copy-righted material - ever!

Therefore, the only way to stay safe and avoid being targeted by the RIAA is by researching the copyright laws for each and every song BEFORE you download and/or publicly share the song online. Besides the fact that this research would be extremely time-consuming, it's also virtually impossible to do successfully.

- File Sharing Download Truth #3: File sharing networks can threaten your online privacy and security.

Although many file sharing applications are free, they make money by adding "adware" into the p2p software program.

Adware is software that works by large media companies offering shareware developers banner ads to put in their products. In return, the media companies provide the software developers a portion of the revenue generated from the banner sales.

And when done properly, adware is considered win-win. You'll get the file sharing software download for free, and the software developer will still get income for their product.

However, many file sharing networks also include potentially dangerous spying programs into their software programs as a way to make more money. "Spyware" is a generic term describing any software that secretly sneaks around in the back-round of your computer (usually without your permission or knowledge) gathering information and performing activities hidden to you.

Spyware is a big risk to your online security and privacy, and can cause serious damage to your computer by exposing you to dangerous viruses, worms, malware and online hackers. Don't get me wrong, making money online is not a bad thing. However, many file sharing download programs fail to disclose critical information and lawsuit risks about the use of their sharing software programs.

To Sum Up:

It's extremely important that you get all the facts about file sharing networks, including the risks involved, before using a any p2p program.

By learning all you can about how p2p file sharing download networks work, you'll be able to make an informed decision about which music download solution is right for you. And remember, there are many quality legal music sites available for you to choose from that offer cheap music downloads.

‘Things Just Ain’t the Same’: Hip-Hop’s Reconstruction of the Gangster Rap Identity

Gangster rap, or hardcore rap, is generally considered a sub genre of the larger category of rap music, which itself is a subcategory of hip-hop. Gangster rap is differentiable from other rap music in that it makes use of images of urban life associated with crime (Haugen, 2). According to the Encyclopedia Britannica definition of gangster rap, the top four images associated with the genre are violence, drugs, materialism and sexual promiscuity.

Gangster Rappers as Defining the Hip-Hop Social Group
As the hip-hop movement has gained recognition throughout the United States, it has established itself as one of the fastest growing social groups anywhere. In the late 1990s immediately following the murders of both Tupac Shakur and Christopher Wallace, two nationally known gangster rappers, a propaganda campaign escalated against rap music and the hip-hop culture (Slaughter). Although gangster rap only represented a small percentage of the hip-hop culture at the time, all hip-hop and rap music was instantly stereotyped negatively as being “gangter-like”. Why? Well, this gangster version of hip-hop was the highest selling and most recognized form of hip-hop music among the majority class. And many critics have determined that this is because America is in love with sex, drugs and violence (Whaley).

Hip-Hop’s Rejection of Inferior Social Group Status
Henri Tajfel, a social psychologist who developed a theory of inter-group relations and social change, argues that members of a social group deemed inferior by a majority class can either accept or reject their inferior position in society. If a group refuses to accept its inferior position in society as just, it will attempt as a group to change things (Coates, 8-9). A large number of hip-hop artists have used their musical lyrics to reject the inferior social status placed upon them by the majority class.

The Reconstruction of the Gangster Identity
I have found that hip-hop artists use lyrics, both musical and poetic, to redefine the negatives characteristics given to their culture by the majority class, and in the process, reconstruct the gangster identity. By examining these hip-hop and gangster rap lyrics as text, I will show ways in which the lyrics attempt to reconstruct the stereotyped gangster rap identity by examining different views of violence, drugs, materialism and sexual promiscuity. In the end, one tends to wonder: Who exactly are the real gangsters?

Violence
That the hip-hop culture represents gangster-like violence is perhaps the biggest disputed claim amongst hip-hop artists. In order to disprove this claim, many hip-hop artists have pointed to the violence that exists within the majority social group, and how it leads to violence all over the world.
In “Violence”, 2 Pac demonstrates his belief that violence was prevalent long before gangster rap existed:

I told em fight back, attack on society
If this is violence, then violent's what I gotta be
If you investigate you'll find out where it's comin’ from
Look through our history, America's the violent one

Here, the poet points to American society as “the violent one” and that he has to be violent in order to “fight back.”

