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I just got the latest issue of XXL, and they have a feature on the Black Eyed Peas' will.i.am, who produces and does the main Hip-Hop shit for them (check out a partial piece of the article here). Later on in the article, this nigga starts talking about the different endorsements that the BEPs get, from Apple to the NBA and all points in between, saying that he doesn't get why people say they sold out when ATCQ, Pete Rock & CL Smooth and a slew of other MCs used to do the classic Sprite commercials, which is a good point... and he also has a point about being called a sell out. Thing is, this is the same nigga who was back-packing back when their first hit came out ("Joints and Jams", I like that track), back before they got as popular as they are now. Now, it's tracks with Justin Timberlake, and some "lady lumps" nonsense. He doesn't get this though...Nigga, let me spell it out for you: you didn't sell out by getting endorsement deals, you sold out when Fergie got added to the group. You sold out when you got all the other bullshit put into your tracks, the NSYNC shit, the Humps shit, the fucking "Let's Get Retarded" being turned into "Let's Get It Started" for the video. Come on, dog. I don't care if you rock the bohemian style, but you come out at niggas like you are hot in the hood! The hood isn't feeling what BEP does, you know why? It's b/c you guys are MTV poster-kids! And not Direct Effect, dog... fucking TRL! Do you guys even do BET? I don't watch 106 and Park so I wouldn't know...And now you are corrupting Busta's album with that "I Love My Bitch" shit?! I can't wait to hear your album... fake ass, bummy looking Pharrell ass nigga.Speaking of Busta Bus, check out this funny ass video I found you YouTube... apparently, a whip ran into Scott Storch's property, and some back and forth talk goes on... funny!
This post is dedicated to the Amen Break, my favorite piece of breakbeat history. From NWA to Remarc, this sample has been twisted, stretched, or just used straight up, it just has an intense, ill sound inside of it. This video runs a lil over 18 minutes, and is very informative. It really showcases what a lot of jungle and DnB producers are doing with the break... I love that shit.
Gotta love The Winstons! For more information on this piece and Nate Harrison, check out this link.
I know a lot of you Sopranos fans and critics were disappointed with last night’s “finale” (I can’t call it a finale, seeing as though reports say that the final 8 episodes starting January 2007 are still considered to be a part of the 6th Season), but I am not really upset at all. I feel as though some major issues got brought up in this episode, some interesting shit that will come to light in those final 8 episodes --- hopefully. Let’s take a minute to break down those issues:
+ Phil, who is now in the hospital over some heart problems, was plotting on taking out a member of the Soprano family. From Dom getting murked (nice shot of his head being kicked down that ditch), and Phil almost getting blown up, there was some trouble brewing… lil’ Carmine tried to smooth shit out, but he brought up Phil’s cousin, which was the DUMBEST thing he could do. Phil stalked out, and started scheming. There was no final determination, but they kept mentioning that it would need to be someone close to Tony, and I think that someone is going to be Christopher…
+ Christopher is back on the junk, and realizing he might have jumped into his marriage a bit too quickly. He admitted to his new girl, Julianna (yes, THAT Julianna), that he was not ready for a family. How did he meet her, you ask? Well, she’s a smackhead too, and they met at an AA meeting. Crazy, right? Tony found out and was visibly upset, but played it off in Chrissy’s face. With Dr. Melfi, he kept making sarcastic comments, “this is my reward”. Funny thing, this episode is called “Kaisha” b/c that’s the black girl Chrissy is telling everyone he is seeing, while being with Julianna…
+ Carm got her spec house. After poking around and mentioning to T that she would be trying to hire a private investigator to check out the Adrianna situation, T leaned on Silvio to lean on the board to get her shit approved. She is now, once again, the happy homemaker, loving life and counting her blessings.
+ Tony, on the other hand, heard from the FBI agent (neph who is now working in terrorism) that New York wants him dead. He seemed a bit frazzled, but kept his cool nonetheless.
+ AJ got the poonani from the HR girl over at the construction site. She has a kid, and I SWEAR she is the same mami who Paulie was dealing with back in Season 2. I have to revisit that. AJ even brought home girl over to the house for Christmas, which was kind of crazy. My mother’s boyfriend brought out an interesting point: it’s kind of funny how Carm wigged out b/c this girl is of Latin descent, but was fine with Meadow dealing with Noah.
