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Hip-Hop Label Pay Up Records Expands Into Rock

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

Pay Up Records is giving music fans something different to listen to with the digital release of Novel of Lies, a new EP from the rock collective The Chase.

 

The quartet — which consists of lead singer/rhythm guitarists Cory Kelly, lead guitarist Ryan Stancil, bass player Kyle Nicholson and drummer Matt Douglas — is currently enjoying a healthy buzz for the offering among fans while sharing the stage with established artists such as Ryan Cabrera, Hawthorne Heights and others.

 

With Hip-Hop among the musical influences for Novel of Lies, guitarist Kelly is sure old and new fans will find something to savor on the new project.

 

“I don’t think we’re gonna have a problem pushing the music to all audiences,” the vocalist told AllHipHop.com as he labeled his group’s sound as “organic.”

 

“Almost every genre of music is bridging the gap between each other nowadays. And I think people are looking for something fresh. I believe the openness between Hip-Hop and rock and even country pop. Anything like that is starting to be a little more acceptable nowadays as far as rap artists, Hip-Hop artists wanting to remix rock and roll songs.”

 

Pay Up owner Mickey Bentson, who also manages Rock & Roll Hall of Fame members Grandmaster Mele Mel & The Furious 5, echoed Kelly’s point while taking note of the shift towards what he views as “real music.”

 

“If the music sounds good, you can actually get on it and it doesn’t make a difference if it’s someone with an 808 or someone beating a drum for real with guitars in their hand,” Bentson explained. “That’s what music is turning back to. It’s turning back to real music and not just those sampling machines.”

 

Formerly known as Roadside Theory, The Chase cites Pearl Jam and the Black Crowes as influences in addition to Hootie and the Blowfish.

 

The Seneca, SC-based unit opted to change their name after their original bass player left the group.

 

According to Kelly, the new moniker also reflected the mature direction of The Chase’s music.

 

With its alliance with Pay Up, the group is looking to expand its presence among listeners by becoming more accessible through digital exposure.

 

Although Novel of Lies met with favorable feedback among fans and critics, upon its original November 2008, Kelly sees more opportunity to bringing The Chase’s music to the masses with the reintroduction of the album.

 

“The first time around it didn’t get into people’s hands like we wanted it to. The people we knew and that came initially to a lot of the shows got a hold of the album and we’ve gotten really good reviews about it,” he said. “I feel like a lot of people didn’t even get around to knowing that we released it the first time. So I think this re-release is refreshing to us, I think, because the fans that did get the album realize that we’re trying to push the album even more and they’ll be happy to know that we’re in the studio again right now.”

 

And while they look to attain the same level of stardom as their musical influences and release a full-length album, Kelly is proud of the fact that The Chase maintains quality over quantity.

 

The Chase’s Novel of Lies EP is available now at various digital outlets, including iTunes, Rhapsody and AOL.

 

The group’s follow-up release is scheduled to come out in the fall. To learn more about the group, visit www.chaseband.net.

BEHIND THE BEATS: Ty Fyffe (“Hustla’s Anthem”)

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

Queens, N.Y.

 

Busta Rhymes, LL Cool J, Cam’ron, 50 Cent,

 

Logic, MPK 49, AKAI MPC 2500

 

17 Years.

 

The moniker “super producer” is too often given out freely based on the number of years honing one’s craft. While this is important, the criteria should also recognize those whose production throughout their career has proven to be consistent while at the same time adapting to the constant changes seen in music.

 

Veteran producer Ty Fyffe’s repertoire shows that he’s been serious since day one about putting out quality beats. He’s worked with Slick Rick, LL, G-Unit, Teddy Riley and the list goes on. While on a recent trip to Cali, Ty talks about his early days working with Wreckx-n-Effect, why he created TyFyffe TV and shooting down rumors of his reputation for jacking experienced producers.

 

AllHipHop.com: First I want to ask you about “Hustla’s Anthem”. Is that something you previously concocted, or did you work with Busta in the studio?

 

Ty Fyffe: I had it created before that. I had the beat and he needed a club record, so I thought that was perfect for him.

AllHipHop.com: You’ve done a lot of work with Flipmode in the past right?

 

Ty Fyffe: Yea I worked on a Flipmode album that was supposed to come out on J-Records, but it never came out. I also did some work for Lord Have Mercy.

 

AllHipHop.com: Tell me about your early days as a producer?

 

Ty Fyffe: I started producing with Teddy Riley with his camp under New Jack Swing. I did six records on the Wreckx-n-Effect album. And the single “Rump Shaker” did like 2.5 million and the album did 1.5. That was the way to get a jump out there. I also did the first Black Street record that was on the CB4 Soundtrack with Teddy.

 

AllHipHop.com: What was it like working with Teddy Riley?

 

Ty Fyffe: Aw man it was amazing because I learned from a genius. He’s like a legend in the game and he’s one of the best that ever did it. So I felt like I was on the right track.

