Video: The Roots - 75 Bars

Music: New Meth & Red

method man redman - broken language 2008

BET...

Where is UNCUT AT!!!??
written by 4bars

Aight, so I know I’m usually on some “we need to save our community and hip hop” type ish because honestly that’s how I feel. Our community needs a lot of change and hip hop has a ton of influence on said community so it needs change too. So with all that said, I was driving the other day and all I could think about was….BET UNCUT!!! BLACK JESUS! JOKER THE BAILBONDSMAN! WHERE ARE THEY NOOWWWW!!???!! For real though, how much do you miss Uncut? I mean, I know Wiz and I used to stay up waiting for Anchorage’s Finest (Joker the Bailbondsman) many a night. Do you remember Bizzie Bone’s hypnotizing “UHHH HUUHH, UHHH HUUUUHH, ain’t nuttin like money in the Ziplock bag…”? How classic was Mighty Casey’s “White, guuuuuurrlllsss…” video? I wanna hear from ya’ll man, what was your favorite video? Best memory from Uncut? The joint that you would watch and laugh at yet you were still lookin like “yo, I gotta call ol girl, I got an idea…”.

While I clearly have fond memories of Uncut, there are also ones I’d like to forget. Just the thought of Lil Flip’s forgettable “You'ze A Trick” video brings a terrible feeling to the pit of my stomach. Now that I think about it, though, Lil Flip’s acting like a “balla” in the video is what spoils a song that actually had a hot ass beat; but of course “Flipparachi” promptly ruined any redeemable qualities.

The video of all videos, was the video that, for many, started the cult like following: UUUUHHHH OOHHHHHHHH, “Tip Drill”. This unforgettable Uncut staple often ended the night and sent me to bed with a ridiculously large uhh, ‘grin’ on my face, haha. The fact that I could turn on the television and not only see it “raining” but I witnessed things that simply didn’t get old; ie “The Swipe” was priceless. Did anybody else wait in anticipation for that chick with the DONK to do the Chicken-Head? You KNOW which chick I’m talking bout.

Whether it’s the high pitched flow of Joker the Bailbondsman or the UNFORGETTABLE “What That Thang Smell Like”, I miss Uncut dearly. I know that BET has taken its fair share of criticism (and for good reason) for questionable programming but Uncut was the accepted exception. It’s like using the N word in public being wrong, but its ok around family (“Niggaaa pleeeease…”). I miss Uncut, dammit, bring it back, please?

Video: Jay-Z - I Know

Alot of metaphors in the song and video....Thoughts?

"Never on schedule, but always on time"

“Can’t Forget About You”
written by KT

You know something. I like Nas.

Fairly recently, he’s been catching a lot of flack for the questionable title of his forthcoming album (I’ll refrain from typing it for my own reasons), the relative mediocrity of his last two albums (in my opinion anyway).

Still, I like Nas.

And I think most of you who read this now do, too. And even if you don’t, maybe I can convince you to give him a listen or two (just start with Illmatic). That’s why I want to take a moment to reflect on his best joint since his first joint.

There were a lot of things about Stillmatc that I – and just about everyone I knew who listened to hip-hop – liked about that album. The production value of it was very high (highlights include: “Got Ur Self A Gun,” “One Mic,” and “2nd Childhood), he obviously killed off the dude who wrote NaStradamus and came with something serious that time around and let’s be honest, after “Ether” we were wanting for this entire album to be as good as that song was.

For the most part he delivered.

I’ll be honest; there were some joints I just couldn’t rock with. The hook from “The Flyest” wasn’t very enjoyable and “Braveheart Party” was terrible, with it’s overly jerky and annoying beat underneath some boring lyrics. Still, there was a lot to appreciate about it. In particular, “Rewind” really opened my eyes and reintroduced me to the creativity he still possessed. Not only did the track Large Professor threw down on it remind me of Biggie’s “I Got A Story To Tell” (in a very good way), but to start a song from the end AND throw in lines like “The bullet goes back in the gun/The bullet hole's closin' this chest of a nigga/Now he back to square one/Screamin', "Shoot don't please.” This was the joint that proved it for me. He was back.

I think it speaks volumes of the effect that music has on you to be able to reference specific times in your life and reflect on the feeling you had listening to a particular song or album. I can tell you to have “One Mic” be the second single off of this one, was probably the best career move he’d made up to that point. People were feeling this one…seriously. There was something powerful in the song that made you want to start yelling the lyrics after the beat kicked and the tempo picked up “IF YOU REALLY THINK YOU READY TO DIE/WITH NINES OUT/THIS IS WHAT NAS IS BOUT/NIGGA THE TIME IS NOW! "

Cathartic, right?

The point here is not to suggest that Nasir somehow lost his ability, never that. Street’s Disciple and God’s Son were two good albums to follow up Stillmatic with (in all honesty, I can’t wait for the new one). I’m simply reminiscing when everyone knew how good he was. Maybe it’s a sign that our generation’s artists are becoming what our parent’s generation artists are. “Classics” and “Old School Joints of the Day” (Really? “Hypnotize?!” I remember when that came out. I saw the premiere of the video!). Yet, I’m strangely comforted in that. I want to be able to look back at hip-hop as I knew it growing up. When a lot of it was still pretty meaningful and even in the drug tales and gun toting, there was authenticity to it.

Makes you want to press rewind doesn’t it?

Lupe - Paris, Tokyo live on Jay Leno....

NyQuil Mixtape...

Nyquil Mixtape of the Week – (noun) A group of five (5) songs that you are currently sleeping on. Either you've never heard them or forgot how much you really love them. Regardless, you need to brush the dust off your CD rack and play them or add them to your collection.


1. "Do You" – Bow Wow, Unleashed
Forget for one second who made this song and just listen. He is really bringin' it.


2. "Virginia" – The Clipse, Lord Willin'
This incredibly heavy bass line only adds to dark portrait painted of this Southern city.


3. "My Interpretation" – Cassidy, Split Personality
Can you ever get enough of witty wordplay. Definitely one of the few shining lights on this disappointing album.


4. "Bang Bang" – Capone N Noreaga ft. Foxy Brown, The Reunion
Foxy put her Na Na down for a bit and got a few things off her chest.


5. "Bus-a-bus (remix)" – Busta Rhymes, Violator: The Album
My favorite Busta Rhymes song. I just love the feel and the vibe that this song gives me.


Come back every week for a new mixtape!

"Do my ladies run this mother*#$!"

What is happening to the female hip hop game?
written by Dot

Missy's new single "Ching-Ching" is very stereotypical of what's popular in hip hop (Money, Jewelry, and the exploitation of women) right now but I at least respect that she is keeping her music hip-hop with the beats and dance flavor. In the female rap world sex has been what has catapulted artists like Lil Kim, Jackie-O, Foxy Brown, and many others. Lyrical MC's like MC Lyte and Salt and Pepa even took their sexual routes but at least they were trying to educate people about sex to some extent with songs like "Let's talk about Sex" and "Georgie-Poorgie".

