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TOP 5 DEAD OR ALIVE: Game

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Reviews / Music

The Game has never hidden his influences and on his albums he names them quite liberally. However, AllHipHop.com had to get the definitive Top 5 Dead or Alive from the Compton wordsmith. In typical Game fashion, the list is perplexing with a dose of standard fare at the same time. Furthermore, he completely broke tradition and doubled the Top 5. The R.E.D. Album drops on June 15,  and he celebrates the recent release of The R.E.D. Room., keeping fans pleased.

If his influences are any indication of future success, Game is about to have a banner year. The Game: Top 5 Dead or Alive…or something like that.

AllHipHop.com: I need your Top 5 lyricists of all time.

Game: You know that can’t be done.

AllHipHop.com: Why not?

Game: Because there ain’t five it’s like 10 of them ni**as.

AllHipHop.com: OK so give me 10 and why?

Game: B.I.G that’s gotta be number one.

NO. 1 – THE NOTORIOUS B.I.G.

 

AllHipHop.com: Why?

Game: Because you said lyricists and that’s B.I.G. He made it cool to be an emcee, he made it funny, he talked about himself and still kept it hot. He made the women go crazy and hes a big 300 lb fat nasty ugly ni**a and I can say that because he said it. But BIG was just that dope when he repped Brooklyn he repped New York and still to this day he’s the king of New York. That’s what they call him that’s what I call him because with two albums and he was only alive for one album, look at the impact he made. Dope

 

NO. 2 – NAS

Game: Then NAS, man a 12th grader with a platinum album. That’s what I like 17 years old 12th grade with one of the top 3 Hip-hop albums of all time, 10 tracks just so Hip-hop. 17 with that mind? Gotta be #2, crazy.

NO. 3 – ICE CUBE

Game: Ice Cube, he wrote all NWA’s sh**. From the skits on to the raps so that’s him.NO. 4 – TUPAC

Game: #4 Tupac, because he makes you feel good. He makes you feel like you somebody, makes you feel like your a part of something, especially the ladies. Tupac love the ladies. He always made you feel good though, always made you think. But he had one flaw he talked about the same thing all the time. I’d be like did this ni**a say thug passion again? (Laughs) But I’m a super super Pac fan.

NO. 5 – EMINEM

Game: #5 Let’s go Eminem and he’d be #1 if I didn’t have those other 4 guys up there. I love Em he’s dope hes always been dope and as far as any type of lyrical war the guys above him, I don’t think could win in a battle. You don’t f### with that crazy white boy. You notice out of everyone I’ve ever talked about i never f##### with Em and I never will when he p##### off he ain’t gonna punch you in the mouth and he probably can’t beat you up, but he’s gonna f### you up. And we’re all going to believe in it and we’re listen and we’re gonna love it and we’re not gonna love the other guy so much because he’s gonna rip you a new a######.

NO. 6 – JAY-Z

Game: Jay-Z, I would’ve put him up higher but I don’t have to its my list. Naw but Jay could be in anyone of those slots. But with BIG and PAC’s untimely demise, he capitalized on that. He was the most prominent emcee after those two deaths and he held for us, for Hip-hop throughout and still. 40 plus and still kickin sh** fresh like it was 96. Do this n#### put out anything that’s not cool? He’s always changing the game, he’s always making the s### that we think is cool, not hot anymore. Ya know, we be on something and he’ll come and be like that ain’t the sh** we off that change clothes, and did EVERYBODY change clothes? I remember we all used to be so hood my sh** used to be baggy, everybody changed clothes, what man do you know that ain’t got a belt? If he ain’t got nothing else he got a name brand belt. That was Jay he did that.

NO. 7 – SNOOP DOGG

Game: I gotta so Snoop cause I’m getting to close to the end and # 7 is actually too far for Snoop cause that’s my friend he’s like my brother and he’s dope. He’s still dope but the old Snoop? Like right now he’s daddy day care he’s chillin, but before that, the flattop with the hoodie on and the electronic Johnnie 5 I’m alive movements yo! Snoop at #7

NO. 8 – WU-TANG CLAN

Game: Wu Tang as a group. Because we all know that era we were all trying to kick through walls trying to be Chinese with them they did it so Wu Tang as a group. And definitely Method Man on the stand-out just for being a part of that group being dope but still being able to get commercial and still keep it lyrics and hood, ya know. That s**t with Mary J you know the one, the one, the one. That’s Method Man and so Wu Tang as a group that’s number eight.

 

 NO. 9 – SCARFACE

Game: #9 Gimme Scarface and at #10 Gimme DMX and I’m good. My reason for DMX is because remember how I said PAC always took care of the women? Well DMX, them ni**s with the dirt under they nails and not a dollar in their pocket trying to figure out whats next? Where I’m going? Where am I gonna sleep? Those ni**as the ones out there that people gave up on DMX looked out for them he was one of them and gave them what they needed. And all of us that weren’t like that or were still hood but I at least had a dollar in my pocket and a place to sleep we felt that because we knew people like that and then he took that mainstream and it worked and he barked and growled on everything.