 

AllHipHop.com: You’ve also worked with the Slick Ricks and the LL’s, how did you make your connections so early?

 

Ty Fyffe: As far as LL, we from around the same neighborhood and I always like his music. I grew up with that music. And Slick Rick and The Great Adventures of Slick Rick was my favorite Rap album. So it was an honor to work with Slick. A friend of mine was working at Def Jam at the time, and that’s how I got plugged in with that.

 

AllHipHop.com: So how would you describe your production style?

 

Ty Fyffe: I pretty much go with the times and try to make good music. That way people could identify. I guess I’ve fallen into a sound cause a lot people say they can identify and hear my sound now. I try to put my ear current to what’s going on and get my hands on it.

 

AllHipHop.com: Tell me about the equipment you use.

 

Ty Fyffe: Now I mess with Logic. I get musicians that come in there and we play around until we get the right stuff coming out. Then I arrange everything in Pro Tools. I use the MPK 49 now as far as the machine and I’m kind of liking that because it’s made by Akai and I’m used to the MPC 2500.

 

AllHipHop.com: With almost twenty years in what has been the most memorable studio moment for you?

 

Ty Fyffe: Ah man, making “Rump Shaker” I remember we spent 24 hours on that record. We had to turn that record in. We made a whole lot of mixes to that record. That was like one of the best times I was in the studio.

 

AllHipHop.com: Was it intimidating working with someone like Teddy at such a young age?

 

Ty Fyffe: It wasn’t intimidating. I was actually just learning and watching. I was like his little brother just watching how to make a hit. A lot of people when they come into the game they don’t really get to learn from people that’s established. Like Teddy to me is like the new Quincy Jones. That was unforgettable.

 

AllHipHop.com: Were there any producers or artists you looked up to?

 

Ty Fyffe: Definitely Teddy Riley, Dr. Dre, Roger Troutman. Producers out now I like Just Blaze, Alchemist, Havoc, Rodney Jerkins; just real producers that have longevity. Like Ryan Leslie he’s really hitting the scene with some excellent music too.

 

AllHipHop.com: Tell me about your first time getting jerked.

 

Ty Fyffe: That was earlier in the career. I didn’t know the business, but at the same time I wasn’t really a real producer back then. I was a beat-maker. There’s a big difference between beat-making and producing. Learning arrangements and how to format a song and the melodies that will go on top to make the chorus feel like they can match is what a producer does.

 

AllHipHop.com: Talk a little bit about TYBU Productions.

 

Ty Fyffe: That’s a company I formed in 2001 to get a distinctive for my own credits. I had another company prior to that in early ’98 and it was a bad turn out with bad representation. It was just the wrong route.

 

AllHipHop.com: There’s also the Music Factory right?

 

Ty Fyffe: Yea that’s a recording studio I built in West Hempstead for the public and for my own services. I really just wanted to have a place to go to work at. In New York I didn’t want too many people at my house. I feel more like I’m doing actual business. It’s a spot where everybody can link up.

 

AllHipHop.com: What are qualities you require when working with newer artists?

 

Ty Fyffe: I look for artists that pretty much listen and let me guide them in the right direction. Because a lot of artist really think they know what they talking about; and even sometimes established artists. I’m not knocking the hustle because a lot people sometimes like to guide their own situation, but at the same token the producer is suppose to be the one to guide the direction. That’s what they’re there for. They’re not just there to make the beat and that’s the record. They’re supposed to tell the artist which way to go and how it’s supposed to flow. They’re supposed to tell how the hook is supposed to be and if they’re delivering it right. You got to bring the best out of the project.

 

AllHipHop.com: So then how do you deal with a difficult artist?

 

Ty Fyffe: I just don’t deal with them at all. If someone gets on my nerves I wash my hands and it’s a wrap. I move onto the next project.

 

AllHipHop.com: What other projects you got under wraps?

 

Ty Fyffe: Red Café, 50 Cent, Fabolous, I think Juelz Santana. I’m also doing some work with Keyshia Cole. I got a track on Blood On The Sand , Kay Slay, Red and Meth. I got a lot of stuff I’m working on.

 

AllHipHop.com: How was it working with artists like UGK considering most of your work is with East Coast artists?

 

Ty Fyffe: Whoever I’m about to work with I study their music before I present any product. The A&R told me which way to go with it and I played them some beats and they picked something.

 

AllHipHop.com: I’ve read that you once developed a reputation for exploiting experienced musicians. Can you speak on that a bit?

 

Ty Fyffe: You know somebody tried to throw salt in the game and I never did anything of that sort. Somebody got access to Wikipedia, and they tried to throw salt in the game. I’m a straight up business dude. You’re always going find haters. Everybody runs through bad roads with people. People usually come to me I don’t go to them. I’m not one to talk about past incidents and naming names. I handle them accordingly. I did my business, they got their money and if there was a problem I handle the problem with them personally. I’m not an industry dude neither I just make money in the industry.