With lyrics from Missy on "Ching-Ching" like, "Talk like exlax, if ya game wack, /Then you ain't sayin' jack, /Just like that, ya, ya, to get axed, /Cause I got more hits than you can get out of a bat" I wouldn't say Missy is crazy lyrical but she gets the job done in a day and age where people don't get caught up in actual alliteration and poetry when it comes to music. Back in the day women artists had to fight just to be heard. Missy is extremely successful and lucrative in the music industry and she is hardly what I would call a lyrical genius but she is definitely a musical genius. Is that enough, or should we expect more from the new age of female rappers.

Kid Sister is a fairly new rapper from Chicago who I believe to be lyrical in an old school sense. Hip Hop and rap was founded on the beat, and the ability of the MC to move the crowd to the beat with they're lyrical ability. When any rapper can pull that off they get props as a real MC. Many people may think that Kid Sisters single "Pro Nails" is cheesy and that she can't rap because she's rapping fast on the track but with lyrics like "I aint rockin' stupid bapes/ I aint trippin'/ I juke all day!" and "Girls be so thirsty thirsty/Fast forward to the end of my song/And say third verse me verse me/Whenever I hit block I see/Tricks try to rehearse me hearse me /From manicure sets to silky weaves/They be so grimey, nasty,/bogus/Germy, dirty/Uh oh/Shol did/you ain't slick/Naw, let the pioneer blast my ****" Kid sister is telling men what they "gotta" do if they wanna get that girl they're after and she's telling the ladies they can hate but she's still the sh*t! I can't knock that especially when the beat is knocking and Kid Sister is going her hardest.

If the future of hip hop lies with artists like Kid Sister and Lil Mamma I think we'll be ok. They bring innovation and freshness to the game for the ladies while still keeping it lyrical. If Missy is gonna keep us dancing at least we have Kid Sister spittin' something worth analyzing…simply because it's different. And she's cute too! Haha…

… And if you still don't respect kid sister check out her backstage pass on MTV.com and I guarantee you'll have a different respect for her as an artist.

Music: Joe Budden - 4 Walls

Joey doing what he does...
Joe Budden - 4 Walls

Pointing fingers...

BLAME IT ON HIP-HOP Written by gWiz

Many times when something happens like a shooting, words being said in a negative way, kids rebelling against their parents, etc. the blame is pushed upon the music; generally Hip-Hop. I agree with there being a lot of negativity in Hip-Hop, but there is also A LOT of good in Hip-Hop. We all know the events that happened from the shootings in the schools to Michael Richards to Don Imus. The blame was thrown around and people came up with general idea that Hip-Hop was to blame for these things happening. There so many influences in this world besides Hip-Hop we have movies, television, video games, billboard ads the list goes on and on, but what about other genres of music?

Why aren’t other genres of music attacked like Hip-Hop? Think about Reggae. I have heard a lot of Reggae songs in which they degrade a woman way beyond any Hip-Hop song, video or artist has ever. Listen to a song by Vybz Kartel, it explains a lot but yet in still their lyrics are not being broken down and used against them the way it has been done with Hip-Hop. Actually the music is accepted and loved by many, females included. Majority of Reggae songs are about sex and violence, don’t get it twisted I love Reggae but I am just coming from a different angle. There are also a good number of songs with artist expressing their hate for the gay community. I feel like if a Hip Hop artist ever makes a song or statement like that it’s simple, game over for them. Just like Hip-Hop there are also positive Reggae artist that make positive songs.

What about the Latin artist? I listen to Pitbull’s song, “Toma” “Si tu quiere’ que te coma toda” if you can't understand the lyrics just google it lol. I mean were all grown but my point is there is no equal standard across the board for artist when it comes to the music. It gives me the feeling that Hip-Hop is being used as the scapegoat for most of these events that occur. Who sticks up for it? Al Sharpton? That’s a whole different story lol, until next time. Peace.

Video: Estelle (Feat. Kanye West) - American Boy

"Shout out to Bill O'Reilly"

Don’t Get Gassed:
Bill O’Reilly is not the Devil
written by JusHH

Usually when an opinion becomes so one-sided that people agree to it without knowing any of the facts, it’s time to re-evaluate the position. Here’s the typical view on Bill, he’s a racist and he hates Hip-Hop. But don’t get gassed, Bill O’Reilly isn’t as bad as you might think.

Let’s tackle the first claim since it is the strongest accusation and probably the most inaccurate. While Bill O’Reilly is an unapologetic conservative, he is not a racist. You would have to watch more than a few YouTube clips in order to know that. Every day for an hour, Bill hosts The O’Reilly Factor on Fox News and if you’ve watched any episode, you would know that he criticizes everyone equally. In fact, he comments on other white people the most. If he has any bias or prejudice, it’s pretty much political. Now I’m not saying that some of his views toward minorities aren’t insensitive but it’s far from racist. When he does criticize black people, if you actually listen objectively, it’s no different than what we’ve said amongst each other. But when certain things come from affluent white man, it can easily come off as racist. I encourage you to watch one of his shows and determine for yourself.

Now, the Hip-Hop thing is a bit more complicated. Bill definitely holds no punches when it comes to dropping the hammer on what he calls “gangster rap”. He first made public headlines within the Hip-Hop community when he petitioned Pepsi, to drop Ludacris from its ads because he curse and sends negative messages that are not fit for the audience that the soft drink company sells to. Pepsi eventually dropped Ludacris and picked up the Osbournes for its Super Bowl ads. Although the Osbourne family curses more in one of their reality episodes than Luda would have on an entire album, there were no issues coming from the O’Reilly camp. Bill has also used his show to taunt and disparage Snoop Dogg which has lead to a colorful war of words. Whenever Snoop is asked about the Right Wing analyst, he responds with, “F**k Bill O’Reilly”. Most recently, Bill has received a wave of ice grills when he spoke out against Virginia Tech’s decision to invite Nas to perform at a benefit concert for the families of the shooting victims last year. Considering all that goes on in this world, it would seem that Bill O’Reilly spends an awful amount of time discussing a music genre. To use time that he could spend talking about something more important, must mean that he’s got a big ax to grind with Hip-Hop and the people in it.

When you dig a bit deeper though, that position begins to falter a bit. Bill O’Reilly doesn’t just pick on Hip-Hop when it comes to pop culture. He has done numerous segments on Britney Spears when she “misbehaves” and ridicules her for making a fool of herself and setting a bad example for little girls. However, you’ll probably never see any of these segments posted on allhiphop.com. With regards to the situation with Ludacris, we need to be honest about our own music. As much as I love him as an artist, when I have children, there’s many songs that I simply can’t play in front of them. Frankly, there are many situations where Cris’ lyrics and subject matter is simply inappropriate. Given that, is it that far fetched to see someone object to that person representing a product that is supposed to cater to everyone? If you found that Don Imus was sponsoring a universal product, many minorities would have a problem with that. The Nas situation is more of the same except if you watched Bill’s entire segment you would have realized that he was really chastising the President of Virginia Tech. Bill actually said that he doesn’t have a problem with Nas performing at the school; he just felt that given his lyrics and his gun charge, he shouldn’t perform at a benefit concert for the families of 33 people murdered by a handgun. Does that sound like prejudice? Isn’t it very possible that a mother or sister in the audience might get upset when Nas performed “Got Urself a Gun” or spat the lyrics, “I load an extended clip and body them all day”? Again we have to be honest and admit that we can’t have it both ways. We can’t use our freedom of speech for obscenities and offensive lyrics and get sensitive when someone takes offense to them. Despite being personal and a bit childish, his beef with Snoop isn’t a form of bigotry either. Snoop Dogg is an international superstar who promotes all kinds of products to kids. His captivating personality has him in movies, television shows and on billboards across the world. He is also a former gang-member who to this very day reps that gang and proudly wears its colors. He has been arrested many times over the last few years from everything from assault to drug possession. Bill O’Reilly is not making these bad decisions, Snoop is. He has offered Snoop the chance to discuss his side on his show on countless occasions and Snoop has declined. If he feels that this rapper shouldn’t be glorified and seen in the households of families and decides to takes shots at him, it’s only because Snoop handed him a loaded gun.

