Wednesday, September 27, 2017

You Hate Cardi B... Why?

"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 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.
Be authentic.
And do the work."

Monday, July 3, 2017

The Original Version: Nas & Puff Daddy "Hate Me Now" (DJ Clue Exclusive) + The Sample

Image result for nas hate me now

"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."

Thursday, May 18, 2017

Beware Of Dog: The Story (+ Songs From) Bow Wow’s Death Row Days

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.

Tuesday, February 21, 2017

Jadakiss Wrote Puffy's Verses On "Victory" But Did You Know...

Image result for victory puff daddy

Release DateJanuary 1, 1998

Produced By Stevie J & Puff Daddy

– 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)

Tuesday, February 14, 2017

Jay Z vs. Ma$e (The Beef You Probably Didn't Know About)

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"Jay-Z isn't just one of rap's greatest hit-makers; he's one of hip-hop's fiercest competitors too. Jigga's verbal joust with Nas went down in the history books, but God's Son wasn't his only opponent. Many fans would be surprised to learn that back in 1998, Jay and Ma$e were engaged in a subliminal battle, where each hurled disses, even if they never said each other's name. So what started the feud?
"A girl named Arion," Ma$e said when he appeared on "RapFix Live" on Wednesday as a part of MTV's "Big and Best of 2012." "All my beefs are over either some girl that went wrong."
Diehards may remember Arion from a skit off of Ma$e's 1997 debut Harlem World, where the two-timing rapper confuses the names of his girlfriends in a dizzying phone exchange. Well it seems Arion was more than just a character on the multiplatinum rap LP. According to Ma$e, she was a member of Hov's crew whom he had a fling with. The problem was, Arion's boyfriend was also a member of the Roc-A-Fella crew at the time, so Ma$e's transgressions didn't sit well with Hov, or his then partner Dame Dash. "I guess Jay inherited it because me and him never really had a problem," Ma$e explained. "He said something, I said something back and that was about it."
Ma$e made it very clear that both he and Jay are beyond their lyrical spat, but the backstory is still intriguing to rap fans today. On 112's 1998 single "Love Me," M-A-Dollar Sign tossed subtle, but fiery shots at the Brooklyn MC. "All we hear is platinum that, platinum this/ Platinum whips, nobody got no platinum hits," Ma$e spit, referencing his superior sales numbers at the time.
The jab went over the head of most rap fans, but not Hov, who responded with "Ride or Die" from his 1998 LP Vol. 2... Hard Knock Life. "You see the respect I get every time I come through/ Check ya own videos you'll always be #2," Jay shot back, making fun of Ma$e for playing second fiddle to Diddy in the "Can't Nobody Hold Me Down," video where he wore a baseball jersey with the number two on it, while Puff wore number one.
Others that float under the radar...
Get More: 

Sunday, February 12, 2017

Story Time: Big Pun & Terror Squad vs. Jay Z & Roc-A-Fella

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"As the rap history books tell it, this all started during an otherwise blurry evening at New York City's late '90s hotspot Club Carbon (now Terminal 5). Reports remain fuzzy but, as the story goes, Fat Joe and Big Pun's Terror Squad clashed with Jay Z's Roc-A-Fella Records at the club. At the time, both crews reigned supreme, both in rap and the streets. As far as what led to the altercation, most of the details out there are speculation. There are reports of a bottle being thrown and striking someone from the Terror Squad camp, while others claim a gun and knife were pulled on one of the Roc-A-Fella associates.

In a 2013 interview, former Terror Squad member Cuban Link, who was one of the few present that night, confirmed the clash between the camps, but revealing that it was Memphis Bleek, not Jay Z, who was with the Roc team at the club.
Link said, "People got it twisted with that. It was two altercations with Jay Z. That one—the club—was a whole different thing. Jay Z wasn't even there ... That time it was Bleek. Bleek rocked somebody [from Terror Squad] with a bottle... Ni—as came back to the VIP bleeding and then after that, [we] got it popping. Ni—as started chasing the whole Roc-A-Fella."
After that night, several subliminal and overt diss tracks were thrown back and forth by both camps, including one in particular by Sauce Money, which appeared on a DJ Whoo Kid-hosted mixtape. In an interview conducted years later, Whoo Kid revealed that Big Pun, and a few gun-toting friends, pressed him about putting out the record: "What I've learned is Big Pun was the real gangster out of the whole Terror Squad shit." Whoo Kid added, "There's a reason why their name was Terror Squad. Pun really went out there and did the shit… After they met me, Pun ran up in Roc-A-Fella's offices and did his thing."
Years after Pun's passing, the back-and-forth ensued between Joe and Hov—on the court and on wax. In 2003, the two went head-to-head on the court at Rucker Park, one of the most legendary street basketball courts in the Big Apple, with their respective basketball teams, S. Carter vs. Terror Squad, in what would become one of the most infamous tournaments in EBC history. Joe's team claimed victory over Jay's due to a blackout that forced the game date to be pushed back.
Hov, who had players like LeBron James, Shaquille O'Neal, and John "Franchise" Strickland (the man responsible for the "Eat your breakfast" line from Jay's "Public Service Announcement") set to play, couldn't make it on the rescheduled date, thus leaving him to forfeit, and prompting Joe to reveal in a documentary about the said-tournament: "You know me and Jay Z, we infamous for taking shots at each other. We infamous for taking little jabs at each other."
Joe would further comment on the moment for his own song "Lean Back," closing out the last verse with: "My ni—as didn't have to play to win the championship, come on!" A year later, Jay would slyly throw a subliminal back on Kanye West's "Diamonds (Remix)," replying with, "The pressure's on, but guess who ain't gon' 'Crack'/ pardon me, I had to laugh at it."

