Most lyrical song of the week!

Artist: Ab-Soul f/ Kendrick Lamar
Album: Longterm 2: Lifestyles of the Broke and Almost Famous
Song: Turn Me Up

Check-check-check, uh
Make sure the levels tight Ali, real tight

Yeah, come come now
Soul Brother Number Two, I’m the one now
Sun up to sun down still kicking that shit
Put your gun down, I come in peace
like a extraterrestrial being
Eat me a meteor and walk across the moon bare feet (uh)
But don’t nobody rhyme like this no more (nah)
Call me the 2010 Rakim
I got soul, there’s more in store
Feel like the CVS, open twenty-four
Spent nights tryna overshadow my shadow
for niggas tryna block my light like a solar eclipse
I bring a knife to a fist fight and when I cut a record (uh)
So when I cut the cheese, shit, you know what it is
It’s Mr. Ab-Soulutely The Most Incredible At This
So adjust your bass, your treble, and then

[Chorus 2X: Ab-Soul]
Yo, “turn me up some”
Yo, “turn me up some”
Yo, “turn me up some”
“Turn me up some, turn me up some”

Yo, finna break this blunt down and burn me up one
and sip on this Remy till they turn me up some
For me it’s more difficult to be simple
than it is to be complex as a lot of apartments
You niggas comedy, I’m laughing at you probably
We are not the same, there’s no strand of monotony
between you and I until we die (yeah)
Revelations say you either fry or fly
And it’s hard to find God when you ain’t never seen him
It’s pie in the sky and there’s bodies on the cement
And I know you looking at me like, you don’t speak english
I bring the heat like a phoenix, a sun under Phoenix sun
And I’m rooting for the Lakers when they play the Phoenix Suns
I ain’t really into sports, that’s just where I’m from
Longterm 2
And if it’s in your possession, then follow the directions my dude

[Chorus 2X]

[Kendrick Lamar]
Uh, come come now
Pac told me fuck the world, I’m bout to cum now
I’ve been a pro, but now I’m profound
Propane on posers, restraining from the doja
Imagine if I smoke I’ll probably come up with a quote
so heavy you’ll forget every album you heard from Hova
or 2Pacalypse, I’m Hub City’s novelist
Come and get your scholarship, I’m taking kids to school
A pool full of spit, dive in, I’m bout to drool
You’ll drown tryna backstroke on concepts that I wrote
I was a black sheep, but now I’m just a GOAT
And I’m bout to elope, married to the game yo
This is Hip Hop at its finest, when you find this in a Ziploc
Till the wheels fall off, fuck a pit stop or whatnot
Where my teardrop? I murdered it, my potholes is turbulence
I’m in the sky wit it, when you listening to Kendrick, just

[Chorus 2X]

This for my niggas that really rap all night
No sleep, do it with your eyes closed, I can see
your vision from Del Amo
Poppa took the television, but left the radio
Ill niggas, wack niggas, what’s the ratio?
Is the shit degrading or inspirational?
I’ll have you know I must have wrote about a thousand rhymes, a thousand times
I give you my word

[Kendrick Lamar]
Cause I just gotta be heard
I just gotta be heard
I just gotta be heard
Said, I gotta be, yessir, I gotta be
Heard, heard, heard, heard
Heard, heard, heard, heard
Heard, heard, heard, heard
I said I gotta be, yessir, I gotta be
Yeah, Ab-Soulo, Kendrick Lamar

[Chorus until fade]

Red Everything Movement


Old School Mondayz – Public Enemy

Public Enemy

Background information

Also known as – P.E.
Origin – Long Island, New York
Genres – Hip hop
Years active – 1982–present
Labels – Def Jam/Columbia/SME
Def Jam/PolyGram

Website –


Chuck D
Flavor Flav
DJ Lord
The S1W
Professor Griff

Past members

Terminator X
Sister Souljah

Public Enemy is an American hip hop group consisting of Chuck D, Flavor Flav, DJ Lord (who replaced Terminator X in 1999), The S1W group, Music Director Khari Wynn and Professor Griff who was dismissed from the group for anti-semitic remarks in 1990 but came back later in 1998. Formed in Long Island, New York, in 1982, Public Enemy is known for their politically charged lyrics and criticism of the American media, with an active interest in the frustrations and concerns of the African American community. Their first four albums during the late 1980s and early 1990s were all certified either gold or platinum and were, according to music critic Robert Hilburn, “the most acclaimed body of work ever by a rap act.”[1]

In 2004, Rolling Stone magazine ranked Public Enemy[2] number 44 on its list of the Immortals: 100 Greatest Artists of All Time.[3] The group was inducted into the Long Island Music Hall of Fame in 2007.[4] The band were announced as inductees for the 2013 class of the Rock and Roll Hall of Fame on December 11, 2012, making them the fourth hip-hop act to be inducted after Grandmaster Flash and the Furious Five, Run-DMC and the Beastie Boys.[5]


Formation and early years (1982–1986)
Developing his talents as an MC with Flavor Flav while delivering furniture for his father’s business, Chuck D (Carlton Douglas Ridenhour) and Spectrum City, as the group was called, released the record “Check Out the Radio”, backed by “Lies”, a social commentary—both of which would influence RUSH Productions’ Run-D.M.C. and Beastie Boys.

Chuck D put out a tape to promote WBAU (the radio station where he was working at the time) and to fend off a local MC who wanted to battle him. He called the tape Public Enemy #1 because he felt like he was being persecuted by people in the local scene. This was the first reference to the notion of a public enemy in any of Chuck D’s songs. The single was created by Chuck D with a contribution by Flavor Flav, though this was before the group Public Enemy was officially assembled.

Around 1986, Bill Stephney, the former Program Director at WBAU, was approached by Ali Hafezi and offered a position with the label. Stephney accepted, and his first assignment was to help fledgling producer Rick Rubin sign Chuck D, whose song “Public Enemy Number One” Rubin had heard from Andre “Doctor Dré” Brown. According to the book The History of Rap Music by Cookie Lommel, “Stephney thought it was time to mesh the hard-hitting style of Run DMC with politics that addressed black youth. Chuck recruited Spectrum City, which included Hank Shocklee, his brother Keith Shocklee, and Eric “Vietnam” Sadler, collectively known as the Bomb Squad, to be his production team and added another Spectrum City partner, Professor Griff, to become the group’s Minister of Information. With the addition of Flavor Flav and another local mobile DJ named Terminator X, the group Public Enemy was born.”

According to Chuck, The S1W, which stands for Security of the First World, “represents that the black man can be just as intelligent as he is strong. It stands for the fact that we’re not third-world people, we’re first-world people; we’re the original people [of the earth].”[6]

Public Enemy started out as opening acts for the Beastie Boys during the latter’s Licensed to Ill popularity, and in 1987 released their debut album Yo! Bum Rush The Show.

Over the next few years, Public Enemy released It Takes a Nation of Millions to Hold Us Back, Fear of a Black Planet, and Apocalypse 91… The Enemy Strikes Black. In addition to ushering in the golden age of hip hop, during this time, Public Enemy reached the height of their popularity, adulation, and controversy. The group then separated from Def Jam and has since been independently producing, marketing, and publishing their music.

Mainstream success (1987–1994)
Their debut album, Yo! Bum Rush the Show, was released in 1987 to critical acclaim. The album was the group’s first step toward stardom. In October 1987, music critic Simon Reynolds dubbed Public Enemy “a superlative rock band”.[7] They released their second album It Takes a Nation of Millions to Hold Us Back in 1988, which performed better in the charts than their previous release, and included the hit single “Don’t Believe the Hype” in addition to “Bring The Noise”. Nation of Millions… was the first hip hop album to be voted album of the year in The Village Voice’s influential Pazz & Jop critics’ poll.[8]

In 1989, the group returned to the studio to record Fear of a Black Planet, which continued their politically charged themes. The album was supposed to be released in late 1989,[9] but was pushed back to April 1990. The title song “Fear of a Black Planet” addresses the fear some white people have of black and white relationships. It was the most successful of any of their albums and, in 2005, was selected for preservation in the Library of Congress. It included the singles “Welcome To The Terrodome”, “911 Is a Joke”, which criticized emergency response units for taking longer to arrive at emergencies in the black community than those in the white community, and “Fight the Power”.[10] “Fight the Power” is regarded as one of the most popular and influential songs in hip hop history. It was the theme song of Spike Lee’s Do the Right Thing.

The group’s next release, Apocalypse ’91…The Enemy Strikes Black, continued this trend, with songs like “Can’t Truss It”, which addressed the history of slavery and how the black community can fight back against oppression; “I Don’t Wanna be Called Yo Nigga”, a track addresses on how the urban culture uses the word nigga outside of its usual derogatory context. The album also included the controversial song and video “By the Time I Get to Arizona”, which chronicled the black community’s frustration that some US states did not recognize Martin Luther King Jr.’s birthday as a national holiday. The video featured members of Public Enemy taking out their frustrations on politicians in the states not recognizing the holiday.

In 1992, the group was one of the first rap acts to perform at the Reading Festival, in England, headlining the second day of the three day festival.

Terminator X’s exit and DJ Lord’s entrance (1998–current)
After a 1994 motorcycle accident shattered his left leg and kept him in the hospital for a full month, Terminator X relocated to his 15-acre farm in Vance County, North Carolina. By 1998, he was ready to retire from the group and focus full-time on raising African black ostriches on his farm.[11]

In late 1998, the group started looking for Terminator X’s permanent replacement. Following several months of searching for a DJ, Professor Griff saw DJ Lord at a Vestax Battle and approached him about becoming the DJ for Public Enemy.[12] DJ Lord joined as the group’s full-time DJ just in time for Public Enemy’s 40th World Tour.[13] Since 1999, he has been the official DJ for Public Enemy on albums and world tours while winning numerous turntablist competitions, including multiple DMC finals.[14]

In 2007, the group released an album entitled How You Sell Soul to a Soulless People Who Sold Their Soul?. Public Enemy’s single from the album was “Harder Than You Think”.

Four years after How To Sell Soul…, in January 2011, Public Enemy released the album Beats and Places, a compilation of remixes and “lost” tracks.

On July 13, 2012, Most of My Heroes Still Don’t Appear on No Stamp was released and was exclusively available on iTunes.

In July 2012, on UK television an advert for the London 2012 Summer Paralympics featured a short remix of the song “Harder Than You Think”. The advert caused the song to reach 4th in the UK singles chart on September 2, 2012.[15]

On July 30, 2012, Public Enemy performed a free concert with Salt-N-Pepa and Kid ‘n Play at Wingate Park in Brooklyn, New York as part of the Martin Luther King Jr. Concert Series.

On August 26, 2012, Public Enemy performed at South West Four music festival in Clapham Common in London.

On October 1, 2012 The Evil Empire of Everything was released.

On June 29, 2013, they performed at Glastonbury Festival 2013.


Public Enemy at Vegoose in 2007. From left: DJ Lord, Chuck D, and Flavor Flav.
Terminator X’s innovative scratching tricks can be heard on the songs “Rebel Without a Pause,”, “Night of the Living Baseheads” and “Shut ‘Em Down”. The Bomb Squad offered up a web of innovative samples and beats. Critic Stephen Thomas Erlewine declared that PE “brought in elements of free jazz, hard funk, even musique concrète, via [its] producing team the Bomb Squad, creating a dense, ferocious sound unlike anything that came before.”[16][17]

Public Enemy made contributions to the hip-hop world with political, social and cultural consciousness; which infused itself into skilled and poetic rhymes, using raucous sound collages as a foundation. Public Enemy developed a strong pro-Black political stance. Before PE, politically motivated hip-hop was defined by a few tracks by Ice-T, Grandmaster Flash and the Furious Five, and KRS-One. Other politically motivated opinions were shared by prototypical artists Gil Scott-Heron and the Last Poets. PE was a revolutionary hip-hop act, basing an entire image around a specified political stance. With the successes of Public Enemy, many hip-hop artists began to celebrate Afrocentric themes, such as Kool Moe Dee, Gang Starr, X Clan, Eric B. & Rakim, Queen Latifah, the Jungle Brothers, and A Tribe Called Quest.

Public Enemy official logo.

Public Enemy was one of the first hip-hop groups to do well internationally. PE changed the Internet’s music distribution capability by being one of the first groups to release MP3-only albums,[18] a format virtually unknown at the time.

Public Enemy helped to create and define “rap metal” by collaborating with New York thrash metal outfit Anthrax in 1991. The single “Bring the Noise” was a mix of semi-militant black power lyrics, grinding guitars, and sporadic humor. The two bands, cemented by a mutual respect and the personal friendship between Chuck D and Anthrax’s Scott Ian, introduced a hitherto alien genre to rock fans, and the two seemingly disparate groups toured together. Flavor Flav’s pronouncement on stage that “They said this tour would never happen” (as heard on Anthrax’s Live: The Island Years CD) has become a legendary comment in both rock and hip-hop circles. Rock guitarist Vernon Reid (of Living Colour) contributed to Public Enemy’s recordings, and PE sampled Slayer’s “Angel of Death” half-time riff on “She Watch Channel Zero?!”

Members of the Bomb Squad produced or remixed works for other acts, like Bell Biv DeVoe, Ice Cube, Vanessa Williams, Sinéad O’Connor, Blue Magic, Peter Gabriel, L.L. Cool J, Paula Abdul, Jasmine Guy, Jody Watley, Eric B & Rakim, Third Bass, Big Daddy Kane, EPMD, and Chaka Khan. According to Chuck D, “We had tight dealings with MCA Records and were talking about taking three guys that were left over from New Edition and coming up with an album for them. The three happened to be Ricky Bell, Michael Bivins, and Ronnie DeVoe, later to become Bell Biv DeVoe. Ralph Tresvant had been slated to do a solo album for years, Bobby Brown had left New Edition and experienced some solo success beginning in 1988, and Johnny Gill had just been recruited to come in, but [he] had come off a solo career and could always go back to that. At MCA, Hiram Hicks, who was their manager, and Louil Silas, who was running the show, were like, ‘Yo, these kids were left out in the cold. Can y’all come up with something for them?’ It was a task that Hank, Keith, Eric, and I took on to try to put some kind of hip-hop-flavored R&B shit down for them. Subsequently, what happened in the four weeks of December [1989] was that the Bomb Squad knocked out a large piece of the production and arrangement on Bell Biv DeVoe’s three-million selling album Poison. In January [1990], they knocked out Fear of a Black Planet in four weeks, and PE knocked out Ice Cube’s album AmeriKKKa’s Most Wanted in four to five weeks in February.”[19] They have also produced local talent such as Son of Bazerk, Young Black Teenagers, Kings of Pressure, and True Mathematics—and gave producer Kip Collins his start in the business.

Poet and hip-hop artist Saul Williams uses a sample from Public Enemy’s “Welcome to the Terrordome” in his song “Tr[n]igger” on the Niggy Tardust album. He also used a line from the song in his poem, amethyst rocks.

Public Enemy’s brand of politically & socially conscious hip hop has been a direct influence on new hip hop artists such as The Cornel West theory.

The Manic Street Preachers track “Repeat (Stars And Stripes)” is a remix of the band’s own anti-monarchy tirade by Public Enemy production team The Bomb Squad of whom James Dean Bradfield and Richey Edwards were big fans. The song samples “Countdown to Armageddon” from It Takes a Nation of Millions to Hold Us Back. The band had previously sampled Public Enemy on their 1991 single Motown Junk.

The influence of the band goes largely beyond hip-hop as the group was cited by artists as diverse as Autechre (selected in the All Tomorrow’s Parties (music festival) in 2003), Nirvana (It Takes a Nation of Millions to Hold Us Back being cited by Kurt Cobain among his favorite albums), Nine Inch Nails (mentioned the band in Pretty Hate Machine credits), Björk (included Rebel Without a Pause in her The Breezeblock Mix in July 2007), Tricky (did a cover of Black Steel in the Hour of Chaos and appears in Do You Wanna Go Our Way ??? video), Prodigy (included Public Enemy No. 1 in The Dirtchamber Sessions Volume One), Ben Harper, Underground Resistance (cited by both Mad Mike and Jeff Mills), Orlando Voorn, M.I.A., Amon Tobin, Mathew Jonson and Aphex Twin (Welcome To The Terrordome being the first track played after the introduction at the Coachella festival in April 2008).

In September 2009, VH1 aired a show called “100 Greatest Hip Hop Songs” where Public Enemy earned the number one spot with their hit song, Fight the Power.[20]

In December 2012, the group was announced as one of the inductees to the Rock and Roll Hall of Fame for its 2013 class.[5]



In 1989, in an interview with Public Enemy for the Washington Times, the interviewing journalist, David Mills, lifted some quotations from a UK magazine in which the band were asked their opinion on the Arab–Israeli conflict. Professor Griff’s comments apparently sympathized with the Palestinians and was accused of anti-Semitism. According to Rap Attack 2, he suggested that “Jews are responsible for the majority of the wickedness in the world” (p. 177). (In turn a quote from The International Jew) Shortly after, Ridenhour expressed an apology on his behalf.[21] In an attempt to defuse the situation, Ridenhour first fired Griffin. He later rejoined the group in the album Muse Sick-n-Hour Mess Age. In the late 1990s, he rejoined the band, and Ridenhour and Griffin took on a side project, the rap rock outfit Confrontation Camp.

In his 2009 book, entitled Analytixz,[22] Griff criticized his 1989 statement: “to say the Jews are responsible for the majority of wickedness that went on around the globe I would have to know about the majority of wickedness that went on around the globe, which is impossible… I’m not the best knower. Then, not only knowing that, I would have to know who is at the crux of all of the problems in the world and then blame Jewish people, which is not correct.” Griff also said that not only were his words taken out of context, but that the recording has never been released to the public for an unbiased listen.

The controversy and apologies on behalf of Griff spurred Chuck D to reference the negative press they were receiving. In 1990, Public Enemy issued the single “Welcome to the Terrordome”, which contains the lyrics: “Crucifixion ain’t no fiction / So-called chosen frozen / Apologies made to whoever pleases / Still they got me like Jesus”. These lyrics have been cited by some in the media as anti-Semitic, making supposed references to the concept of the “chosen people” with the lyric “so-called chosen” and Jewish deicide with the last line.[23]


In a letter to the editor, Leo Haber alludes to criticism by New York Times writer Peter Watrous of the group’s supposed homophobia.[24]

Reviewers John Alroy and David Wilson said that Fear of a Black Planet contained “homophobic babbling” which challenged politically correct thinking.[25]

Zoe Williams defended Public Enemy against charges of homophobia by stating that:

If you look at the seminal black artists at the start of hip-hop, Public Enemy and Niggaz Wit Attitudes, you won’t actually find much homophobia. The only recorded homophobic lyric in Public Enemy’s canon was: ‘Man to man/ I don’t know if they can/ From what I know/ The parts don’t fit’ [a lyric from “Meet the G that Killed Me” on Fear of a Black Planet]”.
—Williams, Zoe, “Hiphopophobia”, The Guardian, 29 April 2003
Although Spin magazine noted that ‘It only brings agony, ask James Cagney / He beat up on a guy when he found he was a fagney / Cagney is a favorite he is my boy’ from “A Letter to the New York Post” on their album Apocalypse ’91 has also been accused of homophobia.[26]

Public Enemy have also been supporters of Nation of Islam Supreme Minister Louis Farrakhan,[27][28] who has been controversial for his commentary which is often interpreted as being black supremacist, racist, homophobic, and anti-Semitic.[29]

Band members

Chuck D (Carton D. Ridenhour) – MC
Flavor Flav (William Drayton) – hype man, occasionally lead vocals
Khari Wynn – music director
DJ Lord (Lord Aswod) – DJ
Professor Griff (Richard Griffin) – Minister of Information
Former members
Terminator X (Norman Rogers) ?– DJ, producer)
Brother James (James Norman)
Brother Roger
The Interrorgator (Shawn K Carter),
The Bomb Squad
Hank Shocklee (James Henry Boxley III)
Keith Shocklee (Keith Boxley)
Eric “Vietnam” Sadler
Gary G-Wiz (Gary Rinaldo)
Kerwin “Sleek” Young


1987: Yo! Bum Rush the Show
1988: It Takes a Nation of Millions to Hold Us Back
1990: Fear of a Black Planet
1991: Apocalypse 91… The Enemy Strikes Black
1992: Greatest Misses
1994: Muse Sick-n-Hour Mess Age
1998: He Got Game
1999: There’s a Poison Goin’ On
2002: Revolverlution
2005: New Whirl Odor
2006: Rebirth of a Nation (with Paris)
2007: How You Sell Soul to a Soulless People Who Sold Their Soul?
2012: Most of My Heroes Still Don’t Appear on No Stamp
2012: The Evil Empire of Everything

Red Everything Movement

Underground Zone – Still Celebrating 12th year anniversary of – Immortal Technique _ Revolutionary Vol. 1

Revolutionary Vol. 1

Released September 14, 2001

Recorded – 2000-2001
Genre – Hip hop
Underground hip hop
Political hip hop
Hard -core hip hop
Length – 57:58
Label – Viper Records
Producer – Immortal Technique, Rheturik, 44 Caliber, SouthPaw, Akir, Jean Grae

Immortal Technique chronology

Revolutionary Vol. 1
(2001)Revolutionary Vol. 2
Professional ratings
Review scores
Rap Reviews(8/10)[2]

Revolutionary Vol. 1 is the debut album by rapper Immortal Technique, released on September 14, 2001, and re-pressed in 2004. The first edition had no distribution and no bar code; it was sold by the artist on the streets and at his shows. The album re-press was manufactured with a bar code and is being distributed worldwide by Viper Records. Immortal Technique claimed in an interview to have sold more than 45,000 copies.[3]

Song writing

The album is best known for the song “Dance with the Devil”, a narrative in which Immortal Technique describes the story of a young man named Billy Jacobs who attempts to join a gang, and in order to prove how “real” he is, he steals, gets into fights, sells crack cocaine, and to finally prove himself, rapes a woman. An intoxicated Jacobs completes this task after covering the woman’s face with her shirt, and is unaware of the identity of the woman until he takes the cover from her face. He is repulsed to find that the woman in question is actually his mother, which leads him to commit suicide. “I made myself more of a part of it when I wrote the song, and it eventually became an urban legend, and what’s sick is that people thought it was about rape [when] it was really about how we are killing ourselves and destroying the most valuable resource that the Latino/Black community has: our women.”[4] The song has acquired something of a cult hit status in recent years.