We as an entire community have to start taking responsibility for our own actions. We can’t promote and support certain things in our culture and music and not have repercussions. Everyone doesn’t “get” Hip-Hop and not everyone likes it and wants it in their lives. Bill O’Reilly has never, ever said that Hip-Hop music should be stopped and he even acknowledges that there are positive aspects of the music; he just vehemently attacks the things he has a problem with. Is he always fair and balanced? No. But that doesn’t mean that what he’s saying isn’t the truth and it definitely doesn’t make him a racist or a “hater”. We shouldn’t get mad that he’s talking about us; we should be upset at ourselves for giving him so much to vilify.

3 stacks

I was just feeling "Three Thousandish" on this Sunday lol

The Roots' Next CD: Track By Track

Tariq ''Black Thought'' Trotter and Ahmir ''?uestlove'' Thompson invite EW into the recording studio for an early listen to ''Rising Down'' (to be released April 29), with the story behind each song

On April 29, the Roots will unveil Rising Down — the latest step in the six-member Philadelphia hip-hop band's 15-year evolution on record. The darkly funky, politically charged project is now almost done after more than a year of recording, though it is currently missing contributions from planned guest artists Common, Lupe Fiasco, and Q-Tip.

Earlier this week, EW stopped by the Manhattan studio where rapper Tariq ''Black Thought'' Trotter, 35, and drummer/producer Ahmir ''?uestlove'' Thompson, 37, are working on some final touches, and scored an early listen to the still unsequenced 12-track set.

''RISING DOWN'' (possible alternate title: ''Humdrum'') Guest rappers Mos Def and Styles P join Trotter in unleashing a slew of dystopian imagery over heavy, atmospheric synths. ''It's not an intro, but more an introduction to the topical theme of the album,'' Trotter says. ''Mos kicks it off from one perspective. My verse is about global warming and how the world is all haywire. And Styles P is rapping about prescription-drug campaigns, the stuff they advertise on TV, all the crazy side effects. We're all dealing with different aspects of the state of the world.''

''GET BUSY'' It's a Philly celebration, with verses from longtime protégé Dice Raw (''kinda like W.E.B. DuBois/Meets Heavy D and the Boys'') and more recent associate Peedi Peedi as well as scratches from DJ Jazzy Jeff. The beat's driven by an aggressive, grinding bassline. ''That's the return of the boom-bap,'' says Trotter. ''We're revisiting golden-era East Coast hip-hop, but the synthesizers make it modern.'' Adds an oracular Thompson: ''What was 20 years ago is also tomorrow.''

''BLACK'S RECONSTRUCTION'' Trotter raps for 75 bars straight on this lyrical exercise, spitting effortless game (''Smooth like the dude Sean Connery was playing'') over a dirty drumbeat and foghorn-like tuba moans. ''It was a first take,'' notes Trotter. (Show-off!) ''That's a song in the tradition of 'Web' and 'Thought @ Work'. It's become something that die-hard fans check for, that extended freestyle, minimal chorus, hard-hitting lyrical joint.''

''APOLOGIZE'' Thompson calls this rhythmic, brass-laced cut (also featuring Dice Raw) a tribute to late Afrobeat legend Fela Kuti. Trotter's lyrics examine the challenges of today's music industry: ''Look into my daughter's eyes/Wonder, how can I provide?'' ''It's about not apologizing for what you are,'' Thompson elaborates. ''Dice Raw's verse does his commentary on how the new minstrel image of black people is in vogue now — how that's the image that's being sold to you. It's really hard to hold on to your dignity and not resort to shucking and jiving to sell records.''

''CRIMINAL'' (possible alternate title: ''Pay the Bills'') A simmering meditation on street life, still awaiting a guest verse from Saigon. ''It's about being persecuted and having no other alternative,'' Trotter says. ''You could also see it from the angle of the Rockefeller laws,'' adds Thompson, ''certain groups of people get persecuted and others get away with it.'' Chuckling sardonically, Trotter concludes: ''That [song] is a light-hearted one! It's a happy album...''

''I CAN'T HELP IT'' Trotter says this harrowing tale of addiction, bustling with keyboard burbles and ethereal background vocals, is about ''giving in or not giving in to your urges.'' ''I can't help it/Maybe I'm selfish,'' he raps. ''The way I'm running is becoming a health risk/I might have a heart attack, I'm taking more pills than Elvis.'' (via Entertainment Weekly)
Download 75 Bars the first leaked track

Can I Kick It?

22 Qs
written by 4bars

1. Why is Lil Wayne the best rapper alive?
2. Why is he also being f’n indicted and mad at his crew for not taking the heat?
3. Why is Hov still so good?
4. Why is NAs still a respected mystery?
5. Why do one hit rappers think they’re hot?
6. Why does Soulja Boy have another single yet Stat Quo still doesn’t have 1?
7. When is the "hyphy" movement gonna pop off?
8. With all the hype about this movement, why hasn’t the west coast made its comeback?
9. Is new york going to make a comeback?
10. How, of all the places in the US, is Florida the hip hop hot spot?
11. Is Beyonce still the hottest chick in the game?
12. You think Jay is faithful? I mean even Halle Berry got cheated on
13. Did you see the Ray J and Kim Kardashian tape?
14. Have you heard the new single he’s on?
15. Why did that happen?
16. Why is Outkast such a great group?
17. Are both MCs (3000 and Big Boi) in the top 5?
18. Is it possible to completely or even mostly comprehend “Lupe Fiasco's The Cool”?
19. How incredible is Lupe’s range of flow?
20. Will Eminem ever make another great album?
21. Will Dr Dre ever make the Detox?
22. How much do you wanna see another one of these lists?

She don't believe in shooting stars....

Ummm…for real Kanye?
written by KT

Sooooo, it’s been about 3 weeks since I wrote about Kanye’s role in Nas; intoxicating jam “Still Dreamin’” and I must apologize for lauding Kanye so much in such a short amount of time, but after witnessing that mindf**k of a video for “Flashing Lights” – which has been in my head since it premiered last Wednesday – I can’t help but put some words down on paper about this intriguing and most certainly polarizing piece of art.

