Welcome to Past the Margin where we go beyond the beats, beyond the rhymes, beyond the cars, girls and diamonds. At Past The Margin we dig a little deeper into the topics that deal with this thing we call "Hip-Hop".
We plan to bring to you those serious, comical and controversial ideas and opinions that you've had with your "peoples" whether it was on the block or in your crib. There's hundreds of conversations going on right now about Hip-Hop and everyone has something to say about it. So don't think outside the box... take it Past the Margin.
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.
Spittin' Game Edition
1. Notorious BIG - One More Chance (remix), One More Chance/The What 12"- "Heart throb never black and ugly as ever However I stay Coogi down to the socks"
2. 2Pac - I Get Around, Strictly For My N.I.G.G.A.Z. - Im tryna make a dollar out of 15 cents
3. Jay-Z - Who You Wit, In My Lifetime Vol I - The Updated Mack theme music
4. 50 Cent - P.I.M.P feat Snoop Dogg, Get Rich Or Die Trying - Yea we knew it was wrong, but we still sung the words to the song.
5. Big Pun feat Joe - Still Not a Player, Capital Punishment - "You nasty twin...I don't care!!!"
Much respect to The Roots, I love what they do and how they do it. Not to mention their shows are incredible. Go to Best Buy and support these dudes!!!
"Rising Down is the eighth studio album by Philadelphia-based hip-hop band The Roots, set to be released on Def Jam on April 29, 2008. It is the band's second album with the label, following 2006's Game Theory. The album's title presumably comes from William T. Vollmann's 2004 book Rising Up and Rising Down: Some Thoughts on violence, freedom and urgent means."
1 The Pow Wow 1:15 2 Rising Down (Feat. Mos Def and Styles P) 3:40 3 Get Busy (Feat. Dice Raw and Peedi Peedi) 3:29 4 @15 0:51 5 75 Bars (Blacks Reconstruction) 3:15 6 Becoming Unwritten 0:36 7 Criminal (Feat. Truck North and Saigon) 4:08 8 I Will Not Apologize (Feat. Porn and Dice Raw) 4:34 9 I Cant Help It (Feat. Malik B., Porn, Mercedes 4:39 Martinez and Dice Raw) 10 Singing Man (Feat. Porn, Truck North and Dice Raw) 4:07 11 Unwritten 1:22 12 Lost Desire (Feat. Malik B. and Talib Kweli) 3:58 13 The Show (Feat. Common and Dice Raw) 3:44 14 Rising Up (Feat. Wale and Chrisette Michele) 4:23 15 Birthday Girl 4:05 16 Bonus Track 3:18
Parental Advisory: Explicit Macking written by JusHH
(Scene: Late Night, Club Night. Lights are low and heavy bass fills the crowded room.
The Cassanova-brown-Chocolate-boy-wonder-P-I-M-P JusHH enters the room and sees a Fly-SpottieOttieDopaliscious-Pretty Young-gorgeous-Hot Thang.)
(JusHH approaches and lays his game down quite flat)
Excuse me lil’ mama, lemme whisper in your ear. And tell you some things you might like to hear.
Gotdamn, backyard bangin’ like a “benz-ie”. I love it in a similar way that a fat kid loves cake. Nah baby, I love you like I love my d**k size.
Now I don’t know if you’ve heard about me but you couldn’t measure my d**k with six rulers. In fact, my jimmy runs deep, so deep that it will but your butt to sleep.
What I wanna know is if I buy you a drank (whoa, woo) and we’re in the bed like (ooh, ooh, ooh), will you make it disappear like a Sprite can in your mouth?
Just lemme play with the little man on the boat and I’ll make sure that by the end of the night, you’ll have “Seaman’s” Furniture.
You might be used to dudes spending – and all that sweet wining and dining, well I’m f**king you tonight.
(JusHH gently grabs her arm)
So I’m saying ma, you rolling with me or what?
No?
Damn.
(Pain strikes JusHH’s heart as the Fly-SpottieOttieDopaliscious-Pretty Young-gorgeous-Hot Thang, walks out of the club)
Well, I guess this leaves me no other choice then to head to the parking lot and pimp.
Fin.
(Special thanks to the Ying-Yang Twins, Ghostface, 50 Cent, Cappadona, Big Pun, Ice Cube, T-Pain, Lil’ Kim, Phife from ATCQ, B.I.G. and Jay-Z for inspiring me and f**king up my night by making me go home alone)
~ * ~
Seriously, is it any wonder why women are so damn unsatisfied by dudes? Listen to the crap that we say to them? For all the songs that rappers do “for the ladies”, they don’t know what the hell they are talking about. Is it too much to ask for a bit more romance in Hip-Hop. Sure you get it in some spurts, but we need a bit more lovin’ and less “brains” in our music.
… But if you just have to talk about sex without the romance, and you need an example of how to do it properly, check T.I.’s verse on “Love in this Club (Remix)”, mostly any Ludacris verse or one of my favorite lines from Mr. Weey F. Baby:
Me and your boyfriend is not the same
I go down like the Stock Exchange
And then I bring it up
Excuse me, I drink it up
And leave you soaking wet from your ankle up
Let’s bring the romantic, Cyrano de Bergerac type ish back. Let’s get that rose petal-I wanna make love to you-massage your back type raps back.
"The three New York City police officers, who fatally shot 23 year-old Sean Bell on his wedding day with 50 bullets, were cleared of all charges today (April 25) in Queens Supreme Court."
To me it isn't a surprise with this verdict, but it is still hits me. If a cops could get away with this then the sky is the limit for other things they can do. Here the clip from 106 with Nas
Aight, so I’m a lil late but I actually got into it with my girlfriend about this so I must rehash. In case you didn’t see it all over the internet, some guy posted a thing on Youtube about how the Usher smash that Polow da Don produced “In This Club” was produced using stock sounds from Garage Band, the beat making software that comes with almost all Macs. Now I’ma pc guy myself so I don’t really f wit Macs like that but the point is, SO, MF, WHAT! If he did use the sounds, isn’t that what they were supposed to be used for when they were placed in the software on the computer in the first place? I know what you’re saying “he makes millions and has all this advanced equipment, anybody could use garage band, blah blah blah” If somebody paid you a $100,000 to make a beat and you came across some sounds that didn’t require you to use your expensive equipment, wouldn’t you do it?