NO. 10 – DMX

 

AllHipHop.com: Do you think we gave up on DMX?

Game: We gave up on him, but we’re like that. We gave up on Micheal Jackson when we let him die like that. We give up on people – that’s who we are.

THE SIDEBAR – GURU

AllHipHop.com: Speaking of death, we just lost Guru do you have any words on that?

 

Game: If I had a Top 20 I would give it to Guru, but Gang Starr is iconic. When death springs up on you, it ain’t really nothing you can say that’s gonna make too much sense so I just wish him the best on his journey up top. And condolences to his family cause it could happen to anybody and it will happen to everybody. So you can cry and feel sad but not too much because all of our day’s will come so we’re just living til we can’t live no more. I’m sure he was holding onto life and really didn’t want to go but sometimes its OK to just let go.

Mixtape Download: Papoose – “Papoose Season”

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Reviews / Music

The one and only Papoose is back again with another classic, “Papoose Season,” which is hosted by DJ Kay Slay, DJ Whoo Kid, DJ Self, Dj Nu, DJ Drama, DJ Robby Rob, DJ Juanito, DJ Cocoa Chanelle, Jenny Boom Boom, Sasha Victoria, DJ Camilo, DJ Envy. Starting off with a street classic ” Trading Guns,” Papoose hits you with that raw street essence of hip-hop lyrism. The mixtape features Ray J,Maino, Red Cafe, Waka Flocka, Jim Jones Bun B and Twista which makes this a classic mixtape overall. Click here to download it.

Pitbull Makes People En Espanol’s 50 Most Beautiful Hispanic Celebrities Issue

By: Grouchy Greg Watkins (@GrouchyGreg)Category: News

(AllHipHop News) Miami-based rapper Pitbull will be in good company on the printed page as one of the 50 Most Beautiful Hispanic Celebrities for People En Espanol.

Those appearing in the special issue with the hitmaking entertainer include actress Sofia Vergara from ABC’s Modern Family, singer Ricky Martin, model /TV personality Daisy Fuentes, singer/actress Thalia, celebrity blogger Perez Hilton and current Miss Universe Stefania Fernandez, among others. Celebrities included in the 50 Most Beautiful edition were chosen by PeopleEnEspanol.com users for the third consecutive year.

Photos taken by celebrity photographer Omar Cruz for the 14th annual issue were inspired by Mexico’s Golden Age cinema and telenovela icons.

To promote the 50 Most Beautiful issue, PeopleEnEspanol.com will have exclusive behind-the-scenes footage from the edition’s cover shoots as well as an online special featuring daily updates with exclusive photo galleries, celebrities interviews and interactive surveys about this year’s 50 Most Beautiful.

The site will continue its behind-the-scenes coverage with a look at People En Espanol’s 50 Most Beautiful party. The event is scheduled to take place on May 20 in New York City.Pitbull’s inclusion in the 50 Most Beautiful issue comes more than six months after the release of his latest album, Rebelution. The project, which features appearances from Lil Jon, Ke$sha, B.o.B and Akon, includes the hit singles “I Know You Want Me (Calle Ocho)” and the “Hotel Room Service.”

PEOPLE En Espanol’s 50 Most Beautiful Hispanic Celebrities issue is set to hit newsstands in June.

Can Hip-Hop’s New Generation “Master The Moment”

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Uncategorized

Master The Moment.

Years ago, I wrote a personal editorial on AllHipHop.com, because I felt like the culture itself has finally learned to “master the moment.” This write up referred to the period affectionately known as the second Golden Era. I’m not certain if that the “Master The Moment” phrase had ever been used before, but I felt it was appropriate for the crop of ambitious, determined and business savvy artists that were successfully melding branding with marketing with commerce with art.

It all seemed to go hand in hand, like the Boy’s Club logo.

Strategically, this created stars, in front of the camera and behind. Most notably – but not limited to – is the team over at Def Jam Records, who repeatedly knocked it out of the park with Survival of the Illest, Month of the Man (Red & Meth) and other initiatives. Not to be forgotten were folks like Steve Rifkind and Loud Records, Jay-Z, Dame and Roc, and other collectives like the Duck Down crew, who remain a powerful brand. During that time, the artists and their team’s timing was impeccable. Biggie and Puff Daddy (P. Diddy) were supremely tactical in their approach to the game, something that often goes unnoticed these days. DMX was right on time when he broke out of the shiny suit era with “Get At Me Dog.” All systems were a-go, from the streets to the board room.

In present day, the “machine” and all of its various cogs seem out of synch. And I’m hoping that the new generation of Rap stars know the value of mastering the moment like their predecessors. But, I’ll admit I am not certain.

There is hope, if they take heed.