 

AllHipHop.com: How do you want people to remember your contribution to Hip-Hop?

 

Ty Fyffe: I don’t think I’m ever going retire. I’m going to build a company that’s so established to where if any representation goes to any company in the future for me, we don’t even have to play any music they just put us in the budget cause they know my name alone is going be quality. And they know I’m going bring them a hot record.

 

Slim Thug: “Boss Of All Bosses” (Album Review)

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

 

 

When discussing southern Hip-Hop, Slim Thug names rarely comes up as an impact player, after a thorough listen to Boss Of All Bosses (Koch) he showcases that he is still in the game and back better than ever.

 

Starting the album strong by showing  a more personal side, Slim Thug confesses, on the Devin the Dude assisted  “I’m Back”,  “They say the truth will hit so f*** it / I’m a go ahead and keep it 100 for the public / I dropped Already Platinum but it only sold gold / and n****** looking at me like I sold my soul / ‘cuz I’m rapping with P and not Mr. Lee / but when you on your grind / sometimes you can’t see.”

 

He conveys his message without complaining and coming off corny while addressing those who thought he sold out.  Thugger made up for it in a big way on this album by having the legendary Mr. Lee to produce the majority of the album, eight of the thirteen tracks for a real nostalgic Houston sound.

 

An instant classic on the album is “Associates” directed at those so called friends; its soul grabbing guitar rifts back and hard hitting drums that will shake anything on 44’s. While the album’s first single “I Run” is very much hook driven, it doesn’t go too far left where he totally abandons his signature sound.  Slim also recruits the always dependable Texas legends Scarface and U.G.K. Face goes in on “Hard” while Pimp and Bun put that extra Houston touch on “Leanin’.” The latter will definitely remind most of the magic of 2005’s “Still Tippin’.”

 

“Welcome To Houston” is a posse cut that should be a 3rd coast classic featuring Chamillionaire, Mike Jones, Bun B, Paul Wall, Yung Redd, Lil’ Keke, Z-Ro, Mike D, Big Pokey, Rob G, Trae, Lil’ O, and Pimp C. Additionally “Thug” is a soon to be street anthem with its trunk rattling production match with a catchy sped up sample on the chorus.  

 

Unfortunately Slim doesn’t pitch a perfect game. The very lackluster Mannie Fresh produced “Show Me Love” falls short compared to the other selections. Additionally “My B****” is too soft for the bluntly stated lyrics halting any continuity.

 

This album has the feel of rider music. Slim Thug comes back with a worthy offering and deserves some burn.  Having Mr. Lee on board will definitely please his core fan base.  Boss Of All Bosses isn’t any more lyrical than his debut Already Platinum, but it is more of an insight to who Slim Thug really is. And by the looks of it, he is still a boss; a more mature boss. 

 

Slim Thug

“I Run”

 

Slim Thug Featuring U.G.K.

“Leanin'”

T-Pain’s Father Blasts Akon Over Business Practices

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

Shaheed Najm, father and former manager of superstar artist T-Pain, is lashing out at Akon for allegedly creating a permanent emotional and financial rift with his son.

 

In an interview with Ozone magazine, Najm details the entire situation, which reportedly began during T-Pain’s negotiations to sign with Akon’s Konvict Music.

 

According to Najm, his services as his son’s manager were lost after Akon and his brother Bu spread lies to T-Pain behind his back.

 

“Unknown to me, they were having different discussions behind the scenes. Akon had my son signing papers without contacting me, knowing that I’m his manager,” Najm stated. “[Akon and Bu] spread rumors that I’m on crack. Most folks don’t know this, but I’m on a waiting list for a heart transplant. I’ve had a triple bypass and a stroke since dealing with the Nappy Headz. For them to disgrace me like this and treat me like a bad daddy – that’s why I’m fighting back. I’ve let a lot of things go without commenting out of respect for my son. And I didn’t sue to get my money because that’s my child. I love him more than I love money.”

 

What damaged Najm’s relationship with his son the most was a 2005 interview where T-Pain alleged his father requested a $250,000 payoff for his earlier management services.

 

While he admits to requesting money, Najm clarifies that the amount was greatly exaggerated.

 

“T-Pain said in an interview that I so-called blackmailed him for$250,000. I am the first black male in the damn family,” Najm fumed. “I am the original black male. (laughs). But I never tried to blackmail him for $250.000. That’s a g###### lie. I’ve never asked him for $250,000 to pay my bills. I asked him to give me and his mother one show per month and let us split the proceeds. At the time he was only making $20,000 a show. One show a month. He was doing a whole bunch of shows. That’s nothing big to ask for. I’ve never asked for $250,000 and I really don’t appreciate being lied on. I’ve heard all kinds of stuff, but when you challenge me as a man and as a father, I hate that with a passion.”