I mean, it’s the beat that matters and frankly, it’s bangin. Even though when I first heard the opening of the track I did think to myself, “this sounds kind of lame, generic even…” but then Usher came through and really did a great job on the song (I feel like I should say “no homo” or “pause” or something after saying that) and everybody knows it as a smash. So my question is, do the means matter that much when the end is what we’re seeking? I mean, everybody uses samples, Ghostface went as far as to simply rap over an old R&B track from back in the day (and even sing along with it, hahaha, classic) but nobody is making a big hoot because the sampling came from expensive means or what? Why is this such a big deal, or is it even a deal?
“‘Gangsta rap’ was a ploy to convince black people to kill each other,” she says, putting down the sandwich. “‘Gangsta rap’ didn’t exist.” Come again? A ploy by whom? She looks at us like it’s the dumbest question in the world. “The government.” Alicia Keys, Blender Magazine, May 2008
Hmmmm…and I wonder if you know what it means, Ms. Keys, to an entire generation of people who prescribed to gangster rap in its heyday, to say something like this. This past week the hip-hop world has been in quite a tiff in response to the comments made by one, Ms. Alicia Augello-Cook. And no one has taken her words to heart quite like Mr. Curtis Jackson, otherwise known as 50 Cent.
Usually, I am not one to cosign with 50 Cent, but, begrudgingly, I can see he his point very clearly. His insight is based on what gangsta rap was for so many young black men in its original stages. As a form of political expression and cathartic release, it worked for groups like N.W.A., The Geto Boys and artists like Ice-T and Tupac.. He even goes so far as to admit that he “tries to like (Alicia Keys’ music)” and feels that she isn’t making an attempt to understand why people enjoy his. I can only hope that the words that were written are inaccurate because although the formulaic stance that hip-hop has taken over the past 10 years has soured many true fans’ view of the genre, we mustn’t forget such a prevalent piece of music history. The overt references to salacious behavior and excessive materialism so apparent today notwithstanding, Gangsta rap, as it used to be, is as much apart of the history of hip-hop as Grandmaster Flash, Kool Herc and Fab Five Freddy are. You can’t truly appreciate it without acknowledging that. Though I don’t necessarily enjoy 50’s music that much, his point is loud and clear.
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. "Can I Kick It" – A Tribe Called Quest Yes you can! Tip and Phife were so influential on the game we sometimes forget how great they really were.
2. "Fantastic Four" – DJ Clue ft. Cam'ron, Big Pun, Canibus, Nature When the Professional dropped, this was probably the most talked about song in New York.
3. "Humpty Dance" – Digital Underground Just because I once got busy in a Burger King bathroom.
4. "24 Hours to Live" – Mase ft. The Lox, DMX Incredible posse cut. Dope video. This is what we get when people stop the stupid beefs and get in the studio.
5. "Top Billin'" – Milk D Before 50 got money, and Mary got that real love, we were all chillin.
Estelle was born in West London in 1980 (after which her autobiographical first single was named). She is one of eight children, born to a Senegalese mother and a father from Grenada. Estelle runs her own record label, Stellar Ents, and has released her own material through this - including the two "Da Heat" mixtapes Part 1 and 2, the album The 18th Day and the singles "1980", "Free" and "Go Gone". She featured on Natasha Bedingfield's song "Drop Me In The Middle" for Natasha's U.S. release of Unwritten.
In 2005 Estelle revealed to great humour on the popular Sky Sports show Soccer AM that her birth name is actually "Fanta".
H-Boogie. Real Name: Haidara Swaray is Estelle's sister, featured on the dance track; The Love Is Gone
In 2006, Estelle appeared at the London School Harris City Technology College for a Post 16 Year Of Achievement Night, and she could also be seen in the video for John Legend's single "Save Room". Also in 2006, Estelle joined rapper Kardinal Offishall's Black Jays International, and was eventually signed to singer John Legend's Homeschool Records through Atlantic Records According to her official Blogspot, she had a photo-shoot on the week of July 2, 2007, for her new album. Estelle has been critical of the music industry's perceived double standards of preferring white women over black women.
The forthcoming album will feature production from the likes of Will.I.Am, Wyclef Jean, Mark Ronson, Cee-Lo, Swizz Beatz, and John Legend.
Kanye West also features on the album, on a track called "American Boy" which reached number one in the UK singles chart on March 23, 2008. Estelle will be touring with Wyclef Jean with the tour dates soon to be announced.
Estelle was recently sighted on the streets of Oxford advertising the Body Shop's HIV awareness campaign.
Most recently she has got into controversy claiming racist attitudes in the U.K. music industry promote white artists over black artists performing the same style of music. (wikipedia.com)
Hip-Hop = LifeA Tribute to John Madden Football written by JusHH
“… You never thought that Hip-Hop would take it this far.” Those words ring out even stronger every day that passes because when Hip-Hop first started people never gave it a chance. People felt that it would be just a passing fad. Bottom line Hip-Hop isn’t going anywhere, in fact, it’s even bigger than just the music. In the Hip-Hop = Life section, we’ll pay tribute so some of Hip-Hop’s greatest influences outside of the booth.
John Madden Football
Every August, millions of people rush to their nearest video game store to pick up the newest version of John Madden Football. While Madden fans come in all shapes and colors, this game is especially popular in the hood and amongst the Hip-Hop community. Given the natural competitiveness of Hip-Hop to begin with, Madden simply became another means to show and prove. People played for hours on end, talking trash with their boys and battling on the virtual gridiron to determine who’s the “best on the block.”
Rappers themselves often admit that Madden tournaments are a tradition on their tour busses and many even mentioned the game in their rhymes. On “I Hear the People Talk”, Jay-Z dismissed “clappin’” at an amateur pace and would rather play it on “All Madden” (the highest skill level).