Additionally, the album contains a song entitled “No Me Importa” (Spanish for “I Don’t Care”). This is notably Immortal Technique’s first song in Spanish, as he was born and spent a small portion of his childhood in Peru and learned to speak the language.

Track listing

#Title Featured guest(s) Producer Length

1″Creation & Destruction”Marley Marl, J-Force3:09
2″Dominant Species”Rheturik3:47
3″Positive Balance”Big Zoo44 Caliber3:17
4″The Getaway”SouthPaw and Akir2:41
5″Beef & Broccoli”Jean Grae2:05
6″No Me Importa”44 Caliber3:56
7″Top of the Food Chain (Remix)”Poison PenStelf Index3:22
8″The Poverty of Philosophy”SouthPaw6:13
9″Revolutionary”Jean Grae5:10
10″Spend Some Time (Remix)” (Interlude)G. Bennet0:57
11″Dance with the Devil” / Hidden TrackDiabolic44 Caliber9:39
12″The Prophecy”44 Caliber3:15
13″Understand Why” (Interlude)A. Cohen0:46
14″No Mercy”44 Caliber3:27
15″The Illest”Jean Grae & Pumpkinhead44 Caliber3:33
16″Speak Your Mind” (Hidden Track)Immortal Technique2:33
17″Caught in a Hustle” (iTunes Bonus Track)SouthPaw3:44


“Creation & Destruction” samples the song Long Kiss Goodnight from the album Life After Death by The Notorious B.I.G.

“Dance with the Devil” samples Survival of the Fittest by Mobb Deep and Love Story by Henry Mancini.

See also

Revolutionary Vol. 2
The 3rd World
The Martyr
” W.A.X ”

Red Everything Movement

One Hit Wonderzzzz – Bone Crusher

Bone Crusher

Background information

Birth name – Wayne Hardnett, Jr.
Born August 23, 1971 (age 42)
Origin – Atlanta, Georgia, U.S.
Genres – Southern hip hop, Crunk, gangsta rap
Occupations – Rapper
Years active1999–present
Labels – Arista, So So Def
Associated acts – Lyrical Giants, The Onslaught, T.I., David Banner, Jermaine Dupri, Lil Jon

Wayne Hardnett, Jr. (born August 23, 1971), better known by his stage name Bone Crusher, is an American rapper/singer based in Atlanta.[1] After working as part of the group Lyrical Giants, he debuted in 2003 with his first solo album AttenCHUN!,[2] which featured the single “Never Scared”, used as the theme for the 2003 Atlanta Braves and also found in the video game Madden NFL 2004.

Red Everything Movement

Old School Mondayz – The Juice Crew

Juice Crew

Also known as – The Juice Crew All-Stars
Origin – Queensbridge, New York
Genres – Hip hop
Years active – 1983–1991
Labels – Cold Chillin’
Associated acts – Dimples D.
Past members – Marley Marl
Mr. Magic
Roxanne Shanté
MC Shan
Biz Markie
Big Daddy Kane
DJ Polo
Kool G Rap
Masta Ace
Craig G
Tragedy the Intelligent Hoodlum
Grand Daddy I.U.

The Juice Crew was a hip hop collective of largely Queensbridge-based artists in the mid- to late-1980s. Founded by producer Marley Marl and radio DJ Mr. Magic and housed by Tyrone William’s Cold Chillin’ Records, the Juice Crew would introduce New School artists Big Daddy Kane, Biz Markie, Roxanne Shanté and Kool G Rap. The crew produced many answer records and “beefs” – primarily with rival radio jock Kool DJ Red Alert and the South Bronx’s Boogie Down Productions – as well as the “posse cut”, “The Symphony”.


Marley Marl started his career as Mr. Magic’s sidekick and DJ on the influential radio show Rapp Attack, the first exclusively-hip hop music program to be aired on a major radio station, New York’s WBLS-FM; the show would be instrumental in spring-boarding the careers of the group’s various artists. The crew derived its name from Mr. Magic’s alias, “Sir Juice”.[1] Magic actually had a previous (“original”) Juice Crew consisting of himself, record executive Sal Abbatiello, and artists Sweet Gee, DJ June Bug, and Kurtis Blow[2][3]

As a record producer, Marley Marl began the Juice Crew’s long tradition of answer records with their first release – 1983’s “Sucker DJs (I Will Survive)” by Marley’s then-girlfriend Dimples D., a response to Run-D.M.C.’s “Sucker M.C.’s” – but this initial effort failed to provoke much of a reaction, and was a whimper compared to what was to come.

A chance encounter in 1984 between Mr. Magic, Marley Marl and manager Tyrone Williams and 15-year old rapper Roxanne Shanté resulted in their breakout hit “Roxanne’s Revenge”. A scathing attack on UTFO’s “Roxanne, Roxanne”, the song became so popular it not only garnered a response from the original group (with the help of a young female rapper claiming to be The Real Roxanne) but inspired dozens of imitators in a series of records known as the Roxanne Wars.

Keeping his attentions to his Queensbridge public housing project, Marley’s next artist was his cousin MC Shan. Shan’s second single, 1986’s “Beat Biter”, went after local Queens superstar LL Cool J for allegedly stealing Marley’s music. What was significant about the 12-inch release was not its intended single however but its B-side “The Bridge”, which proved much more popular, finding not only considerable radio play but the ire of Boogie Down Productions. BDP, an upstart rap group from the South Bronx led by rapper KRS-One, took offense to a contested interpretation[4] of MC Shan’s lyrics: they understood Shan to be claiming Queens as the birthplace of hip hop, when it in fact originated largely in the Bronx. Adding to the beef was an ongoing feud between Mr. Magic and his arch-rival Kool DJ Red Alert, who played a similar role in supporting Boogie Down Productions’ nascent career – Mr. Magic on the other hand derided their early efforts. BDP launched the first attack with “South Bronx”, which was premiered live in concert after an MC Shan performance of “The Bridge”. Shan and Marley responded with “Kill That Noise”, released on MC Shan’s 1987 debut Down By Law (the first full-length release from Tyrone Williams newly-formed Cold Chillin’ Records), calling out KRS-One’s attention-grabbing methods. The battle was widely regarded as having been won however by KRS-One and the BDP Crew, with the diss track “The Bridge Is Over”. Nonetheless, the so-called “Bridge Wars” would be drawn-out over a number of proxies.

The Juice Crew began to expand around this time, most notably with the inclusion of two high school friends from Brooklyn, rapper Big Daddy Kane and “human beatbox” Biz Markie. Biz had already collaborated with Shanté for 1986’s “Def Fresh Crew” and found success with his Marley-produced debut “Make The Music With Your Mouth, Biz”, which also introduced Juice Crew singer TJ Swan. In February 1988, Biz’s album Goin’ Off was released by Cold Chillin’, which had just signed a five-year distribution deal with Warner Bros. Records. By the following year, Biz would become a national celebrity with a hit single (“Just A Friend”) in the US Top Ten. Big Daddy Kane went on to become not only one of the biggest selling but most respected and influential rappers of his time. Kool G Rap, together with musical partner DJ Polo, was met with similar critical acclaim, albeit less commercial success. The other artists added to the Juice Crew/Cold Chillin’ roster were Masta Ace and Queensbridge up-and-comers Tragedy the Intelligent Hoodlum, Craig G and we can’t forget Glamorous Jo Ann Berry, The First Female Rapper from Long Island to ever hit Vinyl, not just from this recording. She was featured on Pop Art records before joining the Juice Crew as a member of the “Glamour Girls”. On the only single from them “Oh Veronica, Veronica” in 1985. Craig G did the beat box version.

To showcase both his expanding crew and evolving musical productions, Marley Marl released in 1988 the label-showcase In Control Volume 1. “The Symphony”, with its sparse drum sample, simple piano melody and back-to-back line-up of lyrical heavyweights (Masta Ace, Craig G, Kool G Rap and Big Daddy Kane), made an indelible impression on hip hop, and is widely regarded as the quintessential “posse cut”. The Juice Crew rode out the decade firmly at the top of hip-hop.

Marley Marl spent the early 1990s as a producer, including work with LL Cool J in 1990 on Mama Said Knock You Out. It would be the last year he would contribute to a Juice Crew member’s album. 1991’s In Control Volume II (For Your Steering Pleasure) featured appearances from LL Cool J and Chuck D but also featured little of the original crew and many unknowns who would never be heard from again. Cold Chillin’ Records struggled in the early 1990s, and less successful acts like Masta Ace were dropped. Soon in 2009 Cold Chillin would lose the creator and pioneer of the Juice Crew “Super Rocking Mr Magic “. This would quickly inspire the newest and youngest member of the Crew {Tay-Young} to start a new way of marketing legendary artist that join the world most legendary hip-hop movement. The legacy would next become a task for Tay-Young to hold as the new leader of the next generation of Juice Crew artist since 2012. Tay’s company joined venture with the Juice Crew in order to promote a legendary body of work . He currently is on tour and working on an album. Big Daddy Kane as well as other Juice Crew members from different generations are also working on new music and is happy that Young carries the torch proudly. “Even names like Jay-Z , Nas & LL Cool J tried to join the crew but were denied as members.”- Mr. Magic

In 2009 they recorded a tribute to Mr. Magic, “Mr. Magic Tribute”.


The Intelligent Hoodlum, later known as Tragedy Khadafi in the 1990s, played a personal role in shaping the lyrics and imagery of Capone-N-Noreaga (most notably on their The War Report album) and his younger cousin Havoc of Mobb Deep.[citation needed]

As Nas said in an interview in 1998:

Growing up in Queensbridge it was Marley Marl and The Juice Crew that gave rap niggas like myself hope that there was another life beyond our hood… He made us believe that although we came from those wild streets, we still had a chance to change our lives.[5]
2000s Nas & Ill Will Records Presents QB’s Finest sought to honour this heritage with “Da Bridge 2001”, an all-star update of MC Shan and Marley Marl’s classic, this time joined by Tragedy, Mobb Deep, Capone, and Nas.

In 2007, the feud between the Juice Crew and Boogie Down Productions was officially laid to rest when Marley Marl and KRS-One released the collaborative album, Hip Hop Lives – a quasi-sequel record to Nas’ Hip Hop Is Dead.

The Vapors, a biopic about the Juice Crew directed by Furqaan Clover and starring Cuba Gooding Jr. as Marley Marl and Keke Palmer as Roxanne Shanté, began production in February 2008. Although right now the movie is on hold due to cast issues.[6]

Red Everything Movement

Old School Mondayz – The Legend – Kool G Rap

Kool G Rap

Background information

Birth name – Nathaniel Thomas Wilson
Also known as – Rap, Kool Genius of Rap, Giancana
Born July 20, 1968 (age 45)
Queens, New York City, US
Origin – Corona, Queens, New York City, U.S.
Genres – Hip hop, East Coast hip hop, mafioso rap, gangsta rap
Occupations – Rapper, songwriter
Years active – 1986–present
Labels – Cold Chillin’, Warner Bros. Records, Epic Street, SME Records, Koch
Associated acts – Juice Crew, Five Family Click, Wu-Tang Clan, Marley Marl, Big Daddy Kane, Eric B. & Rakim, DJ Premier, Big L, Rick Ross, Necro Mobb Deep, M.O.P, R.A. The Rugged Man, Large Professor, Capone-N-Noreaga, Sir Jinx, Saigon (rapper), Nas, Canibus, Scarface, Akinyele, Fat Joe,

Nathaniel Thomas Wilson (born July 20, 1968[1]), better known by his stage names Kool G Rap (or simply G Rap, and originally Kool Genius of Rap) is an American rapper. He hails from the Corona neighborhood of Queens, New York City.[2] He began his career in the mid-1980s as one half of the group Kool G Rap & DJ Polo and as a member of the Juice Crew. He is often cited as one of the most influential and skilled MCs of all time[3][4][5][6][1][7][8][9][10] as he is a pioneer of mafioso rap/street/hardcore content[5][10][11][12][13][14] and multisyllabic rhyming.[15] On his album The Giancana Story, he stated that the “G” in his name stands for “Giancana” (after the mobster Sam Giancana), but on other occasions he has stated that it stands for “Genius”.[1][16]

He has also been cited as a major influence to some of hip-hop’s most critically acclaimed figures such as Eminem, Nas, Jay-Z, Notorious B.I.G., Big Pun, RZA, Raekwon, Ghostface Killah, Necro, Action Bronson, Homeboy Sandman, and more.[9][17][18]


Early years

Wilson grew up in the poverty-ridden streets of Corona Queens, New York with legendary producer Eric B.[19] In an interview with The Source he stated;

Growing up in Corona was like a little Harlem, it wasn’t that hard for a nigga to be influenced by the street life type of mentality. I was like 15 years old, Ma dukes couldn’t dress a nigga no more and at that age you want a little money in your pocket. That’s what gets us all, material possessions. A nigga got caught up in that mentality. Nigga started selling drugs at a certain point, and all that shit, it’s what was goin’ on in the streets … eventually all my friends got smoked. Everybody was droppin’. All my friends started packing burners everyday, we was wild shorties.

—Kool G Rap, The Source Magazine, issue 72, September, 1995.[20]

Around this time, Wilson was looking for a DJ, and through Eric B., he met DJ Polo, who was looking for an MC to collaborate with.[19]

Kool G Rap and DJ Polo

Juice Crew producer, and Mr. Magic DJ; Marley Marl knew Polo, and allowed him and G Rap to go to his studio to do a demo, which resulted in the song “It’s a Demo.” The song was written and recorded in one night, and had Marley so impressed, that he instantly embraced Kool G Rap and DJ Polo as Juice Crew members (it’s worth noting that this was the first time G Rap had ever met Marley.)[21] In 1986 on Mr Magic’s Rap Attack radio show on 107.5, the duo got their first exposure which created more buzz. They eventually released “It’s a Demo” as a single with “I’m Fly”, along with two more singles. Shortly after this, Kool G Rap appeared on the Juice Crew’s classic posse cut ‘The Symphony’ before they released their debut album, Road to the Riches in 1989.[22][23] This album and their two later albums, Wanted: Dead or Alive (1990) and Live and Let Die (1992), are highly regarded and considered Hip-Hop classics.[12][15][22][24][25][26] Eventually in 1993, Kool G rap parted ways with DJ Polo in pursuit of a solo career.

Solo career

In 1995, G Rap started his solo career with the album 4,5,6, which featured production from Buckwild, and guest appearances from Nas, MF Grimm and B-1 – it has been his most commercially successful record, reaching No.24 on the US Billboard 200 album chart.[27] This was followed by Roots of Evil in 1998.[1] In 1997 G Rap was feature on Frankie Cutlass “Politic & Bullsht” album track title “Know Da Game” which also feature Mobb Deep. He was then meant to release his next album, The Giancana Story in 2000, on Rawkus Records, but due to several complications with the label, the album was pushed back several times, and eventually released in 2002. “My Life” the hit single from the album featuring Talk Box legend G-Wise reached No.5 on the US Billboard Hot 100 charts. He then released a joint album with his group, 5 family click, on his own Igloo Ent. label to mild success. In the following years, mixtapes were made and further collaborations continued. There were even rumors of G Rap’s signing to both Rocafella and G-Unit records, and even at one point Maybach Music. In 2007 he released Half a Klip on Chinga Chang Records, featuring production from, among others, DJ Premier and Marley Marl.[28] A full LP was released in 2011, Riches, Royalty, Respect showcasing his true to form style and lyricism. The promise and prospects of collaboration albums were announced later the next year on his own, newly formed label FullMettle. His growing interests extended outside hiphop in later years. He stated in further interviews his desire to begin writing movie scripts, an ambition taken in for a few years as he sought out various collaborators, and even a clothing line was also at one point apparently in the works.


Kool G Rap is regarded as a hugely influential golden age rapper.[1] Music journalist Peter Shapiro suggests that he “created the blueprint for Nas, Biggie and everyone who followed in their path”.[29] Kool G is described by Kool Moe Dee as “the progenitor and prototype for Biggie, Jay-Z, Treach, Nore, Fat Joe, Big Pun, and about twenty-five more hard-core emcees”,[3] and Kool Moe Dee also claims Kool G Rap is “the most lyrical” out of all of the artists mentioned.[30] MTV describes Kool G Rap as a “hip-hop godfather”, adding that he paved the way for a lot of MCs who we would not have heard of otherwise.[5] Rolling Stone says, “G Rap excelled at the street narrative, a style that would come to define later Queens MCs like Nas (who was hugely influenced by G Rap on his early records) and Mobb Deep”.[10]

Other artists who have named Kool G Rap as a major influence include Notorious B.I.G.,[31]Eminem,[17]Jay-Z,[32]Tajai of Souls of Mischief,[33]Vinnie Paz of Jedi Mind Tricks,[34]Steele of Smif-n-Wessun,[35]Havoc of Mobb Deep,[35] Rock of Heltah Skeltah,[35]MC Serch,[36]Termanology,[37]Black Thought of The Roots,[38]M.O.P.,[39]R.A. The Rugged Man,[40]Bun B of UGK,[7]Rah Digga,[8][41]RZA,[9]Ghostface Killah, Raekwon[42] of Wu-Tang Clan, Lady Of Rage,[43]Big Pun,[2]O.C. of DITC,[44]Memphis Bleek,[45]Kurupt,[46]Pharoahe Monch,[47] and Twista,[48][49] among others.

He is also often very highly rated in terms of his technical ability[5][6][7][8][9][26][30] and is often ranked alongside other highly regarded golden age MCs, such as Big Daddy Kane, Rakim, and KRS-One.[11][15] In Jay-Z’s track ‘Encore’, Jay-Z raps, “hearing me rap is like hearing G Rap in his prime”,[28][50] comparing his skill level to that of Kool G Rap. Allmusic calls him “one of the greatest rappers ever”, “a master”, and “a legend”.[6][26] A number of rappers, such as Ice Cube, Rakim, Big Daddy Kane, Lloyd Banks, and Nas have put him in their lists of favorite rappers.[51]Kool Moe Dee ranked Kool G Rap at No.14 in his book There’s A God On The Mic: The True 50 Greatest MCs,[30] and MTV gives him an ‘Honorable Mention’ in their Greatest MCs Of All Time list.[5]

Rhyme technique

Kool G Rap is known for using complex multisyllabic rhymes since his debut (in a similar way to other golden age MCs such as Big Daddy Kane and Rakim),[15] and this remains a hallmark of his style, along with his rapid-fire delivery and “superhuman breath control”.[15] Although many of today’s MCs use multisyllabic rhymes extensively (such as Eminem, Pharoahe Monch, Nas, Papoose, and many others), Kool G Rap is known for taking the technique to its limits and packing in as many multisyllabic rhymes as possible,[52][53] sometimes all in the same rhyme scheme for a whole verse, such as on Sway & King Tech’s ‘The Anthem’.[53]

He has also been cited as one of Hip-Hop’s greatest storytellers, alongside Slick Rick and Notorious B.I.G.,[24][54] with “laser-like visual descriptions”,[12] and “vivid narratives”.[15] Rolling Stone states that, “Live and Let Die continued G Rap’s reign as rap music’s premier yarn-spinner”.[10]

Kool G Rap provided the foreword for the 2009 book How to Rap: The Art & Science of the Hip-Hop MC,[55][56] also providing insight into his rhyming technique.

Mafioso/Street content

Kool G Rap is often credited as the first rapper to infuse his lyrics with mafioso and hardcore street content.[5][10][11][12][13][14][15] This can be seen as early as 1989 in the song “Road to the Riches” where he makes a reference to Al Pacino (who plays mobster Tony Montana in the 1983 crime drama movie Scarface)[57] – this was long before albums such as Raekwon’s Only Built 4 Cuban Linx… (1995), and Jay-Z’s Reasonable Doubt (1996) made such references popular.[14]

Since his debut, he has used various references to mob movies in his lyrics, album covers, and titles.[1] For example, the first line of ‘Bad to the Bone’ from Wanted: Dead or Alive (1990) is, I’m bad to the bone / with a style like Al Capone,[58] the album Live and Let Die (1992) uses samples from the 1987 crime film The Untouchables,[59] the album cover of Roots of Evil (1998) uses elements from The Godfather and Scarface theatrical posters,[60] and The Giancana Story (2002) album title references Mafia boss Sam Giancana.[1]

Rolling Stone says, “before Kool G Rap, New York didn’t really have the street rap that could hold its own against what artists such as L.A.’s Ice-T and N.W.A were churning out”[10] and that “G Rap excelled at the street narrative”.[10]

His take on crime, violence, and the mafioso lifestyle ranges from remorse and contemplation (e.g. ‘Streets of New York’,[61] described by Rolling Stone as “a vivid look inside the misery of the hood”[10]), to glorification (e.g. ‘Fast Life’ featuring Nas[62]).

