Its may be time to throw out the notion of race as it relates to police. Why? That is not to say that the cops aren’t killing Black men like they are animals or ants. I am getting rumors that these moves they are making are strides to implement a mass database of recording people. Peep what was sent to me:
“People think that this is going to be a good thing, but It really only furthers a huge agenda. They are giving massive discounts on protective amour if you also body the cameras. The camera will will be filming and recording (audio) everything the cops see and do. Hell, if you are in your house or whatever, they can be watching and saving the footage. Anything. Do we want that? This is another arm of the Agenda that will not actually work in benefit of the people in the long range. Think about how took all our rights as Americans in the name of the War on Terrorism.”
During part two of our exclusive interview with DJ Drama, the Philly born, ATLien chooped it up with AHH’s MrMecc to talk about showing the West Coast Love on his new album Quality Street Musicalong with topics as diverse as the manhimself. Did he know the South would take the Crown? Can the East Coast see a resurgence? When did TI become a solidified star? Check the technique.
Kid Ink releases the 2nd visual off his forthcoming “Full Speed” LP dropping February 3rd, 2015!! Pre-Order “Full Speed” on iTunes now and get 2 songs instantly with your download including hit single “Body Language” as well as “Cool Back”.
The internet is chockfull of BS. So this could very well be just that. Everybody is talking about Drake. Drake. Drake. Drake. I wish they would talk about something else. You know people be all in the comments. The question is: Is this authentic? If its real, Drake could be giving people bad advice! I am no doctor, but if you are depressed for 6 months, you aren’t going to be able to sleep that away.
I am going to say this is probably not Drake. I wonder when the video of him getting clocked by Diddy will emerge?
“Moses had to be of the Black race/cuz he spent 40 years in Pharaoh’s Place”
“Why Is That?” – Boogie Down Productions
The new movie, “Exodus: Gods and Kings,” has drawn a lot of heat because of the producer’s choice to, once again, select a white cast to portray the Egyptians and the Jews of the Old Testament. To make matters worst, media mogul, Rupert Murdoch further ticked people off when he tweeted the ludicrous question “since when are the Egyptians not white?” I guess if Murdoch decided to do a Hip Hop version of Exodus, the movie would star Macklemore as Ramesses the Great , Iggy Azalea as Nefertari and Eminem as Moses.
The question of the color of the ancient Egyptians and the original Jews has long been debated by scholars. Historically, white scientists have chosen to place a lily white civilization smack dab in the middle of the hot sands of Northern Africa. Thankfully, black scholars such as Cheikh Anta Diop (The African Origin of Civilization) , Yosef ben-Jochannan (We the Black Jews) and Anthony Browder (Nile Valley Contributions to Civilization) have dedicated their lives to correcting this misrepresentation of history. Interestingly enough, several white writers such as Godfrey Higgins (Anacalypsis) , Martin Bernal (Black Athena) and Arthur Koestler (The Thirteenth Tribe) have presented a more ,historically, accurate truth in their works. White authors such as Sigmund Freud (Moses and Monotheism) and Gary Greenberg (The Bible Myth) have even suggested that Moses, himself, might have been an Egyptian.
Also, there have been numerous religious groups that have challenged the idea of white Judaism since the early 20th century, such as “The Church of God and Saints of Christ,” and the “African Hebrew Israelites” who relocated to Dimona, Israel. We must never forget that it was Rabbi Arnold Josiah Ford who wrote the Universal Ethiopian Hymnal for Marcus Garvey’s UNIA, the largest black movement in American history.
However, the history of Black Jews (correctly known as Hebrew Israelites) is rarely discussed in this country. Movies like “The Ten Commandments “ have made Moses look like Charlton Heston instead of Wesley Snipes.
Even in Hip Hop, while rap historians have focused on the Islamic influence on the genre, relatively little attention has been paid to the influence of the Hebrew Israelite teachings. There have been many stories written on Rakim, Brand Nubian and Poor Righteous Teachers and their use of Hip Hop to “civilize the 85” but little has been written about artists like Killah Priest and Hell Razah using Hebrew teachings to “ gather the lost tribes.”