As with most things, when Hip-Hop takes ownership of something, people take notice. In 1999, EA Sports, the creators of the game, allowed a relatively unknown rapper to provide Madden 2000’s official theme song. This rapper was Ludacris and he tore it up. At the time, it was the biggest stage ever given to Hip-Hop on the video game scene and it just grew from there. In the subsequent versions of the Madden, more and more original Hip-Hop tracks were being created and incorporated in the game. (During actual gameplay you could hear songs being blasted from the stadium speakers) The success that Hip-Hop had with Madden has spread to the other sports games that EA Sports created such as NBA Live and Fight Night. Consumers of these games were hit with original music by Fabolous, Chingy, KRS-ONE and many more. In 2004, EA had a rap battle for unsigned artists where the winner received a spot on that year’s soundtrack. And on NBA Live 2004, we were introduced to Joell Ortiz and his song “Mean Business”.
Today, Hip-Hop can be found in all kinds of games. The Def Jam Vendetta series actually allows you to pit rappers against each other in a street fight. (The irony of this is humorous as rappers’ trivial “battles” are often compared to the WWE.) Playing video games is an experience and to know that part of that experience is Hip-Hop, speaks to the global movement that this culture continues to lead.
So I’m listening to the remix of Lupe’s smash “Superstar” and I’m thinking to myself, “am I stupid for not being able to grasp this dude’s verses fully?” This is after Jeezy so eloquently spits:
“Took my first ten grand and bought a Honda Accord (hey!). And then I pack them things, inside the Honda Accord. And put them on the highway and watch the Honda Accord”
The “hey” ad lib is my favorite part btw (heavy sarc). But I was thinking that Lupe is clearly one of the most intelligent rappers the game has seen in a while, so much so that I’ve joked with my boys about how there needs to be a manual that you can refer to while listening to his albums because I honestly feel like I’m a pretty smart dude but SO much goes over my head when I listen to him. And what’s really cool is that he’s actually garnering some ‘superstar’ like attention with the massive appeal to his song ironically yet appropriately titled (even though most people only know the hook). But the question I’m posing is this, I touched on it a while back, the issue of balance in hip hop and I was thinking of how this balance should be achieved. Should hip hop continue to be dumbed down since, at this point, a lot of the rappers are more educated and intelligent than their audience (the black audience at least, sigh)? Or should we continue to elevate the game in order to in turn elevate the awareness and consciousness of the black audience? A friend of mine who’s about 10 years older than me said that “hip hop was created for and by the common people, and that’s no longer who it’s for” and it made me think; his statement is true, but who are the “common” people now? Is it the audience that prefers Souljah Boy or Jeezy to Talib or Mos Def? And if this is the case, maybe the answer isn’t elevating the whole game but creating a balance where the D4Ls and Shawty Lo’s can exist and flourish without critics alogn with the Wale’s and Killers Mikes in hip hop. Cause honestly, I feel there is a need for both. I honestly enjoyed supersoakin that hoe from time to time (til they f’n killed it like they do every other popular thing) but I also need my constant Little Brother doses (go cop Getbackbtw, the more I listen, it may be the best album of 07). Where does this balance need to come from, though, and who is the audience that needs to be/doesn’t need to be changed/effected?
Khia + VH1 = Next Female Rap Superstar???!!! written by K.T.
When the world of hip-hop merges with the world of pop culture, no one can say with confidence that they know what to expect. Sometimes you come out with “YO! MTV Raps” or “Hip Hop Honors” and other times you get “The (White) Rapper Show.” Being the ever-noble purveyors of quality entertainment they are, VH1 has decided to reprise its role as gatekeeper of new talent into the rap game with its new show “Miss Rap Supreme,” hosted once more by MC Serch and featuring newbie YoYo. For those of you who didn’t catch the show’s premiere two nights ago, 10 female emcees are forced to live under one roof while performing tasks that measure not only their rhyme skills, but their mental toughness. It’s format – much the same as “Rapper” – is designed at once to enamor you with these women while at the same time make you lower head at their antics.
The show, at its core, is a very good idea. It wasn’t too long ago PTM brought up the lack of a decent female MC in the hip-hop game and a show like this is exactly what will shine some light on the ladies that are really doing it for real. However, the glaring flaw with this show is its inclusion of the original “Thug Miss,” Khia herself, ladies and gentlemen.
From the time that she sets foot in the house, she makes no secret of her “successes” as an artist repeatedly letting those in the house, behind the cameras and in front of the TV aware of the 800,000 units that “Misses” pushed worldwide, largely due to the buzz that “My Neck, My Back” generated. She conveniently failed to mention that her next single, “You My Girl” never made the charts and her second album – 2006’s "Gangstress" moved 10,000 copies worldwide. But who cares about that? She is a certified gold rapper; she is light years ahead of the rest of these women talent-wise, right?
Wrong. WRONG. The unfortunate thing about Khia being on this show is that her ego, however inflated and misguided, will inevitably overshadow some of the more promising talents on this show. A prime example of this is the show’s elimination, for which the losing team’s competitors must write 16 bars to convince Serch and YoYo of their worth. Khia, for some reason, decided that this is an opportunity to construct the longest hook in rap history; an incoherent, almost inaudible mishmash of lyrics ending with her spelling out and repeating the phrase “respect me.”
Wow.
Serch decided to keep her over a promising German rapper named Lionezz and that is precisely my point. Khia had the opportunity to make a career and she didn’t fully capitalize on that. Now for her to show up in this house with women who really have a chance to get put on and act as if she is just coming off of some Kanye-like Grammy family status is preposterous. I won’t knock her as a person, but as an artist, she’s got nothing left. Her antics in the first show brought light away from talents like Jersey Peach Chiba and Byata. Those sistas can spit for real and I hope they do get some exposure through this show.
Hopefully, Khia won’t be anywhere near them when it happens.
I just came across this I don't know if this is true but if it is I have to ask this question. Is it that serious for an artist to fabricate their story of their past/life to be successful? Do they have to put up this facade to really "make it"? Be real man.
"While the performer's rap sheet does include a half-dozen arrests, Akon has only been convicted of one felony, for gun possession. That 1998 New Jersey case ended with a guilty plea, for which the singer was sentenced to three years probation. Another 1998 bust, this one in suburban Atlanta, has been seized upon by Akon and transformed into the big case that purportedly sent him to prison (thanks to his snitching cohorts) for three fight-filled years. In reality, Akon was arrested for possession of a single stolen BMW and held in the DeKalb County jail for several months before prosecutors dropped all charges against him.