Personal life

Wilson briefly dated Karrine Steffans and they have one son together. He also has other children. [63]

with DJ Polo Year

Road to the Riches1989
Wanted: Dead or Alive1990
Live and Let Die1992
Rated XXX1996
Solo AlbumsYear
Roots of Evil1998
The Giancana Story2002
Half a Klip2007
Riches, Royalty, Respect2011[64]
Hustlas Bible[65]2013

Compilations Year
Killer Kuts1995
The Best of Cold Chillin’2000

Greatest Hits2002
Kool G Rap & Twinn Loco Present – I Live Hip Hop – The Mixtape2010

Mixtape Year
Dead or Alive the Mixtape2005

EP Year
Offer You Can’t Refuse2011

Collaborative Albums Year

Click of Respect (with The 5 Family Click)2003

The Godfathers (with Necro)[66][67]2013

Featured appearances

1988: “The Symphony” (on the Marley Marl album In Control Volume 1)

1991: “Don’t Curse” (from the Heavy D album Peaceful Journey”)

1991: “The Symphony Vol. II” (on the Marley Marl album In Control Volume 2: For Your Steering Pleasure)

1992: “Death Threat” (from the Brand New Heavies album Heavy Rhyme Experience Vol. 1)

1993: “You Must Be Out of Your Fuckin’ Mind” (from the Fat Joe album Represent)

1993: “Pee-Nile Reunion” (from the MC Shan Don’t Call It Comeback 12″)

1993: “This Is How We…” (from the Pudgee Tha Phat Bastard album Give Em The Finger)

1996: “Representin'” (Ruffa featuring Kool G Rap)

1996: “Stick To Ya Gunz” (from the M.O.P. album Firing Squad)

1996: “Know Da Game” (from the Frankie Cutlass album Politics And Bullshit)

1998: “Truly Yours 98” (from the Pete Rock album Soul Survivor)

1998: “Guns Blazing (Drums of Death, Pt. 1)” (from the UNKLE album Psyence Fiction)

1998: “40 Island” (from the N.O.R.E. album N.O.R.E.)

1999: “Friend of Ours” (from the E-Moneybags album In E-Moneybags We Trust)

1999: “The Anthem” Also feat. RZA, Tech N9ne, Eminem, Xzibit, Pharoahe Monch, Jayo Felony, Chino XL & KRS-One and “3 to the Dome” also feat. Big Daddy Kane & Chino XL (from the Sway & King Tech album This or That)

1999: “The Realest” (from the Mobb Deep album Murda Muzik)

2000: “Fall Back” (from the Big L album The Big Picture)

2000: “Ghetto afterlife” (from the Reflection Eternal album Train of thought)

2000: “Legendary Street Team” (from Lyricist Lounge 2)

2001: “Let ‘Em Live” (from the Chino XL album I Told You So)

2001: “I Am” (from the G. Dep album Child of the Ghetto)

2001: “Gorillas” (from the Screwball album Loyalty)

2001: “No Surrender” (Shabaam Sahdeeq featuring Kool G Rap)

2002: “Allied Meta-Forces” (from the Canibus album Mic Club: The Curriculum)

2002: “Nuthin Has Changed” (from King Tee album The Kingdom Come)

2003: “Animal Rap” (from the Jedi Mind Tricks album Visions of Gandhi)

2005: “AIDS” (from the MF Grimm album Scars and Memories)

2005: “Ghost & Giancana” (from the Ghostface Killah and Trife da God album Put It on the Line)

2006: “We Gone Go Hard” (from the Ras Kass album Revenge of the Spit)

2006: “Reckless Eye-Ballin” (from the VERBAL THREAT album The Golden Era)

2006: “Full Metal Jacket” (from the Molemen album Killing Fields)

2007: “Hood Tales” (from the Marco Polo album Port Authority)

2007: “100 Roundz” (from the Domingo album The Most Underrated)

2007: “Come one, come all” (from the Styles P album The Ghost Sessions)

2007: “Next Up” (from the UGK album Underground Kingz)

2007: “6 in the Morning” (from the Statik Selektah album Spell My Name Right: The Album)

2007: “Buck Buck” (on the Red Cafe and DJ Envy album The Co-Op)

2007: “And Wot (Remix)” (Album “Unified: He Whanau Kotahi Tatou” featuring Sweet Tooth & Carbon Kid)

2007: “Terrorise the City(on the Klashnekoff album Lionheart: Tussle with the Beast featuring Kyza)

2008: “Queens” (from the LL Cool J Exit 13 Promo EP)

2008: “One Shot” (album Hood 2 Hood: The Blockumentary Soundtrack, Pt. 1)

2008: “The Next Step” (from the Big John album The Next Step featuring R.A The Rugged Man)

2008: “Same Old Hood” (Saul Abraham featuring Kool G Rap & St Laz)

2009: “Das Leid / The Light” Azad featuring Kool G Rap (from Brisk Fingaz album Einzelkämpfer)

2009: “Gunz From Italy” (from the Club Dogo album Dogocrazia)

2009: “Ill Figures” (from the Wu-Tang Clan compilation album Wu-Tang Chamber Music)

2009: “Legendary” (from the 67 Mob album Raising The Bar)

2009: “ALC Theme” (from The Alchemist album Chemical Warfare)

2009: “KGR & Honda” (from the DJ Honda album IV)

2010: “Cursed” (from the Diabolic debut album “Liar & A Thief”)

2010: “Boot Rap” featuring Canibus (from the Mark Deez album “Bootstrap Theory”)

2010: “White Sand Part 2” Rick Ross Ft. Triple C’s from The Albert Anastasia EP

2010: “Knife Fight” Rick Ross Ft. Kool G Rap from The Albert Anastasia EP

2010: “Ready For War” CHI-ILL Ft. Kool G Rap from The Last Chance Lounge EP.

2010: “Controlling Tha Game” Tyger Vinum FT. Kool G. Rap from “Grindin Muzik” album

2010: “Frozen” (From The Left album “Gas Mask”)

2010: “3 Extremes” (from Dusty Philharmonics album “The Audiotopsy”, Unexpected Records)

2010: “Street Knowledge” featuring Koolsphere & Bateria (from Dj Jean Maron album “RUN MPC”)

2011: “Kies in tha game” (from Duo Kie album “De Cerebri Mortis”)

2011: “Ill Figures Remix” (from Raekwon EP “Dope on the Table”)

2012: “Summertime” (from Adil Omar album The Mushroom Cloud Effect)

2012: “Keep it Live” (from NNFoF album No Name Full of Fame)

2012: “Rivers of Blood” Wu-tang Clan ft. Kool G Rap (from The Man with the Iron Fists Soundtrack)

2012: “Wolves Amongst the Sheep” (from Vinnie Paz’s album: God of the Serengeti)

2012: “Westerns” (from Israeli rapper Sagol 59’s single: Westerns 12″)

2012: “Young N Foolish” (with Iranian rappers(Hichkas,Quf and Reveal)produced by Mahdyar Aghajani)

2012: “Depths Of Despair” (with Irish rapper Tall Order Paul Ritchie)

2013: “Ink Spatter” Trails ft. Kool G Rap & Dray Sr. (from the album Anvils & Pianos)

Red Everything Movement

Friday Night Showdown – Who Better ? Meek Mill Vs Ace Hood

Who spits harder?

I don’t know about you, but ever since Ace Hood signed to Young Money Records and Meek Mill became world wide things have not been the same…
Maybe after all the hype Meek Mill is constantly receiving could he have stole Ace Hood’s entire flow? I am not the one to sizzle any beef.

I have done my research and from the sound of Meek Mill flow he sure is a fan of Ace Hood one way or the other. Now I guess this could most likely be why he did not signed to MMG. Will we ever know the truth? Who do you prefer? Do you think this is a diss to Mill? Until then lets just throw this in the gumbo. Enjoy!

Posted by Linda Patrickat

Red Everything Movement

Mzansi Wednesdayz – The Icon – Tha Hymphatic Thabs

Tha Hymphatic Thabs

Real Name – Thabiso Mohapeloa
Profile – Tha Hymphatic Thabs
Hometown – Maseru, Lesotho
Record Label – Taste Buds Records, Iapetus Productions
Influences – Life
Current Location – Johannesburg, South Africa


Tha Hymphatic Thabs embodies the evolution of hip-hop music in the South African Hip Hop movement. Thabs’ journey into hip-hop began around 1994 when he was in junior high in Maseru, Lesotho. As an extra-ordinarily talented word-mangler that had roblems with authority & the system he was moved from Lesotho to Johannesburg where he was exposed to and influenced by the steady rise of the Jo’burg hip hop movement.

He later became one of the most influential contenders in the underground hip hop scene winning multiple awards including ‘Album Of The Year’ – Hype Awards (2007) for his album, “The Age Of Horus”. He was nominated for ‘Lyricist Of The Year’ – Hype Awards (2008).

“Error Era”

Thabs’ first album was independently
produced, marketed and distributed. It was a personal journey of discovery, a time of experimenting and learning. His second release which came out at the end of 2003 is ironically titled “Perfect Times” although it is very experimental in style and explores the state of our society, reflecting nothing but perfect times.

Through unique and cinematically gripping music videos, he has taken the South African underground hip-hop scene to another level. Using socially conscious rhymes with an experimental sound and comical presentation. Hymphatic Thabs gives a light feeling to an otherwise seriously deemed life that most South Africans are faced with.

His latest offering The Age Of Horus” is no different in his adamant social commentary spoken through poetic and rhythmical staccato but what distinguishes it from his other previous releases is that, here Hymphatic explores music as a whole and is not restricted to the rules of the genre but challenges the boundaries and creates a new texture to the sound of South African hip-hop.

Since his introduction into the market, Thabs has shared stages with many local and international performers like Jonzi-D, Tumi, Wordsworth, Afrika Bambaataa, Black Thought, Jabu Khanyile, Linton Kwesi Johnson, Thandiswa Mazwai, The Last Poets and many more, proving his versatility as an emcee.

Red Everything Movement

Old School Mondayz – Shout Out To – The Zulu Nation

The Universal Zulu Nation is an international hip hop awareness group formed and headed by hip hop pioneer Afrika Bambaataa.[1]:101 Originally known simply as the Organization, it arose in the 1970s as reformed New York City gang members began to organize cultural events for youths, combining local dance and music movements into what would become known as the various elements of hip hop culture. By the 1980s, hip hop had spread globally, and the Zulu Nation has since established (autonomous) branches in Japan, France, the UK, Australia, South Korea and the Cape Flats in Cape Town South Africa.

The Zulu Nation has undergone changes over the past decade. From the late 1980s, at the height of the Afrocentric movement in hip hop (when artists such as KRS-One, Public Enemy, A Tribe Called Quest, the Native Tongues, and Rakim hit success), the movement seemed to be incorporating many doctrines from the Nation of Islam, the Nation of Gods and Earths, and the Nuwaubians. In the 2000s, however, its official Web site affirmed that the Zulu Nation has left the system of “believing” and instead adheres to Factology versus Beliefs, a philosophy and doctrine that can often be seen in, though is not always exclusive to, Nuwaubianism.

The imagery of the Zulu Nation has changed considerably as well. During the 1970s, and 1980s, Afrika Bambaataa and the Zulu Nation members would often clothe themselves in costumes representing different cultures of the world. These costumes were seen as symbols for the Zulu Nation’s desire to help others regardless of nationality or skin color and also to symbolize people who were generally peaceful and good until they were oppressed by those who were not. Normal members, including whites and Latinos, would often wear necklaces or shirts depicting an outline of the African continent or a crude tribal drawing of a man’s face. This was a symbol of the Zulu nations of A|frica[citation needed], from which the organization got its name. Nowadays, however, these things have been replaced by Egyptian symbols such as ankhs and pagan jewelry depicting pentagrams, though the older symbols and images can still be seen accompanying these.

Zulu Nation in France

The Zulu movement was introduced to France in the early 1980s by Afrika Bambaataa. The Zulu Nation was well received in suburban Paris since most African immigrants lived beyond the city limits. The growing popularity of Afrika Bambaataa’s sound introduced hip hop music and culture to these poor suburban neighborhoods. The Zulu Nation’s ties to the French hip hop community have waned since 1987, and few contemporary emcees continue to represent the ideals of the group, but since Afrika Bambaataa’s successful tour of France in 2008 and a big Zulu Nation reunion in Paris, France, there has been a new movement of the Universal Zulu Nation springing up in different cites again throughout France.[2] According to Veronique Henelon, “French rap specifically has been a multi-dimensional expression of ties with Africa.”[3] The Zulu Nation Web site reaffirms this notion in their report of the French hip-hop community. The first hip-hop television show reportedly appeared in France. It was called “H.I.P.-H.O.P.”, aired by the TF1 channel and was hosted by “a guy named Sydney who also was the first Leader of The Universal Zulu Nation of France.”[4]

The Beliefs of the Universal Zulu Nation

As stated on its official Web site, the Universal Zulu Nation believes that in the new millennium it is time to abandon belief systems in favor of factology. The following fifteen tenets then represent the Zulu Nation of the last millennium:[5]

Belief in the Abrahamic God
Belief in the validity of the Bible (Old and New), Qur’an and in the scriptures of all the Prophets of God.
Belief that the scriptures have been tampered with
Belief that history textbooks and other educational materials have been negatively influenced by white-supremacist doctrines
“We believe in truth whatever it is. If the truth or idea you bring us is backed by facts, then we as Amazulu bear witness to this truth. Truth is truth.”
Belief that religion should not make adherents into a slave or zombie but should instead make them a fighter for freedom, justice, and equality for all human beings.
Belief that racism is attempting to destroy civilization.
Belief that humanity must stop destroying the environment.
“We believe in the mental resurrection of the dead. There are many of the Human race who are blind, deaf, and dumb to the knowledge of self and others, and we feel the ones who know should teach.”
Belief that mathematics is the foundation of all reality.
“We believe in the seen and what is to be known of the unseen. We believe in the power of the mind, and that knowledge is as infinite as God himself.”

Belief in equal justice for all.
Belief in peace unless provoked.
“We believe in power, education in truth, freedom, justice, equality, work for the people, and the up-liftment of the people.”

“The Universal Zulu Nation stands for knowledge, wisdom, understanding, freedom, justice, equality, peace, unity, love, respect, work, fun, overcoming the negative, economics, mathematics, science, life, truth facts, faith, and the oneness of God.”
It’s important to understand that though the Zulu Nation website for the American branch states that these beliefs represent the Zulu Nation of the “past millennium,” many Zulu Nation members and branches(old and new) still follow the 15 Beliefs as factual. Thus it can be understood that the Zulu Nation’s adoption of “Factology vs Beliefs,” was an effort to reorganize the Nation to be more accessible by more people of even more different belief systems, due to the ever expansion of Hip Hop culture worldwide causing a bigger need for a much more universal Hip Hop preservation society.

EditThe Hip Hop Declaration of Peace
It’s mainly created by Zulu Nation & Temple of Hiphop, headed by KRS-One.

This Hiphop Declaration of Peace guides Hiphop Kulture toward freedom from violence, and establishes advice and protection for the existence and development of the international Hiphop community. Through the principles of this Hiphop Declaration of Peace we, Hiphop Kulture, establish a foundation of Health, Love, Awareness, Wealth, peace and prosperity for ourselves, our children and their children’s children, forever. For the clarification of Hiphop’s meaning and purpose, or when the intention of Hiphop is questioned, or when disputes between parties arise concerning Hiphop; Hiphoppas shall have access to the advice of this document, The Hiphop Declaration of Peace, as guidance, advice and protection.

First Principle

Hiphop (Hip´Hop) is a term that describes our independent collective consciousness. Ever growing, it is commonly expressed through such elements as Breakin, Emceein, Graffiti Art, Deejayin, Beatboxin, Street Fashion, Street Language, Street Knowledge and Street Entrepreneurialism. Wherever and whenever these and future elements and expressions of Hiphop Kulture manifest; this Hiphop Declaration of Peace shall advise the use and interpretation of such elements, expressions and lifestyle.

Second Principle

Hiphop Kulture respects the dignity and sanctity of life without discrimination or prejudice. Hiphoppas shall thoroughly consider the protection and the development of life, over and before the individual decision to destroy or seek to alter its natural development.

Third Principle

Hiphop Kulture respects the Laws and agreements of its culture, its country, its institutions and whomever it does business with. Hiphop does not irresponsibly break Laws and commitments.

Fourth Principle

Hiphop is a term that describes our independent collective consciousness. As a conscious way of life, we acknowledge our influence on society, especially on children; and we shall forever keep the rights and welfare of both in mind. Hiphop Kulture encourages womanhood, manhood, sisterhood, brotherhood, childhood and family. We are conscious not to bring any intentional disrespect that jeopardizes the dignity and reputation of our children, elders and ancestors.

Fifth Principle

The ability to define, defend and educate ourselves is encouraged, developed, preserved, protected and promoted as a means toward peace and prosperity, and toward the protection and the development of our self-worth. Through knowledge of purpose and the development of our natural and learned skills, Hiphoppas are encouraged to always present their best work and ideas.

Sixth Principle

Hiphop Kulture honors no relationship, person, event, act or otherwise wherein the preservation and further development of Hiphop’s culture, principles and elements are not considered or respected. Hiphop Kulture does not participate in activities that clearly destroy or alter its ability to productively and peacefully exist. Hiphoppas are encouraged to initiate and participate in fair trade and honesty in all negotiations and transactions.

Seventh Principle

The essence of Hiphop is beyond entertainment: The elements of Hiphop Kulture may be traded for money, honor, power, respect, food, shelter, information and other resources; however, Hiphop and its culture cannot be bought, nor is it for sale. It (Hiphop) cannot be transferred or exchanged by or to anyone for any compensation at any time or at any place. Hiphop is not a product. Hiphop is the priceless principle of our self-empowerment.

Eighth Principle

Companies, corporations, non and not-for-profit organizations, as well as individuals and groups that are clearly benefiting from the use, interpretation and/or exploitation of the term Hiphop, (i.e. Hip Hop, hip-hop,) and the expressions and terminologies of Hiphop, (i.e. Hip Hop, hip-hop,) are encouraged to commission and/or employ a full-time or part-time certified Hiphop Kultural Specialist to interpret and answer sensitive cultural questions regarding the principles and proper presentations of Hiphop’s elements and culture; relative to businesses, individuals, organizations, communities, cities, as well as other countries.

Ninth Principle

May 3 is Rap Music Day. Hiphoppas are encouraged to dedicate their own time and talent to self-development and for service to their communities. Every third week in May is Hiphop Appreciation Week. During this time, Hiphoppas are encouraged to honor their ancestors, reflect upon their cultural contributions and appreciate the elements and principles of Hiphop Kulture. November is Hiphop History Month. During this time Hiphoppas are encouraged to participate in the creating, learning and honoring of Hiphop’s history and historical cultural contributors.

Tenth Principle

Hiphoppas are encouraged to build meaningful and lasting relationships that rest upon Love, trust, equality and respect. Hiphoppas are encouraged not to cheat, abuse, or deceive their friends.

Eleventh Principle

The Hiphop community exists as an international culture of consciousness that provides all races, tribes, religions and styles of people a foundation for the communication of their best ideas and works. Hiphop Kulture is united as one multi-skilled, multi-cultural, multi-faith, multi-racial people committed to the establishment and the development of peace.

Twelfth Principle

Hiphop Kulture does not intentionally or voluntarily participate in any form of hate, deceit, prejudice or theft at any time. At no time shall Hiphop Kulture engage in any violent war within itself. Those who intentionally violate the principles of this Declaration of Peace or intentionally reject its advice, forfeit by their own actions the protections set forth herein.

Thirteenth Principle

Hiphop Kulture rejects the immature impulse for unwarranted acts of violence and always seeks diplomatic, non-violent strategies in the settlement of all disputes. Hiphoppas are encouraged to consider forgiveness and understanding before any act of retaliation. War is reserved as a final solution when there is evidence that all other means of diplomatic negotiation have failed repeatedly.

Fourteenth Principle

Hiphoppas are encouraged to eliminate poverty, speak out against injustice and shape a more caring society and a more peaceful world. Hiphop Kulture supports a dialogue and action that heals divisions in society, addresses the legitimate concerns of humankind and advances the cause of peace.

Fifteenth Principle

Hiphoppas respect and learn from the ways of Nature, regardless of where we are on this planet. Hiphop Kulture holds sacred our duty to contribute to our own survival as independent, free-thinking beings in and throughout the Universe. This planet, commonly known as Earth is our nurturing parent and Hiphoppas are encouraged to respect Nature and all creations and inhabitants of Nature.

