#Act 2: Patents of Nobility (The Turn) | Explore Tumblr Posts and Blogs

lignes2frappe · 6 years

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CES ALBUMS DE RAP US QUI NE SONT JAMAIS SORTIS

Et promis on ne va même pas vous parler de « Detox »...

Des albums de rap il en sort plusieurs centaines, plusieurs milliers par an. Il ne suffit cependant pas d’être signé en major pour voir sa musique atterrir dans les bacs. Et ce même lorsqu’on est un poids lourd du game.

Problèmes de compatibilités artistiques, de calendriers, de plans business… nombreuses sont les raisons qui poussent un album à rester confiné dans les chambres fortes des studios d’enregistrement.

Retour sur quelques-uns de ces « et si ? » les plus célèbres qui auraient pu changer à jamais la face du hip hop.

50 Cent – Power of the Dollar

En 2000 lorsque Columbia Records apprend avec stupeur que Curtis Jackson a pris neuf balles dans le buffet sur un parking du Queens, plutôt que de profiter du buzz et de la publicité gratuite, la maison de disque décide de couper les ponts et de reporter aux calendes grecques la sortie de ce premier album.

Moins frileux, Interscope/Shady Records s’est empressé de signer le brûleur de mixtapes. Le reste appartient à l’histoire…

Excepté le single How to Rob (sur lequel 50 s’en prend à tous les cadors de la scène new-yorkaise), Power of the Dollar n’a jamais été officiellement commercialisé (les pistes sont toujours la propriété de Columbia). Le disque a néanmoins depuis été abondamment piraté.

Birdman & R Kelly – Best of Both Worlds 2

Suite à sa collaboration de triste mémoire avec Jay-Z (à l’époque ça s’écrivait avec un tiret), Kell’s a néanmoins décidé en 2003 de remettre le couvert en compagnie cette fois du boss de Cash Money Records avec qui il venait de poser sur différents remix (Thoia Thoing, Hell Yeah de Ginuwine).

Maintes fois annoncée finalisée et sur le point de sortir, cette suite n’a cependant jamais vu le jour. La faute au Joueur de Flûte du rnb (Pied Piepper en VO) qui a mis un lapin à l’homme oiseau pour repartir en tournée avec Jay-Z et sortir l’encore plus nul Unfinished Business.

Une indélicatesse peu au gout de Birdman qui déclarera quelques année plus tard que cette aventure aura été « son pire investissement, une vraie perte de temps », traitant au passage le chanteur de « clown-ass n*g#a ». Il faut dire qu'un film était également au programme. Les deux hommes finiront par se réconcilier sur le morceau We Been On.

Jay Electronica – Act II: Patents of Nobility (the Turn)

Il est désormais fort à parier que le monde du hip hop devra à jamais se contenter d’Act I: The Eternal Sunshine comme témoignage quais-unique du talent du MC le plus énigmatique du 21ème siècle.

Cette mixtape concept, longue de 15 minutes sur lequel il rappait sur des instrus composées par Just Blaze et Erykah Badu et inspirées par le film Eternal Sunshine of the Spotless Mind (littéralement « L'éclat éternel de l'esprit immaculé ») en avait alors rendu ouf' plus d’un.

Huit ans après les faits, presque cinq ans après avoir signé sur Roc Nation et quatre ans après avoir clamé que l’album était terminé et avoir révélé une tracliskt wtfuckesque au possible (featuring Kanye West, Charlotte et Serge Gainsbourg, Diddy, Ronald Reagan !), Jay E, aujourd’hui âgé de 38 ans semble être passé à autre chose, entre tweets subliminaux et relations de couple avec une héritière de la famille Rothschild.

Reste que si l’on en croit les quelques morceaux lâchés çà et là sans crier gare (Better in Tune With the Infinite, Road to perdition), l’album existerait bel et bien…

MC Hammer – Too Tight

Si l’épopée Death Row avait perduré quelques années de plus il est fort probable que la maison mère du gangsta rap californien aurait pris une direction artistique qui en aurait surpris plus d’un. Lorgnant de plus en plus vers le maintstream (album de Noël, signature de Danny Boy…), Suge Knight avait engagé le déjà déclinant MC Hammer en espérant lui faire retrouver son lustre d’antan.

Une décision qui a beaucoup jouer dans le départ de Dre soit dit en passant.

Le Benny B US aura le temps d’enregistrer un album, ironiquement intitulé Trop Serré (rapport à ses fameux pantalons), mais la mort de 2Pac combinée à l’incarcération de Suge le pousseront à quitter le label. Reste quelques morceaux qui ont fait surface de çà et là et qui étonnamment passent plutôt bien.

Rakim – Oh My God

Ou quand le meilleur rappeur rencontre le meilleur producteur…

Sur le papier c’était l’album du siècle, encore plus puissant qu’une fusion entre Seiya et San Goku. Dans les faits, l’aventure se terminera en queue de poisson confirmant encore un peu plus la réputation de cimetière pour artistes d’Aftermath (Busta Rhymes, Joell Ortiz…).