So there was no conviction. There was no prison term between 1999 and 2002. And he was never "facing 75 years," as the singer claimed in one videotaped interview."
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.
If you do not already know who the dude is in the picture then it is time to get familiar. I know for a fact you heard his music before but you probably had no idea it was him. Who is this man? He goes by the name of Danjahandz, he is the protege' of Timbaland yea yea the producer. Danja started out as a musician that Timbo used sometimes and then that turned into him producing songs with Tim on the regular. What makes this Virginia Beach native special? To me he did not get enough credit. Did you know he produced "Promiscuous" for Nelly Furtado? "Sexy Back" for Justin Timberlake? or "The Way I Are" for Timberland? The list goes on and on. Danja is now starting to make a name for himself apart from Timberland by producing songs like "We Taking Over" DJ Khaled, "Gimmee More" Britney Spears, and the most recent single co producing "4 Minutes" Madonna. There are producers like this that do not get all the credit they deserve because they are the "protege", but in this case Danja's name has already started to prevail. Check the credits. Simple Plan and Danja Hills producing third album
Madonna ft. Justin Timberlake - 4 Minutes (co prod. by Danja)
Anatomy of a G.O.A.T. – Follow the Flow written by JusHH
Who is the G.O.A.T.? What does it really take to be the greatest rapper of all time? While it is definitely a subjective topic where many people have many different opinions, there are some undeniable characteristics that the “greatest” should have. For one, you must have longevity. One hot song, one classic album isn’t enough. Your name must ring out for many years. LL Cool J has been a major player in the game for over 20 years; no other rapper can come close to saying that. He broke ground in the 80’s, topped the charts in the 90’s and kept the ladies dancing in the clubs well into this decade. He was also fierce in the booth as he battled anyone who was willing to step in his path. LL’s music will still be hot and will still be listened to 20 years from now. However, the G.O.A.T must bring it lyrically. Your rhymes must be more than noticeable; it has to make you say “damn, who’s better than this dude?” And nobody reinvented the bars like the God MC, Rakim. Before the R, the rhyme schemes were simplistic, easy to follow and were more about riding the beat. Rakim changed all of that. Rhyming words at different points of a particular bar and rhyming multiple words within one bar just had not been done before. It was one of the first times people had to spin the record back because a rhyme went over their head. Add that to the fact that Paid In Full is arguably one of the most critically acclaimed records ever and Rakim appears to be as close to the greatest as you can get. While being a pioneer normally reserves the right to be called the best, it often breeds evolution and evolution often breeds improvement. Since 1988, lyrics have gotten even more complex. Flows and cadences have changed. Because of what they heard back then, rappers experimented more and took the art to the next level. Enter Nas. Perhaps the Rakim re-incarnated. He took the style created in ’88 and perfected it, allowing it to still be relevant in 2008. When 16 year olds listen to Nas they are listening to Eric B. for President without even knowing it. Nas epitomizes everything that is great about Hip-Hop. The image of nodding your head on the train, joining in a cipher in front of the bodega or penning your latest gem in your rhyme book can all be seen in one of Nas’ verses. He’s a poet who often speaks for the people rather to them. With timeless quotables and Illmatic under his belt, the crown appears to have his name on it. Consistency matters. There can’t be a situation where the world universally agrees that you fell off. Trying to achieve commercial success will drive an artist crazy and it will always result in a bad product when that artist steps out of their lane. But what about shock value? How do you measure the “wow” factor that you get when you hear a rapper do or say something that you might haven't heard before. Maybe you’re more surprised because you judged a book by its cover but its “dopeness” can’t be denied. Whether its completely disappearing into a beat to the point where the first five times you heard the song, you thought he was mumbling or telling an incredibly detailed story from the perspective of a crazed fan, you begin to wonder if he’s the best. The truth of the matter is, when it comes to pure lyrical talent there are very few who can hang with Emimen when he is at the top of his game. There are rhymes that he said that completely leave you scratching your head because you can’t believe how someone could think of a line so creative. “I’m harder than me trying to park a dodge, when I’m drunk as f**k, right next to a humongous truck in a two car garage.” The passion in his delivery is undeniable and he is a true student of the game – constantly giving props to those who inspired him. Being a rapper is primarily about putting words on a page and if the skill involved with doing that continues to improve, then the current benchmark is set by Em. You really believe that there isn’t a style or form that he couldn’t do, yet there are things that he’s done that you can’t see other rappers doing. How much greater can you get then that?
Being the G.O.A.T. is bigger than that though. You must have an aura about you – a mystique of sorts that can equal your ability in the booth. Your personality must transcend and reach just as far as the music coming out of the headphones. A pure jump shot will get you two points but if you soar through the air for slam dunk, you’ll also get an all-star appearance and a sneaker contract on top of that. The greatest has to be the total package, a mosaic of all the qualities that make a great emcee. This line of logic would lead you down a path that takes you to Brooklyn where The Notorious B.I.G called home. Biggie is considered by most to be the Gold Standard when it comes to rappers. People can comfortably walk anywhere in the world and call him the best and receive very little resistance. He spit for the hood, he spit to the ladies. He told stories better than MC Ricky D and completely changed the game when he got on the mic with Bone Thugs N Harmony. Even more than ten years after he recorded in the booth for the final time, one of his songs still hit just as hard as it did the first time you heard it. But he’s not the G.O.A.T. Now imagine everything that Biggie is, add a consistency rivaled by none and an affect on popular culture like no other rapper before him and you get Jay-Z. Since having the “King of NY” title fall in his lap in 1997, Hov never looked back and with so many classics to his credit, whenever he records a new project, it is first compared to his earlier works before it is compared to the rest of the industry. The fact that his last album is arguably his best work is a testament to not only his longevity but his ability to remain on top despite constant changes in the overall Hip-Hop landscape. If you are a new artist, without question you want the career that Jay-Z currently has. To have incredible mass appeal and commercial success yet be respected by the hardest of hardcore Hip-Hop fans is truly an anomaly and puts him atop of anyone’s list.