Sixteenth Principle

Hiphop’s pioneers, legends, teachas, elders, and ancestors shall not be inaccurately quoted, misrepresented, or disrespected at anytime. No one should profess to be a Hiphop pioneer or legend unless they can prove with facts and/or witnesses their credibility and contributions to Hiphop Kulture.

Seventeenth Principle

Hiphoppas are encouraged to share resources. Hiphoppas should give as freely and as often as possible. It is the duty of every Hiphoppa to assist, whenever possible, in the relief of human suffering and in the correction of injustice. Hiphop is shown the highest respect when Hiphoppas respect each other. Hiphop Kulture is preserved, nurtured and developed when Hiphoppas preserve, nurture and develop one another.

Eighteenth Principle

Hiphop Kulture maintains a healthy, caring and wealthy, central Hiphop guild – fully aware and invested with the power to promote, teach, interpret, modify and defend the principles of this Hiphop Declaration of Peace.

Red Everything Movement

Old School Mondayz – Shout Out To – Native Tangues

The Native Tongues is a collective of late 1980s and early 1990s hip-hop artists known for their positive-minded, good-natured Afrocentric lyrics, and for pioneering the use of eclectic sampling and later jazz-influenced beats.[citation needed] Its principal members are the Jungle Brothers, De La Soul, and A Tribe Called Quest. The collective was also closely tied to the Universal Zulu Nation.


“The Native Tongues came about where, basically, we had a show together in Boston. [De La Soul], Jungle [Brothers] and we linked from there. We had a natural love for the art and a natural love for each other on how we put stuff together. So we invited [the Jungle Brothers] to a session, and when they hooked up with us, we happened to be doing “Buddy.” It wasn’t business; it wasn’t for a check. It was just trading ideas and just seeing what you’re doing. Bottom line, it was just having fun.”
—Trugoy the Dove

“I remember Afrika [Baby Bam] called me that night, like, two in the morning. “Yo these kids, De La Soul, you gotta meet ’em! I swear we’re just alike!” I went there, met them, and it was just fuckin’ love at first sight. It was disgusting. In hip hop, it praises individualism. I think that’s the main achievement of the Native Tongues. It just showed people could come together.”
—Q Tip

The New York-based Native Tongues crew was a collective of like-minded hip hop artists who would help bring abstract and open-minded lyricism that addressed a range of topics, from spirituality and modern living to race, sex, and just having fun – to the mainstream. Together with the use of eclectic samples that would take on an increasingly jazzy sound, they would be pioneers of so-called conscious hip hop, alternative hip-hop, and jazz rap.

Fostered by Kool DJ Red Alert, the success of the Jungle Brothers would pave the way for De La Soul and A Tribe Called Quest; together, these three groups would form the core of the crew and continue the spirit of Afrika Bambaataa and the Zulu Nation. By 1989 they had been joined by Queen Latifah and the UK’s Monie Love, and soon by the Black Sheep & Chi-Ali. Collectively, the members of the Native Tongues had a huge effect on the style and trends of hip hop during its most important period, the golden age of the late 1980s–early 1990s. A Tribe Called Quest and De La Soul’s albums of this time are considered among the best and most important in the hip hop genre.

The song “Scenario” was the final track on the Tribe Called Quest album The Low End Theory and featured the fledging Leaders of the New School—Dinco D, Busta Rhymes, and Charlie Brown. This track simultaneously introduced and legitimized the concept of a new school in hip-hop music, and is arguably the most notable and significant single song of the era.

While featuring an extensive discography, the collaborations of the Native Tongues have been fairly limited: the collective never recorded anything under that name, and the number of notable crew cuts can be counted on one hand. The various groups grew distant with time, and, by 1993, De La Soul’s Trugoy the Dove proclaimed, “That native shit is dead.” The collective would, however, reunite in 1996 for the Jungle Brothers’ “How Ya Want It We Got It (Native Tongues Remix)”; collaborators in this period, such as Common,Truth Enola, DJ S.T.R.E.S.S., Da Bush Babees, and Mos Def, could be seen as latter-day additions to the crew. In 1998 on A Tribe Called Quest’s final album The Love Movement, the last track “Rock Rock Ya’ll” featuring Jane Doe, Mos Def, Punchline & Wordsworth. Q Tip states near the track’s end that “this right here is a family”.

There are several collectives today—with overlapping membership—that can be seen as the spiritual heirs to the Native Tongues crew: the Spitkicker crew (founded by De La Soul’s Trugoy and Posdnuos in 2000), the Okayplayers, and the Soulquarians. Chris Lighty—a member of the Native Tongues-affiliated street crew the Violators, who began his career carrying records for Zulu Nation DJs and later as the Jungle Brothers’ roadie—now runs the successful Violator Management company, which represents Busta Rhymes and Q-Tip, among other high-profile clients. It has influenced many other artists in the music industry.


Founding Members

A Tribe Called Quest (Q-Tip, Phife Dawg, Ali Shaheed Muhammad, and Jarobi White)
De La Soul (Posdnous, Trugoy, and Maseo)
Jungle Brothers (Mike Gee, Afrika Baby Bam, and DJ Sammy B)
Core Members
Monie Love
Black Sheep (Dres and Mista Lawnge)
Mos Def+
Truth Enola+
Queen Latifah
+according to De La Soul interview on MuchMusic’s RapCity in 1996.


Prince Paul
Kool DJ Red Alert
Leaders of the New School (Busta Rhymes, Charlie Brown, Dinco D, Cut Monitor Milo)
The Beatnuts (Psycho Les, JuJu and Fashion)
Violator Management (Chris Lighty)
Vinia Mojica
Shortie No Mass
Lucien Revolucien
Punchline & Wordsworth
Da Bush Babees
Towa Tei
J Dilla
Brand Nubian[1]


Collaborations involving the original members, those that could be considered true Native Tongues crew cuts, are in bold. Note that this list is incomplete.


“Black is Black” by Jungle Brothers feat. Q-Tip, from Straight out the Jungle
“The Promo” by Jungle Brothers feat. Q-Tip, from Straight out the Jungle

“Buddy” by De La Soul featuring Jungle Brothers and Q-Tip with Phife Dawg from Tribe Called Quest, from 3 Feet High and Rising
“Description” De La Soul featuring Q-Tip and Prince Paul, from 3 Feet High and Rising
“Buddy (Native Tongues Decision)” by De La Soul featuring Jungle Brothers, A Tribe Called Quest, Monie Love, and Queen Latifah, from “Buddy” 12-inch single
“The Mack Daddy on the Left” by De La Soul from “Say No Go” 12-inch single
“Acknowledge Your Own History” by Jungle Brothers featuring Vinia Mojica, from Done by the Forces of Nature
“Done by the Forces of Nature” by Jungle Brothers feat. Jungle DJ Towa Toha, from Done by the Forces of Nature
“Doin’ Our Own Dang” by Jungle Brothers feat. De La Soul, Queen Latifah, Q-Tip and Monie Love, from Done by the Forces of Nature
“Mama Gave Birth to the Soul Children” by Queen Latifah featuring De La Soul, from All Hail the Queen
“Ladies First” by Queen Latifah featuring Monie Love, from All Hail The Queen

“Swiney Swiney” by Monie Love featuring De La Soul, from Down to Earth
“Pubic Enemy” by A Tribe Called Quest feat. DJ Red Alert, from People’s Instinctive Travels and the Paths of Rhythm
“Luck of Lucien” by A Tribe Called Quest feat. Lucien Revolucien, from People’s Instinctive Travels and the Paths of Rhythm

“Verses From The Abstract” by A Tribe Called Quest featuring Vinia Mojica, from The Low End Theory
“Scenario” by A Tribe Called Quest featuring Leaders of the New School, from The Low End Theory
(The Original Version of Scenario featured De La Soul and Black Sheep as well as Leaders of the New School)
“Show Business” by A Tribe Called Quest featuring Brand Nubian and Diamond D, from The Low End Theory
“Come on Down” by Big Daddy Kane feat. Q-Tip and Busta Rhymes, from Prince of Darkness
“La Menage” by Black Sheep featuring Q-Tip, from A Wolf in Sheep’s Clothing
“Pass The 40” by Black Sheep featuring Chi Ali, Jim Jones, Chris Lighty, and Dave Gossett, from A Wolf in Sheep’s Clothing
“A Roller Skating Jam Named “Saturdays”” by De La Soul featuring Q-Tip and Vinia Mojica, from De La Soul is Dead
“Fanatic Of The B Word” by De La Soul featuring Dres and Mike G, from De La Soul is Dead
“What Yo Life Can Truly Be” by De La Soul featuring A Tribe Called Quest (Including Jarobi) and Black Sheep, available on the “A Roller Skating Jam Named Saturdays” vinyl single.

“Scenario (Remix)” by A Tribe Called Quest feat. Kid Hood and Leaders Of The New School, from “Scenario” 12″ single
“Let The Horns Blow” by Chi Ali feat. Dres, Dove, Fashion and Phife Dawg, from The Fabulous Chi-Ali
“La Schmoove” by The Fu-Schnickens feat Phife Dawg, from “F.U. “Dont Take It Personal””
“Check It Out” by the Fu-Schnickens feat Dres, from “F.U. “Dont Take It Personal””

“Award Tour” by A Tribe Called Quest featuring Trugoy, from Midnight Marauders
“Oh My God” by A Tribe Called Quest featuring Busta Rhymes, from Midnight Marauders
“One-Two Shit” by A Tribe Called Quest featuring Busta Rhymes, from “Oh My God” 12-inch single
“Roll wit tha Flava” by The Flavor Unit MCs feat. Treach, Chip-Fu, Freddie Foxxx, Queen Latifah, Heavy D, D-Nice, and Dres, from Roll Wit Tha Flavor
“En Focus” by De La Soul featuring Shorty No Mass, and Dres, from Buhloone Mind State
“I Am I Be” by De La Soul featuring Busta Rhymes, Chip Fu, Dres, Fred Wesley, Maceo Parker, Melvin Parker, Pee Wee Ellis, and Rodney Jones, from Buhloone Mind State

“We Run Things(It’s Like Dat)” da Bush Babees (Ali Shaheed Muhammad production) from Ambushed
“Sh. Fe. MC’s” by De La Soul featuring A Tribe Called Quest, from Clear Lake Auditorium EP

“Ill Vibe” by Busta Rhymes featuring Q-Tip, from The Coming
“3 MC’s” by da Bush Babees featuring Q-Tip, from Gravity
“S.O.S.” by da Bush Babees featuring Mos Def, from Gravity
“Love Song” by da Bush Babees featuring Mos Def (prod. by Posdnous), from Gravity
“Big-Brother Beat” by De La Soul featuring Mos Def, from Stakes Is High
“Pony Ride” by De La Soul featuring Truth Enola from Stakes Is High
“Stakes is High (Remix)” De La Soul featuring Truth Enola and Mos Def, from “Itzsoweezee (HOT)” 12-inch single
“Love Song remix” Bush Babees featuring De La Soul and Mos Def
“Flashlight (Remix)” by George Clinton featuring Q-Tip, Busta Rhymes & Ol’ Dirty Bastard, from Greatest Funkin’ Hits
“Out For The Cash (Remix)” by DJ Honda feat. Fat Joe, the Beatnuts, and Common
“How Ya Want It We Got It (Native Tongues Remix)” by Jungle Brothers featuring Q-Tip and De La Soul, from Raw Deluxe

“Wild Hot” by A Tribe Called Quest & Busta Rhymes, from Rhyme & Reason Soundtrack
“Rumble in the Jungle” by The Fugees featuring John Forté, A Tribe Called Quest, and Busta Rhymes, from When We Were Kings Soundtrack
“Fortified Live”-Reflection Eternal featuring Mos Def & Mr. Man

“Steppin’ It Up” by A Tribe Called Quest featuring Busta Rhymes and Redman, from The Love Movement
“Rock Rock, Y’all” by A Tribe Called Quest featuring Punch, Jane Doe, Words, and Mos Def, from The Love Movement
“K.O.S. (Determination)” by Black Star featuring Vinia Mojica, from Mos Def & Talib Kweli are Black Star
“Body Rock” by Mos Def, Tash & Q-Tip, from Lyricist Lounge, Volume One
“Respiration” by Black Star featuring Common, from Mos Def & Talib Kweli are Black Star
“Twice Inna Lifetime” by Black Star featuring Jane Doe, Wordsworth, and Punchline, from Mos Def & Talib Kweli are Black Star

“Do it Now” by Mos Def featuring Busta Rhymes, produced by Mr Khaliyl(Mr. Man) from Black On Both Sides
“Know That” by Mos Def featuring Talib Kweli, from Black On Both Sides
“Climb” by Mos Def featuring Vinia Mojica, from Black On Both Sides
“Mr. Nigga” by Mos Def featuring Q-Tip, from Black On Both Sides
“The Truth” by Pharoahe Monch featuring Common and Talib Kweli, from Internal Affairs
“It’s Going Down” by Dres featuring Chi-Ali and Droop Dog, from Sure Shot Redemption
“Bang” by Maseo featuring Truth Enola, DCQ, Mike G (of the Jungle Brothers) and Indeed
“Tinseltown to Boogiedown” by Scritt-Polliti featuring Lee Majors(of da Bush Babees) and Mos Def
“Slam Pit” by the Beatnuts featuring Common and Cuban Link, from A Musical Massacre
“Vivrant Thang (Remix)” by Q-Tip featuring Busta Rhymes & Missy Elliott
“N.T.” by Q-Tip featuring Busta Rhymes, from Amplified
“Voicetress” by Truth Enola featuring De La Soul from Blind Side Recordings presents Wide Angels

“Set the Mood” – De La Soul featuring Indeed, produced by Mr. Khaliyl(of Bush Babees) from Art Official Intelligence: Mosaic Thump
“I.C. Y’All” by De La Soul featuring Busta Rhymes, from Art Official Intelligence: Mosaic Thump
“What’s That? (¿Que Eso?)” by Tony Touch featuring Mos Def and De La Soul, from The Piece Maker
“The Questions” by Common featuring Mos Def & Monie Love, from Like Water for Chocolate
“One for Love Part 1” by Mos Def, Talib Kweli, Posdnuos, Pharoahe Monch, Kool G Rap, Rah Digga, Sporty Thievz, and Shabaam Sahdeeq, from Hip-Hop for Respect

“Take That” by Da Beatminerz featuring Flipmode Squad & Vinia Mojica, from Brace 4 Impak
“Wages of Sin”-Mr. Khaliyl featuring Talib Kweli

“Get By (Remix)” by Talib Kweli featuring Mos Def, Busta Rhymes, Jay-Z, and Kanye West
“Stand To The Side” by Talib Kweli featuring Vinia Mojica & Res, from Quality

“Let’s Get Loud” by Steven Tyler, Busta Rhymes, Phife Dawg, MC Lyte, and Chuck D, from the 2003 ESPY Awards

“Get ‘Em High” by Kanye West featuring Talib Kweli and Common from The College Dropout.
“She Wants to Move (Native Tongues Remix)” by N*E*R*D feat. Common, Mos Def, De La Soul, and Q-Tip, from “She Wants To Move Remixes” 12-inch single
“Days of Our Lives” by De La Soul featuring Common, from The Grind Date
“Lord Can I Have This Mercy” – (featuring Chip-Fu) from Ali Shaheed Muhammad’s [i]Shaheedulah & Stereotypes[/i]

“Like That” by The Black Eyed Peas featuring Cee-Lo Green, Talib Kweli, Q-Tip, and John Legend, from Monkey Business
“We Can Make it Better” by Kanye West featuring Rhymefest, Q-Tip, Common, and Talib Kweli

“Get You Some” by Busta Rhymes featuring Q-Tip and Marsha Ambrosius, from The Big Bang
“You Can’t Hold A Torch” by Busta Rhymes featuring Q-Tip and Chauncey Black, from The Big Bang

“Where Are They Now? (Remix)” by Nas featuring Mike G, Dres, Das EFX, Positive K, EST, DoItAll, Chip Fu, Monie Love, Father MC, Spinderella, Rob Base, and Redhead Kingpin

“Birds of a Feather” by Black Sheep featuring Q-Tip from A Tribe Called Quest, Trugoy the Dove of De La Soul, and Mike Gee of the Jungle Brothers. From Black Sheep album “From the Black Pool of Genius” due June 29, 2010.
“Scheming” by Slum Village ft. J Dilla, Posdnuos of De La Soul, and Phife Dawg from Villa Manifesto

“P.T.I.(Occupy Wall Street)” by Evitan(Dres of Black Sheep & Jarobi of A Tribe Called Quest)

Red Everything Movement

Saturday Night Focus – Focus On The Mighty Pharoahe Monch_Top 10 Songs

As both a fan of P.Monch and an addict of good hip hop music,the list I’ve compiled is of my own personal opinion and admiration to the man’s work.

What’s your list?

10.” No mercy ” ft M.O.P

Taken from his debute solo album Internal Affairs a song produced by The Alchemist.


9. ” Let’s go ” ft MeLa Machinko

the second single from Pharoahe Monch’s 2007 album Desire (Pharoahe Monch album). It was released on September 15, 2006 by SRC Records as a 12″ vinyl with a double A-Side. It features singing by MeLa Machinko, a fast-paced guitar-led beat produced by Black Milk, scratches provided by Boogie Blind, and two verses rapped by Pharoahe Monch.


8.” Let My People Go ”

Taken from his 3rd solo album W.A.R, he stated on an interview : On the first part of the first verse I do a lot of sampling from my own stuff. I talk about that in “Evolve.” The first part of “Evolve” is from a song I did with De La [Soul] called “Ghost Weed,” and I revitalized it because talk about time traveling on some parts of the album. The first part of “Let My People Go” is from a song, some obscure song


7. ” The Light ”

My Favorite track on his solo debut album Internal Affairs, with lyrics like this,
“It was like the earth twisted around her
She shifted the ground I was like, “Ohhhhh..
She’s off the hook, I would dress her decently
But look her body is immaculate I’m attackin it
from all positions
Of thinkin inside my mind-ah
Hopefully it won’t be too inappropriate if I walk
over there and say,
“Excuse me, can I have your number please?
I’ll get on my knees if I have to”
She’ll laugh through, the whole episode
Just then I knew I had her locked (down)
No cock-blocking please this one’s mine (uh)
Dimepiece and shit son, shorty was fine
Every line of mine was like a rhyme I wouldn’t lie I
Sparklin the whole time as I whispered in her ear”


6.” Broken Heart ”

Not sure whether this is the jump-off for a new album or just a stand-alone single, but either way Pharoahe’s new Mr. Porter-produced joint has been on repeat since it leaked. For my money’s worth, Monchichi does the love- lorn break-up thing as well as anyone in hip-hop, navigating the complex emotions of jealousy, anger and regret in just over three minutes and still finding time to call his ex-girl’s new man a bitch. That said, this is what you get for dating a girl who rocks 2Pac posters on her walls.

5. ” Desire ” ft Showtyme

The tittle song of his 2nd Album Desire,this is 1 of the most complex and energetic songs by the golden age rapper

4 ” Fuck You”

Also on the critically acclaimed album Desire and also on the Training Day soundtrack. Real hip hop heads respect the Mighty PHaroahe just for this song alone.

“Basically I’m the worst nightmare you ever had
Figure a trigger happy nigga with a badge
Parading around Los Angeles
High off coke with a banana clip
Feasting off the weak street evangelists
With a manuscript in professional ass-whipping
Task force, brass knuckles, a master in ass-kicking
If you ask for it, I blast for it, you’re back flipping
No one saw it, I won’t stop, the clock’s ticking
Got a rookie for a partner that’s ready to fight
The world’s a merry-go-round, I stereotype niggas
He’s a spit in the face for pitbull or bite niggas
Matter of fact, kinda like this cat for a white nigga ”

3. ” In The Zone ”
Taken from Saints Row
The Third Soundtrack,one my favorite fun songs just vibe to.

2 “Clap” (one day) ft Showtyme

Taken from his 3rd album W.A.R one of the most powerful songs ever recorded with the most complex rhyming in the biz.

1 ” Simon Says ”

Well there’s nothing else to say about this record than Legendary. Taken from his debut album Internal Affairs this is the song that personifies his greatness.

Red Everything Movement

Saturday Day Focus – Focus On The Mighty Pharoahe Monch

Pharoahe Monch

Background information

Birth name – Troy Donald Jamerson
Born October 31, 1972 (age 40)
Origin – South Jamaica, Queens, New York City, United States
Genres – Hip hop
Years active – 1987–present
Labels – Hollywood/Priority Records
Rawkus/SRC Records
Duck Down Records/W.A.R. Media, LLC
Associated acts – Organized Konfusion, Hilltop Hoods, Busta Rhymes, Adam F, Shabaam Sahdeeq, The HRSMN, Talib Kweli, Common, Mos Def, Kanye West, Erykah Badu, Mr. Porter, Styles P, Nate Dogg, Showtyme, Royce da 5’9″, Canibus, Ras Kass

Troy Donald Jamerson (born October 31, 1972), better known by his stage name Pharoahe Monch is an African-American rapper. He is known for his complex lyrics, complex delivery, and internal and multisyllabic rhyme schemes.[1]


Pharoahe Monch’s name is derived from the monkey doll Monchhichi. After receiving a bad haircut, which left Monch looking like a “chimpanzee”, girls in Monch’s class at the High School of Art and Design began calling him “Monchhichi”, which was later shortened to “Monch”. Monch adopted the “Pharoahe” prefix after meeting future Organized Konfusion partner Prince Po.[citation needed]

Monch released three albums as part of the rap duo Organized Konfusion with partner Prince Poetry: The self-titled Organized Konfusion, Stress: The Extinction Agenda and The Equinox. The duo handled a large amount of production on these albums themselves. All albums received positive critical reviews, but moderate sales. As a result, the duo split up after recording their final album The Equinox in 1997. Prince Poetry has since denied the possibility of an Organized Konfusion reunion.