One of the first instances of Hebrewism in Hip Hop was Doug E. Fresh and The Get Fresh Crew’s 1985 hit, “The Show.” While the lyrics contained basically, esoteric Hebrew references, indiscernible to the untrained ear, Doug E Fresh’s other works such as “All the Way to Heaven” showed the influence of the Torah more directly. By the time he released “ Aiight” there was little doubt that he was reppin’ the 144 (thousand) as he wore the Star of David emblem at the beginning of the video and featured a cameo by some Hebrew Israelites at the end.
In 1989 , Boogie Down Production’s front man KRS One put writer Ella Hughley’s passage from her book, “The Truth About Black Biblical Hebrew-Israelites “ into lyrical form on the song “Why Is That?.” For many Hip Hop fans that was their first exposure to a black Biblical genealogy. He also used part of the same lyrics during the opening of the video for “You Must Learn.”
Years, later the Hebrew teachings came courtesy of Wu Tang affiliates , Sunz of Man. One of the most instrumental albums out of the Sunz of Man collective was Killah Priest’s solo joint, “Heavy Mental” which featured the classic cut “B.I.B.L.E (Basic Instructions Before Leaving Earth.)
It must be noted that rappers, Drake and Shyne are also Jewish. However, they embrace a more “Orthodox” form of Judaism that differs from the teachings of the Hebrew Israelites.
So the question must be asked, with the influence of Hebrew teachings on Hip Hop, why has there been no large movement to emerge like the Five Percenters or the Nuwaubians. Although there is plenty of 5% terminology embedded within Hip Hop, where is the Hebrew swag? On almost every award show , some rapper yells “PEACE! “ after he receives his trophy. But when is the last time you heard a rapper yell out “Shalom ?”
Perhaps the reason is because of the strict laws and statutes attached to the Torah as opposed to the NGE (5%) ideology of being I Self Lord And Master. Or maybe, it is because the racial identity of the “Chosen People” is still too much of a taboo topic to be discussed in a Hip Hop industry that has no problem promoting black genocide on a continuous basis.
But in a time when movies like “Exodus: Gods and Kings,” are being released, Hip Hop should be some of the strongest voices correcting the historical errors portrayed in the film. Unfortunately, there has been mostly silence from the usually opinionated rap crowd.
The prophets of the Old Testament talked about how the Children of Israel would be a scattered people. This Is especially true in Hip Hop. However, they also prophesied that one day “ a remnant would return.” With our people living in almost total darkness, it is time for those who are supposed to be chosen to give light to the world to unite!
As we approach 2015, “the dry bones in the valley” must connect so we can stand up and be an exceedingly great army to save our people from destruction.
Shalom! Minister Paul Scott represents the Messianic Afrikan Nation. He can be reached at [email protected]. Follow on twitter @truthminista
Back at it again staying true to the old school sound they are known for Chox-Mak and DJ YRS Jerzy are here with “Jazz Rant”. Jazz Rant is a new release with a lyrical smooth sound and mellow toned production. There is alot more in store for them coming in 2015 including shows and alot more music. Stay tuned and keep watching how they switch up and make more and more moves.
Ca$h Out, sits down with DJ Smallz and breaks down his new mixtape, “Kitchens & Choppas”, providing further insight from the artwork to several records featuring guest verses from Problem, Young Dolph, Og Maco, Shawty Lo, Bloody Jay, Trouble, DC Young Fly, and Snoop Dogg to name a few.
A person of interest has been named in the shooting of Beanie Sigel and unfortunately that person is too close to home. Sigel’s sister-in-law Kamilah Salahuddin has been named by Pleasantville police, according to NBC Philadelphia.
It was reportedly her gray Honda Odyssey that was seen fleeing the scene after Sigel was shot in the stomach at his brother-in-law, Umar Salahuddin’s, Pleasantville, NJ home. Umar is Kamilah’s brother.
Another person of interest, Ricky Childress, jumped out of the van and ran from the police during the incident but was later caught, questioned and released. Police have been unable to reach Kamilah for questioning. Umar has not been cooperating with the police investigation.