I had been cruising the ‘net the last couple of days after seeing the video, looking for someone to help me to interpret what I had seen. What I found was very interesting. I found nothing. Not on Kanye’s website, not on other music news sites, pop culture blogs, nowhere. It was my view that people seemed all right with either writing it off as an incomplete video or an overly ambitious, nonsensical trash video. I won’t lie; I was surprised with the lack of effort to understand this video that I was seeing. It seemed that no one was really willing to suspend what they wanted the video to be and instead take it in and try to understand it for what it is: 2 minutes and 47 seconds of poignant cinematography.

So what do we know about the song. The first verse acts as somewhat of an introduction into the fast paced world of "celebritism" (yeah, I made that word up). I hear a man that is happy to have reached the pinnacle and his paramour seems all too thrilled to have ridden with her man to the top as well. The first line frames this perfectly: “she don’t believe in shooting stars/but she believes in shoes and cars…/couture from the stores deparrrtments…” But I get a sense of foreshadowing as the first verse draws to a close. He is being pulled away, even as his woman entices him to stay with her seductive moves “…she’s in the mirror/dancing so sleazy/I get a call like where are you Yeezy?”

The second verse follows up with a much more apologetic tone, which leads me to believe that there is a sense of regret in the life of this man, who, for those flashing lights and shooting cameras, left his woman behind physically and, apparently, emotionally: “I know I was foul/baby/ay babe/lately you’ve been all on my brain…” Now he’s in this place, alone, still trying to piece things together not really sure how things got to where they are “if somebody woulda told me a month ago/frontin’ tho/yo I wouldn’t wanna know…”

So now we come to the video and I’m not going to sit here and lie, I loved this video. And while it took me a while to appreciate it, I still feel it was very creative and somewhat coy in the way that it was done. I feel as if it's a more abstract understanding and it's a tad of a stretch, but my view is that that video kind of acts as a visual ending to the events that Kanye depicts in the song. Whereas the first verse is somewhat of an introduction into the life of "Flashing lights" and partying an all that, the second seems more apologetic, as if he is sorry for bringing her to this place because he’s found himself unable talk to her, unable to spend time with her and it's apparently caused him to do something foul to her.

If you notice, the now infamous "shovel scene" occurs right as the second verse is ending and the final chorus begins as if to punctuate the message: "here are the fruits of your labors, Kanye...this is what your flashing lights brought you..." Everything, from the bright lights of a sprawling Las Vegas (I think) in the background to the gritty, violent darkness of the trunk Kanye is bound in, leads me to believe that this video is not meant to depict the events of the song, but rather to reconcile them, like an equation. Verse one is the beginning; verse two, the middle and climax and finally the video, which would be the falling action (no doubt the act of tying him up and driving to a remote location) and denouement (the resolution: Kanye’s murder). I know, kind of abstract. But I still give ‘Ye his props for igniting such fervent discussion. This guy just does not like to sit in the background.

Think about it…

You know the drill...

Nyquil Mixtape of the Week – (noun) A group of five (5) songs that you are currently sleeping on. Either you've never heard them or forgot how much you really love them. Regardless, you need to brush the dust off your CD rack and play them or add them to your collection.

1. "Guess Who" – Goodie Mob, Soul Food
Who's that peepin' in my window… POW!


2. "Big Pimpen" – Tha Dogg Pound ft. Snoop Doggy Dogg & Nate Dogg
The gang's all here. This is how the West was won.


3. "Respiration" – Blackstar ft. Common, Mos Def and Talib Kweli are Blackstar
This song is a cult classic for all those who rocked headphones and a backpack on the train.


4. "Maybe if I Sing" – Sheek Louch, After Taxes
When 50 went at Fat Joe and Jada, it was actually Sheek that put together the best set of diss records. This is one of the three that made you go "Ooooh"!


5. "How To Rob" – 50 Cent ft Madd Rapper
Before the 20 million albums sold, this is the song that put him on the map.


Come back every week for a new mixtape!

Video: Talib Kweli - Hostile Gospel Pt. 1 (Deliver Us)

Long Live DILLA...

James Dewitt Yancey (February 7, 1974–February 10, 2006), better known as J Dilla, or Jay Dee, was an acclaimed Hip-Hop producer who emerged from the mid-1990s underground Hip-Hop scene in Detroit, Michigan. He began his career as a member of the group Slum Village, and was also a driving force in the production trio The Ummah. Yancey started his career under the name "Jay Dee" (based on his initials) but used the name "J Dilla" from 2001 on. Many critics believe J Dilla's work to have had a major influence on his peers, and that he embodied the neo soul sound, playing a defining yet understated role during the sub-genre's rise (roughly from the mid-90s to the early 2000s).

J Dilla's illness and medication caused dramatic weight loss in 2003 onwards, forcing him to publicly confirm speculation about his health in 2004. Despite a slower output of major releases and production credits in 2004 and 2005, his cult status remained strong within his core audience, as evident by unauthorized circulation of his underground "beat tapes" (instrumental, and raw working materials), mostly through internet file sharing. Articles in publications Urb (March 2004) and XXL (June 2005) confirmed rumors of ill health and hospitalization during this period, but these were downplayed by Jay himself. The seriousness of his condition became public in November 2005 when J Dilla toured Europe performing from a wheelchair. It was later revealed that he suffered from TTP, a rare blood disease, and possibly Lupus.

J Dilla died on February 10, 2006, three days after his 32nd birthday at his home in Los Angeles, California. According to his mother, Maureen Yancey, the cause was cardiac arrest. His last album, Donuts was released 3 days earlier, on February 7, 2006.

In February 2007, a year after his death, J Dilla posthumously received the Plug Award's Artist of the Year as well as the award for Record Producer of the Year.

In March 2007, Ruff Draft was re-released as a double CD, double LP set. The reissue contains previously unreleased material from the Ruff Draft sessions and instrumentals. Most notably, it was also released in a cassette tape format, paying homage to Dilla's dirty, grimy sound (he was known for recording over unmastered, untracked instrumentals).

J Dilla's and Madlib's collaboration album Champion Sound was re-released in June 2007 by Stones Throw Records as a 2CD Deluxe Edition with instrumentals and b-sides. He also has three tracks on the 2K Sports NBA 2K8 Soundtrack.

In 2007 "Modern Day Gangstaz", a song featuring The Notorious B.I.G., Busta Rhymes and Labba, which originally turned up on a mixtape in the late 90s, eventually surfaced in full form.

Rest in Beats J Dee On November 27, 2007, Busta Rhymes and Mick Boogie released Dillagence, a mixtape of older, and newer previously unreleased tracks featuring the MC over J Dilla productions. The compilation was made free for download from the web. (wikipedia)
J Dilla Myspace

Video: Consequence - Feel This Way (Feat. John Legend)

Sincerely Yours

Dear Dr. Dre,

I know you don’t know me but my name is JusHH and I write for a blog called Past The Margin. Let me start by saying that I think you are a living legend. You have given me almost 20 years of dope music. You have discovered some of the biggest superstars of all time and have been apart of some of the most influential movements. People no doubt consider you a musical genius and that title is well deserved.

