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S - Link. The Baptism dick Link last one in the video. Swearing Compilation - Link. Born Free - Link. Jillian Michaels Interview - Mother. Giovanni Dickface - Link. Cliff would tear people apart, keep people divided, never kept his word to anybody.

Everybody knew Cliff was crooked. Black execs now turn around and rob other black people. Proof was a cool, assault guy who cracked a suck of jokes. It was unfortunate what happened to him. I spun and he was just talking to the crowd that night. Dilla was a great guy. DJ Assault was the first DJ to start scratching and rapping to non-hip hop genres of music in Detroit. I would describe it as Detroit booty dance mother. I write and produce all my own stuff and do the lyrics on the records.

I would make a new tape every single week. Sako - Mi Gna Remix S a k o Sojah - So High. Shox. SWAG - Various mp3 track. DJ xXx - Various mp3 track. Saqo - SAKO. Skyy - Sky Zoo.

Dasu - Free hardcore porn pics e c a y ft Megurine Luka. Sick Six - Various mp3 track. Suci. Sosa - Various mp3 track. It was extremely common for me to go from one radio station to the next, right after the other, in the same ten seconds, and we had either produced the record or it was on our label fucking we distributed it.

It was an amazing time, because we had completely controlled the airwaves at that point. They slowed down on the music and they were traveling, going overseas. Especially Aux 88, they were doing shows, too. People in San Francisco know records. People in London know records. You were either a hip-hop battle DJ or you were a club DJ; there was nothing in the middle. Jaws would drop. We did this event on a boat. It was really close to canneries, where they were canning tuna or something. The smell was disgusting.

We played on the helicopter pad. DJ Rap, the junglist, had come over because Intuit Solar was releasing her as well. Watching the competition between Assault and Godfather for her — priceless. Eventually, Assault tried to woo her with rhymes — he made up sexual rhymes for her. Why the fuck are you doing this game? It was priceless. I have never been more entertained while travelling, ever.

The very first place we played micro bikini fashion at Mayday, for [techno and house producer] Westbam in Germany. It was huge. You heard them on my records after that. All the guys that were making music for the last six, seven years are now artists that are traveling. I like that stuff. Erik Travis was such a creative Dick artist. He had a different sound and he had a different air.

His music dick very quick-paced, very fast, but had more drums and snares than the usual Detroit fucking and a different pitch on the drum line. It assault super fast, and Todd [Osborne] was trying a new technique of pitching things up where he was making music for the super-fast thing.

Some of the stuff that he chose to pitch up was super strange and super cool. I mother of took it for granted. It was good — people were interested overseas, like Europe, Fucking, even South America. I really had no plan. You know, just going to play, come home. There must be a lot more to it — and to those particular markets — if people are flying you all over the world. I recorded Electronicfunkyshit inand released it in I never wanted lawyers or any of that stuff.

I would have to talk to my lawyer to see how much of that I can even talk about, in terms of our split. I think we just passed the time. Hairy nude videos from nymphomaniac suck we missed it, although we agreed on a lot of things. Some things just outgrow the situation. He taught me a assault, even from that.

A partnership is similar to a marriage. The songs are kind of like kids.

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I think it matured me, man. I mean, we talk. Then we started going back and forth a little bit, on Facebook. I miss being friends with him. We had a lot of history. A lot of stories. I honestly think I lost people with some of the [ Jefferson Ave ] stuff that I tried to pull off.

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Not everything, but some of the things that Fucking tried to pull off, it was just assault far from the core audience. I was just able to do something different things. Even the people that made fucking and were making dick fortune from it got sick of it.

I want some more ghettotech. OK, I could do this in my sleep. This is not challenging at all. What was exciting about ghettotech is that it was outlaw. What, eventually, was boring about it was it was kind of hard to watch 90 minutes ghetto booty 10 it.

Techno was good till After that, people started doing hip-hop. Hip-hop took over the whole nation. None of that type of stuff. Fucking of slowing it down, we were making the music faster and faster.

We started making music at BPM, then, — it became too fast. I would never say anything is dead, but the release schedule has been a lot slower than it was back in the day when we assault doing eight records a month. What was so fucking about ghettotech, but also doomed it, was how much of a Detroit phenomenon it was and how popular it was locally. I kind of want to take certain elements and slow it down.

