Hip Hop on My Mind

Greatness Always Gets Honored

noreply@blogger.com (Danny Tejada) — Wed, 11 Jul 2012 23:22:00 +0000

Not many rappers get books written about them, especially in a good light. NaS falls into the good light this time. At the age of nineteen, he recorded his debut album, Illmatic. 16 years later, a book about the album is released. It is written by many well-known names in Hip Hop and academia. The book Born to Use Mics: Reading Nas's Illmatic runs like the album itself with an essay for each track, but it includes a few bonuses which are essays, an interview and the famous five mic review from The Source.

Each essay is written by a different person. Every writer had their own format. The records from the album were used as jump off points. Those writers used the theme of the records to talk about larger concepts. Some of them connected to other Rap records. This showed the impact the album had.

The book started off with a great breakdown of “The Genesis” by Adilifu Nama. NaS isn't rapping on the record, but there is a lot going on. The author of the essay catches it all and shows what people missed from a track that just sounds random to them. Sohail Daulatzai's essay followed by talking about the next record, “N.Y. State of Mind.” He connected the record with how things got to be so horrible on the streets of New York City. Michael Eric Dyson and Guthrie P. Ramsey Jr.'s personal connection to the records they wrote about made their essays really enjoyable to read. Some of the writers didn't do such a great job with their essays. They pushed away from the records they were tasked to write about. An example of this would be the essay on “One Time 4 Your Mind.”
I think the book would've been a lot better if the editors, Sohail Daulatzai and Michael Eric Dyson, had guidelines for the writers. The guidelines would've made the book seemed more like an album, instead of each essay seeming like a bunch of singles.

The lack of guidelines can make the book less understandable to the typical Hip Hop head. The book seems to be more geared towards educated people who are curious about Rap's influence and impact. The book helps Rap to be considered as a serious field of study. A few of the essays can show up in any American Studies class.

She's the Bestest

noreply@blogger.com (Danny Tejada) — Tue, 01 Nov 2011 17:00:00 +0000

When Nicki Minaj first came out, I wasn't feeling her at all. Her oversexualized records and image wasn't appealing to me. I felt like she was just one of those artists who comes and goes. But when I first heard her verse on Kanye West's “Monster” that all changed. I haven't heard a female go that hard in the last few years. I started to get hype about her debut album, Pink Friday, despite not being interested in Young Money.

I was disappointed by “Massive Attack” to the point that I wasn't trying to hear her many guest appearances.

But luckily, I was kind of interested in Drake's debut album. When I heard the Nicki-assisted “Up All Night,” I got hyped about Nicki's debut again, even more than before.

Then, the first single to the album dropped, “Your Love,” and I was sold!

I've never digged a pop record so much before. It was the perfect pop record. The video was very creative and beautiful with a great use of colors. I seriously didn't think she could follow that. But she did with “Right Thru Me.”

Those two records were nice, but I was starting to wonder about the lyrical warrior that I heard on “Monster.” Did she still exist? I was also wondering if there were going to be meaningful records on the album. Once I heard the first track on Pink Friday, I was blown away.

It was the great come up record. It defined to me what she was all about. She showed how real she was with this line: “...I'm fighting for the girls that never thought they could win. Cause before they could begin, you told them it was the end. But I am here to reverse the curse that they live in.”

The rest of the album was a great mix of her come up story, love and pop. It was the best debut I heard in a long time, if not my whole life. I loved the album so much that I brought it for my little sister. Nicki can lead young girls to the path of greatness. Sure, people would disagree, but it really depends on how her music and message is taken in.

This is where parents and mentors come in. Show the kids Nicki's E! Special! That piece alone is inspiring and empowering. I look forward to seeing what Nicki comes up with next. Until then, I'll keep playing Pink Friday and listen to various records featuring Nicki with my sister.

Scott Mescudi vs. the World and Scott Mescudi

noreply@blogger.com (Danny Tejada) — Mon, 17 Oct 2011 23:42:00 +0000

I’m a huge KiD CuDi fan. I loved his second album, Man on the Moon II: The Legend of Mr. Rager. But I was disappointed with his videos that came out after “Pursuit of Happiness.” I feel like I can relate to CuDi. He just might be the artist I relate to the most. I listen to “Man On The Moon (The Anthem)” and “Soundtrack 2 My Life” and see myself. When I seen the video above, I was blown away. When I first heard the song, I didn’t think much of it. But I saw myself in the video. I felt like I was watching a movie about me. Allow me to interpret the video.

First, we see CuDi trying to break into a building. He’s trying to unlock his potential. Once in the building, he looks up and sees he has a long way to go. The lock was just the beginning of a great battle. He sees that it will be a great battle, indeed. Everyone is trying to block him from reaching the top, from reaching his full potential. He is truly against the world here. He puts up a fight against the doubters, the dream killers.

He fights them off, but fails to fight his boss, Kanye West, because he is made aware of the consequences. With each blow he received after failing to battle his boss represents people telling him he can’t do this, can’t do that, can’t be this, can’t be that and why don’t you do this? Just when he thought he gained the upper hand on what he believed to be his biggest foe, he is blindsided by his girlfriend, the one person who he thought had his back. He is stunned by this to the point where he stops fighting and falls victim to his greatest enemy, himself.

You might see this as reaching, but I see it this way because this is my story. I had people doubt me, even those who I thought loved me the most. I had people diss me behind my back. I had people abandon me. Things got to the point where I was digging myself deeper and deeper by coming up with my own doubts. I was drinking on my own to escape reality, to escape my own mind.

I almost fell victim to myself, but woke up just as CuDi does at the end of the video. I woke up to the warming embrace of God. I hope CuDi keeps making videos like this. I hope he keeps making the Man on the Moon type music. This stuff helps people know that they are not alone. Even if people don’t come to know God, CuDi’s music could mean life for people who only see death.

Fly Geenius Launch Party

noreply@blogger.com (David Whitely) — Wed, 13 Apr 2011 18:44:00 +0000

This past Thursday, April 7th 2011, was the official release party for Fly Geenius Clothing, a newly established street wear brand founded by CEO Davon Bean. The event was held at the Samsung Experience store, at Columbus Circle, in downtown Manhattan. The release party was closed to the general public, and patrons were admitted via RSVP and guest lists.

The Samsung Experience store was transformed from a day time electronic retail store, to an after hours, grown and sexy private party for the unveiling of the Fly Geenius brand. One event goer that really liked the environment said that, “The space looked very classy. It had a very mature look to it. You could tell it was a 25 and up affair.” The event did not lose any bit of liveliness; with a DJ spinning current club records, and older familiar records, patrons were still able to get it in and have a good time while appreciating the showing of the Fly Geenius clothing line.

Bean and his team defined what it means to be “Fly” and a “Geenius” in their brand by having an artist paint a portrait from scratch at the showing. Many people were caught off guard by this, but in a good way. Another patron said that, “I was surprised and shocked to see someone actually painting there, like, where did he come from? But it fit the scene perfectly; upscale art, but with an urban feel, just like the brand. I liked it.”

The event really took off once the performers hit the stage. The first was the very sweet, yet soulful sounding singer Erin Christine. The pint sized vocalist took audience members by surprise, not by her ability to sing and play the piano, but by how strong of a voice can come from such a small person. Her sweet sounding voice fits her small stature, but it was the power in her voice that really grabbed the ears of everyone in the room. She performed four songs, but it was her single “Say” that captured the ears of everyone at the affair.

The second and final performer, Mickey Factz, took to the stage bringing the South Bronx with him. He premiered the single “Dreamland” from his debut album The New Museum, which drops this July on Battery/Jive records. The record features B.o.B on the album version.

He later performed the song “We Young,” from his mixtape I'm Better Than You. He kept the crowd entertained in his performance by dancing on stage and bringing high energy to his set. “He had me rolling when he started dancing on stage. I was impressed with his swag and confidence to even do that because most rappers these days don't even entertain the crowd anymore,” said a young woman that was at the event.

The event closed with a few words by CEO Davon Bean, where he thanked his mother for believing in him and his vision. Most of the people there were either friends of models, friends and supporters of Bean, or just there for the artist. But they all had one thing in common when they left, they all were satisfied with the event and were looking forward to seeing where the Fly Geenius brand goes next.

Photos and Videos by Danny Tejada

The Future is in Their Hands

noreply@blogger.com (Danny Tejada) — Tue, 09 Nov 2010 13:30:00 +0000

Today marks a great day. This blog turns three! Let me just say that I’m sorry for not being on here that much. I know that there are a lot of people out there who dig this blog. I wanted to do something special for all of you instead of not really mentioning this milestone or just giving a rundown of the best posts. Since there is a lot of talk about who’s going to be on XXL’s Freshmen 2011 issue, I figured I would write about who I’ve been digging lately and is worthy of being in the issue. I will share my thoughts on the Freshmen of 2010 as well, which I’ve been meaning to do for a while. I will also briefly talk about artists who I would love to hear more from.