“Right now, the detective doesn’t have much to go on,” Pleasantville Police Capt. Rocky Melendez told NBC. “The detectives have brought a lot of people in for questioning, but unfortunately no one’s talking.”
The former Roc-A-Fella emcee remains hospitalized in the intensive care unit.
Today marks the release of Mike WiLL Made-It’s long-awaited new project, Ransom. Announced earlier this year, Ransom is the super producer’s first ever project with all new, exclusive music, and features include Future, Juicy J, Lil Wayne, Kendrick Lamar, Rae Sremmurd, Riff Raff, Big Sean, and more, while also continuing Mike’s tradition of introducing new artists – Yung Joey, Eearz, Fortune 5, and more, join artists on the verge like Key!, Bankroll Fresh, and others.
Ransom also marks the close of another big year for Mike WiLL. 2014 saw the launch of his label, Ear Drummer Records, in conjunction with Interscope, and the signing of his first two acts, Rae Sremmurd, who’ve gone on to have a breakout year with their two Mike WiLL-produced singles “No Flex Zone” and “No Type”, and Two-9, who are gearing up to release their new project, #B4Frvr, in 2015.
Since separating from his wife Amber Rose, Wiz Khalifa has been seen frolicking with reality stars, video vixens and hooked up with claims to have a sex tape of the Blacc Hollywood rapper.
The Taylor Gang general hooked up with Playboy model Carla Howe recently and unbeknownst to him, he was being recorded. Howe claims that Wiz was looking directly into the lens while also recording her on his phone. Now, TMZ says that Howe is in talks with Vivid Entertainment head honcho Steve Hirsch to sell the video.
Howe is willing for the video to be sold but Wiz is refusing to sign off on the deal. Unless Hirsch gets Wiz to sign on the dotted line, the video will not see the light of day.
Ne-Yo is back with his sixth album, Non-Fiction, and he called on some hip-hop favs to fulfill the album’s plus one’s. He’s adding more of an edge to this effort with features from Juicy J, TDE’s ScHoolboy Q, T.I and frequent collaborator Young Jeezy. If the 14 tracks on the standard edition isn’t enough, the deluxe edition has seven extra songs for your listening pleasure.
Non-Fiction is due out Jan. 27 and is available for pre-order over at iTunes. View the track listing below.
A Queens rap crew of real brothers have mad it through investigations, prison time, and a slew of false promises before getting to this point. Brothamanz, consisting of Shortee Sha, Amin Ra, and Reazon, drop some updated science on “Truth Hurts” the premier single from their ‘Galactic Alignment’ due in 2015 produced in house (literally) by baby bro Shortee Sha.
Crakron, Drohio aka Akron, Ohio rapper L-Dro hails from Lebron James’ home town and here he lets go of a ATL-eque track that will be sure to get Southern DJs and fans of Dirty South trap rap moving. #DROHIO is out on LiveMixtapes & DatPiff now, #InUsWeTrust is on the way. Peep his current music on http://www.livemixtapes.com/mixtapes/22870/l-dro-dro-ohio.html…
The house that Lil’ Wayne and Birdman built is seemingly falling apart. After Weezy took to his Twitter to say he wanted to part ways with the label he’s called home since the age of 13, fans were shocked and wondered about the status of the long-awaited Tha Carter V. With hopes of clearing the air, YMCMB president Mack Maine paid a visit to Miami’s 99 Jamz to set the record straight.
During the interview, Maine assured fans that Tha Carter V would be dropping at the top of 2015.
He’s touching up the album and about to start another special project for the people. I can’t give a definitive date [for Carter V]. I can just say first quarter for sure. … It’s coming out.”
As far as Wayne wanting to leave Cash Money, Mack says that dispute will surely be handled.
“I wouldn’t pinpoint anyone personally, he said.” I got an optimistic, positive vibe about everything. It’s just some business that’s gon’ need to be handled. … Once that’s handled we’re going to keep moving and it’s getting handled as we speak.” He also went on to say that “everybody has their breaking point” but he supports “Wayne 1,000 percent.”
Bill Cobsy has finally spoken out about over two dozen women alleging that he drugged and sexually assaulted them. In a brief interview with the New York Post, he didn’t address the allegations but did say how he wants African-American media to handle the scandal.