However, rap is music and music is art and art is more than just entertainment. True art must have substance. True art must inspire. True art must make you feel. When you hear music it should make you think and make you view the world a bit differently. It should make your day better if you need a lift or help you understand that you’re not the only one who shares a certain struggle. A rapper should be an artist and an artist should make songs that if you are black, it makes you proud to be that. His song should make you hug your mother that much harder the next time you see her because you appreciate her sacrifice. His songs should make you second guess calling that girl down the street a “bitch” because she’s a beautiful woman that deserves more respect. His songs should motivate you to better yourself and get out of the hood and not feel that you are less of a man because of your negative environment. This artists’ music must be timeless because it addresses and articulates the essence of humanity and humanity as we know is everlasting. Only one rapper has truly captured the real meaning of being an artist. So much so that his lyrics are written in best selling books and taught in accredited universities. This is why the Greatest rapper Of All Time is the late, great Tupac (2Pac) Shakur.
What is it about The Game? Why do we give him chance after chance? I know I do, he is like that rapper you hate and love at the same time. Game will drop a crazy song then the next week have a butterfly tattoo on his face. I know that had me like WTF, but then he comes out with some quality music. All the beef with G-UNIT and his most recent his visit to jail, it's like aight game enough drama. I honestly think he likes it, he is an emotional dude. What do you think? Does he really have the WestCoast on his back? Im looking forward to the new album as long as he doesn't say Dr Dre's name on every song and tell me about his chucks and nike airs I think i'll be good.
In last week’s post, I had the pleasure of writing about one of the dudes whose skill and versatility makes him not only one of the better guys doing it right now, but also one of the most liked out there. I chose to go in a different direction for this one.
One of the most frustrating people I have listened in my career as a hip-hop fan, Cameron Giles a.k.a. Cam’ron has enjoyed a rather precipitous drop in popularity since he blessed us with the classic “.357 (Magnum P.I.).” Still one of my favorite songs to this day, “.357” showed us all what Cam’ron was supposed to be: A witty, hungry and, in true Harlem fashion, somewhat braggadocios MC. I still remember the video to this day: he and childhood friend Mason Betha running through the streets of West Harlem.
I won’t go out on a limb and say that 1998’s Confessions of Fire was a classic album, but it was definitely a promising start. Joints like “Me and My Boo” with Charli Baltimore (wow, I don’t believe I actually used that name again), “Glory,” “D. Rugs,” and the hilariously absurd “Confessions” were standouts and gave reason to believe that Killa Cam had something new to offer the evolving hip-hop landscape.
Not so much. His follow up release S.D.E. (short for Sex, Drugs and Entertainment) was a sharp left turn away from what he had begun with Confessions. What still goes down in my mind as one of the worst albums I’ve ever listened to, S.D.E. contained little of the Cam’ron from his debut release. Need examples here. And with that, he had effectively de-evolved from the witty rhyme-spitter we were introduced to and into a caricature of sorts, fully embracing the stereotypes of your everyday trapper-turned-rapper.
Since that time, Cam’s successes have been spotty at best, if they’ve been apparent at all. Despite Justin’s assertion, Purple Haze was a decently crafted album. Tracks like “Down and Out,” “Reasons,” and “Killa Cam” were a couple of highlights. Now, mind you, they weren’t on the same lyrical level as the highlights on Confessions.
Now, we’ve arrived at a space in which Cam’ron has become something of a running joke. His lyrics have regressed to the point of incoherence and it’s truly a sad development for me. I bought that Confessions of Fire album and was pretty impressed with it, despite the deficiency in my hip-hop literacy then compared to now. To hear Cam tell it, he now keeps the “boosters boostin’” and the “’putersputin’.” One particularly hilarious line out of “All the Chickens” from 2000’s S.D.E.:
Like Cam is a son of a bitch/That'll tell a girl, ma, wash under your tits/But I, got a girl, we all call her "Licka"/Cuz she drink liquor, let another girl lick her”
Really? That happened to be an old line, but Cam has consistently lowered the bar on lyrical acuity every year of his career. Unfortunately, he’s reached Noreaga Melvin Flynt: DaHustla – type ridiculousness. I continue to hope that he surprises me the way he did on “Gone” from Kanye’s Late Registration, though. Unfortunately, I don’t think I’ll be reliving those Confessions days any time soon.
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. "Mad Izm" – Channel Live ft. KRS-ONE These guys completely disappeared but not after giving weed smokers across the country a timeless anthem.
2. "DWYCK" – Gang Starr ft. Nice-N-Smooth Greg Nice, Greg N-I-C-E!
3. "Safe 2 Say" – Fat Joe, All or Nothing Here is the moment where I think Fat Joe stole Pun's rhyme book.
4. "Boom" – The Roots ft. Big Daddy Kane & Kool G. Rap, The Tipping Point Can somebody say, "Breath Control." Damn.
5. "Goodlife" – T.I. ft. Common, King Before Ye and Pain, these two really brought it over the piano keys.
Mick Boogie is back with another new exclusive mixCD this time round “MCEO” with Talib Kweli. The new CD features exclusive tracks from Talib Kweli, Jean Grae. Strong Arm Steady. Kweli and a vocalist most people will remember, Res from Talib’s new group Idle Warship. Also featuring on the project is Joell Ortiz, Planet Asia and the new group Fly Union.