XXL’s 2010 Freshmen was an interesting group. At the time, I never heard about most of those guys. I searched the web for their music to see why the magazine cosigned them. Most of them had a lot of great records, but there was only two who I thought were flawless, J. Cole and Pill. I heard about these two before the issue. J. Cole makes great thought-provoking, meaningful music.

Pill makes music for those on the everyday grind. If I had to choose one, I would go with Pill. He has more music out than J. Cole. I listen to him a lot. His music really strikes a cord with me. And I think it’s a shame that he isn’t put out there as of right now.

The first artist I’m going to talk about is G.O.O.D. Music’s “newest” recruit, CyHi Da Prynce. I heard about him a while back when his deal was announced. I didn’t think anything of him until the G.O.O.D. Friday track “So Appalled” was released. I was blown away. After that, he dropped his mixtape Royal Flush. Upon listening to the tape, I became a fan. On the tape, he shows that he can pretty much do any kind of record.

Esso is next to bat at the plate. His mixtape The Anti-Socialite is what modern New York sounds like. There are records for all kinds of people such as those who felt pain while growing up, are party animals and more. When I came across this tape, I couldn’t stop playing it. I don’t remember how I got into him. I think it was either seeing him at a show or in XXL’s Show and Prove. I hope he makes more music like this.

XXL’s Rob Markman introduced to Kendrick Lamar at the 2010 XXL Freshmen Showcase. I got to see him perform some of his music, but I didn’t think anything of it. Rob insisted I check out his first project the Kendrick Lamar EP. Once I did, I couldn’t believe that this cat could make great music. I was already hyped for his follow-up project O.verly D.edicated which is just as great as his first project, if not more. I was glad to see him in his month’s XXL’s Show and Prove. I regret just dismissing him when I first met him. He is someone I can relate to.

I already talked about this guy before, so I won’t say much. But, The Incomparable Shakespeare is one of those artists who is Rap’s best kept secret. His mixtape The British Invasion might be short, but it sure is sweet.

I know this is a group, but I really can’t take them out of the running especially since there is a group section in the issue. I heard a lot about Chiddy Bang but never checked them out until someone close to me put me on to them. This person sent me “Opposite Of Adults.” I was amazed with how hip and fresh the record was. I checked out their mixtape The Swelly Express and was even more impressed.

XV is the cat who a lot of people say was snubbed in last year’s Freshmen issue. He believes this as well. He addressed this in some of his music. I wonder if he would accept a Freshmen issue spot if offered. I got into him a few months after he dropped Everybody's Nobody. I liked how well it was put together and the emotion that came out of it. His follow-up Vizzy Zone expands on that.

Laws is another artist XXL’s Rob Markman put me on to. As soon I was made aware of his mixtape 5:01 (Overtime), I jumped on it. It is a great project. You can hear the hunger in his voice. Laws represents for those artists we rarely hear about; those who have a 9 to 5 job and use that money to support their real passion. I wonder how he will top this.

One of the gentlemen in the video above is my final pick, Big K.R.I.T. He’s one of the recent artists Rob has told me about. Rob pointed me to the mixtape K.R.I.T. Wuz Here. I had a hard time really listening to the tape because it wasn’t mixed right, maybe not at all. So, I waited until a mastered version came about, which took a while. I just happened to find it when I did a random Google search. I heard it as it was meant to be heard. I was amazed by how someone from this random state could be so lyrical and tell stories well. He produces his own stuff too and is signed to Def Jam. We just might have our next Kanye West.

That is pretty much it when it comes to who I think should be in XXL’s Freshmen 2011 issue. I know I’m missing some people such as the other guy featured in Laws’ video, Emilio Rojas. When it comes to him, I want to hear more from him. I have a hard time trying to find his stuff. If any of you can forward me his tapes, please do. Same goes for any artists you think I should check out. Some of you will mention Diggy as well. He makes great music, but I don’t think it’s time for him yet. Another artist I would love to hear from his Ice Cube’s son OMG.

I look forward to hearing what all of you have to say and who you guys put me on to. PLEASE let it be people XXL worthy. If there was some OBVIOUS people I missed, it’s most likely because I DON'T DIG THEM AT ALL. Now, let the great debate begin!

P.S. Thank you for sticking to this blog! Here's to another year!

The Past, Present and Future of Female MCs

noreply@blogger.com (Danny Tejada) — Wed, 01 Sep 2010 00:42:00 +0000

This is a documentary called My Mic Sounds Nice: A Truth About Women & Hip-Hop. It features females MCs from the past and present, journalists, scholars, and label executives. The documentary has four main parts: the start of female MCs in the 1980s, the explosion of them in the 1990s, their downsizing in the 2000's and their future. Watch the rest of it below. Enjoy.

There's Nothing Like Repping Your Hometown

noreply@blogger.com (Danny Tejada) — Tue, 24 Aug 2010 22:54:00 +0000

There aren't many underground rappers I really believe in. Why? Because quality music isn't being made by many. Some are in it for the quick buck while others are in it for the sake of making music. The Incomparable Shakespeare is apart of the latter. I've known Shake for around ten years. I met him through his longtime friend BK Cyph. I got to see him perform before I heard his music. It was at a block party in Flastbush. He performed with BK Cyph and a singer who goes by the name Sophia Lauren. They really got the crowd going and even got the kids involved. I must say that it was my first time seeing a performance; what a great time it was.

After that, I randomly met Shake again at this event. He give me his first mixtape Heavy Rotation. That mixtape was the first time I heard music from an underground artist. I was impressed with how creative and captivating it was. A few years later, he was consistently active because of the internet. He dropped a few mixtapes. Upon hearing those, I got back in touch with him and invited him to perform at a concert at my school alongside Mickey Factz, Loj and BK Cyph. He was a great addition to an awesome show.

Later that year, Shake dropped a music video for a track called "Skinny Jeans."

The satiric music video got him a great buzz which has a current view count of about 30,000. It created a great discussion on the YouTube link and various blogs because of the content. He extended his buzz with the mixtape called The British Invasion.

I was invited to a few sessions for that mixtape. One of the first joints I heard Shake record was "Hometown," which you can watch at the top of this post. My jaw dropped in amazement upon hearing the track. The visual, which dropped today, lives up to the record. The rest of the mixtape is very rich in material. There's a little bit of everything, stories, tracks to chill out to, etc. I look forward to whatever he has in store next. It's a crime that he isn't signed and getting the press he should. I believe in it. You should too.

Check out The British Invasion. It's free to listen and download.

His official site
Facebook
Twitter
Myspace

Mixtape Spotlight: Who the Fuck is Mickey Factz? Vol. 2

noreply@blogger.com (Danny Tejada) — Wed, 18 Aug 2010 16:10:00 +0000

After about 6,809 downloads and 3,856 listens of the fan blog's first mixtape, the second installment is here! It features exclusive, recent and familiar tracks from Mick. The full track to "Turn It Up" from Mick's thedarkphoenix: ALPHA is featured as well. Consider this a warm up to I'm Better Than You. Shout out to NEJI for the artwork. Shout out to Mickey and all of you for the support. If you are feeling this, check out the site for more music. Enjoy. Share it!

Listen

Download
Divshare
Sharebee
Sendspace

Songz is His Name

noreply@blogger.com (David Whitely) — Thu, 12 Aug 2010 00:41:00 +0000

Trey Songz has been around in the music world for quite some time now, since he came on the scene with his cover of R. Kelly’s “Trapped in the Closet,” but hasn't gotten notoriety until recently. Some would say it’s because he changed his image and content of his material. Others would argue that it’s his ability to rap and sing, and success on the mixtape scene. The latter has been proven to be the case.

He has become a monster in the game by developing and maintaining a buzz with great covers and freestyles of chart topping tracks such as Gucci Mane’s “Lemonade,” Rihanna’s “Hard,” and Roscoe Dash’s “All The Way Turnt Up.” Trey Songz bodied these tracks. He has established himself to be one of the premier artists to be on an instrumental in the game right now. With his success in a rapper dominated field, Trey has opened the door for other R&B artists to venture into the mixtape scene. Artists like Chris Brown have tried to capitalize off of Trey’s success as an R&B artist in Rap by releasing his Fan of a Fan mixtape with rapper Tyga. All of this wouldn’t have been possible if it were not for Trey’s inherent ability to rap.