“Let me say this. I only expect the black media to uphold the standards of excellence in journalism and when you do that you have to go in with a neutral mind,” Cosby said.
Cosby’s lawyers have advised him not to speak to the media, so he kept the conversation brief. When asked how his wife of over 50 years, Camille, has been dealing with these allegations, he chalked it up to strength and love.
“Love and the strength of womanhood,” he said. “Let me say it again, love and the strength of womanhood. And, you could reverse it, the strength of womanhood and love.”
Supermodel Beverly Johnson is the latest to accuse the 77-year-old of drugging her in the 1980s. In an essay she wrote for Vanity Fair, she said Cosby slipped something into her cappuccino during her audition for The Cosby Show. When she realized she had been drugged, she said Cosby quickly threw her out of his New York brownstone.
According to the state’s license plate slogan, “Virginia Is For Lovers.” Going by the wide-ranging success of several homegrown boardmasters, Virginia is also for producers.
VA serves as the stomping grounds for platinum-selling Hip Hop producers like Timbaland, The Neptunes, Nottz, Lee Major, and Lex Luger. But the commonwealth is not done spawning hit-making production wizards just yet. Out of Norfolk comes another talented musical architect by the name of Kino Beats.
Kino knew he wanted to be involved in making music from a very young age. His initial passion was to become a rap star, but he later realized that was probably not the best route for him. He dropped his emcee dreams and discovered a new option to pursue his goal of breaking into the industry – producing.
By the time he was 12, Kino was crafting his own beats. Fast forward over a decade later, and the 24-year-old producer now has credits that include Jeezy’s “Talk That,” Nipsey Hussle’s “Success,” and his breakout track “Everything Is Good” by Juelz Santana and Wiz Khalifa.
Kino may still be on the grind of establishing his name among Hip Hop’s production elite, but he is already lending a hand to help other show biz aspirants. He partnered with J Braye to start Radio Ready. Since 2005, the recording studio and production company has provided professional level services to rising performers from Virginia’s southeastern region.
Producer and businessman are not the only labels listed on Kino’s résumé. He recently decided to tackle another area of entertainment by adding the art of DJing to his repertoire. AllHipHop.com spoke with Kino Beats about his advancement in the music business, working with established acts, and a track’s sometimes unpredictable journey from a beat to a released song.
How did the Juelz Santana and Wiz Khalifa “Everything Is Good” song come together?
I always had a relationship with different guys in Dipset. The first record I ever produced for somebody in the music industry was NOE. He’s signed to Jim Jone’s ByrdGang. I always had connections to artists in Dipset, but I emailed the beat to Bounce from SlowBucks. He told me was in the studio with Juelz.
Within 45 minutes of me sending him the beat, I got a phone call. He had Juelz on the phone. Juelz said, “I need that beat. I want to put Wiz Khalifa on it.” I said, “Alright, let’s do it. Let’s turn up.” Within in an hour and a half, they hit me back like, “Wiz Khalifa already laid his verse down.” It was a dope situation.
You also worked with Jeezy. How did that track happen?
I did that record with the producer Childish Major. I heard “U.O.E.N.O.” on Rocko’s mixtape. When I went to listen to Rocko’s mixtape that was the first record I listened to, and I said, “This song is going to be crazy, but this beat is so different.”
I figured out who the producer was, and I reached out to Childish Major. I told him, “We need to work. You got you one.” He hit me back and said, “‘Everything Is Good,’ you got you one.” I was like, “Cool let’s work.”
We literally collabed on one beat. That one beat is Jeezy’s “Talk That.” Shout out to Carbon 15. He always showed love. Carbon 15 connected all the dots and got the record to Jeezy.
What is your process like when you’re creating your tracks?
I will create ten beats, but producers understand that making the beat is the easy part. Anybody can make the beat in ten minutes. The difficulty is the sequencing, the mixing, the little tedious things that take the track from being “pretty hot” to being “whoa.” That’s the stuff that takes time.