 

Najm still professes to love his son deeply, and to end any hostilities has chosen to keep out of his son’s professional career.

 

Regarding Akon, he states their animosity has not subsided.

 

“Akon and Bu are nasty ass n*ggas. They’re supposed to be Muslims but there’s nothing Islamic about what they did to my family,” he stated. “I’ll slap the s**t out of Akon. He’s a thieving, un-Islamic, back-stabbing p***y. Put that in the book. I’m hotheaded enough to tell him that to his face…Now when [T-Pain] comes to town, I graciously honor him for his accomplishments and keep my old ass at home.”

 

At press time, T-Pain nor Akon could be reached for comment.

ALBUM REVIEW: Keri Hilson – In a Perfect World…

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

There’s a yin to every yang, and the movement of famous

songwriters to recording artists (The-Dream, Ne-Yo) is no exception. Keri

Hilson is the yang in all ways possible: the length of time between notoriety

and an album release (it took Ne-Yo a year after “Let Me Love You” before a

lead single, and The-Dream only a couple months after “Umbrella”) and the

simple fact that she’s the female counterpart. In A Perfect World… experienced delay after delay and more importantly a

complete album overhaul as the track listing for the March 2009 release is

almost 95 percent different from the one originally intended in September 2008.

 

It’s more than apparent as In A Perfect World… shows three degrees of versatility: the hard songs,

where Keri tries to command a pimp persona (“Get Your Money Up”, “Turnin’ Me

On”, “How Does It Feel”), the lot of soft songs, demonstrating a more docile

side to the songwriter turned singer (“Make Love,” “Energy,” “Where Did He

Go”), and the side that combines both hard and soft (“Knock You Down,” “Change

Me,” “Return The Favor”). In her combination of hard and soft, Keri Hilson is

on the forefront yet relinquishes the commandeering demeanor – a

slam-dunk with “Knock You Down,” featuring Kanye West and Ne-Yo, is more than

proof. In the tracks she intends to command she comes across less powerful,

since there’s no hint of the female prowess she introduced herself to the world

in “The Way I Are” – it’s simply not believable and offensively gimmicky.

 

It’s not that Miss Keri is missing the element of performer

she needs to be interpreting her solo material, because in the single “Energy,”

a song she didn’t even write, she performs up to par, is convincing, and is

more than invested. In A Perfect World…

does hold a batch of radio singles, and for that kudos is in order, but as Keri

is expected to be the female yang to the modern R&B songwriter/recording

artist movement, it’s perplexing that she missed the mark in uniting love and

sex in her songwriting…and her male counterparts didn’t – the

not-so-secret to their success.

Jadakiss: Surviving The Game

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

Jadakiss has survived the Bad Boy era, successfully gone head up with 50 Cent up and remains in the rap game after being on playing field over 10 years. The feat is about as rare as a 40-year-old virgin in Las Vegas. Yet, ‘Kiss has endured as one of the most versatile and respected rap artists in the game. Sure, he’s taken his lumps, but he’s on the verge of his personal apex.

At a recent stop in Philadelphia, Jadakiss helped others strive. The Yonkers representative patiently sat on a panel for over two hours and shared the wisdom he’s accumulated over the years. There were no stupid questions from the up-and-coming artists, only real answers from the emcee.

In a conference room that seemed to be over 100 degrees, ‘Kiss talked to AllHipHop.com as he was being mobbed by fans.

AllHipHop.com: With the state of the economy and the music industry as a whole, what have you had to do differently with The Last Kiss?

Jadakiss: Everybody wants to sell a million records but that’s just the least of it. You’ve gotta get sponsors, I have Ciroc and The Source. Not to mention I’m going to stay on this tour bus until the wheels fall off! I keep doing shows and arenas and then I’m hopping on a tour. You have to stay on the road and do other things. The sales of the actual physical album are down, you cannot just play on that like it’s the only card in your hand. You have to have to some other Trump card to fall back on. I even have a reality TV show coming on BET.

AllHipHop.com: What’s the show focusing on?

Jadakiss: I’m looking for my next DJ. I go to Philly, Chicago, Atlanta across the whole nation looking for the hottest upcoming DJ. I’m going to bring them back to Y.O. for some a la Diddy “Making the Band” type of s###. They’re gonna go thru a gang of competitions and who wins gets to be my next DJ.

AllHipHop.com: What’s special with The Last Kiss?

Jadakiss: This album is Gatorade in a CD form that’s going to put the electrolytes back in Northeastern Hip-Hop. (Laughs) Everything is going fall into place. Mad artists from my era and the region are going to feel comfortable and not be nervous about dropping albums. No disrespect to ringtone artists or the Autoune machine, but there was a whole body of music before that. I think these young kids need to embrace it and know about it. I want to let the Soulja Boy fans know that it’s other types of genres of music.

