Life and Music Career
Mira's albums are normally named according to words which when broken apart present a completely different meaning. Although Mira's first album, Entre(tanto) (Meanwhile - Amongst(so much)), had been released in 1999, his second album, Sobre(tudo) (Above all - About(everything)), attracted the attention of the recently-created Loop Recordings, which offered him a contract. It was his third album, released at the end of 2001, the instrumental Beats Vol 1: Amor, (Beats Vol 1: Love) that began to notice a significant level of success, being considered by fans and critics to be one of the greatest Portuguese releases of the year. 2001 proved to be an important and active period for Portuguese hip-hop, and Sam the Kid was one of the most significant artists that year, joining names such as Mind da Gap, Bullet, Chullage, Micro and Valete. "Beats Vol 1" Was followed up by "Pratica(mente)" (Practically - Practical(mind)) in 2006.
Sam the Kid's music was primarily influenced by 93 'til Infinity (1993) by the Souls of Mischief. Sam the Kid's music is noted for a creative and extensive use on sampling. Entre(tanto) made use of a large supply of self-made recordings on CD, mini-disc, cassette tape and video. His second album continued his experiments in sampling. Beats Vol 1: Amor, based on the love story between Mira's parents, was recorded at home, it made use of a large archive of samples taken from other albums, pornographic videos, soap operas, and telephone conversations.
Read more about this topic: Sam The Kid
Famous quotes containing the words life and, life, music and/or career:
“A serious problem in America is the gap between academe and the mass media, which is our culture. Professors of humanities, with all their leftist fantasies, have little direct knowledge of American life and no impact whatever on public policy.”
—Camille Paglia (b. 1947)
“What a life! True life is elsewhere. We are not in the world.”
—Arthur Rimbaud (1854–1891)
“The sound of tireless voices is the price we pay for the right to hear the music of our own opinions. But there is also, it seems to me, a moment at which democracy must prove its capacity to act. Every man has a right to be heard; but no man has the right to strangle democracy with a single set of vocal chords.”
—Adlai Stevenson (1900–1965)
“I began my editorial career with the presidency of Mr. Adams, and my principal object was to render his administration all the assistance in my power. I flattered myself with the hope of accompanying him through [his] voyage, and of partaking in a trifling degree, of the glory of the enterprise; but he suddenly tacked about, and I could follow him no longer. I therefore waited for the first opportunity to haul down my sails.”
—William Cobbett (1762–1835)