Official Tracklisting: 01) Mick Boogie and Talib Kweli: Intro 02) Talib Kweli f/ Busta Rhymes: Follow The Leader 03) Talib Kweli: Independent (Amadeus Remix) 04) Jean Grae: Think About It 05) Talib Kweli: Hard Faces 06) Interlude: Origins Of Blacksmith 07) Jean Grae: Mean 08) Strong Arm Steady f/ Planet Asia: A Problem 09) Talib Kweli: D’Evils 2008 (Produced by 6th Sense) 10) Talib Kweli f/ Fly Union: Say That Again 11) Talib Kweli and Buckshot: Hold It Down 12) Interlude: MCEO Breakdown 13) Talib Kweli f/ Krondon and Phil Da Agony: Hunters 14) Jean Grae: Love Thirst 15) Talib Kweli and Phil Da Agony: Dat Piff 16) Interlude: Kweli Speaks on Strong Arm Steady part 1 17) Strong Arm Steady: Stack It 18) Krondon: Big Homie 19) Interlude: KRS-One Speaks 20) Talib Kweli and KRS-One: The Perfect Beat 21) Talib Kweli, Nina Sky, Blu & Joell Ortiz: Hostile Gospel Remix 22) Interlude: Kweli Speaks on Idle Warship 23) Idle Warship f/ MC Chris: Screamin’ 24) Talib Kweli and Jean Grae: Thas Wassup Now 25) Interlude: Kweli speaks on Jean Grae 26) Jean Grae: Number Eight 27) Talib Kweli, Jean Grae and Ne-Yo: Hot Thing Remix 28) Talib Kweli and Dr. Cornel West: Bushonomics 29) Talib Kweli & Novel: I Am 30) Idle Warship: Industry Diary 31) Talib Kweli f/ UGK: Real Women 32) Talib Kweli: Outro
Something’s not right here. Did it fall off? Did it die? Is it just a generational thing? Regardless, Hip-Hop seems to be in a constant state of emergency and everyone is pointing the finger at someone else. New York blames the South. The South blames the “haters”. Lyricists blame the catchy hooks. Executives blame the downloader's. No matter which side of the fence you fall on, you recognize that Hip-Hop is missing something. And everyone has the same question? How did it come to this? So for those on their “Da Vinci Code-like” quest, looking for someone to blame, look no further than St. Louis. It’s Nelly’s fault.
Rewind your mind back to 2000. Ruff Ryders were leading the pack. A white boy from Detroit was slowly becoming the most talked about rapper on the planet. 50 got shot and Lil’ Wayne was still a Hot Boy. Our relationship with album sales was limited at best. We knew some albums sold more than others but it was never something that we particularly cared about. One’s lyrical prowess, not his sales, was still the crucial component to a rapper’s success. For most major record labels, Hip-Hop was still seen as a niche market and a multi-platinum album was just a bonus to boost the bottom line. There was no cookie cutter formula for success either, so many different types of artists shared success that everyone still had a place. Then one day, our seemingly perfect blend of beats and rhymes were interrupted… I’m goin’ down, down baby, Yo’ street in a Range Rover
Street sweeper baby, cocked ready to let it go
Shimmy, shimmy cocoa what? Listen to it pound
Light it up and take a puff, pass it to me now.
Huh? Shimmy, shimmy what? Who was this fool trying to make a nursery rhyme gangster? And he’s from where? St. Louis? PALEEZE! Turn the station. Hip-Hop heads across the nation quickly dismissed this as just another one-hit gimmick that would soon disappear. We didn’t even get a chance to even learn how to spell “Nelly” before…
He sold what?
Nelly’s debut Country Grammar sold nine million albums worldwide.
He wasn’t part of a clique or put on by an existing rapper. No previous features. Not even from an area of the country that people knew about. All Nelly had was, “Down, down, baby.” Personally, I didn’t even know the album was in stores until I saw an add congratulating the Derrty MC for going 9X’s Platinum. They say that an album that sells 5 million albums can generate $60 million dollars for the record company, so you do the math. I don’t care what an executive might think of Hip-Hop, $100 million dollars will make you adjust your priorities.
Out went the Hip-Hop labels being run independently. A&R’s couldn’t get their “Brown Sugar” on and try and find that next great talent – They needed to find the new “NELLY”. New rappers had a harder time getting a deal if they didn’t fit that cookie cutter mold. Rappers with a deal found it tougher getting their lead singles past the “suits and ties” if their hooks weren’t catchy enough. You could forget about giving an artist three singles and accompanying videos to build his fan base. His album was getting pushed back if the 1st song couldn’t guarantee platinum. Going Gold used to mean something. Not anymore. If that album didn’t sell a million, there’s a chance that we may never hear from him again.
You all know what happened from here. A collective “dumbing down” of the music ensued. One gimmick was substituted for another and rappers were as dispensable as their songs. Seemingly untalented acts shot to the top of the charts and others yearned for the “good ol’ days” when being “nice on the mic” was all that you needed. Everyone was mad; either at the sales they weren’t getting or the respect that they weren’t receiving.
“Country Grammar” was the original “Ringtone” rap song. The funny thing is Nelly is actually a better rapper than people would give him credit for. Nellyville, his sophomore effort was a pretty well balanced and substance filled album. He was just an unknown dude, from an unknown city trying to get put on. He found a creative way to flip a song and hoped it would catch on and get him and his people a deal. Far be it from him that he would effectively change the landscape of how Hip-Hop was produced and sold.
In the true spirit of Hip-Hop, I chose to not say so much this week but let the music speak for itself. wanted to shine a lil light on a group that i just got put on to, and it took just one listen for me to appreciate these cats for everything that is right with Hip Hop today, a la Little Brother, Mos Def, Common, Kanye, etc, doin it for the love of music man, wouldn't dare knock it...4bars
1. Dirt Weed (Intro) 2. Waiting For You (produced by suburb) 3. You Should Know feat. Naledge of Kidz In The Hall 4. Shake It Off feat Kam Moye & Torae (produced by brizzo) 5. Got Fans (produced by Eric Lau) 6. So Sweet 7. Walk My Way (produced by aeon) 8. Killa Tape Interlude 9. Stay Tuned 10. She Moved Outta Cincy (08 Mix) 11. Four Men feat. Kay (produced by Dj Cozmos & King Midas) 12. Golden feat. Elucid 13. Hello Brooklyn feat. Jay-Z & Lil Wayne (Von Pea Remix) 14. Go To Get It feat. Median 15. Che Tanya (produced by cj) 16. Brazilian Wax 17. Bathtub (Interlude) 18. Come Here Shawty feat. Ink Floyd (produced by h/r) 19. Kim & Cookie Interlude 20. Take The W (produced by 88 keys) 21. Bout To Be Some (produced by khrysis) 22. You May Die Now Interlude 23. Tanya Morgan Is A Rap Group 24. And You Say feat. Che Grand dj soul presents tanya morgan is a rap group
Ghostface Killah might be the best hip-hop artist no one talks about.