In “Who Knew”, Eminem showed a similar viewpoint by expressing his belief that violence is a common occurrence in American society, yet not challenged in genres outside of the urban environment:

So who's bringin’ the guns in this country?
I couldn't sneak a plastic pellet gun through customs over in London
And last week, I seen a Schwarzaneggar movie
Where he's shootin’ all sorts of these bad guys with an Uzi

Here, the poet questions the existence of violence in a country that allows firearms and violent movies.

In “Casualties of War”, Rakim blames the United States government, specifically its Head of State, as the group causing the violence in society with their war-like ways:

I'ma get back to New York in one piece
But I'm bent in the sand that is hot as the city streets
Sky lights up like fireworks blind me
Bullets, whistlin’ over my head remind me...
President Bush said attack
Flashback to Nam, I might not make it back

In this text, the poet refers to our country’s decision to go to war as an example of the violence that exists amongst the majority social class.

In “The Watcher”, Dr. Dre redefines the negative characteristic of violence by pointing to the police force as the source of violence, and therefore, referring to them as “gangster-like”:
Things just ain't the same for gangstas
Cops is anxious to put people in handcuffs
They wanna hang us, see us dead or enslave us
Keep us trapped in the same place we raised in
Then they wonder why we act so outrageous
Run around stressed out and pull out gauges
Cause everytime you let the animal out cages
It's dangerous, to people who look like strangers

Here, the poet accuses the majority class of keeping them “trapped in the same place we raised in” and that the perceived violence is only due to the introduction of “people who look like strangers.”

These are examples of how hip-hop artists redefine the image of violence by showing how it exists or was created within the majority social group.

Drugs
Another common disputed stereotype of hip-hop artists is their use and distribution of illegal drugs. In attempts to redefine this negative characteristic, many hip-hop artists have pointed at the majority social group as the facilitator of drug abuse.

In “Justify My Thug”, Jay-Z speaks directly to members of government, raising questions about who has made the availability and use of these drugs possible:

Mr. President, there's drugs in our residence
Tell me what you want me to do, come break bread with us
Mr. Governor, I swear there's a cover up
Every other corner there's a liquor store - what is up?

In this example, the poet inquires as to why there is a liquor store in “every other corner” of his community.

In “I Want to Talk to You”, Nas uses the same approach to challenge the notion of drug distribution by asking his representatives what they would do in his situation:

Why y'all made it so hard, damn
People gotta go create their own job
Mr. Mayo,r imagine if this was your backyard
Mr. Governo,r imagine if it was your kids that starved
Imagine your kids gotta sling crack to survive

Here, the poet claims that the distribution of drugs is not only an effect of the poverty that exists in his environment, but also a means of survival.

In “Manifesto”, Talib Kweli actually accuses the government of being the body which allows drugs into the country:

Like the C.I.A. be bringin’ in crack cocaine bailin’ out of planes
With the George Bush connections, I push Reflection
Like I'm sellin’ izm, like a dealer buildin’ the system
Supply and the demand it's all capitalism
People don't sell crack cause they like to see blacks smoke
People sell crack cause they broke

In this example, the poet accuses the C.I.A. of flying drugs into the country, and again reiterates the point that it is a means of survival due to the “supply and demand” of a capitalist society.

In “Damn It Feels Good to be a Gangster”, the Geto Boys fully redefine the negative characteristic of drug distribution by accusing the President of being a drug dealer, and therefore, a gangster:

And now, a word from the President!
Damn it feels good to be a gangsta
Getting’ voted into the White House
Everything lookin’ good to the people of the world
But the Mafia family is my boss
So every now and then I owe a favor gettin' down
Like lettin' a big drug shipment through
And send 'em to the poor community
So we can bust you know who

These examples show how hip-hop artists redefine the image of being drug dealers and users by again pointing to the majority class as the creator of the drug problem in this country.

Materialism
Hip-hop music is also seen by the majority class as a genre dominated by materialism. Again, artists point back to the majority class in an attempt to redefine this negative characteristic.

In “Respiration”, Black Star points to all the wealth surrounding urban areas, and how it absorbs the lower class in materialism, making them want parts of that wealth:

Where mercenaries is paid to trade hot stock tips
For profits, thirsty criminals take pockets
Hard knuckles on the second hands of workin’ class watches
Skyscrapers is colossus, the cost of living
Is preposterous, stay alive, you play or die, no options

Here, the poet talks about various materialistic aspects of the majority class, and how the lower class must “play or die” to “stay alive.”