Pourtant les choses avaient plutôt bien débuté avec les featurings de Rakim sur Addictive de Truth Hurts, The Watcher Pt. 2 produit par Dre pour le Blueprint 2 de Jay Z ou encore son apparition sur la BO d’8 Mile.

Très vite pourtant les deux légendes vont buter sur la vison du projet. Tandis que le doc souhaitait entraîner l’ancien comparse d’Eric B. dans un trip plus gangsta, ce dernier tenait à conserver une vibe plus hip hop. Résultat, neuf ans après sa signature sur Aftermath, Rakim ira sortir The Seventh Seal ailleurs, enterrant ainsi une bonne fois pour toute l’arlésienne Oh My God

Le troisième album des Fugees

Comment peut-on réussir à écouler un album à 20 millions d’exemplaires (The Score) et ne pas lui donner suite ?

Dans les années 90 les Fugees étaient (et de loin) le groupe de rap le plus populaire, inutile de dire que les appétits des uns et des autres étaient sérieusement aiguisés pour la suite. À commencer par ceux des membres du trio, qui vont joyeusement s’écharper, notamment quand prendra fin la liaison adultérine entre Lauryn Hill et Wyclef en partie à cause du succès planétaire de The Miseducation – autre projet resté sans suite.

Conscient de l’importance de l’enjeu, Wyclef ira jusqu’à rapper en 2000 : « Lauryn if you’re listening/Pras if you’re listening/Gimme a call » sur le titre Where Fugees At? Le groupe se reformera brièvement pour un single décevant (Take It Easy) et une mini-tournée mondiale rapidement avortée.

Depuis miss Hill a définitivement sombré dans le mysticisme le plus aigu alors que Wyclef quand il ne tente pas de devenir président d’Haïti prend la pose en pe-sli sur sa to-mo.

Allen Iverson

Shaq, Chris Webber, Ron Artest Metta World Peace, Tony Parker… la liste des basketteurs NBA qui se sont essayé au m.i.c. est sans fin. Parmi eux Allen Iverson, ou plutôt Jewelz. Au sommet de sa popularité il sort le désastreux 40 Bars aux paroles jugées misogynes, racistes et homophobes (rien que ça).

Cette escapade artistique choque jusqu’aux plus hautes instances de la NBA. Face à un tel déferlement de critiques, The Answer décide de ne pas sortir l’album prévu.

Il y peu il est revenu sur l’affaire avouant que non seulement il n’était pas doué pour rapper mais surtout qu’il n’avait pas mesuré l’étendue de son influence sur les plus jeunes et que tout cela était plutôt « gênant ».

Lil Wayne & Juelz Santana – I Can’t Feel My Face

Au milieu des années 2 000 les deux anciens petits prodiges alors au sommet de leur art décident d’unir leur force pour un album commun. Six ans plus tard, toujours rien au radar. La faute à l’emprisonnement de Weezy en 2010 pour port d’arme, suivi de la fermeture du studio du Harlem boy suite à un raid de la police.

Face à la montagne de titres inédits, Weezy ira allègrement piocher dans les rushs pour étoffer son I Am Not A Human Being 2.

Dix ans après les faits, le producteur DVLP qui avait fourni bon nombre d’intrus pour le projet n’a toujours pas été payé et a fini par traîner Birdman en justice. Rien de neuf sous le soleil alors que The Weeknd s’est définitivement réapproprié le titre du projet.

Depuis la carrière de Juelz Santana sent un peu le sapin, son album Born To Lose, Built To Win annoncé en 2012 a lui aussi sombré dans l’oubli… De son côté le Pti Dwayne nous a refait le coup avec T-Pain (le groupe T-Wayne) et Drake (l’album devait concurrencer Watch The Throne).

Nas & DJ Premier – Finally

Ou quand deux montagnes ne se rencontrent pas. En 2006 Nasty Nas aurait approché la moitié de Gangtsarr pour lui proposer de taffer ensemble sur un disque.

Depuis le rappeur a sorti trois albums avec au compteur zéro prod du DJ… alors même que ce dernier avait exprimer publiquement son envie de collaborer sur Life Is Good en 2012.

Alors que Primo était étaient déjà présent sur le premier album de Nas et que les deux porte-étendards du rap new-yorkais entretiennent un respect mutuel, ils n’ont pourtant jamais réussi à produire le moindre titre ensemble malgré leurs bonnes intentions affichées à moult reprises.

Dr Dre !

Okay on avait promis de ne pas parler de Detox, mais pas d’Andre Young et de toute la ribambelle de projets auquel son nom a été associé et qui n’ont pas vu le jour – de quoi même lui consacrer un dossier complet…

On commence avec Helter Skelter, l’album commun avec Ice Cube. En 1992 après avoir tout deux quitté le navire NWA et s’être réconciliés, le duo se met au travail accompagné de DOC au stylo. Un clip à gros budget est même tourné pour l’occasion : Natural Born Killaz. Le disque ne verra pourtant jamais le jour à cause des difficultés à s’entendre entre Death Row et Priority (maison du Cube Glacé à l'époque) mais surtout à cause du départ de DOC du label californien, emportant avec lui tous ses lyrics. Le ghostwriter le plus célèbre du rap sortira d’ailleurs en 1996 un solo intitulé… Helter Skelter.