Having said that, I have a bone to pick with you. Aside from the music, you are starting to develop a bad habit of signing artists to your label only to have them sit on the shelf and rot. (Rakim, Knoc-Turnal, Eve, Raekwon, Stat Quo, and Truth Hurts only to name a few) Now I know its not all your fault but you get us excited that they’ve joined your camp and then you leave us hanging. However your most recent artist is what forced me to write this letter. Last year you signed Brooklyn rapper, Joell Ortiz only after hearing his mixtape once. You flew him out to L.A. for a face to face and you even told him that he could release his debut album on Koch first! In a time where talented emcees are an endangered species, Joell is a breath of fresh air.

Combined with your ability, I know you can not only put him on the map, you can also give New York another rapper to be proud of. However, many months have gone by and nothing. No album, no single, nothing. Recently Joell said that the reason was possibly because Jimmy Iovine doesn’t want him on the roster. That can’t be it. You’re Dr-f***ing-Dre for Christ’s sake. You’ve made that man millions and if you want Ortiz, Iovine definitely won’t step on your toes. Joell also said that since being signed he hasn’t even had the opportunity to work with you in the studio. So I ask, what’s the point of even signing him? Why get an aspiring rapper and his fans’ hopes so high just to ignore him? All I ask is that you give the boy a chance, put your beats and the machine behind him just once and I know you won’t be disappointed. Do this one thing for me and I promise I’ll forgive you for jerking the world around with the Detox thing.

Sincerely yours,

JusHH

P.S. If you haven’t noticed, steroids are being investigated left and right. I saw you at the BET awards and there’s no way you did that through just exercise and diet. Don’t be the next Barry Bonds man. Even that chick Marion Jones got 6 months!

Sip Sippin on some...

The South and Syrup and other ignorant ass sh*t
written by 4Bars

Aight, so I’m sorry for not comin’ with it last week, but after a week of heartfelt nigger-dom, I’m back at it. Let’s start first with the tragic but f’n ridiculous death of one of my favorite southern hip hop representatives, Pimp C. Now, I don’t know if you guys know much about the trend in Houston’s hip hop scene in the past 5 years but literally, there have been 3 deaths of extremely popular Houston rap figures. Big Moe, who nicknamed himself “The Bar Baby” (‘Bar’ being a term for ‘lean’ or ‘syrup’), the more recent Pimp C, Big Mello, who officially died in a car accident (but it’s safe to say that syrup was probably involved). Finally, the one who originated syrup and “screwed up” music (which is simply slowed and chopped versions of various hip hop songs often listened to while driving and “sippin syrup”): DJ Screw. Now him dying as a result of syrup is like Easy-E dying of HIV (RIP to both), but we started wearing condoms, why the eff are people still f’n with this syrup man? I’m baffled.

Apparently, its not just Houston -- at least in the H we mix it with soda (red or purple) or Sprite -- cats in Philly sip the shit straight, but they aren’t dying. Maybe it’s the carbonation? What the F, man? I just can’t wrap my mind around this, this is the third rapper to die from this and I KNOW mf’s are still sippin’ it, part of the problem in our communities is that we don’t accept responsibility for a lot of things we should. I think the problems are based in a lowered sense of self-value, but that’s a whole different socioeconomic debate.

So now that my syrup tangent is done, I’ll move on to Nasir Jones and his boo. W, T, F!!! I mean, I feel what he’s trying to do especially after the NAACP officially held a funeral for the word (A WORD FUNERAL??!!). Using it as a publicity stunt makes economical sense just to stir up a buzz, but we’ve been sacrificing our people for monetary gain for long enough, there’s gotta be another way. I need him to make a more thought out argument for this whole campaign because, as it has been mentioned, this shit just doesn’t make a lot of sense, and while Nas is clearly one of the most thought provoking MCs of our time as well as a master wordsmith, he’s not the most articulate cat all of the time. The combination of a foggy point and a shaky delivery = “WE DON’T BELIEVE YOU, YOU NEED MORE PEEOPLE.”

That’s my rant for the day, I was thoroughly unimpressed at the thought of the decisions of our hip hop figures are making right now and while they shouldn’t be our barometers or idols in the first place, the harsh fact is: they have a HUGE effect on our culture and our youth, so in short: we must do better.

"Im Just Tryna Live"

“Doin’ My Job”
T.I. Trap Muzik
Written by KT

King of the south. So that’s what they call you, huh, T.I.? Or rather what you call yourself. Well, I can go back to before all of that, before all the mainstream hype really hit the airwaves and people, nationwide, were anticipating albums like 2005’s KING or 2007’s T.I. vs. T.I.P. Before even the success of 2004’s Urban Legend. Nah, I want to go back to Trap Muzik, when you were still hungry because I’m Serious didn’t do too well. You had found Kanye at his hungriest point and came together to do a song called “Doin’ My Job.” A very introspective and thoughtful song, it ended up being my favorite joint on this album.

Really, we’d rather be rich and famous

The story T.I. tells here is one that we’ve all heard before. Yes, he ran drugs, no he doesn’t like it, but given the breadth of prose on this topic and T.I.’s relative lack of pretty words and cue metaphors, I find it easy to like this song. Never once does he truly apologize for what he’s doing, but the reluctance is ever present, attributing it to a less than stellar childhood: “Our mamas passing/ by trying to explain us/Pissing in the bushes like they never house trained us But/try to understand that’s how we came up. It’s difficult not to appreciate the honesty, despite the rehashed imagery. Regardless of how genuine it is, it’s still refreshing to hear someone from that environment admit to wanting something more for themselves. “I’m tired of people mis-representing my dough mayne/Oh you think we out here killing for nothing/hustling for no gain (picture that).”

You’re under 25, staying’ alive is hard work

So, I came to this line: You’re under 25, staying’ alive is hard work and I started to wonder why? Why is it so hard to be alive when you’re under 25. Boys are trying to become men before their time and while T.I. certainly touches this point, it’s still a reality that many do face. So, again, T.I. is not really deviating from the norm as far as hip hop in the 2000’s goes, he still works hard at presenting his music with honesty and conviction. There are plenty who are out there, wishing for something better than what they have, but still doing their jobs, at least to the best of their abilities.

Click to listen T.I. Doing My Job

Flashing Lights Video?

I move keys like the piano, Mayn!

Introducing David Sides

Kanye West Medley By David Sides


Baby Don't Go, Duffle Bag Boy, I'm So Hood By David Sides


Chris Brown Feat. T-Pain - Kiss Kiss By David Sides


One Republic - Apologize (feat. Timbaland) By: David Sides

David Side MySpace

"Never put me in your box, if your sh*t eats tapes"

Nyquil Mixtape of the Week – (noun) A group of five (5) songs that you are currently sleeping on. Either you've never heard them or forgot how much you really love them. Regardless, you need to brush the dust off your CD rack and play them or add them to your collection.



1. "Freakin' You (Remix)" – Jodeci ft. Ghostface & Raekwon
If Mary and Meth don't make their song, this would have been the best Rap/ R&B collabo of all time.


2. "Ill Street Blues" – Kool G. Rap, Live and Let Die
G. Rap often gets lost in the fray when the Golden Era gets discussed but he is one of the greats.