AllHipHop.com:  R&B artists love to grab you for their remix’s. You killed on Usher’s “Throwback” remix, Jaheim’s “Diamond in the Ruff” remix and most recently Slim’s “I’m So Fly.” How are you that dude with the remixes?

Jadakiss: That’s how I do it (laughs). I’m LL Cool ‘Kiss. Ross just called me for the “Magnificent” remix. I’m about to get on a Cassie song. I’m just doing every thing, you might here me on all kinds of songs. This tour bus is for new artists but I’m doing everything hands on. I’m working with program directors, on-air personalities. Being from the old school I know how important it is to be hands on.

AllHipHop.com: What other projects are you focusing on?

Jadakiss: I’m doing some voiceovers. I wouldn’t mind being on the next Shrek or Kung Foo Panda. Any of those animated joints I would get down with. I’m also shooting a movie at the end of this month with Clifton Powell in Orlando. Being an artist is just a stepping stone, a platform

AllHipHop.com: Kind of like an investment?

Jadakiss: Yeah like an investment to build your brand. You can then go out and do movies, get endorsements, and then move along to do things.

AllHipHop.com: Recently you were on a radio station saying how you can now appreciate getting “Diddy Bopped” by Puffy back in the day. Explain that.

Jadakiss: A lot of people think it’s a lot of bitterness with the whole Bad Boy situation. We [The LOX] were young kids that were anxious to get in the game. In return we signed some contracts that weren’t beneficial to us but we can’t have a gripe with Puff Daddy for the rest of our lives because it was business. It was our responsibility to know that we signed a wrong contract. He probably respects us even more for even finding out [we had a bad contract]. That’s how the Ciroc endorsement deal is in place. You learn as you grow.

AllHipHop.com: When it comes to signing contracts, what’s the number thing you have to look out for?

Jadakiss: As a new artist getting in the game you should really try not to take that much money from the label. You should have some sort of plan down. The studio time, production and songs should already be there. You should take a little bit of label money and then just get paid off the back end.

AllHipHop.com: You have been known to drop a few mob movie references in your music that some people might not get until later on. For instance your line, I’m a do this just like Tony did it to Frank. I never knew what that meant until I saw Scarface!

Jadakiss: I got a lot lyrics that you might not even catch until about 5 years from now. That’s my thing as a artist. I like to use a lot musical and biblical references. Basically, I stay tuned with current events.

AllHipHop.com: How are you feeling about the current music scene?

Jadakiss: The kids are controlling the music scene right now. They can’t go to the club to see what happens, but they can still see it on the web. You have to cater to them. I have a son that’s 12 years old and a daughter that’s 5. Their opinion counts a lot to me. I let them hear songs and look at videos. Nobody is more honest than a kid. If they don’t like it, they don’t like it. Its good to be in tuned with everything.

AllHipHop.com: What’s your take on the all the new artists?

Jadakiss: Everybody up and coming, Maino, Red Café, Charles Hamilton, Asher Roth and all the new kids coming out are hot! I’m doing a remix of “Can’t Stop Me” with all the new cats. For instance, I like Asher, his flow and energy. He came on in his own lane, as the college kid. Everybody can relate to his track “I Love College,” parents, music executives and anyone who experienced that life. He got a good one with that.

AllHipHop.com: Mary J. Blige was also very instrumental in your career. Many people don’t know this but she was the one that brought The LOX to Puffy and the rest is history. What has she taught you?

Jadakiss: MJB is very biblical. She played a big part in our career. She taught us to always stay tight with family and watch out for these labels and all the sheistiness and to just do you.

AllHipHop.com: Being that you’re a Roc-A-Fella/Def Jam artist, what’s the best advice Jay-Z has given you?

Jadakiss: Jay -Z once told me that it takes a special person to grind. That’s probably some of the realist talk he’s ever given me. What that means is you don’t want to go all the way to the top right away. If you keep going higher and higher each step that makes the book much better, the movie better. When you’re sitting there talking to your kids and grandkids about obstacles and hurdles you went thru in your career it’s better if you have a story to tell.

AllHipHop.com: What is best advice that Biggie ever gave you?

Jadakiss: B.I.G. gave me the best advice about just hard. I saw Biggie one time at The Apollo during my early L.O.X. days. He told me that he was just sitting around and wasn’t supposed to perform that night but he did it anyway. Basically that taught me not to turn down anything. [Biggie] could have just sat at the crib in Jersey and not done anything but he did that show anyway. We are here to not take things for granted. Everything counts. I try to hold on to advice that anybody has given me, I’m like a sponge I soak it up.

Hip-Hop Rumors: Rick Ross Say Sorry To The Gays! Who’s Dissing Keri Hilson?

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

DISCLAIMER:

All content within this section is pure rumor and generally have no factual info outside of what the streets have whispered in our ear. Read on.