Résultat, Natural Born Killaz finira sur la BO de the Murder Was The Case, Game Over sur The Untouchable de Scarface et Cant C Me sur All Eyes On Me de 2Pac.

[Initialement Cant C ME devait servir de lead single aux Dogg Pound pour Dogg Food, mais Suge a soudainement pris la décision que l’album ne devait contenir aucune prod de Dre]

Entretemps le futur milliardaire du rap n’aura également pas eu le temps d’achever The Chronic 2 (A New World Odor: Papa's got a Brand New Funk) essentiellement pour des raisons d’emploi du temps. Quelques morceaux connaitront tout de même un beau succès comme California Love ou Keep Their Heads Ringing sur la BO de Friday.

Autres chimères : Not Those Niggaz Again de N.W.A. (on vous en a parlé ici), Make Up To Break Up (les retrouvailles tant attendues avec Snoop Dogg) ou encore Chairmen of the Boards avec Timbaland (annoncé en 2001, trois ans plus tard Dre abandonne l’idée pour mieux se concentrer sur Detox).

Sérieux il faudra vraiment qu’un jour quelqu’un parvienne à cambrioler le coffre-fort de Dr Dre contenant tous ces inédits…

Publié le 8 Septembre 2015 sur Booska-P.com.

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watchilove · 4 years

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Richard Mille has developed a new kind of watch. The RM 72-01 Lifestyle In-House Chronograph seeks to embody the watchmaker’s unrivalled know-how while making an indelible mark on its era as a work of art. Benjamin Millepied and Thomas Roussel, two modern hybrid artists, are leading the project W I T H I N, both technically and artistically.

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W I T H I N – At the heart of creativity

Every new creation is a world unto itself. A wholly new space born of a play between spirit and sensation. Singular yet timeless, innovative and performance-driven, the RM 72-01 Lifestyle In-House Chronograph is poised at the intersection between Haute Horlogerie, dance and music. Movement is all. Movement of time, of bodies, of notes.

The latest ‘face’ of Richard Mille — the ultimate metronome of emotion—is a work in which technicity serves and drives elegance. It’s also an in-house creation, featuring the first flyback chronograph entirely developed and designed by the brand. An achievement crowning no less than 30 months of full-time work on the part of a dedicated team.

The new RM 72-01 keeps time, three beats to a measure, a rhythm emphasising three numbers: three, eight and eleven. Three beats for the three counters that immediately capture every eye. The hands dance in stylised harmony within their three respective timescales (blue for seconds, orange for minutes, green for hours), orchestrated by a six-column wheel.

The transfers from minutes to hours have been isolated from the seconds wheel in this flyback chronograph which incorporates a double oscillating pinion mechanism developed and patented by Richard Mille. The brand has submitted a patent application for its double-clutch chronograph. ‘This pinion, which can enmesh or withdraw from the gear teeth, has been twinned. There’s now one for the minutes and another for seconds. This system is thinner than a vertical clutch, which would be hard to fit into the heart of the movement,’ explains Salvador Arbona, Technical Director for Movements. As a result, the chronograph function has little impact on the power reserve. The Calibre CRMC1 thus remains quite slim, at just 6.05 mm thick, despite comprising 425 different components.

Equipped with 24-hour and 60-minute counters positioned at 5 o’clock and 2 o’clock respectively, it proves that a chronograph need not be limited to timing only short periods. This mechanism was entirely imagined, manufactured and assembled in Les Breuleux, at the brand’s facilities. Its sublime precision can be viewed through its openwork caseback, a hallmark of the Richard Mille brand.

This model is available in four different combinations—5N red gold, titanium and black or white ceramic. It features an automatic winding movement, with a 50-hour power reserve irrespective of how much the chronograph is activated. It is a strikingly architectural watch offering true ease of use. Embodying pure mechanics and hand finishing, it is designed for everyday use.

It was evident that renowned artists such as choreographer Benjamin Millepied and composer Thomas Roussel would be needed to fully express in technical and artistic terms, the tremendous ambitions of this project. Like Richard Mille, both of these hybrid creators have built their oeuvre, W I T H I N, on a resolutely singular vision and an obsession with perfect timing and harmonious movement.

Be it in the realm of ballet or symphonic orchestra, Benjamin Millepied and Thomas Roussel both rely on a wealth of heritage and tradition to shape modern visions of their respective arts. They fashion singular works that powerfully combine the quintessence of their disciplines and their contemporary sensibilities. And it is precisely this hybrid synthesis of science and emotion that prompted them to embrace the watchmaking brand’s new project.

For their a work titled W I T H I N, Benjamin Millepied took place behind the camera this time, at the Joshua Tree, in the heart of sand and stone. This stark mineral environment exalts the nobility and beauty of the materials Richard Mille employs for its watches. Amidst this sublime decor, the dancers unfurl a choreography of cyclical parallels that sifts and winnows the seconds, clothing time and space with intense vitality and energy.

