Tuesday, July 24, 2018
Posted by The Incredible Creation at 12:33 PM
Saturday, May 26, 2018
Back in 2006, Lil Wayne appeared on the front cover of Vibe magazine rocking apparel from A Bathing Ape, as well as wearing BAPE clothes in his “Hustler Musik” music video. The Clipse, a hip-hop group formed by two brothers Pusha T and No Malice, were some of the first people to ever wear BAPE clothing along with Pharrell, so after they saw Weezy rocking it, they released a song called “Mr. Me Too” were they sent a shot at him:
The Clipse did not like Tunechi‘s response one little bit! Check out what Pusha T said to Virginia’s WWHV Hot 102.1 FM radio show after he heard what Wayne said about himself and his brother:
Posted by The Incredible Creation at 5:55 PM
Sunday, May 13, 2018
"André Benjamin, aka André 3000 of Outkast, celebrated Mother’s Day in the traditional fashion this year: signing up for Instagram and releasing two new solo tracks. You’d expect the new music to be bigger news than the Instagram account.."
Posted by The Incredible Creation at 10:20 PM
Thursday, May 10, 2018
by: Philip Trapp
By mid-decade 1990s, breakout hip-hop youth duo Kris Kross were already discounted as novelty in the minds of most music fans. Bursting onto the scene in 1992 with their infectious No. 1 hit, "Jump," Atlanta teen rappers Chris Kelly ("Mac Daddy") and Chris Smith ("Daddy Mac"), guided by then-unknown writer and producer Jermaine Dupri, created an ephemeral pop culture smash that moved over 2 million units. It also branded them a one-hit wonder, ex-post-facto, a juvenile gimmick.
Twelve and 13 years old when they recorded "Jump," its parent album and Kris Kross' debut LP, Totally Krossed Out, sold 4 million copies on the strength of that single and succeeding jams like "Warm It Up," "I Missed the Bus" and "It's a Shame." 1993's follow-up album, Da Bomb, sadly embodied its moniker as far as critics and mainstreamers were concerned; the green but confident display of gangsta rap fell on deaf ears, selling a quarter of the amount of its trendy predecessor.
And it truly is a shame, because their third and final album, 1996's Young, Rich & Dangerous, is possibly the Chrises' (and, perhaps, Dupri's) finest record. Coming into their own as rappers by the post-pubescent epoch of ages 16 and 17, and further coalescing with Dupri's progressive G-funk production style, Dangerous is not only the Kris Kross swan song but a practically unheard -- and now unfortunately forgotten -- Southern-aping-West-Coast, feel-good, hip-hop masterpiece.
Posted by The Incredible Creation at 10:58 AM
Thursday, April 19, 2018
Saturday, April 14, 2018
Wednesday, September 27, 2017
"But honestly though...
If you hate Cardi, you hate yourself because underneath this veil of dictated modesty and taught oppressive respectability, we are all Cardi.
If there was no system staring in our faces, constantly reiterating to us that our AAVE was “ghetto”, our long nails were inappropriate, our colorful hairstyles were a distraction and our demeanor was intimidating we would all be Cardi.
• all whilst using our vernacular and Black girl aesthetics as props but this aint about that right now •
If you weren't afraid of being rejected, if you weren't afraid of being talked about, if you weren't afraid of standing out like an orange tic-tac in a pack of white...you would be Cardi.
Cardi is you at home with your girls, locked behind closed doors being your truest self. And Cardi is a reminder that you camouflage for love. You want Cardi to sit down and be quiet because she is a harsh reminder that even with doing all that you have done to conform and follow the rules, this loud mouthed ratchet gutta ball hoodrat from the projects just made history being who she is and you cant fake it enough to get a call back.
And regardless of what you feel Cardi is or how you feel she should “identify” as, the indisputable fact is that she is a non-#6f woman who grew up along side other “underdog” low-income Black and Brown girls. In the same hoods. Running the same streets. Dealing with the same trash from a society who had already determined who she was going to be because of where she is from before she even knew who she was. Cardi was never SUPPOSE to make it. She was suppose to die where she was. She was never suppose to make it out. And not only did she make it out, she came in like a got damn wrecking ball and took the entire world by storm. Unsuspectingly...
You should be proud.
But I get it though.
You hate Cardi for doing what you don't have the courage to do.
And do the work."
Posted by The Incredible Creation at 12:26 AM
Monday, July 3, 2017
"The original, very rare version of "Hate Me Now" with the "O Fortuna" sample. The sample wasn't cleared so the studio version has the sample replaced by a synthesizer."