TODAY’S RUMORS!

RUMORS!

If you see something, say something! Email me here!

Shout out to my Twitter fam! We had a lot of fun yesterday. Wow…LOL! I might get on there more.

LIL KIM TO JOIN TLC!?

A good friend of my good friend called me today and said that he had been told by a very, very reliable source that Lil Kim is going to be joining TLC. YES. Lil Kim assuming the rapper role in TLC? Well, here is the latest. The details are being worked out where Kim will join them on their tour in Japan that’s coming up. OK, at first it sounded crazy, but on second thought, not so insane. Kim in an established name in the game and going overseas, they will probably fare well. I don’t know if this is a permanent change, but as a temporary move…not a bad idea.

NOBODY DISSES KERI HILSON – OR ARE THEY?

From what I understand Nicole Wray did do a record where she was dissing Keri Hilson. However, I will say that I am hearing that Ms. Wray and her people have had second thoughts on actually releasing the record. Basically, they realized that them going at Keri is something similar to Keri going at Beyonce. So, that’s’s that. Good luck, Nic!

Now, my girl on twitter told me that Nicole Wray IS going to diss her. So, I take back everything that I just said. SMH at R&B singers acting like they are Hip-Hop.

RICK ROSS SAYS SORRY TO GAY PEOPLE!

I didn’t even know that the gay community was upset with Rick Ross, but lo and behold here is Rick saying sorry. He took his time to sent a parting shot to 50 Cent in the apology.

“I heard I offended the homosexual community recently with terms I’ve been using the last few weeks – terms like f###, punks, homos, gays — we all know. And what I want to say is I apologize. I sincerely apologize to the gay community, to the people I offended with the words like f###, gays, punks. You know, words like that. I apologize. And just to let the gay community know how sincere I am with my apologies, I’m offering and willing to do a record with a openly gay artist such as Curly, Curtis Jackson, 50 Cent. We all know he’s gay. I’m willing to do a song…Even Elton John…Both two great gay artists…So I apologize to the gay community. That’s from the boss…Now all the gays, we good. Peace.”

DAVID BANNER CLEARS UP BLACK WOMAN HAIR COMMENTS

A couple weeks ago there was an “internet rumor” circulating that David Banner said the only reason why Black Woman get perms is because they don’t really like themselves and that it’s also another form of “Black On Black” Crime. Well Recently David Banner stopped by “Live with Kendra G” and cleared up the rumor! So Black woman..BE EASY!

EPIC FAIL OF THE DAY

PEOPLE, BIG BROTHER IS WATCHING! The internet is not your kitchen table and your conversations and interactions on the internet can be seen by many people. I say all that, because this dude played himself sooooooooooo bad. I wont say his name. I will say that he uses Twitter and he decided to be critical of the company he worked for. See, this dude didn’t work for some schlep company…he worked for a big time tech company. Bad move. Somebody from the company followed him on Twitter and you know what comes next. The “rat” snitched and the dude got fired. I don’t know how big the rat was, but it may have been some form of superior in the company. And, so it was…this dude that actually had a great job now has nothing.

SIGNS THE WORLD IS COMING TO AN END

I am hearing that there are some real viable career options in the world of strippers. I heard that Magic City in Atlanta are trying to improve the unemployment rate. Get your resume together, because they are reportedly having a JOB FAIR! There are so many beautiful women out of work and they are looking great for the strip bars. These ladies can make their own hours and get paid that straight cash money. I heard that other professions are thriving. I mean hookers and escorts. Its hard out here.

SIGNS THE WORLD IS COMING TO AN END 2

“I’M GOD AND B***CH YOU NOT” This dude is the man…I think…not.

BOW WOW’S FANS ARE THE CRAZZZIEST!!!!!

ILLSEED’S QUICKIES

If you want to hear a man getting terrorized as his wife “Chris Browns” him – CLICK HERE!

Rick Ross shot his video in the Bronx and I am hearing that some of Bang Bang Boogie members (of the Bronx rap crew) are not pleased that Lord Tariq appeared in the video. Cuban Link and Mysonne may have taken exception to the cameo. Could BBB lose a member over it? Streets are talking.

Whatever man. The gossip blogs are saying that Rihanna is now dating Wilder Valderrama. Also, their reps are saying Chris and RiRi are “taking a break.”

Am I wrong for feeling bad for Dame Dash? I do.

I could be wrong, but I have been told that Wendy Williams has taken to rapping. There is supposedly a video in circulation on the internet.

Apparently, the T-shirts that read “I’ll Chris Brown A B***h” are selling like crazy. Pretty sad. Its not like its humorous like Wayne Brady.

Apparently, somebody on the Special Olympics bowling team has challenged Obama to a game. I hope O buss his tail! And did you see Obama son that reporter. Hahah…ok. That’s it.