This mysterious setting, in which humanity appears to reconnect with our origins, was a perfect source of inspiration for Thomas Roussel. After sampling the watch’s chronometrice function, the compositor built a tempo around it, a musical rhythm anchored in the raw energy and abandon of the dancers. Around a whirlwind of vitality, he weaves a music redolent of origins, repetitive and mysterious. The composition was recorded by the fifty musicians of the prestigious London Symphony Orchestra in the studio at St. Luke’s church in London.

The RM 72-01 Lifestyle In-House Chronograph encapsulates the original movement.

Benjamin Millepied and Thomas Roussel – revisit space/time

Time is not just a technical concern. It’s also the loom on which great art is created. The accelerations, repetitions and breath-like motions of clocks constitute the pulse of living, dancing and sonorous artworks, the underlying rhythms of our life force. Richard Mille has embraced this vision of time to create a hybrid watch, a point where art and technology meet.

With its curves, warm colours and studied scaling, the RM 72-01 is in equal measure a high-technology device and a metronome of emotion. The latest timepiece from Richard Mille’s workshops is designed for people who believe that performance should not be achieved at the expense of feeling, and that even the best technology must meet the imperatives of elegance.

‘Piece by piece, I’m constantly working to perfect the art of choreography. This relationship to accuracy is something I share with fine watchmaking.’ Benjamin Millepied

The meeting

Only renowned artists could embrace such an ambitious project. Like Richard Mille, choreographer Benjamin Millepied and composer Thomas Roussel create works imbued with a unique power of imagination and an obsession with perfection.

In the tradition of great jewellers, their determination to achieve perfect balance and harmony in movement acts as a guide in their creative process. Every day, they are prepared to repeat the same movement a hundred times to produce the perfect gesture. ‘I fully appreciate the ascetic craftsmanship of Richard Mille’s work. I too like to think of myself and my dancers as craftsmen,’ explains Benjamin Millepied, choreographer, creator of the ballets for the film Black Swan, and former head of the Paris Opera, as well as founder of the L.A. Dance Project. Unsurprisingly, his comment rang true among the teams at Richard Mille.

And, like Richard Mille, Thomas Roussel and Benjamin Millepied have no qualms about using the latest technology in their creations, with technicity deployed as a means of transcending their discipline. In ballet and orchestral music respectively, Benjamin Millepied and Thomas Roussel both draw on heritage and tradition to bring their art to life in resolutely modern ways. They craft unique works that combine the quintessence of their discipline and their own, contemporary sensibilities. It’s this hybrid synthesis of science and human emotion that led them, almost logically, to become involved with this new project from the watchmaking House.

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Watchmaking and art

To the herald the new star in the Richard Mille firmament, the RM 72-01, the two artists decided to create a new and singular work, swiftly converging on the medium of film, W I T H I N. Benjamin Millepied stepped behind the camera for the occasion, and chose to shoot in the middle of the Joshua Tree desert, surrounded by the arid terrain of rocks and sand. ‘This project called for an endless landscape, out of time,’ explains Millepied. And indeed, the stark mineral environment exalts the nobility and beauty of the materials favoured by Richard Mille.

At the heart of a landscape fashioned by time and space, evocative of humanity’s earliest origins, Benjamin Millepied induces an expression of raw human energy. Each in turn, a female and a male dancer, respond to one another, unleashing their natural vitality via an unstructured and organic pas-de-deux. In the style of Terrence Malick, whose influence is palpable, the choreographer has superbly caught the couple’s spontaneous, instinctive movements. ‘I enjoyed filming such primal energy in a landscape like that. In order to capture something more alive, more real, more sincere, I purposefully gave them tremendous freedom.‘

‘Like orchestral music, Haute Horlogerie feeds on its own traditions, respecting very strict and precise rules. Based on this guidance, it is up to us to break down the codes and offer works that are singular.’ Thomas Roussel

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Metaphysics and watchmaking

This sublime environment proved inspirational for Thomas Roussel. And no surprise, the composer has for many years been fascinated by the metaphysical questions. In his 2015 opus, Prequell, for example, he set gravitational waves to music as a sign of the distortion of time. ‘Because the Richard Mille film project drew on space/time, I was drawn to it immediately. I created music where time dilates and duplicates itself, to fit the production. Inspiration is born of emotion’ explains Roussel. Starting from a sample from the watch’s stopwatch function, the composer then injects a tempo, a musical rhythm that matches the raw, unbridled energy of the dancers. Around a tourbillon of vitality, Thomas Roussel weaves a repetitive and mysterious primordial music. The percussion keeps the beat as though counting seconds. As a return to our roots, this joint work takes us back in time, to when the core elements of earth, stone and water served as the cradle of humanity. To fix this special piece in time, the composition was performed by the 50 musicians of the prestigious London Symphony Orchestra in a truly intimate and time-honoured setting, the recording studio at St. Luke’s Church in London. In its own way, the RM 72-01 itself embodies the primordial pulse of movement, this fusion of human bodies, sounds and time.

Technical project

The elegance of the RM 72-01 is also reflected in the technological prowess involved in creating it. Signalling the start of a new era, the RM 72-01 is the first watch in the history of Richard Mille to be equipped with a flyback chronograph that is end-to-end in-house. Drawing on a double clutch system with oscillating pinions patented by the brand, the chronograph makes this latest timepiece a truly exceptional object. The RM 72-01 Lifestyle In-House Chronograph reimagines tisets its own tempo, imposes its own rhythm and makes an indelible mark on its era.