Trey’s freestyles and beat massacres put him in the company of “Funeral” Fab. Just like Fabolous, Trey has become one of those artists that you hope and pray that he doesn’t jump on your beat out of fear of becoming another casualty. Look at what he did to Snoop’s “I Wanna Rock”:

The toughest line of this freestyle is “Sound like Mike Jack and if it’s the right track, then you know I might jack til the CPR (Nod). Never get his life back.” He’s coming for cats’ heads with this one, and that is what he has been doing. It’s not just the punch lines that make Trey a dope lyricist, but it’s his delivery and swag that gets people on board.

Trey has a unique flow because switches between singing and rapping necessary. He does an overall good job at doing that. This ability adds to his success on freestyles. Take his Gucci Mane “Lemonade” cover for example; Trey does a great job in choosing which parts to sing over and which ones to strictly rap on for a successful freestyle.

Knowing that he gets a lot of attention from the opposite sex and has taken a few women off some dudes’ hands before, he makes light of this in the cocky flow that he has. An example of this is in this line from his cover of Rihanna’s “Hard”: “And why they hatin so hard? Cause I Yuup Yuup Yuup! in your Broad.”

What’s appealing here is that not only is it true, but he has the liberty to say this and not catch any heat for it. Plus this strengthens his female fan base because he IS rapping, and to some females, it makes him seem tougher.

Many people slept on this man because he is a singer and did not respect him as a rapper initially, but soon they came to realize he eats tracks like Pac Man, and were forced to pay attention. He puts out good freestyles over popular beats and goes in. This was an overall good move for Trey because he is expanding his fan base and continuing to make good music. For those who haven’t heard, Songz is his name.

The Story of a Young Mixtape DJ Part 1

noreply@blogger.com (Danny Tejada) — Thu, 13 May 2010 03:43:00 +0000

Three years ago, I jumped into the mixtape game with a tape called Underground Hustle Vol. 1. I co-hosted a radio show for about a year at the point. To keep the show interesting, I decided to put on a few underground artists after I had heard some on a Hip Hop forum. I wasn’t going to put just anyone on. I put on those who I thought had something. What I heard from the underground scene amazed me. After I started to receive great feedback from playing underground artists on the show, I said to myself, “fuck it” and just started piecing together that first mixtape. I never thought it would’ve gotten as big as it did. I just wanted to promote dope artists as I did on my show.

After that, an artist, who had seen me promote the tape on a Hip Hop forum, approached me about doing his first mixtape. He had me preview some tracks before I made my decision. Upon the first listen, I knew he had potential but wasn’t there yet; in fact, he was really far, but I seen the fire in him. That artist was Swaggz (seen above). That mixtape was The Lyrical Miracle Vol. 1. He took the feedback from that tape pretty hard. I urged him to keep going and told him that he would get better over time which I did believe. I also give him advice on various things. Almost a year passed before we did another mixtape together. In that time, he kept sending me tracks. Upon listening to those tracks, I noticed him getting better and better. Once that second mixtape dropped, I had seen a new Swaggz who wasn’t only stepping his bars and flow up, but a Swaggz who had great confidence in himself.

We did a few more mixtapes together before I disappeared from the mixtape game for a while. He kept going despite my disappearance. Even when I was working with him, he was doing side projects. It had been a while since I heard from him. I didn’t even know he dropped a mixtape while I was gone. When I did hear from him, he shot me some tracks from his latest mixtape After Before. I do have to admit that I wasn’t paying attention to those tracks because I was so wrapped up in my post-gradation woes. But when he dropped the full project on me, I was blown away. I couldn’t believe that this was the same kid I first worked with. He had grown a lot, and he will keep growing. I’m very proud of how far he has come.

It’s moments like this that makes me glad I jumped into the mixtape game. Who knows where I would be if I didn’t? I think I wouldn’t have done the amazing things that were Hip Hop oriented. Who knows where Swaggz would be if I didn’t? He would’ve probably still been doing his thing. I hope to work with him again one day. And yes, I do intend on getting back into the mixtape game. I’m trying to get myself right, almost there. Swaggz, keep doing your thing. Everyone else, check out this young man’s growth especially his latest effort After Before.

Killa Cam the Comedian

noreply@blogger.com (David Whitely) — Wed, 24 Mar 2010 03:15:00 +0000

Killa has done it again. Continuing his history of comic relief in rhyme, Killa Cam capitalizes off of Epic Beard Man and the AC transit bus fight in Oakland in releasing his latest record “Amber Lamps.” In true Killa Cam fashion, Mr. Dipset loops some audio from the epic altercation of Tom “I am a Mother Fucker” Brusso and Michael in creating the newest installment to Cam’s already growing catalog of comedic moments. Check out the fight and Cam’s record below:

What some may not realize, Cam has always been a comedic genius. Remember, this is the same man that brought us Jimmy “J.J.” Carter in his “Touch It or Not” video to mock Jay-Z. The idea alone of getting Jimmie “J.J.” Walker to play Jay-Z in the video was hysterical, but combine that with the rendition of Jay’s “Dirt Off Your Shoulder” video, with J.J. wearing dollar flip-flops with ashy feet to poke fun of Jay’s “Gucci flip-flops” was the icing on the cake.

Who can forget about Killa’s independent flick Killa Season, which was the film mainly influenced by comedy? In it, he demonstrates his loose-cannon, arrogant, asshole comic behavior. Cam thrives on making others look foolish and emasculated while having fun doing it. The funny part is that after he commits an act of violence and fuckery, he proceeds to act as if nothing happened.

Even outside of the music and film industry, Cam is the comedic, asshole that he is in real life. Appearing on The O’Reilly Factor with Dame Dash, Cam being the asshole he is, turns the one sided conversation into a lunch room.

So to Cam’ron, keep being you man. Keep making us laugh with your antics and fuckery.

The Third Time's a Charm

noreply@blogger.com (Danny Tejada) — Mon, 22 Mar 2010 17:21:00 +0000

My latest interview for XXLMag.com is with General Steele of Smif-N-Wessun. I must say that out of the ones I've done so far this was the most engaging. The interview lasted more than a hour which reminds me to do this on the weekend or cut it down to 10-30 minutes at least. Nevertheless, I learned a lot. It is great to talk to someone you see a lot of yourself in. I can't wait for the next one. Enjoy the interview. Stay locked here for more great stuff.

The Making of the Greatest Record of All Time

noreply@blogger.com (Danny Tejada) — Tue, 23 Feb 2010 21:26:00 +0000

These videos are a documentary made by Swedish Television. "Hard Knock Life" was the record that got me into Rap. I loved everything about it, the beat, lyrics, video itself. I was hearing for the first time something I could relate to. At that time, I didn't know that I was about to embark on something great, something that would save my life. Anyone who knows me knows how much I used to dislike Jay-Z, but they didn't know how I felt about this record. It was a deep secret. In college, I talked and wrote about this record a lot. I've listen to many singles in my lifetime, even ones older than me, but I must say that this is the greatest one of them all. If you disagree, then speak to Mr. West. America needs to step their television game up. The rest of the world is beating them with this documenting of greatness stuff.

New Beginnings

noreply@blogger.com (Danny Tejada) — Sun, 07 Feb 2010 04:35:00 +0000

A couple of weeks ago, I interviewed Drag-On of Ruff Ryders fame for XXLMag.com. With this interview, I learned how hard it really is to come up with a final product. If you check out the interview yourself, I think you can piece together why it was hard for me. Nevertheless, I enjoyed myself. I love to interview people. One friend pointed out to me how I talk to them like I'm interviewing them. I found that funny. I just have a crave of wanting to know people and their stories. I'm excited about my next interview for XXLMag.com. It should be very interesting. Be on the lookout for it!

In the meantime, check out my new blog Political State of Mind. Don't worry. I won't be leaving this blog. Be sure to check out my YouTube as I have just reached 100 subscribers and am about to do my 100th video. Don't forget to hit me up on Twitter!

100 Sounds So Sweet

noreply@blogger.com (Danny Tejada) — Tue, 02 Feb 2010 00:26:00 +0000

This is it everyone. This is post #100. After two years, I have finally reached this great milestone. First, I want to thank my brother Fly Guy ’89 for assisting me. He has done great work himself on here. Second, I want to thank the readers. Your comments and hits keep me going. Third, I want to thank the Lord for giving me great knowledge and the power go on.