+ We got to catch a glimpse of Uncle Junior at the old people’s spot. Bobby Bacala came over to give him back the $$$ he received from June as a gift. June was upset, but needs to realize that Bobby even communicating with him is bad for business, due to him plugging T in the stomach. It’s fucked, but Bobby is right…
As you can see, the drama is laid on thick. Not too much action, not too much gruesome, gritty murkage, just a lot of fucking relationship talk. Sticky relationship talk. And that’s one of the big things in the Sopranos… it’s not a show about the mob @ all. Yes, the mob is a big part of it, but the show is about the family relationships, just like any HBO show. It’s about how the people interact in that situation. As much as OZ was about prison life, it was about the people DEALING with that life. I think that’s what people get hung up on --- the ominous expectations that they build up in their heads (peep this MSN article which might explain that better).All I can say is, I know where I’ll be in 6 months. I’m placing bets on who you guys think will get murked. I think smart money is on Chrissy, but with The Sopranos, smart money never got anyone anything.
[Ed. note: this is an interview that was slated to be published for The Flow, but for whatever reason, that site is M.I.A.; it is the first of many I plan on posting, just to get them off of my HD and onto the web for many to consume.]The world of Jazz is a varied world. On one side, you have purists like Wynton Marsalis and others, who are very firm in their beliefs, training, and keeping their sound as close to the forefathers who birthed them. On the flipside, you have performers like Wynton’s brother Branford, Boney James, etc., who like to spread their wings and adapt their style of Jazz to other genres of music (Hip-Hop, R&B and the like), all the while still keeping their own identity. In a class by himself, Kyle Rowland is charting a different path: he is melting Electronic Music and Jazz into one big pot. His trumpet has a tone reminiscent of Miles, but his beats will keep your feet tapping and your hips shaking to his cool grooves. Already releasing his first experiment in this Techno-Jazz fusion, Ideas, he is currently working on getting his own imprint, as well as completing his next opus, Stand Back, Train Approaching. We catch him in the middle of these two projects, discussing where he comes from, his views on the current state of popular music, as well as his belief in God, technology, and Miles, of course. Watch out for that train…
khal: Thanks for granting us this interview. First off, for those out there who are unaware of you and what you do, could you please let us know?
Kyle Rowland: You’re welcome, and I appreciate your interest in my work. I am a musician in Southern New Jersey. I have a deep passion for music; over the last few years I have been experimenting with blending technology and improvised music. I write, arrange, and record my material in my home. To date, I have not had any one else involved in creating the music, but that will change with upcoming projects.
khal: Where did you get the idea to fuse House music and improv Jazz?
KR: Well, it happened kind of naturally – I got a majority of my music education in public schools, and part of that was listening to and playing jazz – which I really grew to love. I was also naturally drawn to electronic music. Recently I began thinking: there are not many jazz musicians out there who explore too deeply into the electronic genres. Most jazz musicians probably think that they will alienate their fan-base. When Miles Davis began to explore mixing Jazz and Hip-Hop (check out his album Doo-Bop), many people thought that he was doing just this. Likewise, there are not a whole lot of artists in the electronic genres that use more than small hints of Jazz; a nice horn loop here, some cool organ riffs there. So I figured that this is an area where I can maybe make some headway and get people from the different genres to think a little differently about their music.
khal: I know you are a self proclaimed “computer geek”; what is your setup at home? Do you strictly use PC or are you incorporating live instrumentation into your pieces as well?
KR: The concept of live instrumentation gets a little fuzzy for me, because I mostly record my material by myself. So one minute something is live, the next minute it is part of the big picture that I’m trying to bring to life. I do try to blend whatever kinds of musical elements that I can get my hands on. On my project Ideas, which is available on my web site, I include trumpet, piano, and harmonica. I use a couple of synthesizers to provide the more unusual sounds as well as drum programming and pattern looping. My next project, which is tentatively being named Stand Back, Train Approaching, has a track that features some nice guitar work provided by a friend of mine, Grant Reitzel.
khal: Who are some of your influences?
