Termanology's "If Heaven Was a Mile Away"
After a whirlwind of a year that included various press and media mentions, the filming of his music video by esteemed director Rik Cordero (that featured UGK’s Bun B) and wrapped up with a spot on Method Man & Redman’s “Still High” tour, one might assume that hip hop hopeful, Termanology would be ready for a little rest and relaxation. The average person would be kicking back, thinking about where to celebrate New Year’s Eve, making mental notes of all the resolutions they won’t stick to in ’09.
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Well, what do you know…it’s Monday already. Time seems to move so fast. This week in the Mixtape Mondays 
segment, we have some Ratatat for you guys. More specifically, we have the Ratatat Remixes Volume I. Like the mixtapes prior, this mixtape is nothing new. It came out nearly four years ago, but it’s still great to blast. Ratatat’s sound incorperates electronic influences and is comprised of heavy beats using the synth and organ. Hailing from New York City, Ratatat is comprised of guitarist Mike Stroud and synthesizer driver and producer Evan Mast. They were made famous with the release of their hit singles Seventeen Years and Germany to Germany. Seventeen Years has since been featured in a Hummer Commercial and the movie Cloverfield, among other things. On Ratatat Remixes Volume I, the duo integrates electronica into 14 hip hop tracks, including Kanye West’s Get Em High, G-Unit’s Stunt 101, and Raekwon’s Smith Bros. This is one mixtape album you must download.
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In the late 1970′s and early 1980′s, something amazing was happening to New York City’s urban youth; they 
began to deviate from the cultural norms and embrace new, ‘strange’ practices like graffiti, breakdance, and hip-hop. Martha Cooper, a photo-journalist from New York City, captured on film the entire movement in its infancy. All of this was happening at a time when society viewed the movement as asinine, idiotic, ridiculous, and even threatening. Most people thought that ‘real’ art was in galleries, not alleys; ‘real’ dance belonged in ballrooms, not street corners; ‘real’ music emerged from guitars, not beat machines. Take a look at this fascinating video that documents everything Martha Cooper accomplished from 1979-1984 in Hip Hop Files.
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