I’ll do a bunch of tracks. I’ll have all the ideas that I want, all the elements of the beat. Then I’ll keep on going. Probably the next day or whenever I come back to another session and load up everything that I’ve done, I’ll listen to it. If I like it then I’ll work on sequencing it. Making tracks for me is like a two-day process. Just so I’ll have time to come back and really listen and figure out if I really liked what I produced.
What inspired your “Rework” series?
I slowed down, but I’m actually gonna pick back up on that. Basically, the “Rework” series was just my take on popular songs. I did Meek Mill’s “Levels,” Future’s “Move That Dope.” It was kind of all a ploy, because I actually started to DJ. I never DJed before.
I started making beats to new a capellas of these popular songs. I said, “If I’m gonna make these reworks, I want to be able to play them in a club.” I was tired of having songs and telling DJs to play it when I could just play it myself. I woke up one morning, went to Guitar Center, bought equipment, and taught myself how to DJ within 2-3 weeks.
After 2-3 weeks, my boy Brendon Hill had me come up and do a club in DC with him. That was my first gig. I’m only four months deep, but I’m doing 3-4 gigs a week in my hometown.
A lot of times it seems to go the other way – people start off as a DJ and then go into production.
It took my production to a whole other level. While DJing you study crowd control, so you see how people respond to certain records. You see what parts they really go crazy on. Whether it’s how certain words are said in the song or the way a beat drops.
For me it was just a way to promote my brand. Being from Virginia, it’s harder to stay as active. Being in a major city you come across more artists. In Virginia, it’s kind of slow. I picked up DJing to keep everything flowing in between doing tracks for other people.
There haven’t been too many emcees that have come out of Virginia. You have Clipse, Skillz, and others. But there have been quite a few producers that have made it big out of the state. Why do you think that area of Hip Hop has done a little better than the emcee portion?
The analogy that I use is Virginia has no professional football team. Since there’s no professional football team, it is literally impossible to have an NFL player in Virginia. We don’t have a professional basketball team, so it’s literally impossible to have an NBA player. Our market hasn’t been set-up for professional entertainers.
Why? I’m not entirely sure. You see the producers that do make an impact, they’re dealing with talent from different regions, because there’s more of an outlet. Or they would have to take an artist from the area, take them to a major outlet, and branch them off there.
The business portion doesn’t get handled the way it should, because there’s no real knowhow. It’s just no set up for it.
What’s next for you?
I’m in the studio nonstop. I’ve been working with Lex Luger.
How did that relationship start?
That was something that was bound to happen as far as us crossing paths. I’m cool with the Ur Boy Black which is the lead member of Lex Luger’s group V.A.B.P., and Lex was always working with High Def Razjah. Me and him have a good relationship too.
They were in Ur Boy Black’s studio, and somebody called me like, “Yo, come through. Lex is here.” I pulled up, chopped it up with him, and we’ve been rocking ever since. We’ve been building a catalog of beats. Some things are in the works where the ink hasn’t dried yet.
But I was in the studio with A$AP working closely on their projects. I still talk to Juelz very often, and he’s gearing up to work on some new projects.
I’ve been gearing everything toward DJing. Just going to different markets to do parties. There’s so many tracks in the pipeline, but it’s all about the release. So far in this game, I’ve lost more tracks than I’ve had released from industry artists.
Is that because they ask for the track and then never use it?
This is the breakdown. You’ll have an artist that releases 2-3 projects a year. An artist might release a 15-16 track mixtape, then an EP, another short mixtape – which is usually just a bs mixtape to keep the promo going – and then their album. So you’re looking at 45-50 songs.
You take those 45-50 songs from an artist that’s recorded 3,000-4,000 songs. However many of the thousands or hundreds of songs that person may be recording, you’ll have songs that get laid down that they never use. It something that doesn’t fit a project or whatever, that’s just how it turns out.
If they don’t purchase the track you can then sell it to someone else?
Yeah, the thing is you can make your own rules. [laughs]
What made me think of that was the Bobby Shmurda situation with the Lloyd Banks’ [“Hot N***a”/”Jackpot”] beat.
I wanna say that was a mixtape track. Then it’s a situation where everybody handles their business a different way. Everybody’s not tip-top on their business, so you might come across somebody that – I don’t know that situation – but an artist may use a beat from a producer and never get in touch with the producer.