KR: Miles Davis (of course) – I love the sound of his trumpet, the nuances in every performance. I love his attitude – that he always sought to play what he was hearing. If there is only one album that you ever buy, it should be Miles Davis’ Kind of Blue. John Coltrane, Blank & Jones, Alanis Morissette – I absolutely love her melodies and her voice, The M-People, Snap, Wynton Marsalis, and lots of others.
khal: In speaking to you on various occasions, I know you have had some trials and tribulations in trying to get your music heard by labels. Do you think there is still a market for Jazz in today’s world?
KR: The short answer is yes – real, authentic, quality music will always have a market. The long answer is – I think that Jazz has a couple of serious problems to deal with: 1) Today’s Pop music has trained the average listener to be very low on patience, and v
ery high on expectations for the level of excitement that a piece of music generates. I mean, mainstream songs are always 3.5 minutes long, there’s almost no dynamic variation, and the emotional content seems to be controlled by fairly precise formulas designed to optimize excitement and minimize any possible boredom. Not that there’s anything wrong with this – but it makes music more like a cup of coffee that you use for a specific effect, rather than the deep emotional experience that it can be. 2) Many Jazz musicians are comfortable in their little niche; when people get comfortable, they can become irrelevant. I try to deal with these in my music, which is another reason I try to meld high energy music and improvised music, to try to get the best of both worlds, if that’s possible – we’ll see.
khal: I know you have been following/playing Jazz for a while now; are all of your projects like the Ideas series?
KR: My latest one, which I referred to earlier, is similar, but much different – it is not quite as mellow and it is produced better – my production chops have improved since the last project. Some of the arrangements in the newer project are also a bit more interesting – again, because I’ve learned so much through the entire process.
khal: Your website mentions that you play for the New Life Assembly in New Jersey. How much of a role does God play in your life, as well as your music? Also, do you play out anywhere else?
KR: Well, really it’s all about God. He’s made such a difference in my life in so many ways – he protects me from myself, he provides me with everything I need, and more. I see my music as a gift that came straight from his hands, and I really want to see how far I can run with it in the time that I have here. I am actually in the process of working on a live act – my recorded music started out as an experiment, so I’m working on evolving my creative process to a live environment; which is challenging. There is some great technology that has emerged recently that is really promising for my kind of situation. khal: Where do you envision your music going (creatively and commercially) in the future? Do you WANT major success/a record contract, or are you just trying to get heard?
KR: Success is a good thing, generally. Though I think most of all I would like the opportunity to play for as many people as possible. Creatively, I just try to play what the stuff that I feel inside of me – I think that’s what’s really important – so many people try to play and sound like others – because they think that is what makes someone successful. Really, I think success comes from playing the song that’s inside you, even if it’s a little different.
khal: Are there any intentions on updating your website with some of your newer work?
KR: The new project (tentatively titled Stand Back, Train Approaching) should be ready by the end of the year.
khal: Do you have any insight you could give our readers who might be looking to get involved with making music via PC? What programs/equipment would you suggest they purchase?
KR: Absolutely – there is SO much incredible technology out there today, and more importantly, the prices are becoming more and more reasonable. Probably one of the best places to start is to get your hands on is Propellerhead’s Reason. Reason runs about $400 and contains everything you need to produce music minus the ability to actually record external audio. It has a drum machine, a pattern sequencer
, two different types of synthesizers – you can arrange full songs just with this piece of software. If you want to complement that with some audio recording software, one of the greatest deals out there is Steinberg’s Cubase SE – which has everything you need to do audio recording, and integrates nicely with Reason through a protocol called ReWire. You can record your Reason tracks straight into Cubase, and then sing, speak, or play over whatever you have put together. There are two primary pieces of hardware that you’ll probably want to get a hold of. A MIDI controller keyboard – this allows you to control/play PC Based synthesizers such as Reason. These range in price between $150 and $500. An audio interface – this is to plug in mics or other external audio sources to your computer. You can pay $60 and up for these, depending on the specifics of the device. Any other questions about this stuff, I’d be glad to answer via email.
khal: Do you have any last bits of advice?
KR: Again – one of the hardest things in life is discovering who you really are. Each one of us is created differently but similar, and we operate most efficiently when we’re being the people that we were created to be. And really doing this is impossible without the help of the One who did the creating in the first place. So – get connected with God – and then follow that ancient proverb – Just Do It! (If there are any questions about getting connected with God – please feel free to email)khal: Thanks for your time, Kyle, and good luck!