Looks like Janet and Jermaine are back on good terms. They were recently seen at the airport all hugged up and chumby.

Some model named Natasha Ellie has denied that she was the actual person texting chris Brown that Feb. 8 night. Not his manager. Not Keshia Chante. WHO?

Lil Kim reportedly told Big Boy that she’ll NEVER speak to Lil Cease again. I smell a Lil Beef.

My homey Jasiri X has a new song called “Blogs” where he runs down all the sites and blogs. It’s real ill. Stay tuned for the video.

Jim Jones rejected a plea deal that would have required 10 days of community service for allegedly attacking a Ne-Yo’s friend.

Not a good look here but, Lloyd Banks’ diss track “Officer Down” is charting above Rick Ross’ single “Magnificent” on the iTunes. Ross is ahead on Billboard, but that’s just odd. LOL.

Rihanna is reportedly looking for a new house in Hollywood. Good move.

Nick Cannon and Mariah Carey are reportedly buying a home that costs $115 million.

I heard it cost Britney Spears $417, 000 (that’s 417 THOUSAND STACKS) to divorce K-Fed.

RANDOM QUOTES

Kenyon Martin talks about the love of his life, Trina, and hiss momma (The Denver Post):

“Mom was cool with her. Mom probably listens to more hip-hop than I do! And then with my mom just getting to know her and the person she is, that meant a lot to me. If Mom approves, then I guess you’re OK. . . . and my mom loves her to death.”

Kanye discussed the public’s infatuation with his sexuality to Complex Magazine.

“I really think it’s because society tries to dictate the way a guy is supposed to dress and the way a guy is supposed to act, and I refuse to conform. A lot of these dudes would never be accused of being gay just because they all look exactly alike. If people could just realize the amount of mundaneness and followers that lack creativity… I think people’s mentality is like, Only gay people are that creative. And it’s true there are a lot of gay people who are incredible creative minds, but there are straight people who are incredible creative minds—and there’s gay people who can’t dress or create at all, too. Closed-minded gay people probably say they dress ‘straight.’”

KERI AND KANYE

I just want you to know that there is no reason for me not to have posted this video other than I’M HATING.

CAPTION THIS!What the heck is Teyana doing with herself?

She’s still cute, at least.

Email me at allhiphoprumors@gmail.com …tips, information and other stupid stuff.

For more, go to illseed.com. Or just follow me at http://twitter.com/illseed

MAN THAT THINKS HE’S GOD, WE LOVE YOU!!!

They keep us talking, but if we stop talking about them then they should worry!

-illseed

WHO: illseed.com

WHAT: Rumors

WHERE: AllHipHop.com, MySpace.com/TheIllseed

HOW: Send your rumors and ill pics to illseed at allhiphoprumors@gmail.com.

AHH Stray News: Timbaland Sues Blackground

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

Super producer Timbaland has filed a lawsuit against his record label, Blackground Entertainment. The lawsuit was filed today (March 25) according to TMZ.com. According to reports, Timbaland is suing Blackground, claiming executives at the company contacted various record labels, in an attempt to sabotage his career as a producer. He also claims Blackground owes him an undisclosed amount of money. He is suing to be released from the contract and seeks unspecified damages. Blackground was once a dominant force in the music industry, owned by father and son team Barry and Jomo Hankerson. The label is best known for releasing records by artists like Aaliyah, Ginuwine, Tank and Timbaland and Magoo and Toni Braxton.

Jim Jones Heading To Trial; Attorney Says Lawsuit Is About Money

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

Diplomat rapper Jim Jones was in court today (March 24) to faces misdemeanor assault charges stemming from an altercation inside New York’s Louis Vuitton store last December with Ne-Yo’s manager Jayvon Smith.

 

According to Jones attorney Scott E. Leemon, the case will now be postponed until April 21 per a discovery motion by the defendant.

 

“We rejected a recommendation from the D.A. that Jim plead guilty to a misdemeanor assault charge and a sentence of 10 days community service [and] 15 days [in] jail if he did not complete.” Leemon told AllHipHop.com in an exclusive statement.

 

Although Jones was initially named by media as the mastermind behind the alleged assault on Smith, Leemon claims that the entire case is nothing more than a smokescreen for a monetary lawsuit.

 

“This is nothing more than a set-up for a civil suit,” Leemon stated. “There are no real injuries and an eyewitness has stated several times that Jim was not the person who started the physical altercation.”

 

After the court appearance, Jones conducted a CD signing at Union Square’s Virgin Megastore for his new LP Pray IV Reign.

 

Backed by Columbia Records, the album marks Jones’ major label debut.

 

All this week, the Harlemite will be performing in his off-Broadway play entitled The Hip Hop Monologues: Inside the Life and Mind of Jim Jones at Manhattan’s 37 Arts Theatre.