Nicki Minaj recently scrapped her touring plans with pop princess Rihanna in order to work on her album, which is now slated for a September release. “Barbz I’m sorry 2 say I will not be going out on RiRi’s tour. I’ve decided 2 use that time 4 the completion of my album. Hope u understand,” Nicki tweeted, of her album that I’d like to see manifest before the September 2010 scheduled release date. Well, if Nicki’s reasoning it true, she is probably preparing herself to win the war of longevity as opposed to winning battles for fast cash.

Speaking of cash, I believe quick money is the reason why a bunch of newer acts fail to master the moment. Rappers and other artists as well have the ability to pay their bills in ways unimagined before thanks to the internet. The loved and loathed one known as Waka Flocka is living proof of this. While many abhor this product of Atlanta, he’s tours getting about $15 – $17 thousand per show. Sometimes he does two shows a night, one for adults and one for teens. He’s admitted his reluctance to drop an album, because it could serve as a buzz kill if its not well received.

Then there is Drake, who is closely related to Nicki Minaj and Lil Wayne’s Young Money. Drake seemed to be set in the year 2009, as he had several smash hit records like “Best I Ever Had” and “Successful.” Furthermore, he’s already won numerous awards and has been nominated for a Grammy. This success has continued into 2010, where he’s graced VIBE’s recent cover and will cover XXL’s issue with the aforementioned Nicki Minaj. So, with Sprite commercials, Drake is still a bankable artist. In many ways, I do wish So Far Gone was turned into an album so all the accolades surrounding it could represent his “moment.”

Hip-Hop will continue to need stars on every level, including the underground. Take Jay Electronica for instance. He’s been resolute in creating a feverish demand, especially with his song “Exhibit C.” But, in a recent interview, he admitted that he wasn’t prepared for the demand.

I saw this video on 2dopeboyz.com, where the comments were particularly interesting and pointed to Jay Electronica’s ability to master this moment. Here is a random sampling.

“I’m not even asking for Act II, an album, or a mixtape….just put out a new song dude.”

“Everytime I see Jay Electronica’s name I think it’s a new song but nope, more interviews haha…”

“ok so i didnt wanna be one of the people always complaining, because i usually dont freak out when stuff is pushed back and whatever but seriously where the f**k is act 2?”

I really “need” Electronica to hit the masses with a video and then an album, but his fans mostly just want a new song. “Exhibit C” not only excited Hip-Hop’s core, but it rejuvenated those that have abandoned rap. A friend of mine hit me like, “Have you heard of this dude Jayo Electronica?” That’s no typo – JAYO. He had never so much as heard of Jay until that song. Yet, the follow up has been sluggish to say the least and I’m hoping the Jay’s moment isn’t escaping him.

But, Jay Electronica and others are in the driver’s seat of their careers and move at their own pace, and perhaps the pace of their base. Furthermore, they have the ability to generate revenue through touring and singles without a label. Why rush an album when you get $15, 000 per show like Waka Flocka or in Nicki’s case $30,000 to host parties during the NBA’s All-Star weekend?

I admittedly think of the classic album as the basis from which hometown heroes can transcend into timeless legends by way of their art. Every legend has at least one classic album, but that is a fleeting notion with the way CDs sales are down and rappers are dropping stray tracks daily. Nevertheless, timing is everything. Take Joe Budden for example. I still consider Mood Muzik 2 his classic album, even though it was a highly revered mixtape. It came out at a time when people thought it was over for the “streets draft pick.” Lil Wayne made it practice to flood the streets and the internet with song after song, mixtape after mixtape until the demand was unparalleled. Both artists made the moment their master, not the other way around.

So, where does that leave us.

It leaves us back to the basics with a modern twist.

Jay-Z is an excellent example. While Jay is revered as a solo artist, he’s never ever been truly solo. He and his team (whichever team that has been through the years) have always been a master at capturing moments in time. Just look at last year alone. He did the September 11 benefit, which coincided with his scheduled album release for Blueprint 3, which happened to coincide with the September 11, 2001 release of The (original) Blueprint. He released a quintessential pop ode to New York City (“Empire State of Mind”) when New York rap is still climbing back into prominence. If you look back, you can chart when Jay’ and his team (I emphatically stress team) were on the same accord and the results. Lastly, Jay has known when to change gears, when to collaborate with who and when to leave the past in the past. Sure, there have been missteps, but the moves have been overwhelmingly positive time and time again.

I can’t say the same for many of my favorite artist, who often look like they were an astronaut floating in space with no jet pack. Confused and directionless.

The moments in time became their master and they fell off, even though they were skillful artists.

With that, I charge this new generation of creatives (and some older ones) to keep pushing forward as aggressively as possible, but know when to pump the brakes, push the pedal to the metal and definitely know what kind of “vehicle” you are in. Employ your resources wisely in a way that allows you to maximize the impact of your talents. Generally, the moment is bestowed upon you and other times created by you. Whichever is the case, you better be ready and I hope you are, because the time is now.