Pharoahe Monch then signed to Rawkus Records, an indie label. After making several guest appearances on albums like the best-selling Rawkus compilation Soundbombing II, Monch’s much-hyped debut, Internal Affairs was released in 1999. The first single of the album, “Simon Says”, became a hit single, peaking at No. 97 on the Billboard Hot 100. It was also featured in the 2000 cinematic releases Charlie’s Angels and Boiler Room. Despite its success, the song caused controversy when Monch was later sued for the song’s use of a sample from Akira Ifukube’s Gojira Tai Mosura for the hook. The uncleared sample use caused a halting in his album’s distribution.

After Internal Affairs and the controversy from his hit song Pharoahe would not release another solo project for several years. He did still make some songs and guest appearances however. In 2000 he featured with Mos Def and Nate Dogg on the hit song “Oh No” from the Rawkus compilation record Lyricist Lounge 2. He contributed the song “Fuck You” to the Training Day soundtrack in 2001, and rapped the theme song to Madden NFL 2002. In 2003 Pharoahe released his final single through Rawkus Records, “Agent Orange”, a war inspired song which revisited the 1991 Organized Konfusion track “Releasing Hypnotical Gases”.

Pharoahe is also affiliated with the rap group The HRSMN. Although not a member of the group (there are only four real members), he is constantly linked to someday join the group when/if they ever expand.[citation needed]

Pharoahe Monch in 2009

There were rumors his next album, at first tentatively titled Innervisions, was to be released under Denaun Porter’s new Shady Records imprint Runyon Ave. They reached out to Stevie Wonder and were at the beginning processes of recording the album[2] but apparently the deal fell through; Monch later announced a deal with Street Records Corporation, home of Wu-Tang Clan, David Banner and Terror Squad. In June 2007 Monch released his second solo album Desire to critical acclaim. Monch said about the album; “…it’s very soulful, very gospel, a fresh, new sound for me.” The album’s lead single was the self-produced track “Push”, with “Let’s Go” as its B-Side. The song’s music video and single were released in late September 2006. Pharoahe Monch released a second music video entitled “When the Gun Draws” at a Brooklyn music festival in February 2007. The track was inspired by a song he did with Prince Po entitled “Stray Bullet” which was featured on the Stress: The Extinction Agenda album. A final video was made for the title track “Desire” in late 2007. It was directed by New Zealand director Andy Morton and shot on the Rock the Bells tour with full band. The video features both MeLa Machinko and of course, a huge performance from Showtyme.

On July 9, 2010, Pharoahe Monch allowed hip hop website to leak a song from his forthcoming album W.A.R. (We Are Renegades). The song was called “Shine” and featured vocals by MeLa Machinko and was also produced by Diamond D. On February 14, 2010, another song from Monch was leaked, which is called “Clap (One Day)”, produced by M-Phazes.

Pharoahe Monch released his third solo album W.A.R. (We Are Renegades) in March 2011. It featured guest appearances from Jill Scott, Styles P, Citizen Cope, Jean Grae, Royce da 5’9″, Immortal Technique, Vernon Reid, Phonte, Mr. Porter, Mela Machinko, Showtyme & DJ Boogie Blind.[3] Pharoahe revealed that the album is a “throwback to 1993, ’94 hip-hop” and featured production by Exile, Marco Polo, M-Phazes, Fatin, Diamond D, Mike Loe, Samiyam, Adam Deitch, Eric Krasno and Pharoahe Monch himself.[3] Four singles have been released from the album: “Shine”, “Clap (One Day)”, “Black Hand Side”, and “Assassins”. A ten-year anniversary re-issue of Internal Affairs will also be released featuring a documentary about the making of the album.[4]

In 2011, Pharoahe Monch was a judge on the Ultimate MC TV show alongside with Royce da 5’9″, Sean Price, Planet Asia, and Organik.[5]

Rapping technique

Pharoahe Monch is acclaimed for his complex rapping technique[1] – Allmusic says he has, “a reputation as one of underground hip hop’s pre-eminent lyricists, crafting intricate and intelligent raps.”[6]Kool Moe Dee ranks him at 26 in his best MCs of all time list, from his book, There’s a God on the Mic.[7]Kool Moe Dee notes: “Pharoahe Monch is like an eloquent linguistics professor moonlighting as a rhyme serial killer terrorist, challenging the listeners’ I.Q. while daring him or her to keep up.”[7]

Monch compares writing and recording his lyrics to writing and filming a movie – in the book How to Rap he says he will ‘punch-in’ vocals so he can “retake some things, just like a film”,[8] and he ‘rewrites’ lyrics, saying he will “go back as a screenwriter and rewrite scenes and leave more to the imagination.”[9]

For his biggest hit, “Simon Says”, he comments that he wrote the choruses before he wrote the verses,[10] and fellow rapper and collaborator O.C. notes that Monch will write single lines down and then use them five years later.[11] His vocal delivery is inspired by Jazz music and musicians such as John Coltrane.[12]


Group albums
With Organized Konfusion:

Album information

Organized Konfusion

Released: October 29, 1991

Certification: None
Label: Hollywood Basic Records
Singles: “Who Stole My Last Piece of Chicken?”/”The Rough Side of Town”, “Fudge Pudge”/”Walk Into the Sun”
Stress: The Extinction Agenda
Released: August 16, 1994
Certification: None
Label: Hollywood Basic
Singles: “Stress”/”Keep It Koming”, “Bring It On”

The Equinox

Released: September 23, 1997
Certification: None
Label: Priority
Singles: “Somehow, Someway”/”Soundman”/”Numbers”/”9x’s out of 10”
Solo albums

Album information
Internal Affairs

Released: October 19, 1999
Billboard 200 chart position: No. 41
R&B/Hip-Hop chart position: No. 6
Singles: “Simon Says”/”Behind Closed Doors”, “The Light”/”Right Here (Remix)”


Released: June 26, 2007
U.S. Sales: 12,200 (First week)
Billboard 200 chart position: No. 58
R&B/Hip-Hop chart position: No. 13
Singles: “Push”/”Let’s Go”, “Desire”/”When The Gun Draws”, “Body Baby”

W.A.R. (We Are Renegades)[4][13][14]

Released: March 22, 2011
U.S. Sales: 9,600 (First week)
Billboard 200 chart position: No. 54
R&B/Hip-Hop chart position: No. 14
Singles: “Shine”, “Clap (One Day)”, “Black Hand Side”, “Assassins”
2013: P.T.S.D. (Post Traumatic Stress Disorder)


The Awakening. Released December 2006. The Awakening was Pharoahe Monch’s first and only official mixtape, released prior to Desire.[15]


1999: “Simon Says”
2000: “The Light”
2001: “Fuck You”
2002: “The Life”
2003: “Agent Orange”
2007: “Push”
2007: “Let’s Go”
2007: “Body Baby”
2010: “Shine”
2011: “Clap (One Day)”
2011: “Black Hand Side”
2011: “Assassins”
2012: “Damage”
2013: “Stand Your Ground (Travyon Martin Tribute)”[16]

Guest appearances

List of non-single guest appearances, with other performing artists, showing year released and album name

Title Year Other artist(s)Album

“Live from the DJ Stretch Armstrong Show with your host Bobbito The Barber”1998Black Thought, Common, AbsoluteLyricist Lounge, Volume One

“WWIII”1999Shabaam SahdeeqSoundbombing II


“Lyrical Fluctuation”DJ Spinna, Jigmastas, Talib Kweli, Shabaam SahdeeqThe Beyond Real Experience

“Dirty Decibels”The High & MightyHome Field Advantage

“Take Me Home”Polyrhythm AddictsRhyme Related

“The Anthem” (Heavyweight remix)Sway & King Tech, Eminem, RZA, Tech N9ne, Xzibit, Kool G Rap, Chino XL, KRS-OneThis or That

“Turnablist Anthem”Rob SwiftThe Ablist

“Innovations”SaukratesThe Underground Tapes

“Livin’ It Up”Various ArtistsNext Friday Soundtrack

“I’ll Collabo”2000Cella Dwellas, Prince PoThe Last Shall Be First

“Kenny Rogers – Pharoahe Monch Dub Plate”Wyclef JeanThe Ecleftic: 2 Sides II a Book

“What Am I”Antipop Consortium, L.I.F.E. LongTragic Epilogue

“Ghost Weed Skit 1″De La SoulArt Official Intelligence: Mosaic Thump

“Horsemen”Canibus2000 B.C. (Before Can-I-Bus)

“Connect”DJ Hurricane, Xzibit, GippDon’t Sleep

“Oh No”Mos Def, Nate DoggLyricist Lounge 2

2001: “Fuck You” (Training Day (soundtrack))

2001: “I Pledge Allegiance” (from the Nate Dogg album Music and Me)

2001: “Last Dayz” (from the Adam F album Kaos: The Anti-Acoustic Warfare )

2002: “Madden 2002 Theme” (from the video game Madden NFL 2002)

2002: “Guerilla Monsoon Rap (feat. Black Thought)” (from the Talib Kweli album Quality)

2002: “The Life (featuring Styles P)” and “Round & Round (Remix)”, (from Soundbombing III)

2002: “The X (Y’all Know The Name) (featuring Xzibit, Inspectah Deck and Skillz)” (from the X-Ecutioners album Built From Scratch)

2002: “H! Vltg3 (featuring Evidence and DJ Babu)” (from the Linkin Park album Reanimation)

2002: “Frontline (featuring Prince Po, Mike Zoot and F.T.)” (from the El Da Sensei album Relax Relate Release)

2002: “Murda 1 Case (featuring KK)” (from the DJ Quik album Under Tha Influence)

2002: “See What I See” (from the Ras Kass album Goldyn Chyld)

2002: “Talking to You (feat. Mos Def, Talib Kweli, Rah Digga & A-Butta)” (Rawkus Single)

2003: “Oblivion” (from the Aimee Allen album I’d Start A Revolution (If I Could Get Up In the Morning))

2003: “What is the Law” (Oz Soundtrack)

2004: “Just Do It” (from the Pete Rock album Soul Survivor II)

2005: “It Ain’t The Money” (from the Macy Gray album The Very Best of Macy Gray)

2005; “Evaridae” (from the O.C. album Starchild)

2005: “New World Symphony” (from the Miri Ben-Ari album The Hip-Hop Violinist)

2006: “Fish Filet” (from the Sa-Ra double-single The Second Time Around)

2006: “Book Of Judges” (Marc Eckō’s Getting Up: Contents Under Pressure Soundtrack)

2006; “Loose Ends (feat. Justin Timberlake &” (from the Sérgio Mendes album Timeless)

2006: “Love” (from the J Dilla album The Shining)

2007: “Push” in videogame NBA Street Homecourt

2007: “Rehab (Remix)” (feat. Jay-Z) (from Amy Winehouse album Back to Black)

2007: “Reachin'” (from the Polyrhythm Addicts album Break Glass)

2008: “Apocalypse RMX” (from the Immortal Technique album The 3rd World)

2008: “The Matrix (feat. Pharoahe Monch, Sean Price & DJ Premier)” (from the Black Milk album Tronic)

2009: “Classic Example” (from Hilltop Hoods album State of the Art)

2009: “Salute” (from Slaughterhouse’s self-titled album Slaughterhouse)

2009: “One Shot” (from the KRS-One & Buckshot album Survival Skills)

2009: “Dollaz & Sense” (with RZA) (from The Black Keys’ album Blakroc)

2009: “Back and Then” (from the Prince Po EP X-Files)

2010: “Let U Live” (from the Consequence mixtape Movies On Demand)

2011: “We Go Off” (from the Phonte album Charity Starts At Home)

2011: “Children” (from the Styles P album Master of Ceremonies)

2012: “Death March (remix)” (feat. Stat Quo) (from the ¡Mayday! digital single)

2012: “Black Out” Ghostface Killah, Styles P

2012 “Alright” Dj Static, Nat Ill & Temu. (From the CD disk 2 “Rolig Under Pres”)

2012: “BBQ Sauce” Sean Price Mic Tyson

Red Everything Movement

Friday Showdown – Who Better? Pharoahe Monch Vs Immortal Technique

Pharoahe Monch vs Immortal Technique

FreeSpeech wrote:

Monch, I can’t stand IT’s voice or his off delivery. Monch has better beats and production too, and he has far better song content.

MalikKillzzIt wrote:

Can’t stand his voice or delivery? Hello, this is hip hop. Your gay opinion made me realize that you listen to fags like Drake and Lil’ Wayne, not your “Who I’m Listening To” list.. You just don’t get his music dude. A mainstream-trash-listener like you shouldn’t even be allowed to vote or comment here lol

FreeSpeech wrote:

Haha I 100% get his music, he’s a pretentious idiot. My sig was what I was listening to the day I made it, not my favorites. For example, Pink Friday was rediculously wack, I couldn’t finish it. IT has an awful voice, his delivery is often off beat, I’ve listened to pretty much his whole discography.

MalikKillzzIt wrote:

I guess Rakim, Pharoahe Monch, and Mos Def are all mainstream trash? They just as easily could have been in my sig, had they been what I had been listening to that day/week.

FreeSpeech wrote:

Have you even listened to Monch?

MalikKillzzIt wrote:

How smart, you’re using the word “pretentious” to describe every rapper that’s better than anyone in your top ten. Get a dictionary and search for new words, you’re as played out as Soulja’s rhymes.. Wait you might actually dig his music too O.o How the hell are Lupe and Technique “pretentious” when they don’t even claim to be the best like that faggot Wayne does? They just leave it to the fanbase to decide that and some of us who aren’t dumb (doesn’t include you) actually know that they’re good. All you see in a hip hop song is a catchy beat, whatever.. There are too many losers with illogical opinions on this forum, a disgrace to Eminem indeed. No wonder my friend’s brainwashed too.. Pharaohe Monch is awesome, but the friend I was talking about claims that Immortal Technique has “a couple of *GOOD* songs” whereas every track he made was a classic, I guessed he was talking about “Dance with the Devil” and “You Never Know” cause he lacks knowledge in the social area just like most of you do, thus he didn’t understand shit and was lost as fuck listening to the other songs. It’s all cause of these users who are too pussy to realize the truth he spits.

Red Everything Movement

Friday Showdown – Who Better? Mos’def (Yasin Bey) Vs Lupe Fiasco

Best Answer

Lupe. Though, I think his Fahrenheit 1/15 mixtapes were overrated. I think Food & Liquor is better than Black on Both Sides and is better than every other Mos Def album. I think The Cool is better than every Mos Def album then maybe Black on Both Sides and possibly The Ecstatic. Black Star is better than both Lupe albums though. But without Talib, Black Star wouldn’t be a 5/5 album. So I’d defiantly say Lupe.

Red Everything Movement

Hip Hop Ladies Night – Artist Review – Ms Supa (R.S.A)

Ayanda Ngidi has always been a performer. From organising singing contests at the age of 8 just so she can win singing Brenda Fassie’s “It’s a wedding day”. The young girl always had the love for stage and entertainment. Ms Supa* started her journey with Hip Hop and Music since the young age of 13. This was when South Africa was just getting introduced to Hip Hop.

At 1st she enjoyed the music but always assumed it was for Males. It wasn’t until she heard Foxy Brown’s 1st major single “Gotta get you home” that she realised that “girls can do it too”. So the 13 year old girl went to scribble her 1st rhyme. From then on she could not be stopped. Always penning thoughts, at times mimicking the females that were prominent at the time. Lil’Kim, Foxy Brown, Queen Latifah, MC Lyte and the like. She eventually found her voice and flow at 16. Most remember her as the only female at “pscyphers” throughout her high school years.

She never seemed discouraged by being the only female, instead it helped her to hold her on. After high school she moved to Pretoria too study. It was there that she met other like minded peers. She went to record her 1st song at Toxic Soul Music in Pretoria and rubbed shoulders with the MC’s in the Capital City such as RAS, Nveigh, BlackLes, Flex Boogie, Onderground to name a few. She started performing at some of the biggest gigs in Pretoria.

Going on to submit her songs for SA’s only Hip Hop magazine, Hype Magazine, for their mixtape. It was there that the editor saw more in the artist and an opportunity to highlight females in Hip Hop. That was when she was selected to become the 1st lady to be on the cover of Hype Magazine.

The article covered MsSupa, Tumi (a female DJ) and Relo who was the lead vocalist for Skwatta Kamp. Since then she has performed at gigs in Pretoria and Jo’burg including the Smirnoff Hype Sessions Launch. With no recording label backing her she’s doing things on her own. She finally dropped her EP The Complete Puzzle in August in line with Womens Month. In 2007 she got the Number one spot on Rhyme and Reason on Metro Fm .

She has held her own at major events and constantly aims at making Hip Hop and music for all ears. Her many achievements include being featured on HHP’s Dumela album. This lady has also done work for TV and Radio. She had was a freelance DJ on Joburg’s No1 Hit Music Station (94.7) for 2 years. She has also featured on the award winning Yizo Yizo.

Ms Supa* is a multi dimensional entertainer who has only just starte

Red Everything Movement

Hip Hop Ladies Night – Album Of The Week – Jean Grae _ This Week

This Week

Studio album by Jean Grae

Released21 September 2004
Genre – Underground rap[1]
Label – Babygrande Records
Producer – Joey Chavez, Shan Boogie, The Belief, Dirty Swift, LT. Moe, William Tell, Sid Romes, Adam Deitch, Bruce Waynne, 9th Wonder

Jean Grae chronology

The Bootleg of the Bootleg EP
(2003)This Week
Professional ratings
Review scores
Allmusic [1]

This Week is the third album by Jean Grae, released September 21, 2004 on the Babygrande Records.

Track listing

“Intro” (featuring Ruddy Rock)
“Cuervo Loco (Skit)”
“Going Crazy”
“Style Wars” (featuring Block McCloud)
“Not Like Me”
“Supa Luv”
“Give It Up”
“The Wall”
“Before The Spot (Skit)”
“You Don’t Want It”
“Watch Me”
“Don’t Rush Me”
“Fyre Blazer”

Red Everything Movement

Hip Hop Ladies Night – Remembering – J.J. Fad

J. J. Fad

Also known as – Original J.J. Fad
Origin – Rialto, California, Los Angeles, California, United States
Genres – Hip hop
Years active – 1985–1992
Labels – Uncle Louie Music Group
Associated acts – N.W.A, The Fat Boys
Members – Juana Burns (MC J.B.)
Dania Birks (Baby D)
Michelle Franklin (Sassy C)

J. J. Fad is an American rap group from Rialto, California, whose name stood for Just, Jammin’, Fresh And Def, and were backed by Clarence “DJ Train” Lars.


JJ Fad was originally a six-member group out of Los Angeles in 1985. Its members were Juana Burns, Dania Birks, Michelle Franklin, Anna Cash, Fatima Shaheed, and Juanita Lee. The name JJ Fad actually was formed from the first names of the members. The six-member group released one song, 1987’s “Another Hoe,” which took jabs at Roxanne Shante.

Due to management and financial issues, Cash, Shaheed, and Lee left the group, leaving JJ Fad as a trio with DJ Train as their MC.[1][2]


J. J. Fad gained popularity with a trimmed-down line-up of MC J.B. (Juana Burns), Baby-D (Dania Birks), and Sassy C. (Michelle Franklin). Hailing from Los Angeles, California, the group were one of the original Ruthless Records acts signed by Eazy-E, and they sold 400,000 copies of their 1987 single “Supersonic” independently before Eazy and Jerry Heller had managed to secure a major label recording contract.

Signing the act to Atco Records, both the single “Supersonic” and the album Supersonic went platinum. The album was produced by Dr. Dre and DJ Yella with Arabian Prince, shortly before Dre and Yella gained national fame with N.W.A. J. J. Fad were the first female rap group to earn a Grammy nomination and have a record reach platinum status [1]. Unlike many West Coast rappers of the day, their producers made J.J. Fad sound easily accessible to a pop audience by including many electro elements throughout.

Not Just a Fad

It was three years before the group returned with a follow up album, with Eazy and Heller enjoying success with N.W.A. Not Just a Fad was released in 1991, produced by Yella and overseen by Eazy, but the album failed to make an impact. The group disbanded shortly afterwards. DJ Train died in 1994 of smoke inhalation.

In 2006, Fergie used an interpolation of “Supersonic”, and a sample of “Give It All You Got” by Afro-Rican, for her song named “Fergalicious”.

Present day

After being out of the limelight for almost two decades raising their families, J. J. Fad reunited and started touring in 2009. “Supersonic” will appear in Dance Central 3 and the game was promoted by J.J. Fad themselves via their Facebook page. They eventually reformed on stage invited by Public Enemy at the House of Blues, the day before the NYC band’s induction to Rock’n’Roll Hall of Fame.