KR: Thank *you*! :)
If you want to check out more info on Kyle Rowland and his Jazz, slide on over to his website, Kyle Rowland Music. He is also working on his MySpace page. You can download his tracks at either of those sites, as well as here. Watch those spaces, because his next release, Stand Back, Train Approaching, will be coming out in the near future. We again would like to thank Kyle for letting us pick his brain.
Another fix of cuts and scratches. I went into this wanting to specifically highlight juggling (the art of turning 1 song into a completely new song using 2 records), but found some other treats at 1AM. Check out my spoils...
#1: DJ Shortee clip from some how2dj.com tutorial. Give you a basic idea of the beginning of a juggle...#2: After that tutorial, check out A-Trak live in China, showing you what you can do with some advanced juggle techniques...#3: Grandmaster Roc Raida working out the classic Run DMC "Sucka MC's" instrumental...
#4: Roc Raida again, doing some live shit at the legendary Fat Beats. I believe this routine was used on his track from the Return Of The DJ compilation... check out his freak.
#5: Roc's boy Mista Sinista working out the decks at Fat Beats. It's hot, give it some room to breathe.#6: Check out Roc and Sinista's boy Total Eclipse work the shit out of Tribe's "Scenario". One sick routine, I love when he uses his belly on the fader.#7: P-Trix works out some classic De La Soul on this routine. I'm loving this one right now.#8: D-Styles and toadstyle just doing some abstract, live turntable instrumentation. Not sure about all that's going on in here, but it's hot nonetheless. The cheap video transitions have got to go though!
#9: Forgive the awful video on this, I just found it. DJ Craze in full battle mode. I love the intro --- but checkout this video around 5 min 08 seconds... he rocks the full on dnb in this. He even throws in some shit off of Q-Bert's album, which I thought was unique.#10: To put an end-cap on this, here's the mighty Q-Bert doing his thing at Tableturns. The set is about 7 mins, and he does some ill shit. From rocking a hip-hop to dnb tempo, showcasing this scratch called "prism", and even works out scratches without a mixer! Must be seen.
If you guys know of any Turntablist shit that I am missing, scream at me. Until next time...
What's good, family? I watched Poetic Justice with the Mrs. not too long ago... forgot how much I loved that flick. Surprises me how talented 2Pac was. Janet's great too, but her style is more melodramatic. John Singleton needs to bring it back to the essence...Busy week over here. Pregnancy is taking it's toll on my wife, and being 6 months now, it's hard for her to get proper care. It's OK with some things, but cracked ribs are no joke. Lil' man is going to hear about this come September LOL.Entertainment news this week has been kind of touch and go. Brad and Angelina had a baby girl, but really, is that any concern of your's? I bet Jennifer Aniston is kind of pissed, with her new movie coming out this past Friday and all... lil Brangelina baby sucked up all the publicity!For Dubstep heads, you might want to check out this Burial album. I just grabbed it, and the sounds are kind of intense... not too overbearing at all, and really pushing the edges. It's not even Dubstep, really, but I hear it's lumped into that category. Hell, the shit is all Dub to me in the end, so what difference does it make...Never mind the bullshit, onto the shuffle!!!!