In-house patented flyback chronograph – A unique design

The mechanism of the new RM 72-01 presents a unique, patented design that incorporates a double clutch system with oscillating pinions mounted on rockers. Thanks to their compact proportions, these pinions reduce the space taken up by the chronograph within the movement. This same movement has undergone numerous certification tests to confirm its reliability, its durability (accelerated five- and ten-year ageing simulations) and the solidity of its architecture (resistance tests with various impact intensities).

In a traditional chronograph (figure 1), with a horizontal coupling clutch, torque is transferred to the chronograph seconds (in green) by the movement’s seconds wheel (in red) by means of a coupling clutch (in yellow). The chronograph seconds then drives the minute counters (figure 2) through a multiplying gear train. Yet the seconds has the least energy of all the movement’s components and any disturbances affecting it will also impact the watch’s rate, the power reserve and the operation of the various other mechanisms.

Operation of the oscillating pinion

The new flyback chronograph architecture breaks ground by splitting the torque between the chronograph’s various counters. The display and the connection to the minutes are disengaged from the chronograph’s seconds wheel. The seconds and minute wheels of the movement (A) thereby permanently interlock with the lower teeth of the two oscillating pinions (B). However, when the rockers are moved, their upper teeth (C), which link to the chronograph’s seconds and minute wheels (D), engage or disengage depending on whether the chronograph is activated or stopped (E).

This invention represents a major advancement in the calculation of durations. The disassociation of the chronograph function from the daily time counter does not affect the rate of the base movement in any way when the chronograph is engaged. Whether the chronograph is activated or not, the power reserve remains virtually unchanged. Controlling the start, stop, flyback and reset functions in particular, these rockers are activated by a six-column wheel, the geometry of which optimises the simultaneousness of actions and the proper latching of functions, whilst guaranteeing the longevity of the settings.

Oscillating pinions

Comprised of a stem and two toothed wheels, the two oscillating pinions replace the large wheels normally found in traditional chronographs. Their upper teeth link to the seconds wheel (right-hand pinion) and minute wheel (left-hand pinion) of the chronograph.

Gear train of the chronograph minute counter

This new chronograph configuration limits the torque transferred from the base movement through the chronograph seconds. By separating the other counters from the chronograph seconds, the use of two oscillating pinions breaks this classic kinetic chain. There is a distinct advantage to transferring the torque directly from the barrel to the minute and hour counters as this energy is received at the source and is much greater. The performance of the movement as a whole is optimised as a result.

Richard Mille RM 72-01 Lifestyle In-House Chronograph Technical Specifications

IN-HOUSE CALIBRE CRMC1: skeletonised movement with automatic bidirectional winding and hours, minutes, small seconds, date, flyback chronograph, function indicator and stop seconds.

Case dimensions: 38.40 x 47.34 x 11.68 mm.

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MAIN FEATURES

POWER RESERVE

Circa 50 hours (±10%)

BASEPLATE AND BRIDGES IN GRADE 5 TITANIUM

The baseplate and the bridges are crafted in grade 5 titanium, a biocompatible, highly corrosion-resistant and remarkably rigid alloy, ensuring the gear train functions smoothly. The alloy is 90% titanium, 6% aluminium and 4% vanadium. The use of micro-blasted grade 5 titanium in combination with a grey electroplasma treatment confers great rigidity on the entire assembly and gives rigorously even surfaces. This combination enhances the alloy’s mechanical properties, which explains its frequent use in the aerospace, aeronautics and automotive industries.

The skeletonised baseplate and the bridges were subjected to long and exacting validation tests to ensure they meet the most rigorous standards applied to resistance and ageing.

DATE

Semi-instantaneous and displayed in a vertical aperture at 7 o’clock.

FLYBACK CHRONOGRAPH WITH OSCILLATING PINIONS (PATENTED MECHANISM)

This new type of flyback chronograph, patented by Richard Mille, splits the torque between the chronograph’s various counters. The display and the connection to the minutes and hours are disengaged from the chronograph’s seconds wheel.

The performance of this chronograph is superlative. Drawing power directly from the barrel to supply the chronograph’s three counters, this heightened energy is transmitted to the chronograph train by a coupling system consisting of two oscillating pinions mounted on rockers. Controlling the start, stop, flyback and reset functions in particular, these rockers are activated by a 6-column wheel, the construction of which optimises the simultaneousness of actions and the proper latching of functions, whilst ensuring the longevity of the settings.

This invention represents a major advancement in the calculation of times. Less sensitive to disturbance and taking up less space than well-known mechanisms, the disassociation of the chronograph function from the daily time measurement means that the rate of the base movement is entirely unaffected when the chronograph is activated.

Using the pusher located at 4 o’clock, the running chronograph hand can be reset without first having to stop the mechanism. This system was originally developed for pilots to avoid losing time (and accuracy) due to stopping, resetting and restarting their chronographs when passing through waypoints.