1988: Supersonic
1991: Not Just a Fad

Red Everything Movement

Mzansi Wednesdayz – Artist Review – Pro (Prokid)

Linda Mkhize, also known as ‘Pro and ProKid, was born 25 June 1981 in Diepkloof, Soweto. He is a Hip Hop artist who was signed to the Gallo Record Company after his independently released track ‘Soweto’ gained popularity.

Early career

Pro has fronted for the Soweto rap group in the past, but does not currently.

His rap songs include a significant amount of swag. He is also said to believe that rhyming should not be language based, that the delivery should be what matters as shown by the following quote.

“For me rhyming goes beyond choosing a language I feel comfortable with. There are things you can loose when using vernacular yet there are things that sound right when using African languages”
—- Linda Mkhize

Pro has worked with various producers and rappers, including Dplanet, Amu, Nyambz, Dibanto, Omen, Draztik and Dome. In 2007 Pro travelled to the Netherlands to record with Tripple & Touch, where he performed at many clubs in Amsterdam and performed with P. Diddy. He has also performed as an opening act for HipHop, Busta Rhymes, and 50 Cent. In 2006 he co-presented SABC1’s dance show, Jika Ma Jika.

Pro is currently signed to T.S records even though the is speculation that he might sign with M.F.E which he owns. Flipside, a rap group which his brother is acquainted to, and Red Button, his protégé, are currently some of the artists signed to the stable. He released a new single titled “20past10” which coincided with the single by his protégé named “SHIKISHA”.

He has collected numerous awards and nominations, with the HYPE awards being the most accolades he has collected throughout his career. His appeal to the entertainment industry has been limited due to his persona, which is highly influenced by his background and society around him. He has stayed loyal to his hometown always mentioning Soweto, Jabulani, Diepkloof and Klipspruit in his music. He also matriculated from Johannesburg Secondary School.


Heads and Tales was released by Gallo Record Company in May 2005

Imbizo Street Mixtape Vol. 1 was released by In Da Bag Entertainment in September 2005

DNA was released by Gallo Record Company/ In Da Bag Entertainment in November 2006

Dankie San was released by TS Records on 1 November 2007

Snakes & Ladders, a future release, was produced by TS Records

Red Everything Movement

Mzansi Wednesdayz – Artist Review – Mr Selwyn

Mr. Selwyn Profile

Selwyn Bongani Ngwenya better known as Mr. Selwyn, is a South African Music Award (SAMA) winning Hip Hop Mc, which has won accolades and hearts of fans around South Africa.


Born in Baragwanath Hospital. Selwyn was raised in Mofolo North, which is in South Africa’s historically rich township, Soweto. At the age of 11 he moved with his family to Pimville (also in Soweto) where the matured from teen to the man and MC he is today.

The hip hop career of Mr. Selwyn started its take off in 1992, when he used to frequent the now critically acclaimed, ‘hub of South African hip-hop’, Le Club. There he met other MC’s from the ever growing Jozi Hip-Hop community. This was where Selwyn harnessed his rap skills and ‘upped his rep’, through winning various rap competitions and battling other MC’s.

Selwyn’s rap career was elevated once more with the release of his debut album ‘Formula’ in 2004. This release finally came under Gallo records, after being head hunted by major recording labels for work done through collaboration with big Hip Hop artists. His rap music is best defined as Musical Mature Hip Hop.

From his album Formula, Selwyn won a South African Music Award (SAMA) in 2005 which included some of his best work, like the hit single Shake, which enjoyed tremendous radio and television airplay all throughout South Africa. The follow up single people was also a huge Metro fm favorite that topped the charts.  Other singles include classics (which still seems to be a fan –favorite to date) are Senthaolele,  I finally see and Eddie Zondi favorite Tonite.

In late 2006 Selwyn released his second album, titled Zone 5. A follow up album that did not receive much of the deserved publicity, however it produced two popular singles and  videos; Yabaz’ abantu and Ezase Kasi a collaboration with one of South Africa’s well known rappers, Prokid. This album found most of its love and praise in Durban and was highly acclaimed by other musicians because of its production and packaging. 

In 2009 Selwyn released his latest article, called Foundation with a hot single called Get ‘em up which also enjoyed huge radio and television airplay and had topped the charts on 5fm, Metro fm (8 weeks) and on Yfm (12 weeks) made the return of the Pimville Mc the most anticipated.

Mr Selwyn is now acclaimed as the Pioneer in South African Hip-Hop as his accolades show he has worked with almost everyone within the hip-hop community and other genres


1996 – collaborated with Prophets Of the City for their album “Ghetto Code” released under Ghetto Ruff

1998- Skwata Kamp “Manyisa” remix from the album, “Kut en Joyn”

2000-2004  He was working for MTN as a sales consultant in a call centre.

2003- Collaborated with Amu, who recently won a SAMA Award 2011 on songs    such as “Attention which is the single enjoyed huge spins on Radio and introduced Mr Selwyn to the music industry.

2003-2005 He has done recording
with HHP “On our Own now” from the album “Omang”
Pitch Black Afro  “A dat in the life” from the album “Styling Gel”
Prokid on all his albums on songs like “Debate” from the album “Formula”
“Ezase Kasi” from the album “Zone 5” and “Doin’ it” from the album “Foundation”
Proverb  “Soweto Spanish” from the album “Formula”

2006 -Wikid on “Shake” from the album “Formula”.
Wikid on  “Favourite things” , “Beautiful”, “Akekho” all from the album “Anger Management”

2006- Released the album “Zone 5”

2007- Flabba – “Sbhamu somdhoko” remix

2008- Slikour- “Umsindo” remix

2009- Released  the album “Foundation”

2010 – Speedy & Stoan “Letsatsi le” Remix

2010- Amu  “Siyaphanda”, “Everything you need”, “Prayer for you”, “Indabayam” all from the SAMA award winning album “The Principal”

2010- Professor “How dare you” from his platinum album “University of Kalawa”

2011- Spikiri  still untitled he recorded two song on Spikiri’s latest album

2011- Mahoota still untitled album a song featuring Speedy and Skhokho

2011- “Get ‘em up” Remix feat – Proverb, PRO, Ma-E (from Tear-Gas), Flabba, DeepLevel and Barbie

2011 – “We Mfana feat Professor for his new album

Red Everything Movement

Mzansi Wednesdayz – Artist Review – Proverb

ProVerb – Rapper – Johannesburg

When Tebogo Thekiso, aka ProVerb started rapping in 1999 all he wanted to do was sound cool and be better than the next rapper on the scene, little did he know that he had sparked the flame to a fire that would engulf the whole of SA and other parts of the mother continent. 9 years and 3 albums later, ProVerb has built himself a career in the world of entertainment with his ability to craft pictures, dreams and emotions with words as the driving force. His tenacious attitude and not believing in being second best has helped place his name in the hearts and minds of South Africans of all ages and walks of life.


Born in Kimberly in the Northern Cape, or ‘Dime City Rhyme City’ as it’s now commonly known, Verb’s humility, socially-conscious and clean content have earned himself tens of thousands of fans in SA and abroad. One of the very few rappers who don’t use vulgar language in their rhymes, Verb has that widespread appeal to audiences old and young. In 2004 he released his official debut album, The Book of ProVerb, through independent record label Outrageous Records. This album marked the birth of a flourishing career for the Kimberley MC – a true diamond in the rough that would shine like no other. This album featured the massive singles ‘I have a dream’, ‘Microphone Sweet Home’ and ‘Heart Beat’


After being quiet for sometime to focus on different entertainment avenues in entertainment, Verb has finally dropped his much anticipated third album Write of Passage, his second major release through Gallo.

This album boasts Verb’s largest amounts of collaborations to date including HHP, Maggz, Mode9, Morale, Ferdy (Urban Reign), Tamarsha, TeePee, Clu and others. Notable producers include Ameen, IV League, Leo Large, Top Shayela, Don Juan (Octave Couplet) and introduces hot new beat-maker Raven MC – who will blow you away with his DJ Premier style of beats on the songs ‘Tryna Get It’, ‘Hip Hop’ and ‘ProMode’.


ProVerb is a true African star that has shown his potential as an artist and a brand that manages to appeal to a wide audience. His work ethic and
creativity will see him grow to new heights where he can set the standard on how local and even international artists handle their careers as entertainers and as socially responsible citizens. With right resources made available to him he will become the poster boy for South African musicians and youth to look up to.

Red Everything Movement

Mixtape Tuesdayz – Mixtape Of The Week – Schoolboy Q _ The Fraternity

As we wait for ScHoolboy Q’s major debut album, Oxymoron, the TDE camp releases The Fraternity mixtape, a Summer compilation of Q’s latest features and a few world premieres.  The Fraternity also hails features from Ab-Soul, Travis Scott, CyHi Da Prince, Kendrick Lamar, and many more.

Download ScHoolboy Q’s The Fraternity mixtape here.

Red Everything Movement

Mixtape Tuesdayz -Mixtape Artist Of The Week – Gunplay


Background information

Birth name – Richard Morales Jr.
Born July 18, 1979 (age 34)
El Paso, Texas, USA
Origin – Carol City, Florida, United States
Genres – Hip hop
Occupations – Rapper
Labels – Def Jam, Maybach Music Group
Associated acts – Rick Ross, Triple C’s

Richard Morales Jr. (born July 18, 1979), better known by his stage name Gunplay, is an American rapper signed to the Def Jam and Maybach Music Group record label.[1] His was formerly a member of rap group Triple C’s who released an album, Custom Cars & Cycles in 2009. After breaking out as a solo artist, he released various mixtapes such as the well acclaimed 601 & Snort. His debut studio album Living Legend is scheduled for release in 2013.

Early life

He grew up in Carol City in southern Florida with his mother.[2] He started using and selling cocaine at age 16 saying he used to spend $600–700 a week on drugs and thousands after his record deal.[3]

Music career

1997-2009: Career beginnings with Triple C’s
In 1997, he met with Carol City native Rick Ross and their passion for music led them to form the group Triple C’s (Carol City Cartel) alongside rappers Torch and Young Breed. The group worked hard to build a buzz, later releasing their debut album Custom Cars & Cycles in 2009, which debuted at #44 on the U.S. Billboard 200.[4]

2009-present: Solo career and debut album

Gunplay made his solo debut on Rick Ross track “Gunplay” on the album Deeper Than Rap. He released mixtapes under Maybach Music Group[5] while appearing on featured tracks and making appearances on collaborative albums. In July 2012, he signed a solo deal with Def Jam and will be releasing his debut album Medellin, originally called Bogotá, under both labels. He announced that he was working with producers from the south and he will be collaborating with producer Pharrell Williams. His mixtape, titled “601 & Snort,” released September 2012 and has been well praised by critics and was named the tenth best album of 2012 by Spin Magazine.[6] One of his featured guest appearance songs, “Cartoon & Cereal” with Kendrick Lamar, was ranked in Complex’s Best 50 Songs of 2012 list at #2.[7]

His most recent mixtape Cops & Robbers was released on January 18, 2013.[8][9] His debut album Living Legend is scheduled to be released in the fourth quarter of 2013.[10]Medellin was described as “raw” and a “real street album by Gunplay and in early 2013 was 75-80% done. He would go on to reveal Pharrell Williams will be producing a track called “Steel Drums” for the album and Yo Gotti and Big Sean would also be featured on the album.[3] He was also featured on Lil Wayne’s I Am Not a Human Being II on the song “Beat The Shit”.[11] On May 7, 2013 he announced that he had changed the title of his debut album to “Living Legend.”[12]

Personal life

Morales’ mother is Jamaican and he has a son with his ex-wife who he divorced in 2008.[2][13]

Legal issues

TMZ had reported [14] that on Wednesday, October 10, 2012, Richard Morales Jr. had turned himself in to Miami authorities, after a warrant had been issued for his arrest on charges of armed robbery.[15] Morales also faced a second charge of aggravated assault with a firearm. According to the rapper’s attorney, Gunplay could have faced life in prison if convicted on both counts. On October 13 a video leaked of Gunplay committing the crime. After seen talking on the tape, the man purported to be Gunplay brandishes a pistol, and eventually takes some jewelry and money from the accountant. A third, unidentified man in the meeting, who appeared to have come with the assailant, attempts to mediate the situation after which the man appearing to be Gunplay leaves.[16] On October 22, 2012, he was given a $150,000 dollar bond and placed on house arrest in connection to the robbery which took place at a Miami tax business.[17] He was released from house arrest during January 2013.

On the morning of February 25, 2013 Gunplay began trial for the charges of armed robbery, assault with a deadly weapon and aggravated assault charges, stemming from when he allegedly pulled a gun on his accountant during April 2012. Later that day he announced that the case was dismissed. This would be due to the victim, Turron Woodside, not being willing to cooperate with authorities. Woodside refused to authenticate the footage of the incident and was “out of town” according to his family. Subsequently the prosecution in the armed robbery case was forced to drop the charges.[18][19]


Some controversy was stirred up when the rapper Gunplay had himself tattooed with a Swastika . In a recent interviews, he explained the meaning behind his provocative tattoo. He said “Swastika was originally a sign of peace, happiness, and love. The Nazis turned it into the symbol of death. That’s the same way I feel society does to people. We start off as innocent babies and it turns us into monsters. If the shoe fits, wear it.”[3]

At 2012 BET Hip Hop Awards Gunplay was involved in an fist fight with members of 50 Cent’s G-Unit affiliates backstage. 50 Cent was later seen in a video, bowling wearing Gunplay’s MMG chain.[20]

The chain was also shown in rapper 50 Cent’s single’s video clip ‘Major Distribution’ (ft. Snoop Dogg & Young Jeezy). The chain was worn by Kidd Kidd’s son in the video.[21]

Main article: Gunplay discography

2009: Custom Cars & Cycles (with Triple C’s)
2013: Living Legend

Red Everything Movement

Red Alert! 20 Songs Where Rappers Got Outshined

20 Songs Where Rappers Got Outshined by Guests (1991-2013)

by Andrew Martin August 20

Kristian Dowling, Getty Images
In hip-hop, the guest feature can serve a wide variety of purposes and often many simultaneously.

There are times when the host rapper is playing armchair A&R with the goal of putting on a close friend who typically has few songs to his or her name. Other times, the complete opposite occurs — some unknown comes on the scene with a verse or chorus from a buzzing or high-profile artist. There is also the posse cut, wherein an MC gathers everyone he or she can to contribute to (usually) a remix that gets decent radio play or Internet attention and then fizzles. And in some cases, a rapper is simply trying to get the right voice to add a specific element to a track that calls for more than just solo-dolo bars.

In addition to there being numerous variables within the structure of guest features, there are just as many different outcomes that can occur once the track is laid to tape. Does the guest fit the track? Is he or she phoning it in? Is the appearance even necessary? Or, even worse, did the guest completely outshine his or her host?

Indeed, we imagine that it’s not the greatest feeling when, as an MC, you release a track and everyone is going ham over the other rapper’s verse. This is what we like to call “when guest features go awry” or, if you like to quote Nas’ vicious Jay Z diss track ‘Ether,’ “getting murdered on your own s–t.” After hearing Kendrick Lamar absolutely obliterated the competition on Big Sean’s recent non-album cut, ‘Control,’ we looked back to other examples in hip-hop history when rappers got bodied by their guests.

Note: The following list is in chronological order.

Nas on Main Source’s ‘Live At The Barbeque’ (1991)

During the recording of Main Source’s ‘Live At The Barbeque,’ you get the feeling that someone had to know they were witnessing the birth of a rap GOAT when Nas spit his verse at the age of 17. Armed with some of his rawest rhymes to date, the Queensbridge native loaded his bars with grimy, timeless quotables that are still relevant today. In about a minute’s time, he details snuffing Jesus when he was 12, kidnapping the president’s wife, being iller than an AIDS patient, and murdering police. And that’s not even the full extent of his fury. When he raps “I was trapped in a cage and let out by the Main Source,” you really believe it.

Busta Rhymes on A Tribe Called Quest’s ‘Scenario’ (1992)

Beat drops generally signify the portion of a track when you sit down and listen up to ensure that nary a moment slips by your ear. Of course, that’s what rewind buttons were made for, and we’re willing to bet plenty of those were broken in 1992. Specifically, it’s nearly impossible to imagine anyone hearing Busta Rhymes’ bars on ‘Scenario’ and not pausing the tape to hear him rap again. And again. And a few more times. The sound of a dungeon dragon roaring never sounding this passionate and straight-up ill.

Snoop Dogg on Dr. Dre’s ‘Nuthin’ But A ‘G’ Thang’ (1992)

Considering Snoop Dogg wrote the entirety of ‘Nuthin’ But A ‘G’ Thang,’ the song’s inclusion on this list shouldn’t come as a surprise or be seen as sacrilege. Dr. Dre himself would probably tell you himself he’s not the most gifted rapper—OK, he definitely wouldn’t, but you get the point—and he’d also tell you that Snoop circa ‘92 was not to be trifled with. Case in point: One of his first appearances on a record remains one of his most memorable and finest, thanks in part to his remarkably smooth flow. Also, who reading this hasn’t recited this verse at least a dozen times?

Notorious B.I.G. on Craig Mack’s ‘Flava In Ya Ear’ Remix (1994)

In almost every example, the guest-rapper-murdering-his-or-her-host phenomenon is the type of thing that just makes the track an event. People remember the verse, quote it for weeks (or years, even), and the guest and host move on to new and different things. But for Craig Mack’s ‘Flava In Ya Ear’ remix, everything just went horribly wrong. You see, he enlisted the help of Rampage, LL Cool J, Busta Rhymes, and, most foolishly, The Notorious B.I.G. Biggie proceeded to not only steal the show but completely eradicate Mack’s career. Do you remember hearing from him after this remix dropped? We didn’t think so.

Killer Mike on Outkast’s ‘Snappin’ & Trappin’’ (2000)
‘Snappin’ & Trappin’’ is the definition of a rapper coming out of nowhere and making a statement so heavy that you can’t help but pay attention. In this case, it was Killer Mike, an authoritative Atlanta rapper who, at the time of ‘Stankonia’’s release in 2000, was relatively unknown. That didn’t stop the larger-the-life MC from stomping his way onto the beat and besting his mentor, Big Boi, with rhymes so gruff it felt like he was attacking you. His name’s Killer Mike for a reason, and he certainly earned his stripes on the beyond-menacing ‘Snappin’ & Trappin’.’

Scarface on Jay Z’s ‘This Can’t Be Life’ (2000)

No one can deny that Jay Z and Beanie Sigel brought their pain and angst to ‘This Can’t Be Life,’ an instant classic off Hov’s ‘The Dynasty: Roc La Familia.’ But it’s Scarface who truly captured the song’s title and, more importantly, its feeling of loss. As he detailed in his verse, the Houston stalwart was just about to hit the studio to record his bars. Before he got the chance to do so, he received a phone call from one of his close friends whose son had just died. It’s not often that you hear a rapper like Face wax lyrical about crying and coping with loss, so it’s infinitely much more compelling when it happens.

Eminem on Jay Z’s ‘Renegade’ (2001)

The story goes that ‘Renegade’ was originally a collaboration between Eminem and Royce Da 5’9”, who work together as Bad Meets Evil. But for whatever reason, the Em-produced track landed in the hands of Jay Z for his classic 2001 album, ‘The Blueprint.’ He and the Detroit then proceeded to go tit for tat on the mic and, well, it’s one of the most referenced collaborations in rap history. You can thank Nas for that, as he famously dissed Hov by saying that “Em murdered you on your own s–t.” He sure did, but that’s undermining the fact that Jay’s performance on ‘Renegade’ was actually pretty good. The only problem: Eminem was flawless.

Killer Mike on Outkast’s ‘The Whole World’ (2001)

A year removed from introducing himself on Outkast’s ‘Snappin’ & Trappin’,’ Killer Mike teamed up with the ATLiens again on ‘The Whole World.’ And, once again, his verse was the heaviest statement on the track. While he only went up against Big Boi on ‘Snappin’ & Trappin’,’ Mike had his work cut out for him on ‘The Whole World.’ How do you top both Big Boi and Andre 3000? Simple: Douse that fire in your belly with gasoline and use your attention-commanding voice to grab the listener by his or her throat.

Pharoahe Monch on Talib Kweli’s ‘Guerilla Monsoon Rap’ (2002)

‘Guerilla Monsoon Rap’ is another instance of an MC somehow not only complementing but also upstaging his cohorts. Is Talib Kweli sharp on here? Sure. And Black Thought? Abso-f–king-lutely. But when it comes to sheer technical proficiency and flow modulation, few can go bar for bar with Pharoahe Monch. You can argue all you want that Black Thought toe-tagged this track off Kweli’s ‘Quality,’ but Monch’s delivery makes this one all his own. There’s a lot to be said about a rapper who can so easily weave in and out of a beat without sounding foolish or overly showy.

Eminem on 50 Cent’s ‘Patiently Waiting’ (2003)

Despite stating at the jump that he’s been waiting for a track to explode on, it’s 50 Cent’s guest on ‘Patiently Waiting’ that’s packing the lyrical dynamite. To be fair, Eminem does burst into the instrumental, which he produced by the way, with a resuscitating-like vocal effect. And it uses it to his advantage, somehow topping 50’s track-ending snarl of “You shouldn’t throw stones if you live in a glass house/And if you got a glass jaw you should watch your mouth/ ‘Cause I’ll break your face.” All that bravado is well-placed and timed given his then-ongoing beef with Ja Rule. But it’s impossible to overlook Eminem when he’s able to combine his tenacity and technical prowess for a stellar dip into gangsta rap.

