Logitech has unveiled their Harmony Link remote control system that aims to make universal control simple, powerful and very cool. You get a WiFi-enabled Harmony Link unit that can control up to 8 devices including televisions, cable and satellite set-top boxes, Blu Ray players and audio systems. You’re then able to use the Android (or Broadcasting platform : YouTube Source : Android Phone Fans Discovery Date : 20/09/2011 14:45 Number of articles : 3
Logitech has unveiled their Harmony Link remote control system that aims to make universal control simple, powerful and very cool. You get a WiFi-enabled Harmony Link unit that can control up to 8 devices including televisions, cable and satellite set-top boxes, Blu Ray players and audio systems. You’re then able to use the Android (or Broadcasting platform : YouTube Source : Android Phone Fans Discovery Date : 20/09/2011 14:45 Number of articles : 3
‘If you’re not a baseball fan, it doesn’t mean you’re not going to love the movie,’ he tells MTV News in our Fall Movie Preview. By Kara Warner Brad Pitt and Jonah Hill in “Moneyball” Photo: Melinda Sue Gordon/Columbia In addition to his trimmed-down figure , Jonah Hill fans will see a new side of the “Superbad” and “Get Him to the Greek” actor come September 23, when “Moneyball” drops into theaters: his dramatic acting chops. The film is inspired by Michael Lewis’ 2003 best-seller of the same name, which revolved around Oakland A’s general manager Billy Beane and how he recruited undervalued yet extremely talented baseball players to build successful teams. In the film, Hill plays Peter Brand, a statistician who helps Beane (Brad Pitt) select players based on in-depth analysis of complex baseball statistics. Click for exclusive photos from Fall’s biggest flicks. When MTV News caught up with Hill recently, he was excited to talk about his dramatic work and emphasized the fact that the film is more about life than baseball. MTV : Did you read the book before you started the film? Jonah Hill : I had just been told that [director] Bennett [Miller] wanted to meet me and I should read the book “Moneyball” in preparation, and so I did, and I really, really loved it. MTV : Were you a baseball fan beforehand? And how did your appreciation for the game evolve over the course of working on the film? Hill : I grew up with baseball and really respect and appreciate the game, but in the past, since I was probably 12 or 13, I haven’t followed closely. So I wouldn’t say I was an avid fan, but I grew up being a Dodgers fan. But if you’re not a baseball fan, it doesn’t mean you’re not going to love the movie. We used baseball as such a metaphor for life. The movie is about these guys trying to create a baseball team with no money, but it’s really about choices and being an underdog, so I really can start to relate the game to the people playing it and seeing them as people and wondering about them, and I couldn’t help but start wondering about all the players as people and do their stats represent them and their value — that’s a lot of what the movies about. MTV : How is the film not just a sports movie? Hill : I hesitate to even call it a sports movie, because if you love baseball, you’re going to love it obviously that much more, but for people that I know that have seen it that don’t know the first thing about baseball, [they] love it because it’s a movie about underdogs. It’s really about being undervalued and proving your worth and value and the decisions you make in life. MTV : Everyone raves about Aaron Sorkin’s scripts and dialogue. What was your impression of the script? How does it rank versus some of the others you’ve seen? Hill : The script was written by Aaron Sorkin and Steve Zaillian. … I don’t think there’s any debate they are the two of the most successful and respected screenwriters in Hollywood, so between them and Scott Rudin and Mike De Luca, our producers, and Bennett Miller and Michael Lewis, who wrote the book, and Brad and Philip [Seymour] Hoffman and Robin Wright, I can say it was pretty crazy to be second lead in this movie. It was a laundry list of people I admired and respected, and it kinda didn’t seem real for the first few weeks I got the part. MTV : Was there a learning curve for you? Did you feel like more of a student on this production? Hill : I think I always feel like a student. I always work with people I admire or else I don’t go to work. To me, it’s about learning from people. The best advice