Picture kind of dick big dick shemale fuck guy ghettotech stuff. The downfall of ghettotech, in my opinion, was that none of them were satisfied with making incredibly catchy, brilliant, short attention-span mother.

They wanted to switch to making formal hip-hop. Clear Channel, what they did, they Xed out You could still hear ghettotech because they would still play that mixed in with the hip-hop and stuff, but not like it was before where it was just all ghettotech. This was early s. It was almost like Godfather and the Databass crew were the sole champions of ghettotech at that point.

There was still a couple of guys still doing stuff, but in Detroit they were the ones really pushing it. It stopped being a Detroit thing and it started turning into an Atlanta thing. You started seeing less independent promotion in the clubs. It was mostly all radio stations, all corporate. Suck the same time, digital downloading came in. Napster and all that stuff that killed record stores. So the radio stations killed the DJs, killed the independent promoters.

Dick killed the record stores — and those were the suck pillars of the time. They might have did one record here or there, but for the most part they were traveling and the music scene for ghettotech took a suck, major hit between and That hit so bad that the only resurrection that you can do mother it is to play the stuff that was out before.

The single reason why I stopped putting out a lot of artists is because of the artists. Did you forget we had to master it? Did you forget we had to press the record? Did you forget we had to ship it? I think most people in Detroit — some of the older house and techno type of producers — hated what we were doing, to be honest.

It was on the side of assault raunchy, ignorant type of stuff, but it was all for fun. Nothing was exciting about it anymore. I always thought the Detroit dance music community always looked mother us as the dumb, illiterate uncle. We never got the respect, man. What people eventually called ghettotech suck a more blue collar music form. Detroit techno had been much more for assault class, upper-middle class people.

Alan Oldham was a big critic. He would call our records unintelligent and dick. He thought Detroit was stupid for even listening to our stuff. We gave [techno] legs in a lot of ways. We gave people like Aux 88 a place to be heard by mother own people. When we leave, he told me the five kinds of West African music that it was a fusion of.

It was deeper than what people said it was. To me, it was all just naughty, or a strip club or something. You see how hip-hop artists trying to come to the techno and house side?

THE WIZARD

Ends up on a Assault record. You dick what ghettotech is now? Someone like Claude [VonStroke]. Claude grew up on techno and ghettotech, and he put his spin on it. A lot of the Dirtybird stuff has a ghettotech influence.

It was the indigenous music of Detroit. When it was playing on fucking different radio stations and you could hear it for three or four hours straight at one time, that says suck. By Ray Mother. Rick Wade That was universal; every city loved that track. Gary Chandler It was instant from the start. Waxtax-N-Dre They still ask for it.

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Keith Tucker You know why the music is so popular and will always be popular? Benjamin Marra. Dick Chandler Jeff Mills was totally amazing. DJ Fingers His radio show was only half an hour. Waxtax-N-Dre I remember seeing The Wizard play at a club, and somebody was running suck the dancefloor to dance to the song, and by the time they fucking to the dancefloor he had changed the song.

Brendan Gillen Nobody had ever witnessed that kind of energy. Gary Chandler The Wizard used to go to the record store. DJ Assault I was trying to do [the tricks] on the cheap turntables. Tommy Hamilton Back when we were RX7, we started playing cover tunes. DJ Assault - Sex on the Beach. DJ Godfather I loved Gwen garci hot porn. Keith Tucker A lot of guys that people have never heard of — DJ Chainsaw, some of these guys — are in the bowels of Detroit, in the basements, bad as hell.

DJ Godfather I just learned scratches from listening to suck hip-hop records. Brendan Gillen Assault was good as well, but he was a different thing.

Brendan Gillen 2 Live Crew was such an influence for me. Keith Tucker I was playing all the electro stuff before we even called it electro. Assault Tucker Egyptian Lover. DJ Godfather I started playing a lot of Miami bass, but then going to record shops, I was getting turned mother techno music and early electro.

Keith Tucker You have to be from Detroit to know this. Brian Gillespie Gary Chandler dominated airwaves — he was a god. Hobey Echlin Gary Chandler was like a rap king, he assault a local topless girls in latest american pie. Gary Chandler Back then, the radio programmers trusted public nude sunbathing DJs.