Monday, June 27, 2016

Sunday, June 26, 2016

Remember When DMX Sounded Like LL Cool J? Listen To "Born Loser" (1992)

DMX's 1992/93 "Born Loser" single from Columbia/Ruffhouse Records

Wednesday, June 8, 2016

Jay-Z's Demo Tape (Pre-Reasonable Doubt) '90-'95?

1 Greatest MC (Demo) 0:00
2 What's In A Name? 4:17
3 Get Off My Dick (Feat. Sauce Money) 10:37
4 Understand Me 14:38
5 Pass The Roc 18:32
6 Broken English & Drug Sellin' (Feat. Sauce Money) 21:19
7 Rippin' It Up, Right? (Feat. Sauce Money) 24:50
8 Nothin' But Love (Feat. Sauce Money) 29:30
9 Under Pressure 31:49

Sunday, April 3, 2016

Technology Didn't Kill The Music Industry. The Fans Did..?

It is a scary proposition when paying artists for their music has become a voluntary act of kindness, rather than a consumer responsibility.  The free music fans consume like water, cost artists money to create; money they will never recover as long as the artist’s fan base consumes it for free.  Nothing is wrong with giving away an exclusive FREE track every now and again, but that should be the exception and not the rule.
As artists, we must stand our ground and set the expectation.

The ideology behind music freemium has destroyed the working class musician and independent labels.

Everyone thought that Napster was the second coming of Christ—and the beginning of the music revolution; however, in the midst of this transformation, the fans became increasingly desensitized to the fact, that the free music they were consuming was created by artists who have to make a living from their music.   The fallacy that artists/musicians are ultra rich is just that… a myth, nonetheless, perpetuated thanks to over-the-top hip hop videos and MTV Cribs, leading fans to believe that all artists are rich.

This is hardly the case when only 1% of artists are successfully making a living from their music.

Nevertheless, fans have been disillusioned to believe that their enjoyment of the free music obtained from the remaining 99% only affects the major labels, meanwhile most artists are literally starving.
The music industry is a brutal bitch, a beast that chews up artists and shits them out.
What if artists and musicians grew tired of the abuse and decided to stop making music?  What then?  Radio stations would be nothing but dead air between commercials — if all their advertisers don’t abandon them like rats on a sinking ship — and televisions stations that play music videos would be blank screens.  Imagine your favorite movie with no music to set the tone, or going to a school dance minus the dance. Like I said, a scary proposition.

When fans are left the option to pay whatever they’d like for music, they almost always choose zero.

As a content creator of music, why should I have to pass around the collection plate or hold out the tip jar and jingle it to capture your attention?  What if artists told fans that they would have to work at their jobs for free?  Do you think they would go quietly in the night to the land of acceptance?  Hell no, they would be in outrage, so why do they expect artists to just take one for the team?
Greed perhaps, ignorance maybe, but the one thing is for sure is that fans have a lopsided perspective as to what really goes on in the music business.  Artisans should be able to make a living from their work no different from a nurse or auto mechanic.

Sure, the 1% is living the lifestyle of the rich and famous; however, the 99% are one poorly-promoted show away from being homeless.  For God’s sake, something has to give.

I believe the healing will begin when the public is educated on how the music business works sans the VH1 movies and Hollywood imagery.
If fans understood what it takes to make a record — all the time, money, people, and energy — they would have more respect for the art and science of it.  If they could experience, on some part the dedication and sacrifice artists endure, their nonchalant attitudes toward paying artists what they owe would change.  Fans don’t realize that artists of today were fans of yesterday and the cycle is everlasting.
Fans and artists must come to an agreement on how music will be monetized using fair and equitable practices.  According to a recent CNN poll, the average football fan will pay $143 per game, which includes the cost of the ticket, parking, and refreshments, for a one-time event.  For music, a fans have the opportunity to play a CD as many times as they desire; yet they complain about spending $16 for the CD.   In order to set the wheels of change in motion, there must be a catalyst.