Watch: Kimora Lee & Russell Simmons “Play Fight”

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Lifestyle

During DrJays.com Live’s recent live stream of Baby Phat‘s Summer 2010 collection, held at Phat Fashions’ midtown Manhattan offices, host Kimora Lee Simmons was surprised when ex-husband Russell Simmons appeared in the room.

The animated ex-couple immediately start to play fight over Kimora allegedly insinuating that Russell’s current girl, Julie Henderson, was “fat” on an episode of Kimora’s show, Life In The Fab Lane. Russell then asks Kimora to appear in his own upcoming reality show (due this fall). Kimora also mentions last year’s VH1 Hip-Hop Honors footage, where Russell and former partners Rick Rubin and Lyor Cohen feature prominently, teasing her ex-husband by telling him, “You actually look good! You could get it! Not from me, but you could get it.”

Check out the video below:

You can expect more footage from the Baby Phat Summer 2010 live stream soon!

Gucci Mane Camp Sued Again for Missed Shows

By: Grouchy Greg Watkins (@GrouchyGreg)Category: News

Gucci

Mane (Radric Davis), his booking agent Johnnie Cabbell (Hitt Afta Hitt

Entertainment), and Debra Antney (So Icey Entertainment CEO) are facing

another lawsuit over alleged concert no-shows.

 

The

latest lawsuit was filed in Allegheny County, Pennsylvania by William

Marshall (Marshall Productions) and Derrick Brown (Rockstar

Entertainment). The two parties allege that Gucci’s representatives

took two deposits of $13, 750.00 to book him for concerts in Pittsburgh

last August that were never completed.

 

At

the time, Gucci Mane was restricted from leaving the state of Georgia

due to parole violations from a 2005 felony assault, which eventually

resulted in him being sent back to prison for 12 months on November 12.

 

According

to the lawsuit, Marshall and Brown claim “the defendants’ engaged in a

widespread scheme scheduling concerts they knew would not take place,

including the concerts involving plaintiffs that are the subject of

this complaint.”

 

Last

year, Gucci Mane’s camp was the subject of intense media scrutiny

regarding similar claims from other promoters in a 10-page

investigative article by Ozone magazine founder Julia Beverly.

 

“I am fully aware of the recent allegations which have been made about me and my company Hitt Afta Hitt Entertainment (HAH).  I

am a licensed and bonded entertainment booker and have been operating

my company successfully for almost a decade,” Johnnie Cabbell told AllHipHop.com

last December. “During my career, I have booked thousands upon

thousands of shows and have worked with various promoters all over the

country.  I have maintained an impeccable track record and am operating within the confines of all applicable laws.  I’ve always strived to do the best job I can possibly do and will continue to do that.”

 

The plaintiffs are seeking over $25,000 in damages.

 

At press time, a court date has not been set.

AllHipHop ChartWatch: Black Eyed Peas, Luda and Cypress Hill Linger On Charts

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Reviews / Music

AllHipHop ChartWatch for April 28, 2010No Hip Hop in the top 10 but there is

Usher. He’s kind of Hip Hop.  Well not

really but he’s got some rapper’s on his album. 

This week Raymond vs Raymond

comes in at number five and sells 51,000 copies.

Moving beyond the top ten we have the

Black Eyed Peas whose latest album, The

E.N.D, sells another 21,000 copies and grabs the number 17 spot.

They are followed by Ludacris who holds

the number 18 spot.  This week the

Atlanta rapper moves another 20,000 copies of his seventh studio album, Battle of the Sexes.

The next group was in “Dropping” last

week and this week they claim the 22nd spot.  Cypress Hill come back to the music world

after a brief hiatus and sells 17,000 copies of their latest, Rise Up.

Finally Lil Wayne’s attempt at rock

music is still (amazingly) selling.  This

week the New Orleans rapper moves another 11,000 copies of Rebirth and grabs the number 40 spot.

Shoulda

Been

It came out last week.  It wasn’t in the top ten this week…but it

shoulda been.  This week it’s Devin the

Dude.  This artist has been grinding out

of Houston since the mid-nineties (15 of those years with Rap-A-Lot.)  After coming out with the Odd Squad the

rapper went solo and has since released six studio albums.  Devin has worked with some notable Hip Hop

figures including Dr. Dre, DJ Premier, Scarface, De La Soul, Nas, 8Ball, Andre

3000, Snoop Dogg, Lil Wayne and Bun B just to name a few.  His last album is titled Suite 420 and, in typical Devin the Dude fashion, features the MC

rapping and singing about wine, weed, and women in his humorous, narrative

flow.  It’s not in the top ten for this

week…it shoulda been.

Dropping

This Week

First up this week in Dropping is

someone that should have been in the column last week.  I got Devin the Dude, Cypress Hill, and

Little Brother but I forgot Kurrupt. 

Last week the westcoast MC release Streetlights,

his sixth studio album.  The new disc features

appearances from Xzibit, Snoop Dogg, DJ Drama, DJ Quick, Tone, Problem, and

Terrace Martin.  Thanks to Bertofab

(Don’t know what that means or stands for but I’m sure it makes sense) for

pointing it out in the comments section. 