1> Rumor has it that Raekwon is signed or signing to Aftermath. XXL had it up as a headline, but abruptly took it down an hour later. Lots of fans are championing this signing, but I think it might be a little risky. Rae's last couple of albums didn't do so hot, and having Dr. Dre foot the bill doesn't sound like success to me. Some of these '95 niggas might need to go back and just revisit that era instead of claiming prevelance these days. I'm just saying, if shit like Yung Joc is #1 everywhere, how can he expect to be relevant to the legions of ignorant teens supporting that garbage?2> Some guys is suing Justin, N'SYNC, Nelly and the Neptunes over that "Girlfriend" song. Why? Because he can't get a deal, I'm guessing. He should take note, though, Luda and Kanye just got off on their lawsuit. I really don't get it. It's like "wow, those guys MUST have heard my shit, why would they jack my music?" How many times are these lawsuits valid? We'll see what the deal is in the near future...3> For all of you Destiny's Child/Beyonce fans, rejoice. Not only does Jay's girl have Dreamgirls coming out later this year, but her new solo album, B'Day, is set to come out the day after her birthday in September. Good for B. I guess. I mean, the first single is slated to be with Jay, entitled "Deja Vu"... how fucking corny is that? Must artists like Beyonce and Eminem always come out the box with the same type of single? We aren't that fucking dumb...4> Speaking of Em, the guy who shot Proof is said to have acted lawfully, according to prosecutors in Detroit. Did we have any doubt? I mean, did Proof let off during a fucking pool game? That's kind of hostile... God rest the dead. Proof, RIP, but that's just not hot. Unnecessary violence must cease.5> So Comedy Central couldn't wait, huh? They already have plans in the works to release a new DVD of unreleased Chappelle's Show material (aka Season 3). I wanted to see this on TV, but I guess this is the route they are taking -- the "let's make mad loot" route. The price is looking to be damn near $30 for 70 mins of material... something ain't right. Dave, come back and stop this madness. We need your show on fucking cable TV, not some bootleg sounding DVD. Fix up!6> Your boy The Game is really trying to do it big, huh? He has that fuckin' movie with Tyrese coming out, where he rocks the weird eye, and now he is trying to take this Black Wall Street shit to Aftermath himself? Aside from Charli Baltimore and nigga who writes Kevin Federline's raps (what a job), who else does he have signed? And with all this hoopla about what he did on his 1st album, in terms of the majority of his hit singles having 50 on the track and/or on the chorus, should he truly be focusing on some no-names? Organize, nigga...7> John Muhammad, aka the D.C. Sniper, got hit up with 6 more convictions. This story is wild. I mean, Lee Malvo stood up and really spoke his mind. He let us know that after all of these shootings, which was supposed to go from a few random people to mad police, was to culminate with John trying to get his kids? What a fucking role model! Now John is already facing death, plus 6 more life terms? Just kill this dumbass right now. Or go rent the USA movie about this fiasco.8> So what do you do when someone is pissing you off and you are in need of someone's spot in the play? You spike their drink with bleach, that's what! WTF is going on here, people? WTF...9> I'm not sure if anyone remembers, but before his mother died, Bernard Hopkins said he was going to be retiring soon. Two years later, and mad millions richer, he is making good on that promise. And, for some odd reason, he chose Bun B to escort him down ringside. I think this is cool, don't get me wrong, but isn't The Executioner from Philly? Why not get Beanie Sigel to spit some sizzurp flows down the aisle? Just a thought...10> If I had the loot, I'd cop a Razr phone. Why someone needs a blinged out Razr is anyone's guess, but it's out there.11> Some more Wu-Tang related news: RZA is scoring some animated Kung Fu show with Sam Jackson as the lead voice. I would be behind it if the word Afro wasn't in the title... also, peep Method Man dishing shit on his last album, Tical 0, and talking about his forthcoming opus. The bootlegs I've heard are decent, but nothing too exciting. Who knew he worked with Diddy on that last garbage album? Strange times...12> Did you guys hear about the Asian kid born with 3 arms? How crazy is that?!?! It looks like a psychodelic poster or some shit... too nutty to be real, but it is! Good luck to him.13> I told you I would link you with more info on this B.I.G. lawsuit oddness over in LA. Apparently, the lawyers reppin' BIG's estate say "we ain't lie". Not much else info there, but they need to find some closure for Ms. Wallace. Please.14> Peep Def Jam's fall release schedule. No Redman, no Joe Budden (whattup with no NJ love?!?!)... but fuckin' Rick Ross!? That nigga is gonna brick, hard. Jeezy will do good... The Roots will do normal record sale #s, but will make mad loot on the road... Nas? I don't know... Lady Sovereign? ROFL that chick isn't going to do too well over here. Sorry, the US ain't ready for grime (whattup Dizzee Rascal!?!?)...15> How the fuck are grandparents gonna order a hit on their grandkids? These fuckers need to be castrated and hung for that shit... that's the worst right there.16> Surprising Ignorant Rapper News: Da fucking YoungBloodZ have been arrested for drugs and guns!Another end to a crazy week. I'm going to smoke a lil Black and call it a night. Mavericks vs. Heat starting June 8th... can't wait! Night to ya...