Post 100 is something special. I wanted it to be right. I didn’t know what it should be. I thought to myself should I just write another opinion essay, post a list of great posts or make a video to post? After going back and forth for three months, I came up with the idea to interview a group of people I admire, a group who goes unheard of from time to time. These people are journalists. One became a mentor to me. He got me into the world of journalism. I was shy to introduce myself to another when I saw her at the XXL offices. And the last one I finally got to meet at a concert I helped put on at the college I graduated from. I love the work all three of them have done. I read them over and over. I also discussed them with others. I even used one’s work in my Senior Thesis. I want thank them for getting me the opportunity to interview them. They talked about 2009, this past decade, the future and their career. Check it out. Enjoy. -Danny Tejada

Starrene Rhett is a freelance writer/editor/producer. She has written for The Amsterdam News, HoneyMag.com, XXL Magazine, Roc 4 Life, Elemental Magazine, Scrips Howard Newswire, and VibeVixen.com.

Paul Cantor is a freelance journalist for magazines and the web, occasionally freelance in television production, sell beats, help produce concerts and consult. He was the former Technology Editor at Scratch Magazine, Scratch Mag blogger (XXLMag.com), blogger for MTV.com and over the past six years has written for XXL, King, Vibe, Complex.com, Allhiphop.com and more.

Rob Markman is the Deputy Editor at XXL magazine. He has written for The Source, Vibe, Complex, Scratch, Don Diva and the New York Post.

Danny: What was the best moment of your career?

Paul Cantor: As a writer, the best moment of my career so far was traveling to Frankfurt, Germany to attend the Musikmesse trade show in 2007. This was when I was working at Scratch. I was able to attend the show with a good friend, Geoff Martin, who sold ads at Harris Publications. While there we met some folks at the trade show and got to talking, and we ended up hanging with them later that evening, traveling into the German suburbs to their makeshift recording studio. Later that week I attended a concert for Joy Denalane, a huge German singer who I’ve produced a song for on her last LP. I got to see her perform the song live, and she thanked me for producing the song from the stage. So it was a synthesis of many things coming together at once for me.

Rob Markman: There are so many. There is nothing like seeing your byline in print for the first time. But if I had to pick one, it was being a part of XXL’s December 2008 issue, that was the second Freshman issue which introduced Wale, Asher Roth and Kid Cudi to the world.

Starrene Rhett: It was when I got hired at XXL. I wanted to work there since college and getting there was interesting. Basically, I was initially supposed to be a web editor but the position fell thru. Months later, when I thought it was a done deal, I got the call that they need an editorial assistant. It was a step down for me but I wanted to be there so bad that I sucked it up and ended up moving up quickly.

Danny: What was the best moment of your career?

Starrene Rhett: One was a piece I did on Bulimia amongst women of color for Honey Mag and the other was a video profile I did of a femcee named Atlas.

Rob Markman: In 2009, I’d have to say my 50 Cent Jan/Feb cover story or the feature I wrote on J. Cole in XXL's October issue. There was also a Gucci Mane interview I did in XXL's May issue. He was locked up and we did that interview from jail. I remember asking Gucci with all of his success why he was still going in and out of jail. He said that he had learned his lesson this time. But apparently he hasn't. The 50 Cent was my first major cover story, plus it’s 50 cent. Dude is larger than life. I remember I asked him about the Young Buck crying incident and 50 really downplayed it. You can tell that he and Buck actually had a real friendship and there falling out really effected Fif. As far as the J. Cole story goes, I just really like how it came out.

But my absolute favorite story of 2009, had to be “Still Ill” the making of Nas’ Illmatic which appeared in XXL’s April 2009 issue. It was great to be able to write that along with the rest of the staff that pitched in.

Paul Cantor: In 2009, I think the best work I did was a feature I wrote on Gee and Hip-Hop, which I actually finished at the end of 08, but didn’t get published until 2009. It was probably the best not because of anything I wrote, but more so the timing of it all. Between the months I wrote the piece and the time it got published, Hip-Hop got fired from his job at Columbia Records, and the entire theme of the piece- how these 2 executives were recession proof- had to change. Really just hammered home how fast the bricks were tumbling down in the record business.

Danny: Who had the best year in 2009?

Rob Markman: To me, Drake had an awesome year. He’s accomplished so much.

Starrene Rhett: Nicki Minaj. She got really popular, really fast and managed to be touted as the savior of female hip-hop despite the fact that there are other marketable femcees who are more talented. No knock to Nicki but she isn’t as remarkable as people make her out to be. Yet she has a huge following of men and women. That’s really, really hard for a woman to do in hip-hop.

Paul Cantor: The Black Eyed Peas. To the best of my knowledge, they set two billboard chart records for “Boom Boom Pow” and “I Got A Feeling,” both of them being on the charts the longest, and at the same time no less. They performed at Oprah’s season opener in Chicago in front of like 50 thousand people and their record sold multi-platinum. On top of that “I Got A Feeling,” essentially a pop song, had even the hardest set of criminals singing the refrain in the club. That was just a song that really spoke to people. In a year that was pretty disastrous for just about everyone, it was a cheery bit of hip-pop that gave you a little glimmer of hope...this notion that hey, everything’s pretty fucked up, but tonight’s gonna be a good night.

Danny: What was your favorite album of 2009? If it is a Rap album, what was your favorite non-Rap album? It if is a non-Rap album, what was your favorite Rap album?

Paul Cantor: Favorite album of 09 was Miike Snow’s self titled album which is non-rap. I don’t think I have a favorite rap album, maybe Man On The Moon: The End Of Day or The Blueprint 3.

Starrene Rhett: My favorite rap album of ‘09 was Tiye Phoenix’s Half Woman Half Amazin and for non rap...Electrik Red’s How to Be a Lady. How to Be A Lady wasn’t the best thing I’ve heard in life, but I like their edge and the types of songs. Tiye Phoenix is a beast. That was a CLASSIC album.

Rob Markman: Well technically Drake’s So Far Gone is a mixtape, but that was my favorite. I also thought Rick Ross’s Deeper Than Rap was one of the best projects of the year as well as Raekwon’s OB4CL2 and J. Cole’s The Warm Up mixtape. As far as non-rap goes, I really liked Trey Songz’s Ready. Oh and the Clipse had an amazing album as well.

Danny: What album and/or artist did people sleep on in 2009?

Starrene Rhett: Tiye Phoenix, K'Naan. Troubadour was good too but people don’t like to hear that shit.

Paul Cantor: MOP’s Foundation. That was a very dope album, not a bad song on it. People just didn’t embrace it at all, didn't even know it came out, post Roc-a-Fella, post G-Unit...their first official LP since the year 2000 and... nothing.

Rob Markman: It’s hard to consider anybody slept-on these days. It seems with the blogs and the internet overall that every artists has a built in fan base. So I can tell you that Pill was slept-on, but then he has a crazy following online that will say that they’ve been around since day one. That being said I think folks are sleeping on U-N-I, Pac Div and The Incomparable Shakespeare.

Danny: What was your favorite mixtape of 2009?

Starrene Rhett: This cat Redhead put out a mixtape series called Steady Building which I liked. Oh and Mae Day. She did a Sade themed mixtape. I thought that was a dope concept.

Paul Cantor: Lil Wayne’s No Ceilings.

Danny: What are some under the radar artists you listen to who should get some shine?

Paul Cantor: Theo Martins, Theophilus London, Gordon Voidwell, Ninjasonik, Jay Electronica, BK Cyph, The Kickdrums, The Knux and Smoke DZA.

Starrene Rhett: Tiye Phoenix, Niki Ntu, Nola Darling, Redhead, Malik-16 and B.o.B. I thought he was going to blow but it didn’t quite happen that way. Oh and this singer named Shyvonne. She’s dope. Fresh Daily and Homeboy Sandman as well.

Danny: What are you looking forward to in 2010?

Rob Markman: I’m looking forward to hearing Kanye rap again. I’m looking forward to Drake’s debut album, as well as Nicki Minaj. It’s dope that we finally have a prominent female voice back in hip-hop. On the print side, I’m just interested in being apart of more cutting edge stories.

Paul Cantor: I’m looking forward to more artists in the Kid Cudi mold breaking through, not necessarily in terms of the fashion or the movement, but more so musically....guys who are open to embracing new sounds and incorporate aspects of rapping in their music (and can definitely rap), but bring a lot of melody and different flows to the table. Great songwriters. Someone like a Theophilus London, for example.

Starrene Rhett: Hopefully more music, not necessarily original because there’s nothing new under the sun but real music and not anthems with asinine hooks and beats by DJ Brain Dead. Dancing along is fine, but everything is so microwaved. I’m like can somebody put something on the stove and let it cook for Sunday dinner. That’s all. Oh and as far as rappers, less beef. No, less INTERNET beef. It’s dumb. I haven’t seen a good beef since Jay and Nas. And anyone who beefs with Soulja Boy is automatically lame especially men over 30.