Jay Z on Kanye West’s ‘Diamonds (Remix)’ (2005)

It’s devastatingly clear who “won” on a collaboration when one rapper’s lyrics are quoted ad nauseum. On Kanye West’s ‘Diamonds from Sierra Leone’ remix, his big brother (aka Jay Z) pulled the rug right out from under him. Tell me you haven’t quoted, paraphrased, or made a joke out of “I’m not a businessman/ I’m a business, man” and I’ll call you a liar. Hov’s bars might not capture the political angst of Yeezy’s, but there’s so much well-placed bravado that you probably forgot Kanye even spit by the time you hear “If you’re waiting for the end of the Dynasty sign/ It would seem like forever is a mighty long time.”

Andre 3000 on UGK’s ‘Int’l Players Anthem (I Choose You)’ (2007)

Before the tragic passing of Pimp C in December 2007, he and his UGK teammate, Pimp C, released the final UGK album in June of that year in ‘Underground Kingz.’ The double CD arrived with its fair share of notable cuts and some superb guests, but nothing compared to the monster of a track that was (and always will be) ‘Int’l Players Anthem (I Choose you).’

It featured the Port Arthur, Texas heavyweights teaming up with Outkast, whose Andre 3000 and Big Boi book-ended the Willie Hutch-sampling jam with pure ATL swagger. Everyone showed up and showed off on the track, but it was Three Stacks who kicked it all off with a verse so memorable and quotable that you probably know at least a few people who can recite most, if not all, of it from memory. His wordplay is dense, potent, and sharp — like a strong shot of caffeine that lifts you up, keeps you there, and gently guides you back down to earth. You do, after all, need to hear the rest of the track.

Yelawolf on Big Boi’s ‘You Ain’t No DJ’ (2010)

Label issues prohibited Andre 3000 and Big Boi from appearing together on the latter’s solo debut, ‘Sir Lucious Left Foot: The Son of Chico Dusty.’ Well, sort of. Three Stacks was able to contribute as a producer, and he certainly made it count on ‘You Ain’t No DJ.’ The frenzied instrumental is a bass-heavy alley oop to Big Boi and his guest, quick-spitter Yelawolf. The proud Alabama native had a healthy buzz and his breakthrough mixtape, ‘Trunk Muzik,’ was ready for retail re-packaging. With that fire in his gut, Yela put his foot into the beat, twisted it around, and rapped like the blunted Mr. Hyde to Big Boi’s more laid-back Dr. Jekyll.

ScHoolboy Q on A$AP Rocky’s ‘Brand New Guy’ (2011)

Rappers like Danny Brown and ScHoolboy Q have a knack for jacking the limelight with their guest verses based on the energy they bring to the track alone. But when one of them decides to spit a meme-worthy lyrics, it’s pretty much a wrap. That’s what happened on ‘Brand New Guy,’ one of many standouts off A$AP Rocky’s ‘LiveLoveA$AP.’ While the Harlem rapper is most at home over the screwed, hazy instrumental, it’s ScHoolboy who takes over the track with the following line: “While you gone? S–t, Netflix on your couch.” That’s about as ice cold (and imaginative, really) as raps about “stealin’ your girl” can get.

Mr. Muthaf–kin’ eXquire on El-P’s ‘Oh Hail No’ (2012)

On paper, you’d be right to assume that Mr. Muthaf–kin’ eXquire wouldn’t have the strongest verse on ‘Oh Hail No.’ For one, he’s going up against highly formidable rhyme-slingers in host El-P and fellow guest Danny Brown. Even more poignant is the fact eXquire gets the least amount of time on the mic compared to his cohorts. But he makes it count and then some. In just 30 seconds, he spits so fast and so eloquently that he sounds possessed. And he’s not just delivering some rapping-for-rapping’s-sake hellfire. Dude raps up his own style in these lines alone: “Maybe I’m lost in the grind, haunted by all I desire/ Forcibly caused to be normal, bonded and tossed in the fire.”

Drake on Rick Ross’ ‘Stay Schemin’’ (2012)

There are many ways you can body the other MCs on a track. You can bring more energy, passion, punch lines, quotables, etc… compared to everyone else. Or, if you’re feeling sinister, you can throw out verbal darts at your nemesis and make damn sure that no one else remembers the rest of the track. That’s what Drake did on Rick Ross’ ‘Stay Schemin’’ while responding to some perceived shots fired by Common on ‘Sweet.’ Sure enough, the (somewhat) thinly veiled disses led to a short-lived feud, with everyone remembering more about Drizzy’s ‘Stay Schemin’’ verse than anything else. Well, OK, Com’s “Canada Dry” line was pretty funny.

Gunplay on Kendrick Lamar’s ‘Cartoon & Cereal’ (2012)

Kendrick Lamar getting washed on his own track? Say it ain’t so! Oh, hip-hop heads, it be so. On ‘good kid, m.A.A.d. city’ loosie, the Compton rapper enlisted the help of perpetually bonkers Floridian Gunplay. And it became clear that this was his track as soon as the rolling percussions and stark synthesizers hit. The Maybach Music Group rapper is in his element here, spitting about letting his life loose in the booth with his hand on his heart facing the hood. They let the beat drop during his track-closing verse for a reason, man.

Danny Brown on Ab-Soul’s ‘Terrorist Threats’ (2012)

When Danny Brown is at his most lucid, he’s damn near unstoppable. And on ‘Terrorist Threats’ off Ab-Soul’s ‘Control System,’ the Detroit rapper was clear-eyed and hungry. You might be reciting his exclamation of “EXTRA PILLS!” once the song’s over, but the message within Brown’s bars are what will resonate the most. Once he comes down from his high, he spits viciously about being broke, tired, and paranoid and everything that crosses his mind. You can’t hear these rhymes and not feel some kind of way afterward: “Can’t get a job if they drug test me/ Got a ni—a stressed depressed/ Got a feeling in his chest/ And the world’s stripped of happiness.”

Kendrick Lamar on Big Sean’s ‘Control’ (2013)

Want to know how to spark a rap discussion in 2013? Call out rappers by name with a delivery so gruff, so energetic that you sound like you’re about to burst. At least, that method worked for Kendrick Lamar, who straight-up bodied Big Sean’s ‘Control.’ Truth be told, Sean and the other guest, Jay Electronica, had serviceable verses in their own right.

But there’s Kendrick, plopping himself in the middle with a thunderous, nearly endless series of rhymes. He places his own plaque next to those of Andre 3000, Eminem, Nas, and Jay Z as the best out right now, dubs himself the king of New York, and proceeds to rattle off a list of MCs he’s got love for but is “tryna murder.” Who exactly does he want to compete with, you ask? Pusha T, Meek Mill, Big K.R.I.T., Wale, J. Cole, and plenty more. S–t just got real, y’all.

Frank Ocean on Earl Sweatshirt’s ‘Sunday’ (2013)

What’s that? A guy who mostly sings completely washing one of the most technically strong rappers to debut in the past few years? Yes. Frank Ocean might not have the most refined flow and, as a result, got a little sloppy on ‘Sunday,’ but he still stunted all over the ‘Doris’ track. The main reason for this is the fact he addressed his very public beef with Chris Brown and their run-in earlier this year. “I mean he called me a faggot/ I was just calling his bluff,” Ocean raps matter-of-factly, adding later that he received a “[s]tanding ovation at Staples” and got his “Grammys and gold.” That is how you win a beef and own a track.

Red Everything Movement

Old School Mondayz – The Legends – Jungle Brothers

Jungle Brothers

Background information

Origin – New York City, New York, U.S.
Genres – Hip hop, house
Years active – 1987–present
Labels – Idlers/Warlock Records
Warner Bros. Records
Gee Street/V2/BMG Records
Jungle Brothers
XYZ Records
Associated acts – A Tribe Called Quest
De La Soul
Queen Latifah
Monie Love
Black Sheep
Members – Mike Gee
Sammy B
Afrika Baby Bam
Past members – Torture

The Jungle Brothers are an American hip hop group that pioneered the fusion of jazz and hip-hop and also became the first hip-hop group to use a house-music producer. The group began performing in the mid-1980s and released its first album, Straight Out the Jungle, in July 1988.[1] With Afrocentric lyrics and innovative beats, the Jungle Brothers were critically acclaimed and soon joined the influential Native Tongues collective.[2] The original trio comprised Michael Small (Mike Gee), Nathaniel Hall (Afrika Baby Bam, a homage to Afrika Bambaataa) and Sammy Burwell (DJ Sammy B). Sammy B left the group after the group released Raw Deluxe in May 1997.[1]


Their first album, Straight Out the Jungle, was released on an independent record label (Warlock).[1] The single “I’ll House You,” added to the album in 1989, is known for being the first hip-house record recorded outside of the Chicago scene, which was a club hit that drastically changed the way the hip-hop and dance-music industries worked.[3] In spite of the commercial failure of Straight Out the Jungle, Warner Bros. Records soon signed the group and released Done By the Forces of Nature in November 1989.[1] The album was a critical smash at the time, though it has since been largely ignored by hip-hop critics in favor of the similarly acclaimed alternative hip-hop album 3 Feet High and Rising by De La Soul, released the same year.[citation needed] Also in 1990, the Jungle Brothers contributed the song “I Get a Kick” to the Cole Porter tribute album “Red Hot + Blue” produced by the Red Hot Organization. Following a four-year break, the Jungle Brothers returned in 1993 with J Beez Wit the Remedy, another commercial disappointment. Their fifth album, V.I.P. was produced by Alex Gifford of Propellerheads and, during production, they found time to add their vocal stylings to the Propellerheads tracks “Take California (And Party)” and “You Want It Back”. Their latest album to contain any new releases is 2002’s All That We Do.

In 2001, their song “What’s the Five 0” was featured in the music video game FreQuency.

In 2004, the Jungle Brothers joined with British producer Mr On to produce “Breathe (Don’t Stop)”, a version of “Breathe and Stop” by Q-Tip of A Tribe Called Quest, combined with a sample of Michael Jackson’s “Don’t Stop ‘Til You Get Enough” (the idea was taken from a bootleg remix combining vocals from “Breathe and Stop” and music from “Don’t Stop ‘Til You Get Enough”).

In 2005, the Jungle Brothers released a greatest hits and classic remixes and rarities double album, This Is…, which included remixes by The Wiseguys, Urban Takeover, Natural Born Chillers and Stereo MCs.

Their status as a group is in question, as Mike G and Sammy B are touring (Sammy B also toured as fellow Native Tongues member Black Sheep Dres’ DJ), and Afrika Baby Bam now goes by B.A.M. and has a new movement called Pagan Society. In an interview with, B.A.M. expressed his discontent with today’s rap music industry. B.A.M. also stated his disappointment in Pos (De La Soul) and Q-Tip (A Tribe Called Quest) in a Vibe magazine article, saying that they are the reason that a full-fledged Native Tongue reunion has not transpired.

In 2008, their single “What U Waitin 4” was ranked number 88 on VH1’s 100 Greatest Songs of Hip Hop.[citation needed]


Straight out the Jungle (1988), Idlers/Warlock
Done by the Forces of Nature (1989), Warner Bros.
J Beez Wit the Remedy (1993), Warner Bros.
Raw Deluxe (1997), Gee Street/V2/BMG Records
V.I.P. (2000), Gee Street/V2/BMG Records
All That We Do (2002), Jungle Brothers
You in My Hut Now (2003), XYZ
This is… (Greatest hits) (2005), Nurture Records/Groove
I Got You (2006), Pinoeer Records[1]

Red Everything Movement

Old School Mondayz – The Icon – Afrika Bambaata

Afrika Bambaataa Aasim

Background information

Birth name – Kevin Donovan[1]
Born April 17, 1957 (age 56)
Origin – The Bronx, New York, U.S.
Genres – Hip hop, electro, disco, electro house
Occupations – DJ, producer, activist
Instruments – Vocals, turntables, keyboards, synthesizer
Years active – 1972–present
Labels – Tommy Boy Records
Winley Records
Capitol Records
DMC Records
Planet Rock Music
Associated acts – Soulsonic Force, Leftfield, Time Zone, Shango, Hydraulic Funk, Nebula Funk, Afrika Bambaataa and Family, Cosmic Force, Jazzy Five, Arthur Baker, John Lydon, Lee Evans (producer) Rae Serrano (producer), James Brown, George Clinton, Bootsy Collins, Sly and the Family Stone, Bill Laswell, Jungle Brothers, Grandmaster Melle Mel, Busy Bee Starski, Lovage, Nujabes

Kevin Donovan (born April 19, 1957), better known by the stage name Afrika Bambaataa, is an American DJ from the South Bronx, New York.[1][2] He is notable for releasing a series of genre defining electro tracks in the 1980s that influenced the development of hip hop culture.[3] Afrika Bambaataa is one of the originators of break-beat deejaying and is respectfully known as the Godfather and Amen Ra of hip hop culture as well as the father of electro funk.[4] Through his co-opting of the street gang the Black Spades into the music and culture-oriented Universal Zulu Nation, he is responsible for spreading hip hop culture throughout the world.[2]


Afrika Bambaataa grew up in The Bronx River Projects, with an activist mother and uncle. As a child, he was exposed to the black liberation movement, and witnessed debates between his mother and uncle regarding the conflicting ideologies in the movement. He was exposed to his mother’s extensive and eclectic record collection.[3] Gangs in the area became the law in the absence of law, clearing their turf of drug dealers, assisting with community health programs and both fighting and partying to keep members and turf.[3] Bambaataa was a member of the young Spades. Bambaataa quickly rose to the position of warlord of one of the divisions. As warlord, it was his job to build ranks and expand the turf of the young Spades. Bambaataa was not afraid to cross turfs to forge relationships with other gang members, and with other gangs. As a result, the Spades became the biggest gang in the city in terms of both membership and turf.[3]

After Bambaataa won an essay contest that earned him a trip to Africa, his worldview shifted. He had seen the movie Zulu and was impressed with the solidarity exhibited by the Zulu in that film. During his trip to Africa, the communities he visited inspired him to stop the violence and create a community in his own neighborhood.[3] He changed his name to Afrika Bambaataa Aasim, adopting the name of the Zulu chief Bhambatha, who led an armed rebellion against unfair economic practices in early 20th century South Africa that can be seen as a precursor to the anti-apartheid movement. He told people that his name was Zulu for “affectionate leader”.[3] A young Afrika Bambaataa began to think about how he could turn his turf-building skills to peacemaking. He formed The “Bronx River Organization” as an alternative to the Black Spades.[3]

Inspired by DJ Kool Herc and Kool DJ Dee, he too began hosting hip hop parties beginning in 1977. He vowed to use hip hop to draw angry kids out of gangs and formed the Universal Zulu Nation.[5] Robert Keith Wiggins pka “Cowboy” of Grandmaster Flash & The Furious 5 is credited with naming hip-hop as a result of Cowboy’s friend going to the army and Cowboy gave his friend a shout out then afterwards”Hip hop” became a common phrase used by MCs as part of a scat-inspired style of rhyming. Kool Herc described the emerging culture, but the media dubbed the 4 elements as “Hip-hop” as coined by Robert Keith “Cowboy” Wiggins. Contributor “Rahiem”.[6]

In 1982, Bambaataa and his followers, a group of dancers, artists and DJs, went outside the United States on the first hip hop tour.[3] Bambaataa saw that the hip hop tours would be the key to help expand hip hop and his Universal Zulu Nation. In addition it would help promote the values of hip hop that he believed are based on peace, unity, love, and having fun. Bambaataa brought peace to the gangs as many artists and gang members say that “hip hop saved a lot of lives”.[5] His influence inspired many overseas artists like the French rapper MC Solaar.[5] He was a popular DJ in The South Bronx rap scene and became known not only as Afrika Bambaataa but also as the “Master of Records”.[7] He established two rap crews: the Jazzy 5 including MCs Master Ice, Mr. Freeze, Master Bee, Master D.E.E, and AJ Les, and the second crew referred to as Soulsonic Force including Mr. Biggs, Pow Wow and Emcee G.L.O.B.E.[8]

In that same year Bambaataa and Soulsonic Force dropped the live band to go high-tech. Bambaataa credited the pioneering Japanese electropop group Yellow Magic Orchestra, whose work he sampled, as an inspiration.[9][10] He also borrowed an eerie keyboard hook from German electronic pioneers Kraftwerk and was provided an electronic “beat-box” by producer Arthur Baker and synthesizer player John Robie. That resulted in a pop hit “Planet Rock”, which went to gold status and generated an entire school of “electro-boogie” rap and dance music. Bambaataa formed his own label to release the Time Zone Compilation. He created “turntablism” as its own sub-genre and the ratification of “electronica” as an industry-certified trend in the late 1990s.[citation needed]

Birth of the Zulu Nation

Bambaataa decided to use his leadership skills to turn those involved in the gang life into something more positive to the community. This decision began the development of what later became known as the Universal Zulu Nation, a group of socially and politically aware rappers, B-boys, graffiti artists and other people involved in hip hop culture.[7] By 1977, inspired by DJ Kool Herc and DJ Dee, and after Disco King Mario loaned him his first equipment, Bambaataa began organizing block parties all around The South Bronx. He even faced his long-time friend, Disco King Mario in a DJ battle. He then began performing at Stevenson High School and formed the Bronx River Organization, then later simply “The Organization”. Bambaataa had deejayed with his own sound system at The Bronx River Community Center, with Mr. Biggs, Queen Kenya, and Cowboy, who accompanied him in performances in the community. Because of his prior status in the Black Spades, he already had an established Army party crowd drawn from former members of the gang. Hip hop culture was spreading through the streets via house parties, block parties, gym dances and mix tapes.[11]

About a year later Bambaataa reformed the group, calling it the Zulu Nation (inspired by his wide studies on African history at the time). Five b-boys (break dancers) joined him, whom he called the Zulu Kings, and later formed the Zulu Queens, and the Shaka Zulu Kings and Queens. As he continued deejaying, more DJs, rappers, b-boys, b-girls, graffiti writers, and artists followed him, and he took them under his wing and made them all members of his Zulu Nation. He was also the founder of the Soulsonic Force, which originally consisted of approximately twenty Zulu Nation members: Mr. Biggs, Queen Kenya, DJ Cowboy Soulsonic Force (#2), Pow Wow, G.L.0.B.E. (creator of the “MC popping” rap style), DJ Jazzy Jay, Cosmic Force, Queen Lisa Lee, Prince Ikey C, Ice Ice (#1), Chubby Chub; Jazzy Five-DJ Jazzy Jay, Mr. Freeze, Master D.E.E., Kool DJ Red Alert, Sundance, Ice Ice (#2), Charlie Choo, Master Bee, Busy Bee Starski, Akbar (Lil Starski), and Raheim. The personnel for the Soulsonic Force were groups within groups with whom he would perform and make records.

In 1980, Bambaataa’s groups made their first recording with Paul Winley Records titled, “Death Mix”. According to Bambaata, this was an unauthorized release.[3] Winley recorded two versions of Soulsonic Force’s landmark single, “Zulu Nation Throwdown”, with authorization from the musicians. Disappointed with the results of the single, Bambaataa left the company.

The Zulu Nation was the first hip-hop organization, with an official birth date of November 12, 1977. Bambaataa’s plan with the Universal Zulu Nation was to build a youth movement out of the creativity of a new generation of outcast youths with an authentic, liberating worldview.[3]


In 1982, hip hop artist Fab Five Freddy was putting together music packages in the largely white downtown Manhattan New Wave clubs, and invited Bambaataa to perform at one of them, the Mudd Club. It was the first time Bam had performed before a predominantly white crowd. Attendance for Bambaataa’s parties downtown became so large that he had to move to larger venues, first to the Ritz, with Malcolm McLaren’s group “Bow Wow Wow”, then to the Peppermint Lounge, The Jefferson, Negril, Danceteria and the Roxy. “Planet Rock”, a popular single produced by Arthur Baker and the keyboardist John Robie, came out that June under the name Afrika Bambaataa and the Soulsonic Force. The song borrowed musical motifs from German electronic music, funk, and rock. Different elements and musical styles were used together. The song became an immediate hit and stormed the music charts worldwide.[5] The song melded the main melody from Kraftwerk’s “Trans-Europe Express” with electronic beats based on their track “Numbers” as well as portions from records by Babe Ruth and Captain Sky,[12] thus creating a new style of music altogether, electro funk.