So Busta, the world has not ended as you so proudly proclaimed on your previous efforts. Also, the world of Hip-Hop records has changed a lot... it's really a young man's game, and while your style is very bouncy and fun, you have shown how much older you are. This is not a diss at all... your fans have grown up with you, from the young man with the LONS to the big, muscle bound mastadon you grew into, so it's only right that you echo your fanbase's "Hip-Hop is Dead" ethos on your first album for the good Doctor, The Big Bang. There's a lot of good in this album, but also some that is not so good... needs more bang and less big, if you ask the kid.Now I'm a pretty avid fan of Busta; I have The Coming on cassette somewhere in my basement, I own various albums, as well as your Greatest Hits collection. I love how you switch your flows, and mimic certain elements of the beats... thank God, you kept that intact on this disc... it just seems like you tried to do too much. Was it necessary to have Stevie Wonder AND Rick James bless choruses? It just doesn't sound necessary to me... sounds like you are casting lines to the same fans who dug your work on Luther's last album. Both tracks highlight your past, from your parents migration and intergration into the American culture ("Been Through The Storm") to living in the slums ("In The Ghetto") and trying to make a better life for yourself. I applaud you on that, because most of your past albums have been thick with party anthems and smack-you-in-your-face bangers. That's not bad, but it's good to see you pour your heart out over the beats. Speaking of beats, that's the main saving grace on this album. The Big Bang showcases many interesting ideas... from Timbaland's "nuttin'-but-percussion-and-crickets" sounding "Get Down" to Dr. Dre's piano ad organ laced "Goldmine", which features Raekwon calling himself a "Gangster Republican" (???). Dre even incorporates shoveling dirt into "Legend of The Fall Offs", which also executes an interesting idea -- the POV of a Grim Reaper for Old School MCs. No names were named, oddly, but it was executed well, even though it evokes that scene with the Bride from Kill Bill, vol. 2 and other "buried alive" movies. There are these hits, but there are some misses as well, sadly...Hearing the Nas collabo "Don't Gey Carried Away", it sounds like you guys picked a B-beat from Dre, and worked out a shitty chorus overtop. That's another big downfall. The choruses on many tracks either seem too boisterous ("Get You Some" featuring Q-Tip and Marsha Floetry going back and forth for what seems like forever, as well as the odd-bar filling "They're Out To Get Me", which is produced by D-12's Kon Artis) or just down-right silly ("Cocaina", which just sounds lax). And why does Missy Elliot have to ruin any track she is on? The tit-for-tat shit on "How We Do It Over Here" is just, well, pointless. Could have left that one off the LP all together.Another question: why was "Touch It" out back when I was wearing a coat? Was there a previous album drop date that got pushed back, b/c that track just seems old as hell? And why no inclusion of the Remix? People would like to get their hands on it sans illegal Internet downloads... In any case, I know many fans are salivating for DJ Scratch's Diamond D biting "New York Shit". Many NY niggas are "bringing it back to NYC", but this track does the best job at it. J. Dilla blesses Bussa Bus from the grave with "You Can't Hold The Torch", revisiting classic ATCQ vibes, and again touching on the Hip-Hop Is Dead ideals. Touched on too much, but with as much ignorant shit that there is out there, it is not without warrant. I am also feeling "I'll Do It All", with it's looped melody and floating flutes riding on top of that beat that's a slow nodder one minute, and then kicks the kicks kind of quick in it. And hearing Bus lay his mack game down is always hot to hear.In the end, the only thing I am completely pissed off at is "I Love My Bitch", which is the new single out on MTV right now. I mean, featuring Kelis doing a retarded chorus is one thing... having fucking will.i.am produce a track on your album, that' s GOTTA be a new low. Fuck the bullshit, this is not acceptable.Bus, where's all of the underground heat you had out there? I miss some of that. I need a Big Bang - WMD Edition or something. Tracks like "I'll Hurt You" with Eminem, or your OTHER Nas collaboration, "Rough Around The Edges", or even "Psycho" ft. Papoose and Cassidy, we need more of that. Speaking of Papoose, if you are working on his career, why isn't he on this album?!? Why do you have Q-Tip on 2 tracks, but no tracks featuring any Flipmode family? Just sounds odd... do your thing though, dog. Maybe the next go round?khal gives this album a 7.5 out of 10 stars --- hot beats, nice flows, but lacking on original ideas and horrible choruses. In the end, it's good to hear new Busta out there, but the maturity leaves some big question marks on the whole Aftermath signing.