No Snitchin’: The Senate Version

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

“Strangeness,

you don’t control this, you barely hold this/

Screaming brand new, when they just sanitized the old s###/

Suppose it’s, just another clever Jedi mind trick/

That they been runnin across stars through all the time with/

–         

Black

Star, Thieves In The Night, Black Star

(1998).

“They

don’t know, who we be/”

–         

DMX,

Who We Be, The Great Depression

(2001).

What are we—Hip-Hop

fans—to make of the revelation that Christopher Dodd, the U.S. Senator from

Connecticut, was involved in the legislative changes that created a loophole

through which AIG executives could receive their bonus payments. More

surprising than Dodd’s

confession, however, was his unwavering refusal to admit who, from the

Treasury Department, ordered the changes to be made. Chris Dodd, on Wednesday,

confirmed that Treasury officials met with him, last month, to request a

modification of an amendment in the stimulus bill, which denied bonuses to

firms receiving aid from the federal government. That, strangely enough, would

be the farthest Dodd was willing to go. This sophisticated duck-and-dodge can

be reduced to a more simplified term: NO SNITCHIN’.

The Senate is an old boys

network, and Washington is even more direct in its secrecy. With most

politicians owing some sort of allegiance to unscrupulous groups, corporations

and lobby enterprises, it is less surprising when lawmakers are willing to

place their heads on the altars of sacrifice, in order to salvage the

reputation of a comrade or colleague (case in point: Scooter Libby). In essence,

the will to protect each other’s a#### is only logical.

Dodd is smarter—even more

decent (often progressive in values)—than most of his counterparts, but I’m

still left troubled by his unwillingness to come clean. Another angle in the

recent twist of events is the shameless hypocrisy Chris Dodd exuded, in his mum’s the word attitude to the AIG bonus

controversy. Lord knows if Chris Dodd was a rapper, the unfettered excoriation

he would face, for withholding such pertinent information, would make a

righteous man bleed. The same elected officials, who spent the ‘90s scrambling

to find ways by which they could further the ‘Gangsta-Rap-is-the devil’ saga,

are the same ones who, unabashedly, personalize the very characteristics they

sought to abolish.

In the last decade, much

hoopla has been generated over the alleged indifference young Blacks and Browns

champion, when they rail against any cooperation with law enforcement, in

criminal investigations—colloquially known as, Snitchin’. Most critics see the

surge in “NO SNITCHIN’” merchandise, as ample sign of the demoralizing

influence commercial Rap is having on young people. Documentaries, TV reports

and seminars have been produced to combat this crisis in the “urban” community. In 2007, when CBS’s “60 minutes” aired

a special on the “Stop Snitchin’” movement, it seemed as though the sky was

due for falling any minute soon.

CBS contended that, “in most communities, a person who sees a

murder and helps the police put the killer behind bars is called a witness. But

in many inner-city neighborhoods in this country that person is called a

‘snitch.’ As CBS saw it, “Stop

snitchin’ is a catchy hip-hop slogan that embodies and encourages this

attitude… ‘Stop snitchin’ once meant ‘don’t tell on others if you’re caught

committing a crime’.” This Hip-Hop attitude, according to CBS, meant one

thing—and one thing—only: “don’t

cooperate with the police – no matter who you are.” This has led to

worries, expressed by police officers, that “witnesses are not coming forward”—

which, in turn, leaves many murder-cases “unsolved.” Using Harlem rapper, Cam’ron’s assertions

that under no circumstances was it “okay to talk to the police,” except in a

friendly exchange of greetings, CBS had all the validation it needed, to brand

the concept of “NO SNITCHIN’” a Hip-Hop and inner-city construction. With Cam’ron’s

initial—as it was modified later—suggestion that even in the case of a

serial-killer neighbor, “I wouldn’t call and tell anybody, but I’ll probably

move,” the birthday wishes of many Hip-Hop haters appeared to have been

granted. Unfortunately, a lot of the same talking-heads seemed to have missed

the point, all together. Their rush to judgment made it seem as though

Hip-Hop’s cold shoulder to the police department has no history—as though the Blastmaster, KRS-One wasn’t right in his

assessment that, “you wanna get away with murder? Kill a rapper.”

The long-and-winded

history of police brutality, in the “inner-city,” also plays a part in the

distrust expressed by many rappers, and Black/Brown people, as it concerns

cooperation with police officers. What is clear, however, from this ordeal, is

that many of the stigmas which have been conveniently perceived as exclusively

Hip-Hop-related/created, are common traits everyone is susceptible to. If my

memory serves me correctly, President William Jefferson Clinton’s “relations”

with Monica Lewinsky wasn’t so radically different from what goes on in many

tour buses, across the country. Chris Dodd’s predicament might not be cause for

celebration, but it’s a sobering reminder of how “created equal,” we all are.

Tolu

Olorunda is a Columnist for BlackCommentator.com.