I ever got was “Shut up and listen.” … This was obviously the most different. Drama, I had only done one other one, this movie “Cyrus,” and for me, those were two experiences, because I had done so many comedies, where I learned something totally different. MTV : What was your experience like with Brad Pitt, as far as the actor and the person? Hill : He’s great at both. I think he and I are really close in the movie. The movie is really the two of us playing off of each other a majority of the time, so if that chemistry wasn’t there between us, I think the movie would have completely failed. So I think we both knew that going in, and I think we both happened to like each other a lot. We definitely played some pranks on each other. That part of [Brad Pitt] lore is true, that he likes to do that. We played some really funny pranks — his a lot funnier than mine — and we became cool. He’s a really admirable dude, and I think he has inspired me in a lot of ways, both creatively and personally. If you look at his filmography, his choices are so diverse and cool and eclectic that it’s something I really just took away. He was really cool about sharing his history with me and really pushing me in a great way to make interesting choices. MTV : Can you give me a couple of those pranks? Hill : There were some golf-cart wars. We had these golf carts, and we would race them all the time to set and crash into each other. And he started messing with mine and eventually turned mine into a full-fledged Wham! mobile — the band Wham! — where eventually there was a bigger-than-life-sized portrait of myself as a member of Wham! next to George Michael on the front of it. It was bright pink, and eventually, by the end, if you turned on my golf cart, it blasted “Wake Me Up Before You Go-Go” and could not be turned off unless the engine was turned off. Sometimes I feel like he has a team of scientists working on f—ing with me. MTV : So what was your best retaliation you think? Hill : I got him with a prank to his car that I’m not going to reveal yet. It’s a secret. From “Abduction” to “Muppets, “Moneyball” to “Breaking Dawn,” the MTV Movies team is delving into the hottest upcoming flicks in our 2011 Fall Movie Preview. Check back daily for exclusive clips, photos and interviews with the films’ biggest stars. Check out everything we’ve got on “Moneyball.” For breaking news, celebrity columns, humor and more — updated around the clock — visit MTVMoviesBlog.com . Related Videos Fall Movie Preview 2011 Related Photos Exclusive Photos From Fall’s Biggest Flicks
In every person’s film catalog, aka the dusty shelf of movies you have in your home, there are some deep dramas, some classic comedies and some thrilling action movies. Usually hidden in the back of that same shelf though are at least one or two movies that are extremely ratchet. The kinds that cause you to have to explain to nosey guests not only why you have them but why you love them. But there’s no shame in loving a ratchet movie or two, and everyone has their faves. We’ve come up with a list of 10 films that are questionable in taste but get the most play in DVD players, or dare I say, old VHS players, time and time again. They’re all known for some crazy, stereotypical or random behavior from their characters, yet they manage to have us rollin’! And don’t front! I’m sure you’ve seen at least a handful of the ones on this list. Feel free to shout out your faves! Continued at MadameNoire.com
Remember that folk music movie Joel and Ethan Coen were working on back in June? It has co-financing and a title. Variety reports that StudioCanal will co-finance the film, now titled Inside Llewyn Davis , with Scott Rudin set to produce. The film — which will reportedly feature “live music” — is inspired, in part, by the life of famed musician Dave Van Ronk, an important figure in the growth of the folk music scene in New York’s Greenwich Village in the 1960s. [ Variety ]
Ready or not, the Oscar Equinox is upon us: The Venice Film Festival is underway, the Telluride Film Festival launches this weekend, and the Toronto International Film Festival commences a week from tomorrow. Amid that crop of movies will be the bulk of this year’s awards-season contenders, which will compete against an elite class already having opened in theaters and another fistful yet to come this winter. Same game, new players. And Movieline’s redoubtable Oscar Index has the preliminary breakdown of who to watch.