I should just end this post right there, no back up statements, no reason for such a strong assertion, but then, I wouldn’t be taking it very far past the margin now would I? Let me start by clarifying that statement. Ghostface is one of the best hip-hop artists no one talks about (I’ll throw fellow Wu-Tang member Raekwon in that same category). But if you are in anyway versed in hip-hop and know a little history of the genre’s rise, then you know precisely who Ghostface a.k.a. Tony Starks a.k.a. Wallabee Champ a.k.a. Ironman a.k.a. you get the point, is.
One of the most lyrically diverse, dexterous and probably the most amusing rapper this side of the Mason Dixon (props to Ludacris), Ghostface has made a name for himself off of a distinctively grimy, hungry flow and often times, nonsensical lyrics. Need an example? The chorus to “Apollo Kids” off the Supreme Clientele LP goes: “Aiyyo this rap is like ziti/facin’ me real tv/crashin’ high speeds/strawberry kiwi.” If you understand exactly to what he is referring to, please, feel free to submit a post during Thursday’s Lyrical Exercise, you will have earned it. But there is undoubtedly something about Tony Starks, be it the wallabies, the giant golden eagle he wears on his wrist or, heaven forbid, his talent, that draws us, the listener in deeper. Admittedly, it takes a while to warm up to his often times frenetic flow and whiplash-speed subject matter switches, but once you are able to sift through that, you find yourself not only listening to a man with a wealth of experiences under his belt, but also a dude who knows how to put together a conceptual song.
The bottom line is that Ghost is one of the few dudes who can craft a whole song about Kilos of cocaine and its transport throughout the cities of NY (Fishscale’s “Kilo”) and follow up further down the track listing with a hypnotic ode to young black girl growing up tough (“Big Girl” on the same album) and actually lead you believe every word of what he’s spitting on both tracks. Can Nas, the king of hip-hop hypocrisy say the same thing?
Therein lies the biggest enigma about Dennis Coles. His persona and charisma does not allow you much room to question his authenticity.Very rarely, I find, is it that you can listen to him and not truly feel his words are the honest truth. He rhymes with such fervor and sincerity, it’s almost impossible to penetrate. Check out “Josephine” from Hi-Tek’s Hi-Teknology, Vol. 2:
“Yo, I know this chick from the hood named Courtney Cox
And her brain is easy to pick like faulty locks
She's awfully hot, asshole burning like tabasco
She used to be thick, it's like where the hell her ass go
Started smoking weed and graduated to the pipe
Thought that she could quit but her calculations wasn't right…”
He possesses a rather uncanny ability to weave the whimsical with the more serious subject matter (“asshole burnin’ like Tabasco” hilariously sad). And it works most times. I won’t sit here and praise him without acknowledging some of his past shortcomings with albums like Bulletproof Wallets and The Pretty Toney Album, but while those albums weren’t great, listening to Clientele back in 2000 and Fishscale last year definitely reminded me of why I enjoy him so much in the first place. There is an unadulterated quality to him that allows the listener to vibe and let his words push you through to another realm. As evidenced in the excerpt from “Josephine,” his talent truly lies in the ability to both talk and rap at the same time. Just as sure as you could hear him rapping those words, you could hear him saying those same sentences to you on any street corner in NY.
So he might just embody what makes New York New York: his brash, bold and humorously aggressive nature. And maybe that’s why he’s not getting a lot of ink. Maybe he personifies the honesty that seems to be lacking in hip-hop, especially as of late.
I swear PTM is two steps ahead, this just in... Superstar rapper Jay-Z is on the verge of closing a $150 million deal with with the concert giant Live Nation that rivals the biggest music contracts ever awarded. Jay-Z plans to depart his longtime record label, Def Jam, for a roughly $150 million package with the concert giant Live Nation that includes financing for his own entertainment venture, in addition to recordings and tours for the next decade. The pact, expected to be finalized this week, is the most expansive deal yet from Live Nation, which has angled to compete directly with the industry’s established music labels in a scrum over the rights to distribute recordings, sell concert tickets, market merchandise and control other aspects of artists’ careers.
As CD sales plunge, an array of players — including record labels, promoters and advertisers — are racing to secure deals that cut them in on a larger share of an artist’s overall revenue. Live Nation has already struck less comprehensive pacts with Madonna and U2. Read The Full Article
Why would anyone want to buy cd's in the future? written by DOT
Let's face it the act of going to the record store to buy cd's is fading away. I remember the joy of popping the seal on a brand new tape in the 80's, cd's in the 90's, and my iPod case in the new millennium??? Wait, how do artists benefit from my new ability to download their music (for free) at nearly the speed of light? They don't! That's how!
At some point soon even cd's will become obsolete. Everyone will have iPods one day and mostly all connections will be wireless. I guess what I want to know is how will artists make money off of record sales when theoretically, no one will be buying records in the new music age? Personally I haven't purchased an album in about two years. The last album I bought was Rick Ross' 1st album. I bought it because Ross was new to me and I wanted to hear what type of album he could put together. I want to purchase albums from Common, Lupe, and even Kanye but they're music is usually leaked heavily prior to the release dates of their albums so its pointless to waste my time going to the record store to purchase something I already have free access to.
During the season finale of Making The Band 4 Danity Kane and Day 26 had a competition over who could sell the most albums via iTunes during the first week. That is a testament that consumers are not going to the record stores anymore when artists are competing to see who can sell the most records on iTUNES!
Music (hip hop in particular) has become so over saturated that I'm pleased with the mixtapes that most artists release and am tired of hearing them by the time their album drops. Should artists be scared for their future album sales?
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. "Get Tha Fortune" – Cash Money Click Thought the first time you heard him he was "Hollerin"? Nope. Ja Rule's debut was actually as a member of this group. Lyor saw him perform this song and signed him on the spot. Tough. Track.
2. "Testament" – Cormega The forgotten member of the original Firm crew. Never really got the shine.
3. "My Name is D-Nice" – D-Nice Dope.
4. "Can't Stop the Prophet" – Jeru the Damaja I'm still not sure what's better, the song or the video. Thanks Youtube!
5. "Gone But Not Forgotten" – Juice, Tip of the Iceberg Incredible creativity. Juice really does them justice – R.I.P to all of our fallen emcees.