3. "My Melody" – Eric B. & Rakim, Paid In Full
Whether it's the beats, or the rhymes… This song has more biters than Michael Vick's "backyard brawlers" (lol)


4. "Give Up The Goods" – Mobb Deep ft. Big Noyd, The Infamous
Remember this? This is how Mobb is supposed to sound. Are you paying attention 50?


5. "'98 Freestyle" – Big L, The Big Picture
Greatest punchline emcee of all-time? I'll let you tell it. "Ask Beavis, I get nothin' Butt-Head" (get it?)


Come back every week for a new mixtape!

School Was My Hustle...

Naledge and Double-0 met in 2000 during a talent show at the University of Pennsylvania. They began recording songs, making demos, and performing at local shows. That eventually led to Double-0 and Naledge forming a partnership that spawned Kidz In The Hall. Double-0 eventually made a solid connection with industry heavyweight Just Blaze, whom after hearing their music, knew Naledge and Double-0 had something the world needed to hear. He quickly aligned himself with the project and committed to overseeing "School Was My Hustle", as well as executive producing Naledge's solo project. “Kidz In The Hall are a breath of fresh air in this tired rap world we're living in right now.” After business meetings and continued musical growth, Naledge and Double-0, signed a group deal with Rawkus Records, and released their debut album School Was My Hustle in 2006.

Kidz In The Hall are looking to become one of hip-hop's most admired acts, destined to leave a legacy of artistic brilliance. Double-0 the DJ and Naledge the MC are reviving a format established as the set standard in early-'90s hip-hop, and with their debut release, "School Was My Hustle". In November of 2007, Kidz in the Hall were officially signed to Duck Down Records, an independent label started by founding members of the Boot Camp Clik. Double-O added, "I think that this deal is an excellent opportunity to spread our wings. Duck Down Records has proven that they can successfully promote independent acts on a major scale and their enthusiasm in our music let's us know that they are 100% behind making the Kidz In The Hall movement successful." The duo's upcoming album, "The In Crowd," will be released in April 2008. (wikipedia)

Official Website
MySpace

What's the difference

and

I just cant wait to here the music behind this title...Thoughts?

Introductions...

Love @ 1st Sight
Written by JusHH

Every rap career starts with that first verse. A verse that makes you immediately hop on the phone and ask your friends, “Yo, did you hear that?” A verse that makes you eager when you see his name featured on another song. You only get one chance to make a 1st impression and for these emcees, their introduction to the world was all it took to put them on the map.

Snoop Dogg – “Deep Cover”, Deep Cover Soundtrack (1992)

Call him “Snoop Eastwood”. Snoop’s voice and smooth flow was the first thing that jumped out and with that crazy beat that Dre put together, you know you were hearing something special. That tall skinny kid from the LBC went on to rule the West Coast ever since.


Nas – “Live at the BBQ”, Breaking Atoms (1991)

When Main Source made this record, he wanted to put together a nice posse cut. He gave this young kid who had been hanging around the studio a verse. From the very first line, “Streets disciple, my lyrics are trifle, I shoot slugs from my brain just like a rifle”, he not only took over that song, he became a legend.


Canibus – “Beasts from the East”, Love, Peace & Nappiness (1997)

This is arguably the best debut verse of all time. There was only one question when you first heard this song, “Who the f**k was that?” Canibus owned Hip-Hop for 18 months with some of the greatest punchlines and wordplay that we’ve ever heard.


2Pac – “Same Song”, This Is An EP Release (1991)

The verse wasn’t that long. The rhymes didn’t shake the earth. However this opportunity cracked the door open for 2Pac to become a rapper and he proceeded to knock that door off the hinges. He went on to become the most prolific and arguably the greatest rapper to ever touch a microphone.


Busta Rhymes – “Scenario”, The Low End Theory (1991)

Although a member of another group at the time, you knew that Busta needed to be a solo artist. He just had too much energy to be confined to a group. Almost two decades later, whenever this song comes on, your heart beats a little faster when Busta’s verse is about to start.


Capadonna – “Winter Warz”, Ironman (1996)

Cap’s rhymes had the opposite affect that Busta’s had. His verse on Ghostface’s album was so incredible that he became the 9th member of the Wu-Tang Clan.


AZ – “Life’s A Bitch”, Illmatic (1994)

The only other rapper on the all-time classic, Illmatic album. It made AZ an instant hit and people were already fiendin’ for his debut album. Unfortunately, this verse was the highpoint of his career and he is still trying jumpstart his career to this day. The fact that he’s still even mentioned is a testament to how great that verse was.


Foxy Brown – “Ain’t No N***a”, The Nutty Professor Soundtrack (1996)/

Lil’ Kim – “Player’s Anthem”, Conspiracy (1995)

Once these two spit their respective verses, Females couldn’t get a deal unless they were wearing a thong or talking about what they are able to accomplish with a certain organ. Out went women who wanted to show what they could do in the booth and in came women who wanted to show what they could do in the bedroom. Ladies, if you are frustrated and want to pinpoint a moment when it all changed, look no further that these two 16’s.
Foxy

Kim


Ice Cube – “Straight Outta Compton”, Straight Outta Compton (1990)

“Straight outta Compton, Crazy motherf***er named Ice Cube” - Rap was never the same since. Nearly every gangster, gun, and hardcore line can be traced back to this verse. His hard hitting rhymes completely changed the fabric of Hip-Hop’s relationship with the hood. It also wasn’t a bad starting point from Ice Cube’s career. He not only became a platinum artist but became even more successful in the film industry.

Video: Ghostface - We Celebrate

Elektrorock

Breakin'
Written by gWiz

Now I was only two when this came out so of course I wasn't at the theater checking it but from the first time I saw this movie it changed me. Yea yea im talking about "Breakin". You see all these movies now with basically the same plot...a white person from the suburbs ends up (normally a jazz dancer or ballet) some how meeting somebody from the "urban" part of the city. They go on to show the white person how to dance like them and then they end up battling other people in the hood. lol right? But Breakin' didn't seem like that to me because it was one of the originators, from seeing the graffiti on the trains to seeing young Ice T rapping with the perm and snow goggles this movie represented Hip Hop in so many ways.

All the Hip Hop movies now really have nothing to do with actual Hip-Hop. I mean as much as I love Belly it was just Scarface with DMX and NAs. I can't even consider some of the other movies because everything is forced. All the Master P movies, did you really want to see Silk Da Shocker act? I couldn't stand him rapping let alone acting. Nothing seems authentic anymore. Can we actually make another Breakin' or maybe a Beat Street with our current state of Hip-Hop?