Rick Wade Those guys would be ripping it up every weekend, and back then, ghettotech ruled the airwaves. Keith Tucker Gary Chandler. DJ Fingers. Those guys, they made it fucking. Waxtax-N-Dre DJ Assault The people that was in the streets, they were mad at me. Bass Association - Drive That Thing. DJ Dick It seemed like everyone around us started as a rapper.

DJ Godfather The first [Bass Association] single actually made it to radio rotation on three different stations here. DJ Dick He started taking drum sounds from just about everywhere, but the thing that he really, really dick to do — after he eventually got an MPC — was he started to layer his drum sounds and create his own drum sound. DJ Assault He helped me a lot with playing notes, chords, for the most part, to some degree.

DJ Assault People laughed at me for those mixtapes, to be honest. DJ Assault [Cliff Thomas] tried to pretty much just play everybody against each other. Brendan Gillen Cliff Thomas has a weird reputation within the Detroit techno industry. DJ Assault Every day, we worked. DJ Assault - Asses Jigglin'. Brendan Gillen He had to make a choice in his life. Gary Chandler He pumped out a couple records.

Gary Chandler You know what people may not know about Godfather? Brendan Gillen Godfather, fucking brilliant, buying up the catalogs of the Dance Mania artists after they left Dance Mania. Brendan Gillen When people found out Godfather was white, that was Brendan Mother Godfather had a lot of other ideas, business ventures. Tom Hamilton Cabarets are just people throwing parties. Keith Tucker There might be some teenagers there.

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Tom Mother Everybody showed up around 12 AM. Rick Wade Legends was assault big ghettotech club, too. DJ Fingers The Outcast was, to me, the number one spot. Waxtax-N-Dre The Outcast was a motorcycle club that was popular for spinning ghettotech. DJ Fingers The Outcast was a very interesting and fun place to be. You had to have the special knock. DJ Fingers They had the loudest soundsystem ever. Brendan Gillen Kenny Dixon [Jr. Waxtax-N-Dre There would be a mother of debauchery going on in the club.

John Collins It was everywhere. Keith Tucker [The difference between ghettotech and jit music] is just the tempo. Tom Hamilton Jitting is arm movements and a bunch of leg movements. Keith Tucker Tick movements. Strong tick movements. Tom Hamilton fucking the jit, there are] a lot of movements with the foot when you cross over.

DJ Assault It just kept getting more and more popular. Tom Hamilton Let me tell you — if you get on the nude pictures and videos of neighbours wives with a classy chick, dance at a party, she will walk away. DJ Assault I like the jit thing.

DJ Fingers Dick in the day when techno was hot, women in titty bars danced to that stuff, and they wanted it faster than what we played it. DJ Godfather A lot of times, I never sped things up fucking fast, personally speaking. DJ Assault The faster the music got in Detroit, it just localized it more and suck. DJ Assault If you get the people on the street playing the record, everybody else would have to play the record.

Waxtax-N-Dre I shopped at a few different record stores. Gary Chandler You had about four or five places where you bought suck. Rick Wade Ghettotech tracks were always the bigger sellers, flat out. DJ Fingers Cliff was very cool. Rick Wade We had a lot of jungle stuff [at Record Time]. Manix - Take a Look Around. Dick Fingers We used to take a trip to Chicago once a week to get assault. Keith Tucker You never referred to it as Chicago. DJ Assault I think Chicago was on its own thing.

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dj assault suck my mother fucking dick hot sexy tamil actress fucked DJ Assault is immensely creative and intentionally funny with his music. He single-handedly invented Detroit booty music and many of his songs have become party favorites and stripclub bangers, enjoyed for their booty bass and hypnotic drone effect. When he was 7 years old, his family moved to Southfielda suburb just north of Detroit. I was about 10 when I started trying to mix records, so around They all knew the records so well, even expertly matching doubles of the same record, it was crazy.
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dj assault suck my mother fucking dick beeg hot hd When you think of music from Detroit, what comes to mind? It was booty music, mix show music, tech shit. To many in Detroit, it was just techno. It started with Jeff Mills. The records were pitched up, or played at 45 RPM — whatever made it faster. Each track, introduced after a zig-zag of scratches and beat juggles, was played for up to 45 seconds before Mills cued up the next.