In “All Falls Down”, Kanye West actually blames this materialism on American society:

It seems we living the American dream
But the people highest up got the lowest self esteem
The prettiest people do the ugliest things
For the road to riches and diamond rings

In this example, the poet blames the “American dream” for materialism, saying it causes people to “do the ugliest things” for “riches and diamond rings.”

In “Los Angeles Times”, Xzibit also blames this materialism on the majority class, claiming that is what the youth are taught coming up in urban environments:

Welcome to L.A.
Where you can see the whole city burning
Cause the cops got Uzis and the dealers keep serving
And your kids ain't learning it, except this
Sex power and wealth, forget everything else

Here, the poet expresses his belief that certain aspects of materialism, including “power and wealth” are taught to children through occurrences in society.

These are examples how hip-hop artists redefine the negative characteristic of being materialistic by showing examples of how this materialism is prevalent in the majority class, and often created within that class.

Sex
And the final debated stereotype of the hip-hop social class is that they are sexually promiscuous, often leading to disrespectful treatment towards women. The poets also attempt to redefine this stereotype by blaming the core of the problem on society.

In “Pussy Galore”, the Roots claim that the country’s obsession with sex is pushed by sexually-driven marketing campaigns:

Lookin' out the limo window up at the billboards
200 miles, she was the only thing I saw
Promotin' everything, from the liquor to the nicotine
Cell phones, anti-histamines, chicken wings
You gotta show a little skin to get them listening
For real yo, the world is a sex machine

In this example, the poet retells a personal experience in which he saw sex advertisements as “promotin’ everything.” And in order to “get them listening”, he claims, “you gotta show a little skin.”

In “Get By”, Talib Kweli blames this sexual obsession on what we view on television:

The TV got us reachin’ for stars
Not the ones between Venus and Mars,
The ones that be readin’ for parts
Some people get breast enhancements and penis enlargers

Here, the poet expresses his belief that television creates a misconception of what people should be sexually, and that contributes to the promiscuity that is being blamed on the hip-hop movement.

Hip-hop artists have used their lyrics and poetry to influence the rejection and reconstruction of the gangster identity that plagues their social class. This is accomplished through the redefining of negative characteristics assigned by the majority class. In most cases, these redefinitions include pointing to the majority class as the real holders of these negative characteristics. The redefining of these “gangster-like” images through hip-hop lyrics helps to reconstruct the gangster identity by questioning “gangster-like” behaviors and which social class actually has these behaviors. So the question presented is: Who exactly are the gangsters?

Works Cited / Discography
2 Pac. 2Pacalypse Now. Jive Records, 1991.
Black Star. Mos Def & Talib Kweli are Black Star. Rawkus Records, 1998.
Coates, Jennifer. Women, Men and Language. Longman Publishing, New York: 1993.
Dr. Dre. The Chronic 2001. Interscope Records, 1999.
Eminem. The Marshall Mathers LP. Interscope Records, 2000.
Geto Boys. Uncut Dope LP. Interscope Records, 1999.
Haugen, Jason. “‘Unladylike Divas’: Language, Gender and Female Gangster Rappers.” Popular Music and Society: December, 2003.
Jay Z. The Black Album. Def Jam, 2003.
Kanye West. College Dropout. Roc-A-Fella Records, 2004.
Nas. I Am. Sony Records, 1999.
Rakim. Don’t Sweat the Technique. MCA Records, 1992.
Rawkus Records. Lyricist Lounge Volume 1. Priority Records, 1999.
Slaughter, Peter. “Attack on Rap Music.” Barutiwa Weekly News. June 14, 1997.
Talib Kweli & DJ Hi-Tek. Train of Thought. Rawkus Records, 2000.
Talib Kweli. Quality. Rawkus Records, 2003.
The Roots. Phrenology. MCA Records, 2002.
Whaley, Angela. “Hip Hop is Not for Sale.” Colorado State University’s Talking Back: Volume 3, Issue 1.
Xzibit. 40 Days and 40 Nights. Loud Records, 1998.