One thing’s for sure…Kurrupt, Little Brother, Devin the Dude, and

Cypress Hill have a strong fan base and they will let you know if you’re

slipping.

The first artist dropping this week is from outside the United

States.  Anita Tijoux was born in France

while her family was exiled due to the political climate in Chile.  Upon returning to her home country Tijoux joined

a series of Hip Hop groups throughout the late nineties.  Since then Tijoux has won a string of awards

throughout the international community but is relatively unknown in the

U.S.  She is now releasing her fifth solo

record titled 1977.  This album is said to be inspired by her

childhood in France and an ode to the 90’s Hip Hop that inspired her during her

teen years in Chile.  I know that U.S.

fans aren’t big on hearing international Hip Hop albums but with artist like

K-OS dropping solid albums maybe listeners should give Anita Tijoux a chance.

Staying in that international vein is

another Latin American artist with a little more U.S. notoriety.  Now, I’m not a big fan of reggaeton so I

pretty much had my radio switched off a couple of years ago, but I will give

credit where it is due…this next artist has a strong fan base.  Daddy Yankee has carved out a huge niche

worldwide, a significant portion of which comes from the U.S.  This week he releases his ninth studio album,

Daddy Yankee Mundial, which

translated means Daddy Yankee Worldwide. 

This album is said by Yankee to be a mixture of a few musical styles

including raggaeton, soca, and bachata. 

It was supposed to come out around this time last year so fans should be

really happy to see it finally coming out this week.

Next up is a highly anticipated artist

amongst Hip Hop fans and artists alike. 

Coming out of Atlanta is B.o.B and his debut album, B.o.B Presents: The Adventures of Bobby Ray.  He, along with Wale, Asher Roth Drake, and

Kid Cudi are some of the artist thought to be the new class of Hip Hop.  B.o.B produced close to half of his debut

album which features Bruno Mars, Lupe Fiasco, Hayley Williams, T.I., Janelle

Monae, River Cuomo, Eminem and Ricco Barrino. 

That eclectic list of feature artists should give fans a little preview

of how the album will feel.  I haven’t

liked every B.o.B song (I want to punch my radio every time I hear “Nothin’ on

You”) but I do appreciate the diversity he brings to the game.  Like the artist in today’s “Shoulda Been”

section B.o.B sings, raps, produces, and plays multiple instruments.  Don’t be like me and let that first single

fool you…if you want to know about B.o.B take a listen to some of his mixtapes

and then go pick up The Adventures of

Bobby Ray.

It’s an international kind of day so

let’s hop across the pond and take a look at Ty with his latest album Special Kind of Fool.  The London born rapper has released three

albums previously and worked with the likes of Estelle, De La Soul, Speech,

Zion I and Basement Jaxx.

So that’s the charts and the albums

dropping this week.  Go out there and

pick up an album.

Jay Fenix: Temperature’s Rising

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Alternatives

Jay Fenix is an up-and-coming producer, who gained massive industry notoriety, when Melanie Fiona’s #1 hit – “It Kills Me” – received a GRAMMY nomination for Best Female R&B Vocal Performance.  As the single spent seven weeks atop Billboard’s R&B summit, Fenix’s musical fortunes rose as well.  Currently, he is working on projects with Fantasia, Musiq Soulchild and Chrisette Michelle.

With the future looking ever so bright, Jay Fenix managed to squeeze some time out of his busy schedule and settle down for an interview with Clayton Perry – reflecting on his childhood hoop dream, Quincy Jones’ legacy, and his classical training at Duke Ellington School of the Arts.AllHipHop.com:  As I scanned your biography, I noticed that in addition to being a classically trained pianist, you are also a drummer and an organist. Which instrument was your first love, the keys or the drums?

Jay Fenix:  The drums was actually my first instrument. Growing up, my godbrother and I used to fight every Sunday over who would play the drums at my grandmother’s church. We still laugh about that to this day.  I remember how we would try to get to church first, so that we could beat each other to the drums! [laughing]  One day, I got frustrated and told him, “Man, I’m gonna to play keys!” When I was younger, I would go with my cousin to her piano lessons and I asked my mom if I could start taking piano lessons. She made a way for me to do it and from there, man, I’ve been on it ever since.

AllHipHop.com:  What led you to begin your musical journey at your grandmother’s church? How old were you at the time, and were you pressured by her to play?

Jay Fenix:  I come from a musical family, so at a very early age, I developed a strong passion for music.  My grandmother strongly encouraged me to develop my talents, but never pressured me. At the time, I was only eight or nine years old.  But she does love seeing me on that organ though! [laughing] I’m very thankful for that extra push that my family gave me, even though I had my mind set on playing in the NBA! [laughing continues] Besides music, basketball was my true love.

AllHipHop.com:  So how did you ultimately decide between the music world and the sports world? At what point did you focus all of your energy into your music career?