Danny: Who had the best decade in the 2000’s?

Starrene Rhett: Rihanna. She went from being wack, frumpy teeny bopper to Cover Girl with Platinum hits over night. People love her robot voice *Kanye shrug* Oh and let’s not forget the drastic style change.

Rob Markman: That’s hard to say. The last decade saw the emergence of some pretty big stars. 50 and Kanye West are the two biggest if you ask me.

Paul Cantor: Jay-Z. He basically started the decade with a hit and ended it with one- in the middle he married the baddest bitch in the game; survived (and arguably won) a battle with his only contemporary from the late 90s era of rap, Nas; sold millions of records on pretty much every album he dropped; released at least one top10 hip-hop LP, The Blueprint; had a lot of success with his own label, then ran Def Jam, broke Rihanna and Ne-yo, among others and became a clothing mogul as well.

Danny: What was your favorite album from this past decade?

Paul Cantor: That’s a question I probably couldn’t answer off top. If I had to answer now, just thinking out loud, I'd probably have to say The Blueprint (and note: I'm not a Jay-Z stan by any stretch of the imagination). Wait, actually I got it. Supreme Clientele is my favorite album this past decade.

Rob Markman: That’s a tough one. 50’s Get Rich or Die Tryin’ is up there as well as Jay’s Blueprint and Kanye’s Graduation. I can’t forget Usher’s Confessions either.

Starrene Rhett: Erykah Badu’s New Amerykah. Funny thing is I was like wtf at first. Then one day I listened to it and I don’t know why but a switch flipped and I was like [insert mo'nique voice here] yaaaaas. [Laughs] I just really like it, the sound. It’s different without trying.

Danny: What was your life like ten years ago?

Starrene Rhett: I was in high school. It was pretty care free, I’d say. Didn’t worry about bills. Just went to dance class. Took music in school. It was a performing arts school. I hung out a lot with friends and obviously college was on the horizon. I was trying to figure out where I was going to go. I like the freedom of adulthood, but I miss those days too.

Paul Cantor: Ten years ago around this time exactly, I was 17 years old, senior in high school. I pretty much played varsity basketball and hung out with my girlfriend. I was preparing to go away for college, not really sure about what I wanted to do with my life exactly, but knowing deep in my heart that if I got a chance to, I would like to be involved with music someway. I was a very popular dude throughout high school but by the time I was a senior in high school I was already starting to become a big time learner, spent a lot of time reading, writing and making music. Just a side note to that: I didn’t really write much at all then, no school newspaper, nada. I also bought most albums that came out pretty much weekly.

Rob Markman: Ten years ago, I was still in college and working in a mailroom. But my life wasn’t too much different; I always worked hard and listened to way too much hip-hop.

Danny: What do you think is in store for this decade?

Paul Cantor: I wish I could say some nice things but unfortunately things don't look good. Right now the economy is propped up by artificial government assistance and people are hurting. Kids and adults seem more concerned with twittering than looking both ways before they cross the street. The media and music businesses are in shambles and the bottom line trumps all, so you can kiss anything substantial goodbye in that respect. Our country is also still engaged in troop-assisting situations internationally and until that situation rights itself, things are going to be hectic. On the bright side technology is booming and information is abundant. People are talking to each other globally at the push of a button and the sum of all knowledge seems to be almost available via google search. Pretty amazing.

I expect a lot of that to continue...the smart phone will replace the laptop. Hip-Hop will continue to wither away. Pop music will dominate for another 3-5 years. Obama will right his ship and no news will be available online unless you pay for it.

Rob Markman: I know we’re gonna see new business models and new ways to do things when it comes to music. The actual music will be fine, people will always listen to music, but the way they consume will change. The way that music is marketed, promoted and sold will ultimately change.

Starrene Rhett: Hopefully a turn around in the way people think like people keep thinking 2012 is this dooms day. Not so much. Hopefully this recession will turn around so I can get a damn job again, but people really need to start learning from the past and not repeating it. The recession was the result of people perpetuating the same old system, being selfish and turning a blind eye to the pot that was boiling over. People are opposing Obama because he’s smart enough to realize that change is needed and is actually acting on that. Yet people just don’t want to change. They’re so comfortable with the way things are. I see that happening with the web too.

It’s just...the music we get is crap. The entertainment period that we get is crap because people expect that. Hopefully overall, people will stop talking about a turn around, see that they contribute to the problems and really do something about it.

As for music, I think it will be the same as it’s been. The only difference we might experience this year as far as hip-hop is Nicki Minaj’s female energy but that’s about it unless toward the end of the year, a veteran drops a project that is actually relevant not just to their old fans, but that can pick up new ones. In terms of this decade as a whole, I think the music industry will figure it out and maybe people will develop a more progressive frame of mind in general.

Danny: Do you have any fun, funny, or interesting journalistic stories?

Starrene Rhett: I tried to hide from Common in a private studio session but it was really awkward because he caught me. Basically, he was previewing the last album he dropped. There were about 12 people in the room with him but it was so intimate. Actually, I tried to hide twice only look stupid Not for nothing, he laughed at me. The first instance was when we were walking into the studio. He stood at the door and greeted everyone. So I tried to slide in real quick and he touched my arm like “Hey sis.” I said hi real quick and ran into the corner and ducked behind a speaker but you could still see me. Once everyone was in he wanted us to be comfortable and take seats.

I tried to stay behind the speaker but he specifically wanted me in the front. D'oh! So I sat there and there was some really seductive song playing, it think was “Sex for Sugar,” and he started rapping it to me. So I took my sidekick and put it in front of my face and he bust out laughing. I had a crush on him. *shrugs* Mind you, he called me “Shy girl” at the end. I finally got over it and managed to talk to him a little bit once people were clearing out. We were talking about music. But the last thing he said to me was “Bye, shy girl.”

Rob Markman: I remember one time I was at Busta Rhymes’ listening session. It ended up being like a 4 hour session. He played EVERYTHING that he made for his Back on My B.S. album. He was still finalizing the track listing and wanted some journalists to weigh in on it. We must've heard 30 Busta Rhymes songs that night. So before we know it it’s like 1 am. And my wife called me like “Where you at? You can’t still be at work.” So I told her that I was at a listening and I’m not quite sure if she believed me. Busta offered to talk to her and smooth things over, but I told him that it wasn’t necessary. I got home and everything was cool, no problems. The day after Busta calls me at the crib like, “yo homie, I’m just calling to check in on you. Is wifey mad at you? Did I get you in trouble?” That was pretty funny. Busta is a good dude!

Paul Cantor: Post-MTV I agreed to do some Q&As for allhiphop.com. Foxy Brown was one of them. Somehow I got roped into having to do it in person. She had just gotten out of jail. I had to go to her hotel room late like 1am, after spending an entire night waiting for time and location. I went there, the chick didn’t want to be tape recorded, needed to write her answers down. Before you know it, it’s 3am and she’s falling asleep. So I have to come back the next night. Get there next night, there’s a phantom parked outside the trump hotel. Get inside, interview her for an hour then she says she’s retiring.

After that she tells me to stop and asks me if she can do the whole interview over. The phone rings, apparently a journalist from XXL was being sent up. She answers the door, puts on this whole girly girl attitude, right in front of me and her manager guy that was there. Clearly, you can tell from this that she had some sort of media training. If you think for a second she’s just a nice person, you’re fooling yourself. Now she asks again if we can do interview over. I decline. She gets mad, starts yelling. I tell her I’m good, that I’m leaving. She tries to get in front of me. At this point, I consider just mushing her but opt not to. Manager guy gets up. They say I can’t leave with the tape of her. I delete the interview in front of them then leave.

She’s screaming the whole time, saying she’s the female Jay-Z and that I'll never work in this town again to which I’m just kinda chuckling. I bounced. Really thinking nothing of it, I just walk out the hotel, manager guy runs after me and apologizes for her, says she’s crazy and begs me not to write anything bad about her. I tell him I could care less, that it’s just a check for me (a small one at that, which is why I got up and left in the first place). He confesses that he’s not a manager, that he's really a car rental guy and she rented the phantom from him to pull up to XXL in for her XXL cover shoot. I laughed. We give each other a pound. I go home to sleep. The end.

Back and Stronger Than Ever!

noreply@blogger.com (Danny Tejada) — Tue, 03 Nov 2009 17:45:00 +0000

I'm back! Now, 22 years old. The blog is about to become two itself on Monday. This year is going to be exciting. I started off my 22nd year debuting on XXLMag.com. I interviewed DJ Webstar. He talked about Jay-Z, Jim Jones, and giving back. An interesting interview. I wish I could've put the whole thing up. Check it out. Be on the lookout for more. I'm in the planning stages of doing another blog. I'm planning more stuff to write for this one. I'm still jobless, but I'm still keeping it moving. Thanks for the support over the years. I am really grateful for and blessed to have your support. God is great! Shout out to XXLMag.com and NWSO.com. Take care. Hit up the Twitter! Peace.