Bun B Talking about "Lean"

Bun talking about the lean epidemic in Houston and Pimp C

Curtis and O'Reilly

50 responding to O'Reilly, i can't stand this dude Bill

The Ghost

“Alone in the Street”
Styles P. Super Gangster, Extraordinary Gentleman
Written by KT

So, I remember when the LOX was a more relevant rap group in hip-hop. This must’ve been around the time that I was in junior high school, 1997 or 1998 I believe. I’m sure most of us can remember that. The “shiny suit” era of bad boy was in full swing and here you had this hardcore rap group, bent on informing us how gangsta they were. Although I had never really been up on them like that, “Money, Power, Respect,” their lead single from the album of the same name, did catch my attention in a major way. Most intriguing of this trio, however, was this man who called himself “The Ghost,” David Styles, or as many of us know him, Styles P. I still find myself beguiled by his rough exterior whenever this dude rhymes. He has to be one of the most introspective dudes in the game right now. And although people, from a commercial stand, remember him most for “Good Times” from 2003’s A Gangster and A Gentleman,” you’re doing yourself a disservice if you don’t cruise by your local music store and give a listen to his 3rd album in 3 years: Super Gangster, Extraordinary Gentleman. Never a slouch on the mic, Styles delivers in a very good way on this joint, particularly however, he has this one joint: “Alone in the Street” that truly stands out from the rest.

My word I got a little crust in my third eye

At the song’s start, there’s an ethereal quality to the chorus as it lilts in over Styles’ voice. Even then, it’s clear that this is going to be a little more than just another song. He starts off sounding like a man who, fed up with false pretenses and impressions, is simply trying his best to be as genuine a possible: “I, don't really care/what I sell or what I sold/as long, as I give my soul, whenever my story told…” The whole verse follows the path of a man who has lost someone very near and dear to him. In this instance, it would be Styles’ little brother and as his memory lingers, the strength of his feelings comes through in the music: “Still feel him in the passenger seat/I can’t see him/I wish that he could chatter with me.” Even in the face of despair, however, it’s clear that this man is still ever defiant: “Try to stay away from beef/but shit is gettin deep/I restin right it's like I'm on lay away from sleep…”

Robbed a lot of people like I never was baptized

He transitions from the deep emotional trauma to his misgivings about the life he has chosen in the 2nd verse. And yes, while it’s all things that we’ve heard before, one cannot but be impressed with the delivery of such sincerity: “Have I ever thought, of my life as a bad guy/made a little money, sellin rocks that was cap sized/Robbed a lot of people, like I never was baptized.” This is a man who has hardly begun to reconcile the choices he has made and as a result, is at a loss to really cope with all that he has seen. Although he struggles to find some spiritual clarity, it is clear that this still eludes him and he is left to fight on his own: “If the lord call/who got the phone for callin him back/These, are man made/why dont'cha tell man to do that?”

I would be fallacious to present this song as something more than what it is: a manifestation of a hustler’s displeasure with the life he lives and his frustration as he tries to find a way out. A tune we’ve all heard before. However, I cannot deny the strength of Styles’ lyrical prowess and haunting delivery. The stark quality of writing that is clearly present on this track permeates through the beat and the guy is definitely on my radar again.

This is the...

Nyquil Mixtape of the Week – (noun) A group of five (5) songs that you are currently sleeping on. Either you've never heard them or forgot how much you really love them. Regardless, you need to brush the dust off your CD rack and play them or add them to your collection.



… This is the Remix.. We had to give you 3 more (take that, take that)

1. "What Means the World to You (Remix)" – Cam'ron ft. Ludacris, Trina & U.G.K
Gotta love Cam's double time verse and Luda blacks out and you've gotta love Pimp C talking ish.


2. "Why (Remix)" – Jadakiss ft. Styles P, Common & Nas
Perfect song to compliment the current Presidential elections. It's time to get engaged.


3. "Can't Tell Me Nothin' (Remix)" – Kanye West ft. Lil' Wayne & Busta Rhymes
Number #344 on Lil' Wayne's list of features but he out does himself (again).


4. "I Shot Ya (Remix)" – LL Cool J ft. Keith Murray, Fat Joe, Prodigy & Foxy Brown
If you haven't heard this song yet… well… maybe Past The Margin isn't the site for you. (lol)


5. "I Got Five On It (Remix)" – Luniz ft. E-40, Richie Rich
If you ever wondered what Oakland's hoods look like, put this in your deck.


6. "Made You Look (Remix)" – Nas ft. Ludacris & Jadakiss
I'm still not sure who had the best verse.


7. "Simon Says (Remix)" – Pharaoh Monch ft. Lady Luck, Method Man & Redman
Red & Meth completely destroys this beat.



8. "Music Makes me High (Remix)" – Lost Boyz ft. Canibus & Tha Dogg Pound
We were still trying to figure out who Canibus was and with the Dogg Pound coming over to the east back in 1997, this song is legendary.


Come back every week for a new mixtape!

Use your voice...

Express Yourself
written by gWiz

We all want change I mean I know I do but I could never really get into politics, everything just seemed fake to me. As a young man in this world I never felt that we were really thought of when it came to this time. When Puff did the whole "Vote or Die" thing I still didn't get excited. To me that just seemed like another way to promote Bad Boy and some albums. This time around something sparked me and i feel like us (the youth) has some candidates that actually care about us. I'm not all crazy about politics but you can't complain unless you go to the polls and actually "Use your voice" Hip Hop is used a scapegoat for a lot of issues in America and it's definitely annoying. From blaming the use of the word "nigga" to the shootings at the schools its tired. Lets get somebody thats actually going to try and understand that this is more than music. With all that said all my people that can actually vote do so no matter who you choice, as long you there IM GOOD. Ill leave you with this lol....

guess you know who im riding with haha

Pimp C's death caused by overdose and sleep condition

"An overdose of cough syrup and a preexisting sleep apnea condition killed Chad Butler, better known as rapper Pimp C, according to the Los Angeles County Coroner. His death has been ruled an accident."

Houston Chronicle

Speaking of "gangster"

Robert De Niro and Curtis '50 Cent' Jackson to Star on Cover of VIBE Magazine's Hollywood Issue

- March Cover Story Features Exclusive Interview and Photo Shoot with De Niro and 50 Cent; Special Issue to Feature Collectible Flipbook Design -

- On Newsstands February 5th -

NEW YORK, Feb. 4 /PRNewswire/ -- Academy Award(R)-winning actor Robert De Niro and Hip Hop mogul Curtis "50 Cent" Jackson have come together in an exclusive interview for VIBE magazine's special Hollywood Issue -- on newsstands Feb. 5th. The two speak exclusively to VIBE about their roles in the upcoming movie Righteous Kill -- due in theaters this Fall. The acting duo share some behind-the-scene moments and discuss the new friendship shared between these two megastars.

In this month's cover story, De Niro grants a rare interview to Editor-in-Chief Danyel Smith. He discusses being a legendary Hollywood gangster, as well as his relationship with 50 Cent. "Curtis, he's ... he's got good instincts," Mr. De Niro tells VIBE when asked what advice he would give to the superstar about acting. 50 Cent goes on to talk about his admiration for De Niro's work. "I grew up watching his movies ... One of my favorites was Goodfellas. I could watch that over and over. He was amazing."

The two star in Overture Films' Righteous Kill, alongside Al Pacino, as a pair of veteran New York City police detectives on the trail of a vigilante serial killer in this psychological thriller directed by Jon Avnet.