NINE DAYS! LATE EDIT: News release from The Advocate late last night : The East Baton Rouge Parish district attorney said he is pursuing charges against two men involved in a June 5 fight with LSU football players Zach Mettenberger and Sam Montgomery in which a loaded gun was pointed at the players. District Attorney Hillar Moore III said charges will likely be filed against Marcus Adams, 22, and Robert… Broadcasting platform : YouTube Source : And The Valley Shook Discovery Date : 24/08/2011 19:32 Number of articles : 2
We drop in on the band during rehearsals at the iconic Forum and see parallels between the two, in Bigger Than the Sound. By James Montgomery The Red Hot Chili Peppers’ Anthony Kiedis Photo: MTV News The Forum — the slightly decrepit, strangely Roman arena on the corner of Manchester and Prairie in Inglewood, California — first opened its doors on December 30, 1967, and has, in the years that followed, played host to both the “Showtime” Lakers and the Gretzky Kings, not to mention just about every L.A.-area concert you’ve ever heard of, or were too drunk to remember. Parts of Led Zeppelin’s live How the West Was Won were recorded here, as were live albums by Cream, Steppenwolf, the Bee Gees and P-Funk, to name just a few. Over the course of its existence, it’s been known alternately as “the Fabulous Forum,” “the Los Angeles Forum” (even though it’s in Inglewood) and, in a move of corporate branding so subtle most locals didn’t know the difference, “the Great Western Forum.” Now, it’s mostly just an oval located in the center of an asphalt ocean in a less-than-desirable part of town. The Lakers and the Kings bolted for the shiny new Staples Center in 1999, and the live shows dried up soon after. A church owned it until last year and now people just jog around it. It is a fate unbecoming of such a legendary venue, really — a slow decline into obsolescence and calisthenics — and yet, this is how these things tend to go. Michael Balzary and Anthony Kiedis — the slightly graying yet strangely sculpted half of the Red Hot Chili Peppers — first opened their doors (or, you know, were born) on October 16 and November 1, 1962, respectively, and have, in the years that followed, arisen from the L.A. punk scene to achieve the kind of heights few in the music business can dare dream of: 65 million albums sold worldwide, nine Hot 100 singles in the U.S., and seven Grammy Awards, to name just a few. Over the course of their existence, the pair have been known as Flea and, well, Anthony (or maybe Sir Psycho Sexy). They have recorded some of the most celebrated albums of both the alt-rock heyday — namely, Mother’s Milk and Blood Sugar Sex Magik, — and the uncertain times that followed (1999’s Californication ), and they most certainly do calisthenics. And yes, you can probably see where I’m going with this. Because it’s not exactly difficult to draw parallels between the three entities: The Forum, a grandiose (and somewhat gaudy) monument to ’60s idealism and the excesses that followed, Flea and Kiedis the poster children for the decay that set in once that idealism gave way to cold hard fact, when those excesses devolved into plain old addictions. All three grew preternaturally old beneath the hazy sunshine of Southern California, and all three proudly wear the scars that came with that aging. They have each witnessed incredible highs and crushing lows, triumphs and tragedies, and they are all still standing. And because of that, both the arena and the Chili Peppers, which Flea and Kiedis formed in the obtuse shadow of the arena back in 1983, have become Los Angeles icons, the kind with pock marks on their faces and dirt beneath their fingernails; the real kind. In fact, about the only difference between the Forum and the Peppers seems to be that the latter is still fully operational. Other than that, they belong to each other. And yet, it is perhaps due to nothing more than grand cosmic coincidence that the Peppers have chosen the Forum as the rehearsal spot for their upcoming world tour, a very big endeavor in support of their very big I’m With You, the first new Chili Peppers record in more than five years. Or at least that’s what they told me on Wednesday when I stopped by to host the premiere of their brand-new “The Adventures of Rain Dance Maggie” video. “We just got the call to show up to the Forum for rehearsal and were like, ‘Yes, that’s a good place to do it!’ ” Kiedis said. “They needed space to goof around with our stage and our lights … [but] I was warming up in one of the cavernous bowels of this beautiful institution, and I looked up and there was a great old photograph of [former Lakers’ guard] Nick Van Exel, charging me with the ball, number nine, looking me down, big head, big heart, big eyes … remember the time he got the ref?” Of course, I got the feeling, based on the second part of that statement, that it wasn’t mere coincidence that brought the Chili Peppers to the Forum, nor was it a love of Lakers ball (though, to be fair, Flea did point out that “This building is the home of Magic Johnson, Kareem Abdul-Jabbar, Byron Scott, Norm Nixon [and] many, many Bob McAdoos”). Instead, it was something much bigger; a love for the old building, or even a sense of purpose. After all, the Forum was where they learned how to be musicians, much like the long lost Club Lingerie, the punk spot operated by the late Brendan Mullen, who is eulogized on I’m With You ‘s “Brendan’s Death Song.” It is where they underwent several passages of manhood. In a way, they grew up here. “The second rock show I ever saw here was with [Anthony],” Flea laughed, peering up at the vaulted ceiling. “We came in here to see the Who, we snuck in, and we snuck in to see Queen here, too.” “We used to not have any money was the thing, but we wanted to go to the shows,” Kiedis smiled. “So we’d get right up to where they let you in at the turnstile, and we’d get down and go [through], and if they’d catch us, God bless ’em. But they never could.” So, in a sense, without the Forum, there probably would be no Red Hot Chili Peppers. Which is why they treat the place with such reverence, why, during rehearsals, they joined drummer Chad Smith and new guitarist Josh Klinghoffer to tear through old songs with a fury usually reserved for the actual live shows. It was almost as if they were paying tribute to the old ghosts that haunt the twisting corridors, or, more probably, to the bands that have brought the roof down over the past four-plus decades. It was an amazing thing to watch, and I couldn’t think of a more fitting setting. After all, the Forum and the Red Hot Chili Peppers share a bond much stronger than you could possibly imagine. They are both survivors. And to witness the band still operating at their peak, nearly 28 years after they first began, well, it somehow fills you with hope for the venerable old venue too. After all, the Forum deserves a comeback too, or at least a better fate than folks jogging around its perimeter. And maybe, in some small way, the Chili Peppers’ rehearsals — buoyant, fun, funky and, most important of all, loud — can help breathe new life into the old place, to lift it up and set it back on its feet. You get the feeling Flea and Kiedis feel a sense of duty to at least try. After all, it’s the least they could do. Related Videos MTV First: Red Hot Chili Peppers Related Artists Red Hot Chili Peppers
Def Jam VP of A&R Bu Thiam breaks down the tracks on Watch the Throne with MTV News By Rob Markman Kanye West and Jay-Z Photo: Kevin Mazur/ WireImage Since Kanye West first announced Watch the Throne on Twitter in August 2010, the tag-team LP with Jay-Z had been shrouded in mystery. In the months leading up to the album’s August 8, 2011 release, details remained sketchy. There was no loaded press run, super radio push, music video or album leaks leading up to the drop. In fact, “H.A.M” and “Otis” were the only songs released to the general public; beyond that there was nothing. A few were in the know, like Def Jam VP of A&R Bu Thiam who, was there throughout the recording process and helped Hov and Yeezy achieve their sonic goal. “As an A&R it’s a process of trying to bring out the artist’s creative ideas and their visions,” Thiam told MTV News of his general job function in an exclusive interview. However, when dealing with such accomplished artists like Kanye and Jay, who both have classic works under their belts, Thiam’s role wasn’t that of a traditional A&R rep. “When it comes to big artists like Jay-Z, Kanye West, Rihanna, a label can’t just assign you to a project like that,” he said. “You can’t just be like, ‘Yo Kanye we’re gonna have such and such be your A&R.’ He’s gonna be like, ‘Who the f— is that? Hell no.’ So they have to really rock with you off [general principle] and that’s how the whole process goes.” And rock they did. From start to finish, Bu Thiam was there, lending his professional opinions, helping to build tracks and carry them from concept to a fully mixed and mastered product. There aren’t too many people who can break down Watch the Throne Breakdown track-by-track, but then again there aren’t many people in the game like Bu Thiam. Watch the Throne Breakdown “No Church in the Wild” featuring Frank Ocean (Produced by 88 Keys, Kanye West and Mike Dean) “Collectively [working with Frank Ocean] was both of their ideas. It was like, ‘Yo this guy is incredible.’ They were a fan of him prior and it was like, ‘Yo we should fly him to New York to come out here.’ [Frank] went in and he just went to work. That kid is incredible, man. That particular record was one take. It just was like, [sings] ‘What’s a king to a God.’ We were actually in the room like, ‘Yo he f—ing nailed it.’ ” “Lift Off” featuring Beyoncé (Produced by Kanye West, Jeff Bhasker and Mike Dean) ” ‘Lift Off’ was definitely one of the earlier records [recorded for the album]. [Putting the sound effects on the record] is a process because initially a record might just be a beat, a chorus and a hook and as [Kanye] hears things he adds and takes things out.” ” N—as in Paris ” (Produced by Hit-Boy, Kanye West and Mike Dean) “Them guys, everything they rap about is what they actually go through. So when you hear that album it’s real. When Jay says, ‘I ball so hard motherf—ers wanna fine me,’ they gave him a fine because he took a picture with the college players at the NCAA tournament. So he got a fine for that in real life. So when you hear it you think he’s braggin’, but no, it’s really true.” ” Otis ” featuring Otis Redding (Produced by Kanye West) “[Kanye] was late for his flight, we were in the studio working all day and he was late for his flight. As we were leaving he was like, ‘Yo hold on for a second.’ So he drops his bags and goes to the MPC [beat machine] and his assistant is rushing him and he’s just f—-ing with [the beat]. What’s so crazy is the whole time he’s doing that Jay is writing his verses in his head. But Jay is watching the [NBA] playoffs, I think it was the championship; Miami and Dallas. So Jay is watching the playoffs. I’m not even thinking Jay is paying attention to what ‘Ye is doing and by the time he is finished it’s like ‘I invented swag …’ And I’m like, ‘What the f— just happened?’ ” “Gotta Have It” (Produced by The Neptunes and Kanye West) “It’s like a beat battle. ‘Ye might play something and then Pharrell might play something. They go back and forth man and then they come to a point where they come with one beat.” “New Day” (Produced by Kanye West, RZA and Mike Dean) “The energy from that was just a situation when ‘Ye and Jay were talking about — because both of the guys don’t have kids yet. So, it was just a conversation that they were talking about just having kids and how they’re gonna raise their kids because of the success that they’re having now.” “That’s My Bitch” (Produced by Kanye West, Q-Tip and Jeff Bhasker) “The way Jay writes records you have to really go back and listen to ’em. The way he said ‘bitch’ and ‘dog’ and then ‘get ya own’ like how he used the Big Pun [flow]. So you have to really go back and listen to it three or four times to be able to say anything about a Jay-Z record. Really he’s bigging up his wife through the whole verse, but if you’re small minded, you won’t catch that.” “Welcome to the Jungle” featuring Swizz Beatz (Produced by Swizz Beatz) “We were at the Mercer [Hotel in New York] and Pharrell came by, Swizz came by, Rihanna came by it was like a room full of superstars. Swizz came through with [shoe designer] Christian Louboutin — the guy! It was really that guy.” ” Who Gon Stop Me ” (Produced by Sak Pase of the Jugganauts and Kanye West) “Verse Simmonds actually did the chorus for ‘Who Gon Stop Me.’ Initially if you hear the second half of that [finished] beat.” The [entire] song was [originally just] the second half. The dub step factor came later on in the process. I gotta give [Kanye] all credit for that, when he came back from Paris he was like, ‘Yo I added this piece to the beat.’ ” “Murder to Excellence” (Produced by Swizz Beatz and S1) “As much as people may think that Jay talks about money and cars, he’s really not that guy. Of course he has it, but his whole mission is to build. He wants to have others join him, he’s trying to build black excellence, like the black youth as the next [generation of] executives.” “Made in America” featuring Frank Ocean (Produced by Sak Pase of the Jugganauts) “That’s what Frank is about if you listen to his music you can tell that he’s a very smart guy. We were in the studio, Jay wasn’t there, ‘Ye wasn’t there, it was just me and Noah — one of the engineers. [Frank Ocean] was just thinking of different concepts, he was there for like eight hours, then probably like six in the morning he was like ‘Sweet baby Jesus.’ ” “Why I Love You” featuring Mr Hudson (Produced by Mike Dean and Kanye West) “There is only so much you can do for a person. Like Jay said [in the song], ‘I tried to teach n—as to be kings and all they wanted to be was soldiers.’ Like that’s a real line, that’s how he felt. [Kanye and Jay] do get a lot of criticism in their careers and how they move and I think they just wanted to express it.” Related Videos Welcome To Jay-Z And Kanye West’s ‘Watch The Throne’ Week Related Photos Jay-Z And Kanye West ‘Watch The Throne’ Listening Related Artists Kanye West Jay-Z
Def Jam VP of A&R Bu Thiam breaks down the tracks on Watch the Throne with MTV News By Rob Markman Kanye West and Jay-Z Photo: Kevin Mazur/ WireImage Since Kanye West first announced Watch the Throne on Twitter in August 2010, the tag-team LP with Jay-Z had been shrouded in mystery. In the months leading up to the album’s August 8, 2011 release, details remained sketchy. There was no loaded press run, super radio push, music video or album leaks leading up to the drop. In fact, “H.A.M” and “Otis” were the only songs released to the general public; beyond that there was nothing. A few were in the know, like Def Jam VP of A&R Bu Thiam who, was there throughout the recording process and helped Hov and Yeezy achieve their sonic goal. “As an A&R it’s a process of trying to bring out the artist’s creative ideas and their visions,” Thiam told MTV News of his general job function in an exclusive interview. However, when dealing with such accomplished artists like Kanye and Jay, who both have classic works under their belts, Thiam’s role wasn’t that of a traditional A&R rep. “When it comes to big artists like Jay-Z, Kanye West, Rihanna, a label can’t just assign you to a project like that,” he said. “You can’t just be like, ‘Yo Kanye we’re gonna have such and such be your A&R.’ He’s gonna be like, ‘Who the f— is that? Hell no.’ So they have to really rock with you off [general principle] and that’s how the whole process goes.” And rock they did. From start to finish, Bu Thiam was there, lending his professional opinions, helping to build tracks and carry them from concept to a fully mixed and mastered product. There aren’t too many people who can break down Watch the Throne Breakdown track-by-track, but then again there aren’t many people in the game like Bu Thiam. Watch the Throne Breakdown “No Church in the Wild” featuring Frank Ocean (Produced by 88 Keys, Kanye West and Mike Dean) “Collectively [working with Frank Ocean] was both of their ideas. It was like, ‘Yo this guy is incredible.’ They were a fan of him prior and it was like, ‘Yo we should fly him to New York to come out here.’ [Frank] went in and he just went to work. That kid is incredible, man. That particular record was one take. It just was like, [sings] ‘What’s a king to a God.’ We were actually in the room like, ‘Yo he f—ing nailed it.’ ” “Lift Off” featuring Beyoncé (Produced by Kanye West, Jeff Bhasker and Mike Dean) ” ‘Lift Off’ was definitely one of the earlier records [recorded for the album]. [Putting the sound effects on the record] is a process because initially a record might just be a beat, a chorus and a hook and as [Kanye] hears things he adds and takes things out.” ” N—as in Paris ” (Produced by Hit-Boy, Kanye West and Mike Dean) “Them guys, everything they rap about is what they actually go through. So when you hear that album it’s real. When Jay says, ‘I ball so hard motherf—ers wanna fine me,’ they gave him a fine because he took a picture with the college players at the NCAA tournament. So he got a fine for that in real life. So when you hear it you think he’s braggin’, but no, it’s really true.” ” Otis ” featuring Otis Redding (Produced by Kanye West) “[Kanye] was late for his flight, we were in the studio working all day and he was late for his flight. As we were leaving he was like, ‘Yo hold on for a second.’ So he drops his bags and goes to the MPC [beat machine] and his assistant is rushing him and he’s just f—-ing with [the beat]. What’s so crazy is the whole time he’s doing that Jay is writing his verses in his head. But Jay is watching the [NBA] playoffs, I think it was the championship; Miami and Dallas. So Jay is watching the playoffs. I’m not even thinking Jay is paying attention to what ‘Ye is doing and by the time he is finished it’s like ‘I invented swag …’ And I’m like, ‘What the f— just happened?’ ” “Gotta Have It” (Produced by The Neptunes and Kanye West) “It’s like a beat battle. ‘Ye might play something and then Pharrell might play something. They go back and forth man and then they come to a point where they come with one beat.” “New Day” (Produced by Kanye West, RZA and Mike Dean) “The energy from that was just a situation when ‘Ye and Jay were talking about — because both of the guys don’t have kids yet. So, it was just a conversation that they were talking about just having kids and how they’re gonna raise their kids because of the success that they’re having now.” “That’s My Bitch” (Produced by Kanye West, Q-Tip and Jeff Bhasker) “The way Jay writes records you have to really go back and listen to ’em. The way he said ‘bitch’ and ‘dog’ and then ‘get ya own’ like how he used the Big Pun [flow]. So you have to really go back and listen to it three or four times to be able to say anything about a Jay-Z record. Really he’s bigging up his wife through the whole verse, but if you’re small minded, you won’t catch that.” “Welcome to the Jungle” featuring Swizz Beatz (Produced by Swizz Beatz) “We were at the Mercer [Hotel in New York] and Pharrell came by, Swizz came by, Rihanna came by it was like a room full of superstars. Swizz came through with [shoe designer] Christian Louboutin — the guy! It was really that guy.” ” Who Gon Stop Me ” (Produced by Sak Pase of the Jugganauts and Kanye West) “Verse Simmonds actually did the chorus for ‘Who Gon Stop Me.’ Initially if you hear the second half of that [finished] beat.” The [entire] song was [originally just] the second half. The dub step factor came later on in the process. I gotta give [Kanye] all credit for that, when he came back from Paris he was like, ‘Yo I added this piece to the beat.’ ” “Murder to Excellence” (Produced by Swizz Beatz and S1) “As much as people may think that Jay talks about money and cars, he’s really not that guy. Of course he has it, but his whole mission is to build. He wants to have others join him, he’s trying to build black excellence, like the black youth as the next [generation of] executives.” “Made in America” featuring Frank Ocean (Produced by Sak Pase of the Jugganauts) “That’s what Frank is about if you listen to his music you can tell that he’s a very smart guy. We were in the studio, Jay wasn’t there, ‘Ye wasn’t there, it was just me and Noah — one of the engineers. [Frank Ocean] was just thinking of different concepts, he was there for like eight hours, then probably like six in the morning he was like ‘Sweet baby Jesus.’ ” “Why I Love You” featuring Mr Hudson (Produced by Mike Dean and Kanye West) “There is only so much you can do for a person. Like Jay said [in the song], ‘I tried to teach n—as to be kings and all they wanted to be was soldiers.’ Like that’s a real line, that’s how he felt. [Kanye and Jay] do get a lot of criticism in their careers and how they move and I think they just wanted to express it.” Related Videos Welcome To Jay-Z And Kanye West’s ‘Watch The Throne’ Week Related Photos Jay-Z And Kanye West ‘Watch The Throne’ Listening Related Artists Kanye West Jay-Z