Jay Fenix:  Like everyone young boy, perhaps, I thought I was going to be in the NBA! [laughing] My parents kept me in basketball camp during the summers and that’s all I would think of. My dreams were cut short, during my first years of high school, because I developed a bronchitis, asthma type of respiratory problem and it was preventing me from playing effectively. My parents were taking me to doctors, but they couldn’t quite figure out the problem. After several months of dealing with that I got frustrated and begged my parents, to allow me to transfer to a high school in the D.C. area named Duke Ellington School of the Arts, whose notable alumni include comedian Dave Chappelle, R&B singer Tony Terry and opera singer Denyce Graves. I auditioned and made it! And from there a new course in my life had been set.  But even after all of that I still had hopes and dreams of playing basketball. After graduating from Duke Ellington I went to Syracuse University for college. While there, I still wanted to try my hand at becoming a walk-on for Jim Boeheim and the Orangemen! [laughing] Needless to say God didn’t allow it to work out that way. But I’m not complaining! [laughing continues]  Even though my basketball dreams didn’t work out, I gained valuable experience and a strong foundation of working in the studio and producing tracks with my mentor, Sep Herbert.  Music and producing started to overshadow my basketball dreams.

AllHipHop.com:  When you look back on your early years, especially when you were playing in the church, are there any particular lessons that you found guiding your professional experience? Or do you find yourself pulling more from your Duke Ellington experience?

Jay Fenix:  Both, my church and Duke Ellington experiences were vital to my development not only musically but as a young man.  My family and teachers like, Davey Yarborough and Lynne Gray at Duke Ellington weren’t only feeding my musical abilities but teaching me about life and helping me to stay grounded. In addition I was also fortunate to gain valuable experience by going on the road as keyboardist for artists like Stephanie Mills, The Melissa Etheridge/Rosey tour, and Jennifer Love Hewitt.  And from a producer standpoint , I also learned a lot working under Jazzy Jeff and Seven Aurelius.

AllHipHop.com:  I’m curious to learn more about those last two experiences. I’ll start with your road tours. What impact did they have on your artistic development?

Jay Fenix:  Road tours are great because you can see how the music affects the people in the audience. It’s an energy that’s unbelievable! Witnessing that on the road made me say I want my music to translate to people like that.

AllHipHop.com:  And moving to your production work with Jazzy Jeff and Seven Aurelius. At what point did you transition from being a touring musician to being a studio musician/producer?

Jay Fenix:  Several years ago I started working with my boy John Harris.  He gave me my first real start as far as working with a production company. He introduced me to Jazzy Jeff. After my short stint there I went on the road for a few years and then an old friend by the name of Kenny Ferracho introduced me to Seven. Between Jazzy Jeff and Seven, I learned the value and importance of setting a trend for yourself, especially when breaking new acts. Thankfully, a few years later, I was able to be a part of a team that worked with Melanie Fiona as she found success.

AllHipHop.com:  “It Kills Me” is not only a beautiful track, but it is one of those rare performances that resonate with music lovers across the gender line. A few months ago, I had the opportunity to see her perform at the Apollo, and the whole crowd really got into it—both men and women. How did you become attached to her particular project? 

Jay Fenix:  My managers, Michael “Make” Mentore and Tony Perez were talking with Michael Michelle, who manages the songwriter Andrea Martin, one day and they thought it would be great for Andrea and I to collaborate. We did and the rest is history! You know Andrea’s track record! She’s had numerous hits as a songwriter. It was really  a match made in heaven. And Melanie was the icing on the cake. Her voice and her passion just carried the song over the top. 

AllHipHop.com:  The track definitely has a throwback vibe. Is there a particular era of music that you draw a lot of inspiration from?

Jay Fenix:  I grab from EVERY era! But back in the ‘90s, there was a lot of emotion and feeling, no matter if it was to make you dance or cry, or be happy or sad. You really felt that music! Even with the samples, there was a lot of texture to it. And I think a large part of the success that came with “It Kills Me” is due to the fact that it has a lot of texture and feeling. 

AllHipHop.com:  Is there a particular album or producer from your childhood that you feel set a bar for your production work?

Jay Fenix:  I want to have Quincy Jones’ type of impact. As far as albums go, one album that really set the bar was Michael Jackson’s Off The Wall. That album and Thriller, set the standard for me as a producer.  It’s hard not to love and admire Quincy Jones.  I don’t know too many people that could really stand in his shoes. The way Quincy brought those albums together was ingenious.   And in the long run, I want to cross ALL spectrums of music and film like he did. I want to get into screenplay writing and orchestrating music for films. I don’t want to get people to think that R&B is the only thing that I do, and I definitely want to expand the Jay Fenix brand.

AllHipHop.com:  By the way, how did you come up with your stage name? 