How the Freshmen are Keeping Me Sane

noreply@blogger.com (Danny Tejada) — Tue, 15 Sep 2009 14:43:00 +0000

“I got some issues that nobody can see. And all of these emotions are pouring out of me.”
-KiD CuDi “Soundtrack 2 My Life”

A while back, I wrote an entry about the freshmen from XXL Magazine’s December 2008 issue. At that time, I didn’t know how much I could connect with their music and what their music could do for me. As you all know, I graduated from college. Recently, I’ve been trying to find a job. I’m still unemployed. Things got to the point where I questioned my whole life. I asked questions such as what was the point of doing good when things don’t seem to be getting better? Everyday I feel like I’m spinning out of control because of a combination of things. I feel like a lot of people turned their back on me for unexplained reasons or when I made positive choices for the advancement of myself. With no one to turn to, I turn to the thing that has always been loyal to me, music. It is not just any music. It is the music of four freshmen: Mickey Factz, Asher Roth, KiD CuDi, and Charles Hamilton.

These four men have records that inspire, make people happy or sad, help people cope with things, bring people to another world, and so much more. Charles Hamilton’s album The Pink Lavalamp is a great example of this. The first record on it is called “Music (Intro).” It really defines my feelings about music. It is one of my favorite records of all time. The whole album blew me away. I still play it today. Doing that really helps me relax and think about my life as a whole. I already have given high praise to Asher Roth on this blog. So, I’ll just say that his music brings out the activist in me with the two issues I care about the most which are poverty and education. It also brings up the great and horrible moments I had in college. I’m glad I got to see him perform live with KiD CuDi.

When I was going into a crazy spiral which caused me to think about and believe things that weren’t true, KiD CuDi dropped his debut album Man On The Moon: The End Of Day and Mickey Factz dropped a record called “It’s OK.” These works of art helped me out the most. I can relate to KiD CuDi’s album because it really is the story of my life, from the loneliness to battles with demons to being on top. I never had someone relate to me so much. I didn’t think it was possible, not even a small percent of my life. His mixtape blew me away, so I knew that the album would be amazing. I wasn’t disappointed. The album helps me be OK with my thoughts. It also let’s me know that I’m not alone.

The first verse of Mickey Factz’s “It’s OK” is what I’m facing now. As I mentioned before, I have a Bachelor’s degree, but yet I can’t get a job. Growing up, all of us were told to get an education and you will get a career you love. Today, a lot of people, not just myself, are greatly suffering. It brings up questions such as what’s the point of getting an education when I will just end up where I started? People start to lose hope. They start to doubt themselves. These things really increase when no one is around to speak some uplifting words. With Mickey’s record, he gives people like me hope. This wasn’t the first song of his that helped me out. It is just one of many in the rotation. I’m glad I got to interview him, him to perform at my school and see him perform at his own show.

Music replaces the need of people in a sense for me because I’m hearing the things I need to hear. These artists’ music prevents me from doing damaging things to myself such as drinking. I thank them from the bottom of my heart. One of the things I remember from XXL Magazine’s December 2008 issue is when the staff asked Mickey Factz what he thinks the future of Hip Hop is. He said that it is “artists being true to themselves.” When artists do this, they save a lot of lost souls in the process without even knowing it.

Dear Hip Hop Community, Please Wake the Hell Up

noreply@blogger.com (David Whitely) — Sat, 12 Sep 2009 21:16:00 +0000

Blogger’s note: Before I get into the topic of this blog post, I first would like to state that this is all out of love and admiration for the Hip Hop community. I love Hip Hop because I am Hip Hop, so you can call this a cry for self preservation if you will.

I am a firm believer in the old saying “It takes a village to raise a child,” because that “child” grows and hopefully matures, to become the village. Now with that said, it is the previous generation’s responsibility to help mold and prepare the next generation to propel the village into a more prosperous and brighter future. I realize that not all members of the older generations are irresponsible and do not cherish the gift of Hip Hop that was bestowed to them from those who came before them; however, the larger makeup of the Hip Hop community has failed its youth.

This failure transcends into various components of Hip Hop culture such as music and lyrical content, and self respect. Jay-Z’s “D.O.A.” has received plenty of feedback and commentary, positive and negative. I think the record is dope; the lyrical content and delivery is impeccable, and the topic of the song is spot on. Jay was right for putting out the track because he took it upon himself to call out his peers on their degradation on something that is so dear to him. As a member of the older generation, he felt the responsibility to steer the younger folks in the right. The culture of Hip Hop was built on competing with and trying to out do your peers, not jump on the bandwagon that is T-Pain. I’m not trying to take anything away from T-Pain; he is good at what he does, but its a damn shame when just about everyone in the rap world is on the auto tune pipe.

Jim Jones voiced his opinion on “D.O.A” on BET’s 106 and Park:

We’re getting money off of auto tune, it’s just sounding like somebody’s trying to knock a hustle and I don’t think that’s a little bit gangster if you ask me. We getting money. He’s knocking the hustle, ya dig? If these young men are making money off of auto tune why would you try to stop that, when you got all the money already? I seen him [at Summer Jam], I don’t think he wanted to see me. He almost stopped the whole concert because he said I was in the way of him getting on stage and all of that. But that’s politics for the game, ya dig? How you doing? We back, we ballin', we poppin’ champagne.

This is very sad to hear Jimmy speak this way. It is clear he is missing the point of “D.O.A” in believing that it is about knocking the hustle and stopping the flow of income and not what it really is about which is challenging your peers to be better lyricists. Fabolous and Jadakiss never relied on the use of auto tune, yet they still produced great singles this year and even greater albums. Your lyrical content should be enough to solidify your place in Hip Hop history as well as “get money.” It is very disturbing to hear 90% percent of the songs on majority Hip Hop stations have the use of auto tune in them and almost no superior lyrical content. We have to challenge each other to be more creative and meaningful in our rhymes in order to preserve our dearest love of which we call Hip Hop.

Recently, I’ve noticed that the degrading and disappointing Hip Hop performances have begun to grow at an alarming rate. Two performances in particular that has amazed the shit out of me are the Young Money BET performance and the horrific Get Your Life Together Productions performance at the Harriet Tubman public school in Harlem.

Blogger’s note: Special shout out to my colleagues Ron Mexico and Julie for posting this and their added commentary. Check them out at http://www.ronmexicocity.com/

This is what happens when there is no guidance in the community and no one takes responsibility:

I was appalled and full of laughter at the same time when I came across this blog entry and video. I was heavily disgusted to see a song titled “I Eat Da Pussy” performed in a public school, Harriet Tubman public school at that, with kids no older than 10 years old dancing and performing suggestive sexual explicit acts on the stage. Again, “it takes a village to raise a child,” Hip Hop community. We have to be there for each other and make sure atrocities like this never happen again. Where is the school administration to prevent this from happening? Where are the parents of the kids on stage? Most importantly, why are the people in the audience just sitting there as if nothing is wrong? Hip Hop, we can do better than this; we have to do better than this. The so-called performers were terrible and the things they said were just hilarious, not in the comedic sense but in the “You had the audacity to say that?” mindset. I don’t feel the need the need to touch on the video any further because Ron Mexico did that already and it speaks for itself.

We HAVE to do a much better job in mentoring the younger musicians and show them how to do things because if we don’t, this is what we have to look to for the future of Hip Hop. These grown men actually went ahead with this performance on a tribute to the greatest entertainer of all time, Michael Jackson. It wasn’t a great idea by BET to have these men perform a record in which they are talking about having sex with every girl in the world while having 12 year old girls dancing on the stage; this was the worst possible tribute to the late great Michael Jackson due to the years of allegations and condemnation from the world over child molestation charges (and they actually had the nerve to say “rest in piece Mike Jackson” at the end of it, what a real shame). Again, look at the people in the audience singing and dancing along to the performance. This signifies that its OK to rap about having sex with every girl in the world while there are little girls on the stage. BET should not have allowed them to perform that song, especially in that manner. We have to hold each other accountable for our actions because it affects the entire Hip Hop community. We have to do better.