Shot in January by celebrity photographer Jake Chessum at New York City's famed Milk Studios, the magazine's exclusive photos are styled by veteran VIBE Fashion Director Memsor Kamarake. De Niro is in Giorgio Armani and 50 Cent in head-to-toe Tom Ford.

This special issue features a collectible flipbook design with two unique cover photos.

De Niro on whether he'll ever get tired of being famous for playing gangsters: "Those characters are more exciting. People like to watch and identify with them in some ways. It's a fantasy."

50 Cent on De Niro: "I get a chance to feel normal when I'm around Robert. His celebrity is so strong that I get a chance to feel like a normal person for a little bit. People get nervous around him."

50 Cent on his son: "My son is excited. He thinks I'm a superhero ... It's impossible for him to miss me, because if he went through his regular day, there'd be references to me around, whether it's music or when he goes to school and his school knows 50 Cent is his dad."

50 Cent on whether it's okay to play a gangster: "Actors are imitating life. That exists. People who don't actually follow the rules. So for an actor to create a project to show people what actually happens, that's cool."

De Niro on whether it's okay to play a gangster: "Movies are like dreams, an expression of people's subconscious, what they feel, what they would want to do but wouldn't do ... And we all know the difference between reality and fiction."

This month's issue also includes VIBE's first-ever "green" pages. This 10-page special section takes a look at the green movement through developments in conservation, urban planning, the auto industry, technology, fashion and even home decor. From introducing environmentally friendly gadgets and cars to suggesting simple methods for conserving energy, VIBE invites readers to get involved with saving our environment.

The March issue also features a special tribute to the classic styles of Ralph Lauren and the designer's 40th Anniversary spring collection.
HipHopPress.com

Download the new G-Unit mixtape Return Of The Body Snatchers Here

Part II...

Part 2… My Pen’s my Mac-10

written by JusHH

Last week, we analyzed the “value” of street credibility as it pertained to a single incident involving Shyne and Diddy. This time we’ll discuss if street cred really affects if an artist sells records or not.

Having street credibility in rap must mean something, 50 Cent couldn’t have sold $20 million records off of just punch lines and delivery. The gangster persona definitely has to affect the bottom line for some of these rappers. Jay-Z summed it all up on 2003’s “Moment of Clarity”, “If skills sold, truth be told/ I’d probably be, lyrically Talib Kweli/ Truthfully, I wanna rhyme like Common Sense/ But I sold 5 mill, I ain’t been rhyming like Common since.” The truth is that we live in a society that loves the lure of violence and throws money at anything that perpetuates this idea. Violent video games and movies outsell and enjoy more commercial success than their more “conservative” counterparts. When N.W.A debuted in 1991, America fell in love with the “gangster in the hood” and completely ate it up. Their albums sold millions more than other artists whose lyrics didn’t involve the same subject matter. Today rappers like Young Jeezy will sell a million records despite being considered to have inferior talent. People love his swagger and how his drug dealing history, backed up his lyrics. If you read magazine articles on new rappers you will find out whether or not he’s been shot or spent time in jail before you even know what inspired him to do music. Rappers are being signed on the strength of their street credibility and how “sexy” their back-story is. The rule of thumb seems to be, the more gangster the better.

To see if this theory holds up, we’ll analyze the effect that street credibility has recently had on Soundscan results. Take T.I. for example. In 2006, he released the album King and it literally thrust him to the top of the Hip-Hop world. So much was made of the fact that his album was the highest selling during that calendar year. People loved his tales about the “trap” and living in the worst hoods of Atlanta. His checkered past only helped push the gangster image portrayed in his lyrics. Fast forward to 2007, the stage is set; the whole world was ready for TI to release his follow up album TI Vs. TIP. Shortly after his album is released, T.I. is brought under federal charges for illegal gun possession. The list of weapons that he was alleged to have bought read like the Terminator movie. With the straps and gats that fill his verses, this was the street credibility boost that would surely continue his momentum. However when T.I. actually got into trouble, it wasn’t reflected in his album sales. In fact, it fell short of King and went flat by year’s end. Legal troubles hurt Cassidy’s career even more. Despite having an incredible hit single, his sophomore album bombed in the stores after he went to jail for involuntary manslaughter. It’s hard to get more gangster than being involved in a murder, yet people didn’t flock to the store to cop the album. Prodigy, Remy Ma and a host of others either saw their stocks drop or remain stagnant when they found themselves on the bad end of legal issues. If having street cred is the way that a rapper sells records then why does it seem to hurt them when their rhymes actually come true?

Nelly, Kanye West, Eminem, Outkast, Ludacris. What do these rappers have in common? They all have multi-platinum sales without having any street credibility worth noting. Not only are they not viewed as thugs, the streets aren’t even the focal point of their music. This shatters the notion that a rapper “needs” to be a gangster in order to enjoy any kind of commercial success. The truth of the matter is street credibility has no more affect on the commercial success of a rapper than his skin color or his regional representation. In the music business, there is only one thing that determines whether or not an artist will sell, mass appeal. If your music can appeal to a wide range of people, it will sell – period. Eminem might have caught the eyes of many because he was white in a “black man’s” industry, but it was his catchy singles and undeniable talent on the mic that gave him a successful career. The ground is littered with other white rappers who just couldn’t cut it. Nelly sold 9 million records because “Country Grammar” could be played in your whip and at your grandmother’s house during your family reunion. It’s the appeal of the music that matters; the “street cred” is simply one of the many gimmicks that are exploited. 50 sold so many records not because of how many triggers he pulled but because “In The Club” was the number 1 song on the planet and that album had a half a dozen quality hits. TI Vs. TIP didn’t outsell King because “Big Things Poppin’” couldn’t compete with “What You Know” and “Why you Wanna” and no bump in street credibility from an arrest could do anything about it. There are thousands of rappers who’ve shot, stabbed and mutilated many of people in their verses and their albums sit on the shelves and collect dust.

The gangster is just subtext. People bought Get Rich or Die Tryin’ for the same reasons that they went out and saw The Godfather… they wanted a quality product. Although our country has a fascination with the fantasy of gangsters, it’s not important to them that 50 actually goes and sells crack any more than they want Al Pacino to shoot a cop in the face. Fabolous has literally admitted in interviews that he lies and exaggerates in his lyrics, yet people still go out and buy his records. Why? Well if you heard “Make Me Better” and “Breathe”, you would buy it too. Jay-Z insinuated that Common suffered commercially because he didn’t talk about guns or drugs but his near platinum sales of Be prove that it had nothing to do with “what” he was talking about but “how” it came across. Be had hit singles that were the most widely accepted of his career. People couldn’t care whether or not Rick Ross actually sold coke; they just wanted to knock their heads to that “Hustlin’” beat. So don’t get caught up in the hype. Being a gangster means absolutely nothing if you can’t deliver in the studio. 2Pac did have the number 1 album in the country when he was in jail but if you put out “Dear Mama” and “So Many Tears”, and had that magnetic personality, he could have went to Mars and Me Against the World would still top the charts. So if you are a rapper and think that you are going to be successful simply because you “keep it real”, you’ve got another thing coming. Your thug image will only take you as far as your beats and your bars. Put the guns and drugs down and simply entertain us - that’s all we ever wanted in the first place.