When the chronograph function is active, the hours (24-hour counter) and minutes (60-minute counter) are visible via the two counters located at 5 o’clock and 2 o’clock, the elapsed seconds being indicated by the central seconds.

FUNCTION INDICATOR

Similar to a gearbox in a car, the function indicator displays winding, hand setting or date adjustment when then crown is pulled out. The selected mode is indicated by a hand situated at 3 o’clock: W (Winding) – D (Date) – H (Hand Setting).

FREE-SPRUNG BALANCE WITH VARIABLE INERTIA

This type of balance wheel guarantees greater reliability when subjected to shocks and also during movement assembly and disassembly, hence better chronometric results over time.

The regulator index is eliminated and a more accurate and repeatable adjustment is possible, thanks to 4 small, adjustable weights located directly on the balance.

ROTOR IN PLATINUM

By using a rotor in platinum with ceramic ball bearings in combination with a One Way® reverser system, the barrel can be optimally wound whilst keeping its size compact.

FAST ROTATING BARREL (5 HOURS PER REVOLUTION INSTEAD OF 7.5 HOURS)

This type of barrel provides the following advantages: – The phenomenon of periodic internal mainspring adhesion is significantly diminished, thereby enhancing performance. – Excellent delta of the mainspring curve with a power reserve that offers the ideal balance of performance and regularity.

GEAR-TEETH PROFILE

The entire going train of the calibre CRMC1 has been optimised by adopting a special profile for the teeth of the wheels to create a 20° angle of pressure. This pressure angle facilitates the work of the ball bearings and equalised any discrepancies that might arise between the axles of each wheel. These new gear trains ensure excellent torque transmission and hence optimum output.

SPLINE SCREWS IN GRADE 5 TITANIUM FOR THE MOVEMENT AND CASE

These screws enable better control of the torque applied to the screws during assembly. They are therefore unaffected by physical manipulation during assembly or disassembly, and age well.

OTHER FEATURES

– Movement dimensions: 29.10 x 31.25 mm – Thickness: 6.05 mm – Number of jewels: 39 – Balance wheel: CuBe, 4 arms, 4 setting weights, moment of inertia 7.5 mg•cm2, angle of lift 50° – Frequency: 28,800 vph (4 Hz) – Balance spring: AK3 – Shock protection: INCABLOC 908.22.211.100 (transparent)

CASE

The design and manufacture of the watch embody a global approach to the case, dial and every part of the movement.

Thus the timepiece is created as a harmonious whole according to extremely rigorous specifications. The casing ring is eliminated, and the movement is fixed to the chassis with four titanium screws and silent blocks (ISO SW). This shows the emphasis placed on uncompromising high quality.

This model is available in full grade 5 titanium, full 5N red gold, black TZP ceramic and white ATZ ceramic with the case band in 5N red gold. For each version, the pushers are in black TZP ceramic and 5N red gold.

The tripartite case is water resistant to 30 metres, ensured by three Nitrile O-ring seals. It is assembled using 20 grade 5 titanium spline screws and abrasion-resistant washers in 316L stainless steel.

CROWN

In 5N red gold and black TZP ceramic with a double O-ring and a collar in rubber.

UPPER FLANGE

In carbon fibre; hour-markers filled with an approved luminous material.

DIAL

In grade 5 titanium Thickness: 1.17 mm

CRYSTAL

Bezel side: in sapphire (1,800 Vickers) with anti-glare coating (both sides) Thickness: 1.00 mm Case back: in sapphire with anti-glare coating (on both sides) Thickness: 1.00 mm at the centre and 1,75 mm at the outer edges

FINISHING

MOVEMENT

– Micro-blasted and hand-polished chamfering for the bridges – Micro-blasted milled sections – Micro-blasted and hand-polished sinks for the bridges – Electroplasma treatment for the baseplate and the bridges

STEEL PARTS

– Satin brushed surfaces – Hand-polished chamfered edges – Hand-polished sinks – Drawn edges

PROFILE-TURNING

– Polished tips – Burnished pivots – Polished post faces

WHEELS

– Diamond-polished sinks – Diamond-polished angles – Circular finished faces – Rhodium plating (before cutting the teeth)

Richard Mille RM 72-01 Lifestyle Gallery

Richard Mille RM 72-01 Lifestyle In-House Chronograph Richard Mille has developed a new kind of watch. The RM 72-01 Lifestyle In-House Chronograph seeks to embody the watchmaker’s unrivalled know-how while making an indelible mark on its era as a work of art.

#Benjamin Millepied #Chronograph #In-House #lifestyle #news #Press release #Richard Mille #Richard Mille RM 72-01 #Richard Mille RM 72-01 Lifestyle In-House Chronograph #RM 72-01 #Thomas Roussel

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wyattvsmusic · 7 years

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Music I’m Anticipating For 2018!

Some of these projects are confirmed to be dropping, some I know will never come out, but I can still hope. Hopefully 2018 is a good music year!