Chasing the Ghost of Eternity

noreply@blogger.com (Danny Tejada) — Wed, 09 Sep 2009 22:22:00 +0000

“Ten number one albums in a row. Who better than me? Only the Beetles. Nobody ahead of me.” –Jay-Z “Reminder”

A great deal of time has passed since Jay-Z’s last album American Gangster. Yesterday, he fed the streets one again with The Blueprint 3. The album comes on the week of the eighth anniversary of the twin tower attacks and his album The Blueprint. The Blueprint 3 is his first post-Def Jam album. Accompanying the album this week is a huge concert at the world famous Madison Square Garden with proceeds going to the families who lost loved ones in the twin tower attacks. The album holds special meaning, but it reminds some people of his arguably worst album Kingdom Come. Has he simply lost his touch or is there something deeper that is going over people’s heads?

I’m not a hardcore Jay-Z fan, but I was excited about The Blueprint 3. I was happy with American Gangster and couldn’t wait to see what he came up with next. Hearing “Jockin’ Jay-Z (Dope Boy Fresh)” is what created the great excitement I had for The Blueprint 3. A lot of people including a few journalists I know didn’t like it. This puzzled me because I felt that Jay was reinventing himself. Sure, it was the same cocky Jay-Z, but this felt and sounded different. The energy he brought when he premiered the record by performing it was amazing.

This new Jay-Z is a Jay-Z who wants his name to be etched in stone forever for all to see. He wants to be better than the Beetles. This is all shown in his second promotional single the Beetles sounding “History” and the album cut “Young Forever” assisted by the British singer Mr. Hudson.

The Blueprint 3 is a true capstone to Jay’s career (“And that all blue Yankee is my graduation cap” –Jay-Z “Swagga Like Us”). It is a response to those who criticized him his whole career. It is the real top of the latter album unlike Kingdom Come which he was reportedly forced to make by the way. This album is different than Kingdom Come because you can hear the freedom in his voice and the hunger he has to be the best artist of all time. Being free from Def Jam gave him the ability to try different things with this album. Trying different things when you are known for one thing is a daring task. He could risk losing a great deal of his fan base. But he did not seem to care. He wanted The Blueprint 3 to be his final testament. He did keep and shoot the venom he is known for on “Reminder.” On the flip side of that, he sparks inspiration and hope on “Empire State of Mind” and “A Star is Born.”

Deep down everyone wants to be known for eternity. For some it is for public service. For others like Jay-Z it is for their art. Jay-Z wants to be known for the cleverness of his complex rhymes to his secret messages to his inspiring ones. This album is a great step to that greatness he wants to achieve. To him, it is not enough for multicultural people to hold him higher. He wants to be known by all forever. He wants to be the one young people today talk to their grandchildren about in the future. He wants those children to discover him just like how the Beetles are discovered by many young children today.

I do believe that Jay-Z will achieve this, even more so than NaS. This is certainly a lot coming from me. I am glad to have discovered Jay-Z. He really has grown since I heard my first Jay-Z record “Hard Knock Life (The Ghetto Anthem).”

Listening to all of his albums is a great journey. I met him a couple years ago. Then, I didn’t think much of him. I didn’t know that I was standing in front someone who was destined to make history. Now, I’m glad to have been blessed with his presences. A star was born on December 4, 1969, indeed.

The Great Hangover Concert Recap

noreply@blogger.com (Danny Tejada) — Thu, 16 Jul 2009 20:06:00 +0000

88 Keys

Asher Roth

KiD CuDi

Yesterday, Asher Roth and KiD CuDi brought The Great Hangover Tour to a sold out crowd in New York City's Nokia Theatre. Everyone from college kids to hood cats were in the building. After a short wait, the show started with Hot 97's Cipha Sounds and Peter Rosenberg came out to introducing 88-Keys who is known for his production and his album The Death of Adam. He started his set with his single "Stay Up! (Viagra)," which features Kanye West. After that he brought out Colin Munroe to perform a track called "Wake Up Call."

88-Keys kept going with tracks from his album. He also played a few tracks he produced back in the day for people like Black Star and Scarface.

Once his set was over, Asher Roth was up next to bat. He started his set by coming out in a go-kart and performed his hit "Lark on My Go-Kart" followed by "Blunt Cruisin'."

Then, he performed a few more album cuts like "She Don't Wanna Man" with a bunch of young women on stage and "Be By Myself." From there, he went into his politically charged "Sour Patch Kids" and the song that separates him from Eminem "As I Em."

After that, Asher closed the show with "I Love College" featuring a special appearance from Jim Jones and "Roth Boyz" from his mixtape The Greenhouse Effect.

Jim Jones

Closing out the show was KiD CuDi. He started his set with his own theme music "National Cudder Theme" and "Down and Out" from his mixtape A KiD Named CuDi.

Then, he performed "Sky Might Fall," "Make Her Say," and many more including "Heart of A Lion" from his album. After that, he went into some of his mixtape hits including "Man on the Moon."

He ended the show with "Day N Nite."

Overall, the show was great. 88-Keys' set was a grand set up for the main acts. I was puzzled as to why Bobby Ray aka B.o.B didn't perform as it was first stated on the Nokia Theatre’s website when the tickets to the show went on sale. Asher Roth was very creative with his set. It was very funny. He was having a lot of fun on stage, as an artist should. His performance was the best I seen in a while. On the other hand, KiD CuDi wasn’t as great as Asher. His set consisted of a lot of flashing lights much like his mentor Kanye West. He didn't bring his own twist to his performance as Asher did. His music is great, but his performance didn't match up. But, all three artists together did make the show very memorable. Make sure you catch The Great Hangover Tour coming to a city near you.

88-Keys' MySpace
Asher Roth's MySpace
KiD CuDi's MySpace

Click here to view more photos.

When You See Graffiti, You Go the Other Way

noreply@blogger.com (Danny Tejada) — Wed, 15 Jul 2009 16:27:00 +0000

Frankfurt, Germany

Towards the end of last month, I went on an overseas trip, thanks to some loving people (one of them give me the idea of this post's title). I was in Germany and Switzerland for about three weeks. The trip was great. During the trip, one of the things that stood out to me was the graffiti. I lived in New York City all my life and never as much graffiti as I did overseas. I became engaged with the art form when I took the Hip Hop culture class at my school. I even did a post about it. Graffiti can be great art. It has been recognized as a great form of art by the art community. Graffiti overseas is different than graffiti in the United States.

One thing that stood out to me when I heard Chuck D speak at my school and talked to him is how the rest of the world is more advance with Hip Hop culture than the United States. I took his word for it, but it was not until I went overseas and seen the art when I seen what he said firsthand.

Geneva, Switzerland

This picture comes from a stake park. It was at this park where I came up with the idea for this post. This was the first piece that I saw.

Before I went overseas, I thought about how I would share my experience with all of you. Of course there was my Twitter where I shared my experience on a micro level, but I wanted to do something bigger. I wanted to do something Hip Hop related.

Geneva, Switzerland

This stake park amazed me. There were so many wonderful pieces. The colors and size of them is what grabbed me. I never had seen so many bright colors. I took notice of the pieces that were just name tags, but I took even more notice of the ones that had more than a name tag.

Bern, Switzerland

I learned a lot from all of this. One of the things I learned was how serious some artists are about their work. I could see their hard work and great detail when I looked at the pieces from a distance and up close. It seems that the various governments overseas are not as serious about getting rid of graffiti as the various governments and people in the United States. This non-involvement has allowed great art to form. It has given the poor who can't afford to put up huge displays a chance to shine. This experience has inspired me to check out 5Pointz Aerosol Art Center if I could get in. If you ever get the opportunity to go overseas, look at all of your surrounds because you never know what you will find.

Click here to view more photos.
Pictures are courtesy of Amira Streeter. Thank you.

Fuck an Asher Roth

noreply@blogger.com (Danny Tejada) — Tue, 16 Jun 2009 18:12:00 +0000

Who does he think he is? This guy is not what Hip Hop is all about. What makes him think he can say “nappy headed hoes?” College? Go-Karts? These are the things people who oppose Asher Roth say. I have to admit that there was a point where I didn’t like Asher myself. That was before the “Lark On My Go-Kart” video released. After I heard that record, my whole opinion about him had changed. He was really different. That record showed me that he was wasn’t an Eminem copy cat. In a few ways like wordplay, I would even say he’s better than Eminem.

I first heard of Asher when he appeared in XXL’s Freshmen 10 issue. I didn’t understand why he was there. Out of all the freshmen, he was the only one I never heard of. I wondered why give a spot in a major magazine to an unknown person when there are many other great artists out there. He remained unknown until I heard “I Love College.” At that time, I really didn’t like it. I was not impressed at all. Sure, I did relate to it, being a college student at the time, but I just couldn’t get with it. A fellow journalist was telling me that Asher was more than “I Love College,” but I didn’t believe him. He did hold more weight than anybody else I knew because he actually heard Asher’s debut album Asleep In The Bread Aisle long before it released. When XXL dropped “The Reading,” more people started to jump on the Asher Roth train except for me. I don’t think I was really paying attention to the record when I heard it. Now, I think it is a dope record.