Jay Fenix:  I’ve been called Jay since I was a child – for a couple of reasons. I’m a junior. And the other reason was I could light you up for 40 with my “j” [jumper] when I was ballin’! [laughing] So, “Jay” has always been a part of me. The “Fenix” part came about one day when I was sitting around the house thinking about a name that I felt could best describe me musically. So I happened to be reading some Greek mythology and I came across the myth of the phoenix, and how it would set itself on fire and reappear better and stronger than it had before. That’s how I want my music to be. Each time you hear something from me, I want you to say: “Wow. He keeps taking me higher and higher and higher.”

AllHipHop.com:  As a D.C. native, in what ways has the city shaped your production style?

Jay Fenix:  Growing up in the ‘90s, especially during the whole early Bad Boy era, with DC-bred [Carl E.] “Chucky” Thompson being a MAJOR part of that Bad Boy sound, that live, soulful, rhythmic sound has always been in the DC air. It goes back to Chuck Brown, [“The Godfather of Go-go”], and the period where notable artists like Donny Hathaway, Marvin Gaye and many other acts spent a lot of time in the DC area.

AllHipHop.com:  Following in “Chucky” Thompson’s footsteps and receiving a Grammy nomination so early in your career, what has been the most drastic visible change in your career, as far as the expectations that have been placed upon you?

Jay Fenix:  Well, as you would expect, more people recognize you for your work. But I think, more so, there is a certain validation that I have in their eyes now. The only expectation is to keep making GOOD music!

For more information on Jay Fenix,  myspace.com/jayfenixmusicllcfollow, follow him on Twitter (@jayfenix) or visit his official website: www.jayfenixmusic.com

Emilio Rojas: Born This Way

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Features

Tic-tock…the seconds pass like hours, minutes pass like days how much more can we take as we wait for Emilio Rojas to assume his rightful place in the royal kingdom of Hip-Hop’s future. Emilio Rojas is the quintessential creator of musical braveness. Emilio has not reinvented the wheel when it comes to touching on raunchy or radical depictions of life, but he certainly has refined it to spin with well-timed grace.

Emilio is a rhyming strategist that has trained himself to debate the innards of this culture. His records paint such imagery with songs like “Sympathy For the Devil” and “Live for the Moment.” He steps up and steps out with playful tunes “Bold and Arrogant” and keeps the ladies swooning as he poetically lets them know “We’ve Only Just begun,” or “Breaking Me Down.” The list is anything but short, when it comes to Emilio’s baggage of hits. His agenda is that of the people, and he is driven to deliver on an appalling scale. Emilio speaks to AllHipHop.com and sheds light on the making and projection of his banquette of recordings.

AllHipHop.com: Tell me about the moment you knew that you had enough talent to turn rap from just a hobby to a career?

Emilio Rojas: We we’re doing open mic events in Rochester it was just like a cipher where everyone would get a chance to pass around the microphone and freestyle. Just being caught up in the energy of that and feeling how creative, positive and fun it was I just wanted it to continue. I wanted to keep that feeling because it made me feel at home so I knew I had to do this. That’s really what inspired me to pursue it.

AllHipHop.com: Now you went to the University of Rochester, but as your hip hop career began to accelerate you made the decision to drop out. Now as you reflect back how tough of a decision was that for you because you were on an academic scholarship. And are there any regrets over your decision at all?

Emilio Rojas: I mean everybody is different. I was forced to go to school. My mom was basically like either you get your ass in college, or get out the house. So I had been putting it off and only ended up applying to one school, which was the University of Rochester. I drove my application there the last date that it was due. I got accepted and went there for about a year. Midway through the second semester of my second year I left. I was spending more time in my dorm room writing and recording than in class with my teachers. It was like f*ck it I gotta go.

AllHipHop.com: When you first moved to Brooklyn how was your acclamation as one man with a dream in a city with many men who have dreams of making it in hip hop? Was it fierce as far as the competition, were your attempts every stagnated?

Emilio Rojas: I didn’t and don’t really pay attention to what the other emcees may be doing. I just try and grind it out and stay focused. It’s easy to stay motivated when great talent surrounds you, and you have the right team around you. I was blessed to already have certain relationship, and by me moving to Brooklyn it just put me around those people more.

AllHipHop.com: So when you did “Recession Proof” I’m sure you were happy to see how well it was received, but most artists are perfectionist so did you ever feel like I should have done more or changed this around?

Emilio Rojas: I have that feeling about every single project that I’ve ever done in my life. I think that when you stop having that feeling is when you stop progressing as an artist and as a creative person. As a creative person I know I have a certain standard set that I will be sort of graded on and I want to make sure that I exceed that standard each time.

AllHipHop.com: Do you feel that the “Recession Proof” established you as an artist because it was your introduction?

Emilio Rojas: It didn’t really establish me I had a lot of hard work still left to be put into it. It helped people to get to know me and my music a little better which helped build my fan base. I have a lot further to go before I can say that that I’m established though, I feel that with my team and my music we are on our way.