A$AP Rocky album

Anderson .Paak & The Free Nationals album

Bishop Nehru (prod. Kaytranada & DOOM) - Elevators Act I & II

BROCKHAMPTON - TEAM EFFORT

Capital STEEZ - King Capital

Clockwork Indigo (Flatbush Zombies & The Underachievers) - Clockwork Indigo 2

Dave East - Paranoia 2 (releasing 1.16.18)

Denzel Curry - Taboo

MF DOOM & Ghostface Killah - DOOMSTARKS

Earl Sweatshirt album

Elzhi & Khrysis - Jericho Jackson

Evidence - Weather Or Not (releasing 1.26.18)

FKA Twigs album

Flying Lotus album

Freddie Gibbs & Madlib - Bandana

Griselda Records - Don’t Get Scared Now 2

GZA - Dark Matter

The Internet album

Jay Electronica - Act II: Patents Of Nobility (The Turn)

Jay Rock album

Joey Purp - Quarter Thing

Jon Connor - Vehicle City

Lil Wayne - Tha Carter V

Lupe Fiasco - DROGAS Wave

Migos - CULTURE 2

Nas album

Nipsey Hussle - Victory Lap (releasing 2.16.18)

Noname - Room 25

PRhyme - PRhyme 2

Pusha T (prod. Kanye West) - King Push

Roc Marciano - Rosebudd’s Revenge 2

Roc Marciano & DJ Muggs - Kaos

Royce Da 5′9″ - Book Of Ryan

The Roots - End Game

Skyzoo - In Celebration Of Us (releasing 2.2.18)

Smoke DZA & Pete Rock - Don’t Smoke Rock 2

Wiley - Godfather II (releasing 3.2.18)

Westside Gunn & Conway (prod. Alchemist) - Hall & Nash 2

#2018 #anticipated #music #new albums

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wyattvsmusic · 5 years

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Jay Electronica - A Written Testimony ALBUM REVIEW