Posted by The Incredible Creation at 1:35 PM
Thursday, May 18, 2017
By: Erich Donaldson
There was a time where Bow Wow was everywhere. A 13-year-old rapper wasn’t too common, and Jermaine Dupri made it work. He saw the vision in the young Columbus, Ohio native and turned him into a star. Bow’s debut album, Beware The Dog, is certified double platinum. It was the introduction to the world as songs like “Bounce With Me” and “Bow Wow (That’s My Name),” featuring Snoop Dogg, became hits. This was the path that Lil Bow Wow ended up on, but imagine if he took a different journey on a less of a kid friendly record label and never got introduced to Jermaine Dupri.
In 1993, Shad Moss attended a Dr. Dre and Snoop Dogg concert in his hometown. The duo asked for people to come up on stage, and Shad’s mother’s boyfriend raised his hand. Shad, however, didn’t want to go up despite being a performer already and having won talent shows under the name Kid Gangsta. He would tell Vibe magazine in 2000 that he “got up there and did his thing.” A Billboard article from the same year says that Shad freestyled for the sold out crowd and impressed Snoop enough to be invited backstage after the show.
Backstage, Lil Bow Wow was born. Snoop Dogg, who gave him the name, invited him on the rest of the tour. Several reports over the years say he was signed to Death Row, but a 2002 article NY Times says no contract was ever in place. It’s also unsure whether he was five or six at the time. Surely, for Bow Wow, this was a dream he never saw coming. From not wanting to hit the stage to being around one of the most notorious hip-hop labels at such a young age. He moved out to L.A. with his mom. “When we discovered the nigga he was ready to go,” Snoop recalls in a clip on Bow Wow’s Youtube. “They [Death Row] had him on some bullshit songs, but he was going hard on the motherfuckers.”
Bow Wow was still developing, so the influence from Death Row was strong. He did the kid skits on Doggystyle. “I wanna be a motherfuckin’ hustla, ya better ask somebody,” he said on the “Classroom Intro” skit. He was cussing more than a six-year-old should ever be allowed to. There was an appearance on Arsenio Hall in 1993. While working on Murder Was The Case’s soundtrack, Bow was supposed to appear on it with “After 3,” a song featuring Kurupt (who wrote it all), Jewell and CPO Boss Hogg. The song would remain in the vault until 2012.
Lessons were learned during Bow’s days at Death Row. One studio session would teach him to have thick skin if he wanted to make it in the music industry and that practice will always help. “I was in the studio and Snoop had written something for me,” he told Billboard. “I really couldn’t get it. They were yelling at me and I didn’t like it. I wanted to quit. I went back home and studied that rap. I went back the next day and showed them I could do it.”
He’d later reflect on his time in an interview where he makes it clear that if he hasn’t left, he’d be “doing something stupid, gangbanging or whatever.” Snoop Dogg was smart enough to get him out of the situation before he was in too deep, so Bow went back to Columbus feeling defeated. His mom said he was devastated and tried hard to get back to Death Row for him. It wasn’t until 1998 when Snoop was leaving Death Row that he was able to help. He’d recommend Bow to a friend, Jermaine Dupri (although the NY Times article conflicts with this saying Snoop referred them to Epic who signed Bow and they got Jermaine through the label). “Death Row ain’t the label for this little kid,” Snoop told Jermaine. “I know you know what to do with him. Let’s put our heads together and do what we gotta do.” Even though it never escalated, Suge Knight always hated Jermaine, because he assumed he stole Bow Wow, but that idea doesn’t add up to the timeline above. He didn’t know Snoop was behind it, though.
Posted by The Incredible Creation at 11:12 PM
Tuesday, February 21, 2017
– The last song Biggie recorded was Victory from Puffy’s No Way Out, which at the time was titled Hell Up In Harlem. It was recorded on March 8th, 1997, one day before he was killed.
– Victory was a subliminal diss at Nas.
– Victory was originally titled “The Commission”
- Biggie's last verse was a [reference] track for Puffy, thus this must be imagined rapped by Puffy.. Biggie indeed wrote this verse for Puff, but he didn’t quite understand it. He said he was confused about the whole “Island Cayman” part and was asking Biggie what is that about and what does it mean. Possibly, that’s why it ended up being Biggie’s verse (and because he died and they wanted to use as much material as possible).
The video is also a reference to the Arnold Schwarzenegger film, The Running Man.
"It’s one of the most expensive music videos in history." ($2.7 million)
Posted by The Incredible Creation at 2:24 PM