1. Lil Wayne- Carter 3 Is Coming(Grand Closing) (0:56) 2. Lil Wayne- I (2:59) 3. Lil Wayne- Walk It Off (4:19) 4. Lil Wayne- Open Shop (4:31) 5. Lil Wayne- Done It (3:25) 6. Lil Wayne- Introducing Milli (0:12) 7. Lil Wayne- Milli (3:57) 8. Lil Wayne- Damn Im Cold (1:32) 9. Lil Wayne- Im A Dog Ya(Freesytle) (1:46) 10. Lil Wayne- Stunt When I See You (4:10) 11. Lil Wayne- We Hustle (4:22) 12. Lil Wayne- I Got My (3:44) 13. Lil Wayne- Lollipop (4:58) 14. Lil Wayne- Certified (4:17) 15. Lil Wayne- Girls All Around (3:23) 16. Lil Wayne- Single Again (3:37) 17. Lil Wayne- Drought Is Finally Over (0:48) 18. Lil Wayne Ft. Lil Chuckie- To Clean (3:39) 19. Lil Wayne Feat. Wale- Nike Boots(Official Remix) (3:58) The_Empire_Presents_Lil_Wayne _-_The_Drought_Is_Over_Vol.5_Grand_Closing **(Link Fixed)**
I remember when I first heard DJ Enuff play "Where Do We Go From Here" by Razah and my immediate reaction was this dude got something different. Funny that jDot mentioned him in a previous post because I didnt know how many people really heard of him. Well if you know already cool, but if you don't heres your introduction...ps PTM is more than just Hip-Hop...gWiz
"When I make my records I try to make timeless music and songs that uplift people. I was raised by a single mom so I believe in writing music that celebrates women.”
With a stage name like Razah, you'd expect his vocals to be stabs of gruff-toned, ragamuffin-style patois or jagged rhymes about the inner city's hottest blocks. But the singer born Martell Nelson is slicker than that. There's more romance than gangsterism in his R&B. His sound recalls the smooth edges of the soulful pop and reggae-tinged croons of his musical forebears Michael Jackson, Beres Hammond and Bob Marley.
"I sing emotional songs, but my name is Razah," says the 24-year-old Jamaican-born soulman. "It's like a balance."
On his self-titled debut album, Razah hopes to tip the scales overwhelmingly in his favor. Enlisting new beatmaking talent such as Rykeyz (who contributed four songs) as well as a few known producers including EZ LP, Green Lantern and Norwegian-born production duo, Stargate, Razah assures that the CD still will be his opportunity to shine.
"I don't want people to pick my album up for the producers," he admits. "I want them to genuinely like Razah."
Razah's warm, achy tone resonates with genuine passion. Songs such as "Rain" and "Where Do We Go From Here" are more likely to strike an emotional chord, tug on a couple heartstrings and even swell a few tear ducts.
"That's what this game is missing—no one wants to cry on a record anymore," he explains. "I'm not sure if everybody's scared or no one wants to be vulnerable. But everybody's vulnerable at the end of the day." Honesty and raw emotion are at the center of the bulk of Razah's self-penned songs. "I'm so confused, girl/ I'm lost without ya/ I can't go to sleep because I toss without ya," he sings over the breezy, lilting melody of "Where Do We Go From Here." And Razah's not afraid to tackle some tough issues that many young women face—sexual abuse and drug use. On the uptempo synth-pop of "Runaway," he sings in a breathy, near-falsetto: "She just wants to runaway from this town/ Don't know what way she's going,"
Elsewhere, on a track called "Dear Dad," he sings bittersweetly about the father he never knew. Then on "Fight," the topic returns to love, with Razah addressing the type of relationship that's worth fighting to save. But he's quick to counter that he's not all about being Mr. Sensitivity.
"It's not all about heartache, but it's about real life situations," he says. "Rappers say they talk about true life situations, singers can do that too."
Exasperated, he adds: "I don't write about no crazy, fake stuff, like about my big cars. That's corny." Besides, Razah knows better than to make music that he'd be embarrassed to play for the single mother who raised him and his older brother and sister. When Razah was four years old his mother packed up the family. They moved from St. Andrews—a small town about three hours from Kingston in Jamaica's lush countryside—to the ("Never ran, never will") Brownsville section of Brooklyn. She worked hard, saved money, studied, and fulfilled her dream of becoming a nurse.
"She's such a strong woman it's amazing," Razah says. "When the bad happens she just says, ’Keep on going. God put you here for this.' "
Divine intervention can be a way to describe Razah's rise in the music game. In 2004, a routine recording session turned into a professional and personal bond with his managers, Sekou ("Hood") Reaves and Gerald ("Man") Holman of ManHood Entertainment.
"You don't really hear many singers who can send a chill up your spin," Hood says. "I felt something real about him. I'm a family dude, and he's a family guy. He loves his mom, and I love my mom…so we clicked."
Clocking loads of radio play for the independently released single "Feels So Good," a remake of Teddy Pendergrass's "When Somebody Loves You Back," Razah proved his talent couldn't be overlooked. Then through sheer determination and Hood's industry know-how, Razah teamed with Houston veteran MC Bun B on "Keep your head up". And his hot streak continued when DJ Enuff and Funkmaster Flex of New York's Hot97 showed even more radio love to Razah's track, "Where Do We Go From Here." Those spins proved to be the difference. The song caught the attention of Rihanna, who approached the singer to add her own verse to the remix. Still, at the subsequent recording session in Roc The Mic studios, Razah had little clue the two Caribbean born singers would be labelmates.
"Rihanna was in the booth doing what she do, I was there chilling and then Jay-Z walks in, and was like what's up," Razah explains. "I was like, 'Damn, here's my idol walking in the studio.' I gave him a dap and he walked out the room."
But when the Def Jam CEO pays a visit to your recording session, serious business is about to go down. Hood and Jay worked out a verbal agreement in the studio hallway. Days later, Razah signed a record contract with Def Jam, and only two weeks after that he played the finished album for Island Def Jam chairman LA Reid.
Now, Razah's definitely in great company, poised to share his Caribbean-inflected soul music with the globe. "I try to do make big records so it's not just like it's an [average] R&B song or pop song," he concludes, "but so that everybody can love it." Shout Out to S.Smith over at Wired Set for the info
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