I never thought that I’d ever get to write this review. During my last radio show of 2019, the very last question I asked my friend was if he thought that Jay Electronica would put out an album in the 2020s and we laughed and said absolutely not. This is because we have waited so damn long for one album. The very first words said on Exhibit C (one of the best songs ever) are “it’s coming.” Nothing came. On Road To Perdition, Jay Electronica finishes one of his verses with “I been patient.” His fans have def been more patient. Since 2009, the incredible songs Exhibit A and Exhibit C have been the only official Jay Electronica releases. However, there are a handful of fantastic songs that he’s put out on Soundcloud randomly. If you haven’t heard songs like Jazzmatazz, The Announcement, Dear Moleskine, Dimethyltriptamine, and Victory Is In My Clutches, do yourself a favor. All we’ve ever wanted from Jay Electronica was an album and because it took so fucking long for it to come out, all we wanted was more music. The last song we heard from Jay Electronica was in 2017. I understand that great art takes time to make and that you have to experience life in order to put it into the art but Jay Electronica has had plenty to say for a while. Plus he had been teasing it for so long. The highly-anticipated debut album, Act II: Patents Of Nobility (The Turn) was announced not very long after Jay Electronica signed with Roc Nation in 2010. I really want to know what that contract looked like because it was ten years ago and he hadn’t dropped anything at all. Ever since I started doing my most anticipated albums list every January, I have included Act II on every single list because I knew it wasn’t going to come out. Even when Dr. Dre and Lil Wayne released their long-anticipated albums I still knew that Jay Electronica wasn’t dropping. Making the fans wait a long time for an album can be both good and bad. A long wait can be rewarding because great music takes time to make but if you let the expectations build for such a long time, they might be so high that they can never be met or the fans could eventually just stop caring. Last year, I went to go see Jay Electronica live and yes, he did have enough songs to put on a full show. Of course, fans asked him about the album and he laughed it off, saying “my life is an album” and that people know him as “Erykah Badu’s baby daddy who only has two songs.” I was a little kid when Act II was announced and I had been looking forward to it ever since even though I didn’t think it would come out. Us fans were just constantly let down because he would tweet release dates and tease that the album was coming and we even saw the tracklist for it in 2012. We did eventually get to hear songs from this tracklist such as @FatBellyBella, Better In Tune With The Infinite, Run & Hide, Road To Perdition, Letter To Falon, and Shiny Suit Theory—which actually appears on A Written Testimony. I can see why it’s included: it features JAY-Z, and it’s mixed like the rest of the songs on this album. I have loved that song ever since it dropped in 2012 and I know all the words to it. So now that Jay Electronica finally dropped his debut album after 10 years of waiting, the question most people ask is if the album is as good as you hoped it would be. My answer to this question is fuck yeah. I love this album and it’s really everything I wanted from a Jay Electronica album. Before I get to talking about how much I love this album, I wanted to talk about some of the biggest issues I have. This album starts with some words from Louis Farrakan. He says that “black people of America are the real children of Israel.” This didn’t surprise me because I know that Jay Electronica is an active member of the Nation of Islam but as a Jewish person, I didn’t like the intro at all because 1. it’s just not true and 2. Farrakhan is a major anti-semite. I did feel some of the same sentiments that Peter Rosenberg had about the lines on this album about the “synagogue of satan” and when he said “satan struck Palestine with yet another mortar.” Those lines don’t sit well with me as a Jewish person. I don’t think Jay Electronica is anti-semite and when I saw him last year, he said something like he loves everyone no matter what religion they are which I appreciated a lot. Also, I’ll forever love Jay Elec not just because he’s a dope rapper, but because he said “They call me Jay Electronica—fuck that / Call me Jay Elec-Hanukkah, Jay Elec-Yarmulke.” I have seen people say that having JAY-Z featured on damn near every song is cheating and I sort of agree. I was hoping for a “debut album” of just Jay Electronica but JAY-Z is my favorite rapper. I love Hov but I really wanted just a Jay Electronica album. I love what I got but I think it’s fair of me to want just a Jay Elec album. Also, Raekwon’s first album was basically a Ghostface collab and Dr. Dre’s The Chronic heavily featured Snoop. It was odd to me that Hov had the first verse on the album but Lady Of Rage had the first verse on Doggystyle instead of Snoop. Even though he didn’t start the album, Jay Electronica came out the gate swinging. One of my favorite lines from him on this song is “And I bet you a Rothschild I get a bang for my dollar.” Chance The Rapper tweeted that this album is the reason Rap Genius was made and I totally agree because even though I’ve listened to this album so many times, I’m constantly catching new bars. This album doesn’t seem that personal but it can get introspective at times, especially towards the end. For the most part, this albums is just the two Jays rapping their asses off. The Blinding was a perfect mix of both. The first part of the song had me nodding my head so hard and I loved how they went back and forth. I really was not expecting Travis Scott on the album but his short hook sounded great and was a great way to transition into the next beat. I did like how Jay Elec started his second verse with “Extra, extra, it's Mr. Headlines / Who signed every contract and missed the deadlines” which references his song Extra Extra and missing the deadlines of his contracts to drop his albums. Even though this album took 10 years to drop he tweeted that the albums was recorded in 40 days so he had the line “40 days, 40 nights, tryna live up to the hype.” I also like how this line led into “Hov hit me up like, ‘What, you scared of heights?’” because the expectations for this album grew so high just to be recorded in 40 days and he had to take that jump to release it. It is about time we heard Hov over an Alchemist beat and The Neverending Story is just so fucking good. I liked Jay Elec’s line where he said “But if you want beef, I'll filet mignon ya.” The beat on Universal Soldier is so fucking good and it’s one of those loops that kind of left me in a trance. This song has one of my favorite JAY-Z verses on the album and I loved that lyric where he said “We done ducked them fed' charges, now we eatin' confit.” Flux Capacitor was an instant standout because that Rihanna sample is fucking bananas. It seems like a very hard beat to rap over but both JAY-Z and Jay Elec bodied it. This is probably my favorite beat on the album and the beat switch at the end was amazing where the Rihanna sample went crazy. I almost wish that switch led into another verse from them rapping over that beat. The production for this album was very interesting to me because Jay Electronica produced most of it. I was expecting a lot of Just Blaze production because he was so involved with all the hype surrounding Act II but he’s nowhere to be found in the credits of this album. I do love Jay Electronica’s production and I think it fits him very well. Shiny Suit Theory was also produced by Jay Elec and I feel like it fits in the album very well because the way these songs are mixed which leads me to my other issue with this album. These songs are poorly mixed but it seems very intentional. The songs on SoundCloud that Jay Elec has dropped through the majority of his career aren’t very well mixed either so this is what I’ve come to expect from him. JAY-Z sounds good over these beats too because it’s not like 4:44 had the best mixing either. One of the only songs without JAY-Z on it is Fruits Of The Spirit which is produced by No ID. I do like the way Jay Elec raps on here but I have heard that loop flipped so many times (ex: Talib Kweli - Never Been In Love). The last song, A.P.I.D.T.A. makes the perfect closer to the album in my opinion because it is the most personal. When I heard the hook, “I got numbers in my phone that'll never ring again,” I really did feel it in my soul because it’s a really weird and sad feeling looking through your contacts in your phone and seeing the number and past messages that you’ve sent to someone that died. I feel like this song encapsulates that feeling perfectly. Apparently this song was written the night Kobe Bryant passed away (RIP) and it almost reminds me of Better In Tune With The Infinite because Jay Elec said at the show I went to that he wrote it after his mother or grandmother (I can’t totally remember) passed and that’s one of his most personal songs. The number one questions I see after the release of this album is if Jay Electronica kept up with Hov and if Hov bodied Jay Elec on his own albums. I think both of those questions are up for debate and I could argue either side and the fact that you can do that shows how good this album is. This is top tier lyricism and I’m very happy that Jay Electronica finally dropped his album. I hope this opens him up to putting out more music because I still would like to hear more from him and I would be interested in hearing some of those songs from the original Act II tracklist because I think Jay Electronica could eventually be put in the GOAT conversation but he needs to have a catalog first.

Fav Tracks: The Blinding, The Neverending Story, Shiny Suit Theory, Universal Soldier, Flux Capacitor, A.P.I.D.T.A.

#Jay Electronica #JAY-Z #Hov #Roc Nation #A Written Testimony #Travis Scott #The-Dream #Act II #Swizz Beatz #Araabmuzik

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