AllHipHop.com: You made “Recession Proof” in ten days flat so how long did it take you to do “The Natural.”

Emilio Rojas: Ah maybe three months. I had a lot more time to work on the songs and make sure everything fit. We didn’t want to rush so there was no pressure to just put something out. We were able to put a little more time into this project. Me and Green Lantern are both from the same city so he reached out, and it was wonderful to be able to work with him on ‘The Natural.” I’m working on some new recordings right now. I’m about to go to Atlanta and do some things with Green Lantern. Our relationship is growing with the music, so he’s going to be executively producing my next album. We’re going to start throwing some more records out there to the blogs and websites real soon. I don’t like to be one of those artist that throws a record out there every week because then people kind of get tired of you.

AllHipHop.com: I know the Internet has been very generous towards many hip hop artist including you, but what I want to know is how hands on are you with all of your internet marketing? Are you actually the man behind the Tweets, and are you actually running your own Facebook account, or do you have an intern or assistant that handles that?

Emilio Rojas: Yeah it’s really me. All the things I say on Twitter are actually me sending out those tweets. I’m really thankful for all of the support to I try to communicate with the people as much as possible. I’m not really on Facebook too much though because it’s kind of an enigma to me and I don’t really get it [laughter]. I do have a Facebook though so when somebody does make a post on there it is me; it’s just not very frequent. As far as the deeper levels of marketing, my manager handles and oversees those aspects. All of the bloggers have been mad supportive and I have mad love for them because of that.

AllHipHop.com: You have so many great singles how did you go about selecting which ones would get a full promotional push? I mean it must have been super hard to choose because they all had so much potential to be big.

Emilio Rojas: We kind of just had the people on the team select them; it’s as simple as that. We tried not to put too much thought into it whether this track would go good with radio, or that track would work best online. I trust my team a lot I have a really capable group of people around me, and I’m lucky to have them.

AllHipHop.com: I know you’ve worked with a lot of people one of my favorites is Court Dunn. How did that relationship come together and how has it benefited you?

Emilio Rojas: Oh Court is my homie; he’s actually a good dude. Court and I have the same manager and that’s how we really started working together. We have so many videos shot some of which will probably never come out. We kind of just work strong around each other. He’s a good friend of mine and I really trust his vision. He’s an incredible talent.

AllHipHop.com: I know you perform a lot. Are you currently out on the road, and when are you going to tour on a bigger scale like crisscrossing the U.S.?

Emilio Rojas: No we’re working on getting some tour dates set up now. Last night I was suppose to be in Pittsburg, but they denied me entrance onto my flight. The U.S. Marshals escorted me out of the terminal like a terrorist which is always fun. It was crazy I told the guy not to put his hands on me and all hell broke lose from there.

AllHipHop.com: Where’s your favorite place to tour overseas?

Emilio Rojas: I really like Switzerland, I love Venezuela obviously, those are some really great places. I like Germany, it’s great and so very beautiful.

AllHipHop.com: I have to know why are you not signed? I know for a fact labels have to be banging on your door? Is it a money situation, or the terms haven’t been to your liking, I mean what’s the deal?

Emilio Rojas: I’m in a good situation right now. I’m talking to a lot of labels and entertaining my options. I think that what has been preventing us from crossing that line with these companies is just landing the right situation. I am in discussions with a couple of different people, and right now we’re just looking to see what happens and who is going to make the best home for Emilio.

AllHipHop.com: Let’s get into the writing. Do you write the things that you mostly want to talk about, or is your writing ever influenced by the topics you think the people want to hear about?

Emilio Rojas: I think it’s a little bit of both. I think I’d be lying as an artist if I didn’t say that yeah I try and cater to my fan’s taste a little. I try to deliver as best as I can while maintaining an authenticity and remaining true to myself.

AllHipHop.com: You write on subject matter that is not often touched on by your fellow emcees and it’s bold, honest, and daring. Do you ever find yourself wanting to touch on a subject, but having to hold yourself back because maybe the public isn’t ready for or can’t handle what you may have to say?

Emilio Rojas: Umm well I do have a couple of records that we didn’t put out yet. We chose to hold them back for a reason but I don’t think that it’s because the people aren’t ready to hear them. Those types of subjects definitely need a voice and people want those voices to surface. If I’m lucky enough to be that voice, than that’s great. I’m not really scared to touch on anything. It’s controversial because it’s provocative enough to force people to think. I think that being shocking and offensive can be a good thing if it gets the people to have a conversation that centered around a topic that may be taboo.

AllHipHop.com: What it’s like for you when you write and share a personal story and see that people embrace it as their own because they too identify with it?

Emilio Rojas: That’s just great. I’ve been overwhelmed with all of the positive responses from the people. It’s great when someone tells you that your record helped him or her to just get through their day. I’m blessed to know that people are moved by my music.

AllHipHop.com: Why is Emilio Rojas lyrical? Describe how your lyrical ability is a part of your identity.

Emilio Rojas: I don’t really know any other way to be!