There’s been times I went to LiveMixtapes and heard a track that I produced that I wasn’t credited for. I had to get people to make the calls. That’s just the risk you take and why you copyright your stuff. But when you’re sending out beats to different artists, they have different situations going on. They’re on the road touring, so they just hop on the beat. It then somehow gets released.
I’m sure the reverse has happened as well. Where you put a beat out, but an artist you didn’t expect to pick it up says, “I want to use that beat” even though they may have heard it from somewhere else and not directly from you.
Placements happen the weirdest ways. At the end of the day, all artists have one general thing in common – they’re all trying to work. That’s why they’re artists. They need to make songs, and in order to make songs they need beats. It don’t matter if the barber gives them beats or the dude on the tour bus gives them beats. It’s no telling where it comes from.
Would you ever be interested in going back to try rapping?
Nah, I’m good on that.
So no Timbaland/Pharrell type career?
Nah, that’s why I picked up DJing – to push the brand. Pushing the brand as a producer is one thing, but as a DJ you’re an artist as well.
Seeing Just Blaze DJ and perform songs that he produced – you’re looking like “This is the guy.” That song I’ve been rocking to for years, this is the guy that did these records.
[Just Blaze is] eating nice off of DJing.
I caught him and Cam’ron at the Broccoli City Festival in DC. That was an epic show. They had their differences, but they came together to perform. Then I caught him in an upscale club in New York. His range is crazy. I don’t think anybody has that type of range in music as far as who he’s able to play for. He doesn’t have to make another beat a day in his life.
Do you want to get to that point?
I’m 24 years old. I operate a recording studio in Norfolk. I deal with over 2,000-3,000 local artists in the Hampton Roads area in Virginia, and I see all different types of artists. I don’t want to get to the point where I’m a 35-40 year old aspiring artist or producer. But you can be a 35-40 year old DJ.
It’s just about not being complacent in one thing. I know I have the talent to do more than just this. So let’s add a different arsenal to it.
Where do you see yourself five years from now?
Five years from now I see myself maybe touring as a producer/DJ. And just working. My drive is consistent. Every year I look back at that past year to see if I’ve grown. I try and grow every single year. So five years from now I want to have those hit singles under my belt and just go around the country spreading my brand.
Fabolous’ The Young OG Project is slight on featurea but Fab made sure to recruit some heavyweights. The 11-track effort features Rich Homie Quan, Chris Brown, funnyman Kevin Hart and French Montana. Fab also snagged some lesser known names like songstress Abir Haronni, rapper/singer Tish Hyman and Velous, an emcee who hails from upstate New York.
The Young OG Project drops Christmas Day. Peep the tracklist below.
1. Lituation
2. We Good (ft. Rich Homie Quan)
3. All Good
4. You Made Me (ft. Tish Hyman)
5. She Wildin (ft. Chris Brown)
6. Ball Drop (ft. French Montana)
7. Bish Bounce
8. Rap & Sex
9. Gone For The Winter (ft. Velous)
10. Cinnamon Apple (ft. Kevin Hart)
11. Young OG II (ft. Abir Haronni)
Jaden and Willow Smith have been mentioned in the latest distasteful leaked emails of exchanges between Sony execs.
TriStar chairman Tom Rothman sent an email to president of SPE’s Motion Picture Group Doug Belgrad about the New York Times interview the two did called “Jaden and Willow Smith on Prana Energy, Time and Why School Is Overrated.” In the piece, they spoke about their musical processes, time being relative and reading pre-dated texts, but what stuck out the most was what the two home-schooled siblings thought about going to regular school. Willow said she went to school for one year and it was depressing while her big bro Jaden said school’s not authentic because it comes to an end.
In the email that Rothman sent, he joked to Belgrad about not having the Smith kids in their movies.
This is just one of the many leaked emails where the Sony execs have dissed celebrities. In the emails that have been exposed, Rothman, Belgrad and Sony co-chairman Amy Pascal have sounded off on Angelina Jolie and Kevin Hart, who they called “money hungry” and a “w####.”