I've just come up with a new concept: NiggaMath. I had a co-worker walk through saying she was leaving 6 minutes late, so that will compute to coming in 15 minutes late the next day. I found this funny, but strangely, it's true. My 15 minutes of lunch time being eaten up by moving boxes turned into an additional 25 minutes of lunch time added. I mean, fair is only fair.You fault Niggas, Niggas will fault you double, you smell me?This doesn't just work for Work though, you can use this anywhere The Man tries to hold you down.Let's say your tax check comes in a few weeks late, for whatever clerical error. Doesn't that warrant you to pay your taxes a month late the following year?When the state's sales tax skins off an additional 60 cents on the dollar for your purchase, it's only fair that when the idiot at the cash register refuses to read your coupon correctly, you go ahead and pay $1.74 for your $9 lunch (this really happened to me at a local Uno's; classic situation).The record labels charge you absurd amounts for glorified maxi singles, so why not go ahead and just jack the tracks when you can?The only time NiggaMath doesn't work is in violent situations. There is a problem when a stolen chain turns into 18 niggas dead. That's improper use of NiggaMath. Matter of fact, you should be held back in NiggaMath class and take your trigger-happy ass back to Nigga-garten, so you can learn that it's an eye for an eye, not a life for a chain.NiggaMath©. The wave of the future.(Got any other examples of NiggaMath? Scream at the kid.)
There have been a few recent interviews with Lloyd Banks on the cusp of the release of his new album, Rotten Apple, and he just sounds dumber and dumber. First off, am I supposed to believe that this "Death Wish" track he has aimed at D-Block and Fat Joe is NOT coming on that album? If 50 "molded" him and made him, why would he deviate from that? He says he would garner worldwide attention if he put that shit on his album --- and? I mean, you talk about 50 being on people's minds and his relevance in the game, but one big part of his campaign for The Massacre was the whole Ja/Joe/Jada angle -- the disses and shit. G-Unit was BUILT on conflict, why act like you gonna shy away from that now?
#2: nigga, you know that some bitch ganked your CD and you had to reorganize your gameplan. You might have had 60 cuts, but there wasn't even 20 on that joint, and all of the ones that got leaked were, what? Garbage. Also, if you think no one wants it with Lloyd, you're mistaken. I highly doubt you'd murk as many people on the mic as you think you would. I mean, Jada alone is a tough nut to crack, and this nigga went up against Beans! You're a cronie, homie... know your role.
#3: Why is it when Game came out, niggas was all riding for him, but now that he is out of the G-Unit, it's like "we was never homies"?? If you guys roll together, where was he? I just don't get it... first it's you guys saying that he had been around for a few years, and I mean y'all obviously worked on music together... how the fuck is it now like you were never down?
#4: Why is it that on XXL, you say that you are brining it back to NY (I am going to put up with that phrase for 1 more week, then I don't want to hear it ever again), but when you list your collabos, it's all 8Ball and Scarface? Why even do that?
#5: Where's Buck album at? He's the only nigga of true relevance on a national level, due to the South's surgence in the mainstream.
#6: With the numbers Mobb Deep are doing (boo hoo, I lost that one), having them on your album doesn't really mean shit does it? (Although I loved your verse on "Stole Somethin'")...Basically, Lloyd, do this for me: don't speak. Just make your porn videos, and make that fire on the mixtapes. When you start to try and rationalize and explain the utter bullshit you and your crew come with, it does not work well... whatever happened to real gangsters moving in silence...?
I just got the latest issue of XXL, and they have a feature on the Black Eyed Peas' will.i.am, who produces and does the main Hip-Hop shit for them (check out a partial piece of the article here). Later on in the article, this nigga starts talking about the different endorsements that the BEPs get, from Apple to the NBA and all points in between, saying that he doesn't get why people say they sold out when ATCQ, Pete Rock & CL Smooth and a slew of other MCs used to do the classic Sprite commercials, which is a good point... and he also has a point about being called a sell out. Thing is, this is the same nigga who was back-packing back when their first hit came out ("Joints and Jams", I like that track), back before they got as popular as they are now. Now, it's tracks with Justin Timberlake, and some "lady lumps" nonsense. He doesn't get this though...