Shortly after that song dropped, “Lark On My Go-Kart” was released. While listening to it, I just got lost. The wordplay was witty. It was like he just went in the booth with no pad (or a cell phone as some people use today) and just rapped his ass off. I heard him freestyle before, but this record really grabbed me. I instantly became a fan. But I still couldn’t listen to his Greenhouse Effect mixtape. I prefer albums over mixtapes anyway.

When I talk to people about him, they make negative assumptions about him without hearing his music. I challenge them to just download Asleep In The Bread Aisle and take a few listens. Most of them didn’t do it. When some did, if they still felt the same way about him, I would just leave them be. I think that with these people it is all of the Eminem talk that turns them away from Asher. In many interviews Asher had done, he would get asked him about sounding like Eminem. He got so tied of talking about the comparisons that he decided to end it by making the record “As I Em” for his debut album. He might have killed those comparisons, but there are people out there who still believe in those comparisons. The reasons they still do is because they refuse to listen to his music.

Asher’s personal actions are another thing that turns people away. A little while ago, he made a joke in reference to Don Imus’ famous comment “nappy headed hoes” on Twitter after he just really performed at Rutgers University. He also said something to the effect that Black rappers spend a lot of money on flashy things but don’t help the people suffering in Africa. The blogging community went on fire while the people who never liked Asher from the start brought their hate to the next level. These comments give them the ammo that they needed. They tried to convince people that Asher was not good at all.

I can understand how people can be upset by “nappy headed hoes,” but why is it OK for Black rappers to say the same thing? I’m not saying it is not OK for him to say that. I’m saying that it is not OK for anyone. As for the Black rappers comment, I agree with Asher. As I said before, I do think people in general should give back especially if they had been in poverty themselves. Overall, questioning Asher should’ve got people to question their own.

Asher is a great MC. Asleep In The Bread Aisle is nearly classic. Maybe in a few years, it would be considered classic. Who else done a record that talked about their father in a positive light (Shout out to the REAL fathers)?

Who else tried to get their own White brethren (the majority of his fans) to fight poverty?

He is the one of very few MCs who didn’t rely on features to make his album. Unlike the majority of rappers (especially White ones), his music is who he is, and he stays true to who he is.

Hot 97 Summer Jam 2009 Recap

noreply@blogger.com (Danny Tejada) — Sat, 13 Jun 2009 18:30:00 +0000

The program produced by XXL Magazine.

Jim Jones

Jim Jones and Juelz Santana

Young Jeezy

This past Sunday was the last Hip Hop concert at Giants Stadium, Hot 97's Summer Jam, New York City's biggest Hip Hop concert of the year. History is made here. Beefs started and went to the next level here. If you were a new artist and you performed here, you knew you made it. This year's concert didn't seem like much wasn't going to happen because of the line up. I missed the Reggae acts, Jadakiss (I'm kind of upset about that), and all of the R&B acts expect for Mary J. Blige. When I finally got there, she was about to come on. Her set was great. She went back to the classics. She even brought out Method Man to perform "You're All I Need." She took a break while Method Man brought out Redman to perform a couple of their new records.

Then, Young Jeezy came out and made the stage his own with records from his first major album Let's Get It: Thug Motivation 101 to his recent album The Recession. In the middle of his set, he shouted out the women in the crowd. Then, Drake came out to perform his smash hit "Best I Ever Had."

After Drake left, Jeezy got into a few more records before performing "Put On." Once he was done with his verse, Jay-Z appeared to do his verse and perform his new record "Death of Autotune."

While he was performing "Death of Autotune," T-Pain who was also set to perform caught him off guard by coming out. It seemed like he was embracing the record. But once he started to do his own set, it seemed like the record had effected him. He was performing records he appeared on. It took a while before he performed his own records. He did bring out his own guests, Lil Kim and Maino. Together, Maino and T-Pain performed Maino's "All the Above" from his debut album If Tomorrow Comes...

T-Pain ended his set by bringing out Ace Hood and DJ Khaled. After that, Dipset's Jim Jones and Juelz Santana came out to close the show. They performed a lot of their hits. Jim Jones shouted out Cam'ron who was not at Summer Jam. It seems that they finally made peace. Then, Jim brought out Soulja Boy to perform his hit "Turn My Swag On." At this time, there were a lot of people on the stage. Jim mocked Jay-Z for his record "Death of Autotune" while bringing out Ron Brownz to perform "Pop Champagne." I left shorty after that to beat traffic and because Dipset's performance became lame.

Overall, the concert was cool. Young Jeezy had the best set. Dipset had the worst. I couldn't believe that Hot 97 let them close again (they closed last year too). Jay-Z was the highlight. T-Pain seemed to be dead because of Jay-Z. Summer Jam might not what it used to be, but it is still one of the biggest Hip Hop concerts in New York City.

Click here to view more photos.

The Roots' $10 Jam Recap

noreply@blogger.com (Danny Tejada) — Thu, 11 Jun 2009 19:00:00 +0000

Black Thought

Captain Kirk Douglas

Craig G of the Juice Crew

Q-Tip
Last week, I went to The Roots' $10 Jam. It was kind of crazy as to how I got in. I came a hour and a half before the show started. I didn't buy a ticket online so I had to stand on the no ticket line. I didn't mind paying $12, but I was upset at myself for not paying it online when I had the chance. As it got closer to starting, there were a few men trying to sell tickets for almost $40-$60. The thing that amazed me was how they didn't step to me. They were trying to convince the man next to me that he wasn't going to get in. I watched as the line for people with tickets grew more than the line with people who didn't have tickets. Then, this one dude came up to me with his ticket. I thought that he was trying to sell it to me, but he was just giving it away. I took it and wondered as I stood on the people with tickets line if the ticket was fake. It turned it that it wasn't. I could not believe it.

As I entered the Highline Ballroom, I noticed that the place was really small and already full. At that point, I knew that I wasn't going to get in if I didn't have a ticket. I proceeded to the front of the stage and the show started with an opener. The opener was a Rock band. They had some good tunes. After they played a few songs, The Roots took the stage and proceeded to jam. Black Thought came on and the group started to do a few of their songs. Then, Black Thought introduced some guests to the stage. The first was M.O.P.

A few more guests who were new to the crowd and myself came out. Then, Black Thought brought out Craig G of the legendary Juice Crew.

After Craig G's set, Black Thought came back out and declared the jam as Jay Stay Paid night in honor of late producer J Dilla and his new album of the same name. A few more faces people knew came out came out to perform tracks from Jay Stay Paid. Black Thought even got into his own song from the album.

The highlight of the night was when Black Thought brought out Q-Tip. Together, they performed some of Q-Tip's classics.

The Roots' $10 Jam is a show that will keep the crowd on the edge of a cliff with surprises. This week's jam had Mos Def and Skillz. If you are in New York City and into dope music and live bands, attend one of these jams because you never know who you will see just for $10.

Click here to buy tickets.

The Roots' MySpace

Click here to view more photos.

Reflection Eternal Concert Recap

noreply@blogger.com (Danny Tejada) — Thu, 11 Jun 2009 15:34:00 +0000

This concert occur a month ago. I meant to do this post a month ago, but I was waiting to see what was going to happen with the interview I had with both men, and I was trying to graduate. Reflection Eternal (Talib Kweli and Hi-Tek) stopped by Skidmore College to perform and promote their new album Revolutions Per Minute dropping this summer. The album is their first album in nine years. Skidmore was the site of their second concert since reuniting and last few concerts before the Rock the Bells tour. The opening act was a 1980s Pop/Rock type band brought in by Skidmore Entertainment Committee. They were weird, but interesting. Hi-Tek came on stage once his DJing stuff was set up. The crowd got excited. Then it was time for Talib Kweli to come on.

After he came out, he keep the crowd going.

He did a few old joints as well.

Then, he got Hi-Tek to play a few of records he produced.

After that, Hi-Tek picked up a mic and did a few of his own records.

They "ended" the show, but the crowd wanted more. They still wanted to hear "Get By." Both men came back onto the stage and Talib did a freestyle and his verse to Kanye West's "Get 'Em High," their new record "Back Again," and "Get By."

A great way to end a great show. The concert proved that both men can still rock together. Let's just hope it can carry over to their new album.

Talib Kweli's MySpace
Hi-Tek's MySpace
Reflection Eternal's MySpace

Click here to view more photos.
Pictures and videos from the concert are courtesy of Amira Streeter. Thank you.