Bambaataa and Ruza “Kool Lady” Blue organized the first European hip hop tour.[13][14] Along with himself were rapper and graffiti artist Rammellzee, Zulu Nation DJ Grand Mixer DXT (formerly Grand Mixer D.St), B-boy and B-girl crews the Rock Steady Crew, and the Double Dutch Girls, as well as legendary graffiti artists Fab 5 Freddy, PHASE 2, Futura 2000, and Dondi.[14]

Bambaataa’s second release around 1983 was “Looking for the Perfect Beat”, then later, “Renegades of Funk,” both with the same Soulsonic Force. He began working with producer Bill Laswell at Jean Karakos’s Celluloid Records, where he developed and placed two groups on the label: “Time Zone” and “Shango”. He recorded “Wildstyle” with Time Zone, and he recorded a collaboration with punk-rocker John Lydon and Time Zone in 1984, titled “World Destruction”. Shango’s album, “Shango Funk Theology”, was released by the label in 1984. That same year, Bambaataa and other hip hop celebrities appeared in the movie Beat Street. He also made a landmark recording with James Brown, titled “Unity”. It was billed in music industry circles as “the Godfather of Soul meets the Godfather of Hip Hop”.[citation needed]

Around October 1985, Bambaataa and other music stars worked on the anti-apartheid album Sun City with Little Steven Van Zandt, Joey Ramone, Run-D.M.C., Lou Reed, U2, and others. During 1988, he recorded another landmark piece, “Afrika Bambaataa and Family”, for Capitol Records, titled The Light,[15] featuring Nona Hendryx, UB40, Boy George, George Clinton, Bootsy Collins, and Yellowman. Bambaataa had recorded a few other works with Family three years earlier, one titled “Funk You” in 1985, and the other titled “Beware (The Funk Is Everywhere)” in 1986. In 1986 Bambaataa also discovered an artist in Atlanta Ga. (Through MC SHY D) by the name of Kenya Miler a.k.a. MC Harmony (Known producer now as Kenya Fame Flames Miller), that was later signed to Criminal Records and Arthur Baker. The group was Harmony and LG. The first single “Dance To The Drums/No Joke was produced by Bambaataa and Baker with musicians Keith LeBlanc, and Doug Wimbush 1987. Bambaataa was involved in the Stop the Violence Movement, and with other hip hop artists recorded a 12” single titled “Self Destruction”, which hit number one on the Hot Rap Singles Chart in March 1989. The single went gold and raised $400,000 for the National Urban League to be used for community anti-violence education programs.[11]

In 1990, Bambaataa made Life magazine’s “Most Important Americans of the 20th Century” issue. He was also involved in the anti-apartheid work “Hip Hop Artists Against Apartheid” for Warlock Records. He teamed with the Jungle Brothers to record the album “Return to Planet Rock (The Second Coming)”.[citation needed]

Gee Street Records, John Baker and Bambaataa organized a concert at Wembley Stadium in London in 1990 for the African National Congress (ANC), in honor of Nelson Mandela’s release from prison. The concert brought together performances by British and American rappers, and also introduced both Nelson and Winnie Mandela and the ANC to hip hop audiences. In relation to the event, the recording Ndodemnyama (Free South Africa) helped raise approximately $30,000 for the ANC. Bambaataa also helped to raise funds for the organization in Italy.[citation needed]

From the mid-1990s, Bambaataa returned to his electro roots, collaborating with WestBam (who was named after him) which culminated in the 2004 album Dark Matter Moving at the Speed of Light which featured Gary Numan and many others. In 1998, he produced a remix of “Planet Rock” combining electro and house music elements, called “Planet Rock ’98,” which is regarded as an early example of the electro house genre.[16] In 2000, Rage Against the Machine covered Afrika’s song “Renegades of Funk” for their album, Renegades. The same year, Bambaataa collaborated with Leftfield on the song “Afrika Shox”, the first single from Leftfield’s Rhythm and Stealth. “Afrika Shox” is also popularly known from the soundtrack to Vanilla Sky. In 2006, he was featured on the British singer Jamelia’s album Walk With Me on a song called “Do Me Right”, and on Mekon’s album Some Thing Came Up, on the track “D-Funktional”. Bambaataa performed the lyrics on the track “Is There Anybody Out There” by The Bassheads (Desa Basshead). As an actor, he has played a variety of voice-over character roles on Kung Faux.[17]

Bambaataa was a judge for the 6th annual Independent Music Awards to support independent artists’ careers.[18] On September 27, 2007, it was announced that Afrika Bambaataa was one of the nine nominees for the 2008 Rock and Roll Hall of Fame Inductions.[19] On December 22, 2007, he made a surprise appearance performing at the First Annual Tribute Fit For the King of King Records, Mr. Dynamite James Brown in Covington, Kentucky.[citation needed]

On August 14, 2012 Afrika Bambaataa was given a three-year appointment as a visiting scholar at Cornell University. The appointment was made in collaboration between Cornell University Library’s Hip Hop Collection, the largest collection of historical hip hop music in North America, and the University’s department of Music.[20]


Year Album Label

1983Death MixPaul Winley Records
1985Sun CityManhattan/EMI
1986Planet Rock: The AlbumTommy Boy/Warner Bros. Records
Beware (The Funk Is Everywhere)Tommy Boy/Warner Bros. Records
1987Death Mix ThrowdownBlatant
1988The LightEMI America Records
1991The Decade of Darkness 1990–2000EMI Records
1992Don’t Stop… Planet Rock (The Remix EP)Tommy Boy/Warner Bros. Records
1996Jazzin (Khayan album)ZYX Music
Lost GenerationHottie
Warlocks and Witches, Computer Chips, Microchips and YouProfile/Arista/BMG Records
1997Zulu Groove (Compilation)Hudson Vandam
1999Electro Funk BreakdownDMC
Return to Planet RockBerger Music
2000Hydraulic FunkStrictly Hype
Theme of the United Nations w/ DJ YutakaAvex Trax
2003Electro Funk Breakdown (Compilation)DMX
Looking for the Perfect Beat: 1980-1985 (Compilation)Tommy Boy/Rhino/Atlantic Records
2004Dark Matter Moving at the Speed of LightTommy Boy Entertainment
2005MetalTommy Boy Entertainment
Metal RemixesTommy Boy Entertainment
2006Death Mix “2”Paul Winley



Year Title Label

1980″Zulu Nation Throwdown”Winley Records
1981″Jazzy Sensation”Tommy Boy/Warner Bros. Records
1982″Planet Rock”Tommy Boy/Warner Bros. Records
“Looking for the Perfect Beat”Tommy Boy/Warner Bros. Records
1983″Renegades of Funk”Tommy Boy/Warner Bros. Records
“Wildstyle”Celluloid Records
1984″Unity” (with James Brown)Tommy Boy/Warner Bros. Records
“Frantic Situation” (with Shango)Atlantic Records
“World Destruction” (with John Lydon)Celluloid Records
1986″Bambaataa’s Theme”Tommy Boy/Warner Bros. Records
1988″Reckless” (with UB40)EMI
1990″Just Get up and Dance”EMI
1993″Zulu War Chant”Profile/Arista/BMG Records
“What’s the Name of this Nation?…Zulu”Profile/Arista/BMG Records
“Feeling Irie”DFC

“Feel the Vibe” (with Khayan)

1998″Agharta – The City of Shamballa” (with WestBam)Low Spirit Recordings

Red Everything Movement

Tribute Sundayz – R.I.P To All The Fallen Legendz – Soul’ja Slim

Background information

Birth name – James Adarryl Tapp, Jr.
Also known as – Magnolia Slim, Soulja Slim
Born – September 9, 1977
Origin – New Orleans, Louisiana
Died – November 26, 2003 (aged 26)
Gentilly, New Orleans
Genres – Hardcore Hip Hop, Gangsta Rap
Occupations – Rapper, Songwriter
Years active – 1994–2003
Labels – Cut Throat Committee, No Limit, Koch Records
Associated acts – DJ Quik, Juvenile, UTP, Curren$y, B.G., C-Murder, Master P, Silkk The Shocker, Snoop Dogg, KLC, Mystikal

James Adarryl Tapp, Jr. (September 9, 1977 – November 26, 2003),[1] better known by his stage name Soulja Slim, was an American rapper. He is known for writing the U.S. No. 1 hit “Slow Motion”.[2]

Life and music career

James Tapp was raised in the Magnolia Projects. He attended Booker T. Washington High School before dropping out of school in his sophomore year. Tapp released his debut album, Soulja fa Lyfe, on Parkway Pumpin’ Records in 1994 under the name Magnolia Slim. In 1995, he released the four-song e.p. The Dark Side on Hype Enough Records. In the same year, the song “You Got It” appeared on No Limit Records double-CD compilation Down South Hustlers: Bouncin’ and Swingin’ . In 1998, Tapp, now calling himself Soulja Slim, released Give It 2 ‘Em Raw on No Limit Records with his single and music video “From What I Was Told” and a single called “Street Life”. Soulja Slim was convicted of armed robbery and incarcerated.[1] He reappeared three years later with Streets Made Me, which was again released on the No Limit label. From there, he started his own label, Cut Throat Committee Records and released Years Later in late 2002. In 2003, he released Years Later…A Few Months After, his last album before his death. The album featured the hit “I’ll Pay for It”.

In 2003 he also collaborated with fellow New Orleans rapper Juvenile to make the song “Slow Motion”. The song was released on Juvenile’s album Juve the Great and reached the No. 1 spot on the Billboard Hot 100. It was Soulja Slim and Juvenile’s first No. 1 hit, and as the song was released after Soulja Slim’s death he became only the sixth artist to have a posthumous No. 1 song.

Shooting and death

On Thanksgiving Eve, November 26, 2003, Slim was en route to a performance when an unknown gunman shot him four times; three times in the face, and once in the chest, in front of his mother’s home in the Gentilly neighborhood.[3] Soulja Slim was buried with his Cut Throat Comitty charm and jewelry and also the leather camo clothes he wore on the cover of Give It 2 ‘Em Raw. On New Year’s Eve, December 31, 2003, police arrested 22-year-old Garelle Smith in connection with Tapp’s murder. Police discovered a stolen police pistol in Smith’s possession with a scratched-off serial number. A ballistics test matched bullets from that gun to the ones that killed Soulja Slim but no witnesses would testify against him. By 2008 Smith had been arrested for three more murders and in each case, charges were dropped and he was released due to lack of witnesses and the New Orleans 60 day law. Along with the other murders, the District Attorney’s Office dropped the Soulja Slim murder charge against him and his death became a cold case. In August 2011, Smith himself was found dead with gunshot wounds to the face and chest.[4]

Edit Discography

1994: Soulja Fa Lyfe (as Magnolia Slim)
1995: Dark Side[5]
1998: Give It 2 ‘Em Raw
1999: Hype Enough Records: Limited Edition
2001: The Streets Made Me
2002: Years Later
2003: Years Later…A Few Months After
2004: Cutthroat Mixtape Vol. 1
2004 Cutthroat Mixtape Vol. 2
2005: Greatest Hitz
2008: Thug Brothers (Mixtape)

Red Everything Movement

Tribute Sundayz – Rest To All The Fallen Legends – Mc Breed

MC Breed
Background information

Birth name – Eric Breed
Also known as – Breed
Born – June 12, 1971
Flint, Michigan
Died – November 22, 2008 (aged 37)
Ypsilanti, Michigan
Genres – Hip hop
Occupations – Rapper
Years active – 1990–2008
LabelsS – DEG, Wrap, Ichiban, Power, Fharmacy, Urban Music Zone
Associated acts – DFC, Tupac Shakur, The D.O.C., Too Short, Rappin’ 4-Tay, Proof, Obie Trice

Eric Breed (June 12, 1971 – November 22, 2008), better known as MC Breed, was an American rapper best known for his singles “Ain’t No Future in Yo Frontin”, which peaked at #66 on the Billboard Hot 100,[1] and “Gotta Get Mine”, featuring 2Pac, that made it to #6 on the Hot Rap Singles.[1][2][3]


Born in Flint, Michigan, Breed is also known as the first commercially successful rapper to come out of the Midwest.[4] MC Breed’s first album was released with rap group DFC and was entitled MC Breed & DFC for independent record label, SDEG Records. His solo debut was 1992’s 20 Below, after which he released 1993’s The New Breed. He would go on to have a very extensive discography and have a very long career that was at times successful, but he never fully broke into the mainstream. His highest charting album was 1994’s Funkafied, which peaked at #106 on the Billboard Hot 200. Through his career he would align himself with various rap scenes. Early in his career with DFC, he and the group were independents, as one of the first groups out of the midwest. However, later in his career he aligned himself with the West Coast, taking on more of a G-Funk sound[5] and befriending West Coast rapper Too Short. Still later, he realigned himself once again with the Dirty South for 1995’s Big Baller.[6]

Breed released two more albums with Wrap Records—1996’s To Da Beat Ch’all and 1997’s Flatline—to fulfill his contract with the label.[7] In 1998, Breed signed a deal with Power Records, who had distribution through Roadrunner Records, and released the album, It’s All Good, in 1999.[7]2 for the Show, a compilation showcasing some of Breed’s famous collaborations with 2Pac, Too Short, and more, followed later that year.[8] In 2000, Breed starred in the straight-to-video movie, Dollar, alongside Shannon Greer, and released a soundtrack for it, which featured his smash hit, “Ain’t No Future In Yo’ Frontin'”.[9] Breed also released a compilation that year titled The Thugz, Vol. 1, and featured Too Short, Richie Rich, Bootleg of The Dayton Family, and more. It would end up being his last release with Power Records.[10]

In 2001, Breed released his 13th album, The Fharmacist, with an up-start independent label based out of Detroit, Michigan called Fharmacy Records.[11] The album featured the Jazze Pha produced hit, “Let’s Go To The Club”, and a guest appearance from Bootleg of The Dayton Family.[11] The album liner notes advertised many upcoming releases, including a collaboration album between Breed and Bootleg under the group name “Flintstones”, and a movie starring Breed with an accompanying soundtrack titled Got To Get Mine. No other releases came to fruition, and Fharmacy Records soon diminished.

Breed re-emerged in 2004 with a new deal through Urban Music Zone Entertainment, a subsidiary label of Psychopathic Records, to release his album The New Prescription.[12] The album was released in August of that year with national distribution through RED Distribution/Sony, and featured Esham, who was signed to Psychopathic Records at the time. The album didn’t receive much promotion, but a music video was made for the album’s only single, “Rap Game”.[12]

On May 11, 2006, Breed was sentenced to one year in prison for violating probation in failure to pay over $200,000 in child support.[13] On April 3, 2008, Breed was arrested in Flint, Michigan following an in-store autograph signing session on warrants for about $220,000 in unpaid child support.[14]

On September 5, 2008 the rapper was hospitalized and placed on life-support after he collapsed when his kidneys failed during a game of pickup basketball.[15] On November 22, 2008, Breed reportedly died in his sleep while at a friend’s home in Ypsilanti, Michigan.[16]

Before his sudden passing, Breed was preparing to release a DVD documentary about his life titled, Where Is MC Breed?.[17] He was also working on a new album, titled The Original Breed: Swag Heavy, which was intended to be released through his former label, Ichiban Records.[18] Although the project was still in development, Breed had reached out to many of his friends to help create the album, such as producers Erotic D, Ant Banks, Jazze Pha, Sonji Mickey, and Colin Wolfe, as well as rappers The D.O.C., Spice 1, and Too Short.[18] Breed stated the album was half finished in September 2008 when he was released from the hospital after being on life support for two days.[19] According to, Breed had recorded his last song two days before his death. It’s called “Everyday I Wait” and features Outlawz.[20]

Edit Discography

Studio albums

Year Album Chart Positions U.S.U.S. Hip-Hop

1991MC Breed & DFC14238
199220 Below15540
1993The New Breed15617
1995Big Baller14317
1996To Da Beat Ch’all-34
1999It’s All Good18041
2000The Thugz, Vol. 1-64
2000Rare Breed–
2001The Fharmacist–
2004The New Prescription–
“—” denotes the album failed to chart or not released


Year Album

1995The Best of Breed
19992 for the Show
2002Chopped and Screwed
2004The Mix Tape
2007The Hits


1994: “Death B-4 Dishonesty” (From the DFC Album “Things in tha Hood”)

1994: “Things in tha Hood” (From the DFC Album “Things in tha Hood”)

1994: “Death B-4 Dishonesty” (From the DFC Album “Things in tha Hood”)

1994: “You Can Get The D*ck” (From the DFC Album “Things in tha Hood”)

1994: “Sesshead Funky Junky” (from the 8Ball & MJG album “On the Outside Looking In”)

1996: “Buy You Some” (From the Too $hort Album “Gettin’ It (Album Number Ten)”)

1996: “Never Talk Down” (From the Too $hort Album “Gettin’ It (Album Number Ten)”)

1996: “F*ck My Car” (From the Too $hort Album “Gettin’ It (Album Number Ten)”)

2004: “Do You” (From the Slum Village Album “Detroit Deli”)

2004: “It’s On” (From the Slum Village Album “Detroit Deli”)

2012: “Interlude: Every Coincidence Is. Significant” title track from the Audio Stepchild album.

Red Everything Movement

Red Alert! K-dot Lyrics on control

Tell Flex to drop a bomb on this shit/So
many bombs, ring the alarm like Vietnam
in this shit
So many bombs, make Farrakhan think
Saddam in this bitch/One at a time, I line
’em up and bomb on they mom while she
watchin’ the kids
I’m in a destruction mode if the gold
I’m important like the pope/I’m a muslim
on pork/I’m Makaveli’s offspring, I’m the
king of New York
King of the Coast, one hand, I juggle
them both /The juggernaut’s all in your
jugular, you take me for jokes
Live in the basement, church pews and
funeral faces/Cartier bracelets/for my
women friends I’m in Vegas
Who the fuck y’all thought it’s supposed to
be?/If Phil Jackson came back, still no
coachin’ me
I’m uncoachable, I’m unsociable/Fuck y’all
clubs, fuck y’all pictures, your Instagram
can gobble these nuts
Gobble dick up ’til you hiccup, my big
homie Kurupt/This the same flow that put
the rap game on a crutch
I’ve seen niggas transform like villain
Decepticons/Mollies’ll prolly turn these
niggas to fuckin’ Lindsay Lohan
A bunch of rich-ass white girls lookin’ for
parties/Playin with Barbies/wreck the
Porsche before you give ’em the car key
Judgement to the monarchy/blessings to
Paul McCartney/You called me a black
Beatle, I’m either that or a Marley
I don’t smoke crack motherfucker I sell it/
I’m dressed in all black, this is not for the
fan of Elvis
I’m aiming straight for your pelvis, you
can’t stomach me/You plan on stumpin’
me?/Bitch, I’ve been jumped before you
put a gun on me
Bitch, I put one on yours, I’m Sean
Connery/James Bonding with none of you
niggas, climbing 100 mil in front of me
And I’m gonna get it even if you’re in the
way/And if you’re in it, better run for Pete’s
I heard the barbershops spittin’ great
debates all the time/Bout who ‘s the best
MC? Kendrick, Jigga and Nas
Eminem, Andre 3000, the rest of y’all/New
niggas just new niggas, don’t get involved
And I ain’t rockin no more designer shit/
White T’s and Nike Cortez, this is red
Corvettes anonymous
I’m usually homeboys with the same
niggas I’m rhyming wit’/But this is
hip-hop and them niggas should
know what time it is
And that goes for Jermaine Cole, Big
KRIT, Wale/Pusha T, Meek Mill, A$AP
Rocky, Drake
Big Sean, Jay Electron’, Tyler, Mac
Miller/I got love for you all but I’m
tryna murder you niggas
Tryna make sure your core fans never
heard of you niggas/They dont wanna
hear not one more noun or verb from
you niggas
What is competition? I’m trying to raise
the bar high/Who tryin’ to jump and get
it? You better off tryin’ to skydive
Out the exit window of five G5’s with five
grand/With your granddad as the pilot he
drunk as fuck tryin’ to land
With the hand full of arthritis and popping
prosthetic leg/Bumpin Pac in the cockpit
so the shit that pops in his head
Is an option of violence, someone heard
the stewardess said/That your parachute is
a latex condom hooked to a thread

Red Everything Movement

Old School Mondayz – Classic album Review – Onyx_Bacdafucup


Studio album by Onyx

Released – March 30, 1993 (US)
Recorded – 1992-1993
Genre – East Coast hip hop, hardcore rap, underground rap
Length – 47:27
Label – Jam Master Jay Records / Rush Associated Labels
Producer – Chyskillz
Jam Master Jay
Kool Tee
Jeff Harris

Onyx chronology


(1993)All We Got Iz Us
Professional ratings
Review scores
Robert ChristgauC+[2]
Entertainment WeeklyA−[3]
Bacdafucup /ˈbækdəfʌkʌp/ is the debut album from hardcore rap group Onyx. The album featured their breakout single, “Slam”, which received heavy airplay on both radio and television (MTV and BET), leading the song to reach #4 on the Billboard Hot 100. Bacdafucup was certified platinum by the RIAA on October 25, 1993. The album is broken down track-by-track by Onyx in Brian Coleman’s book Check the Technique.[4]

In addition to Slam, two other singles made it to the charts, “Throw Ya Gunz” and “Shiftee”. In 1998, the album was selected as one of The Source’s 100 Best Rap Albums. Music videos were released for the tracks “Bacdafucup”, “Throw Ya Gunz”, “Slam”, “Shiftee” and “Da Nex Niguz”.

Track listing


1.”Bacdafucup”  Chyskillz & Jam Master Jay0:48
2.”Bichasniguz”  Chyskillz & Jam Master Jay3:54
3.”Throw Ya Gunz”  Chyskillz3:16
4.”Here ‘N’ Now”  Chyskillz3:40
5.”Bust Dat Ass”  Chyskillz & Jam Master Jay0:37
6.”Atak of da Bal-Hedz”  Kool Tee3:12
7.”Da Mad Face Invasion”  Chyskillz & Jam Master Jay0:46
8.”Blac Vagina Finda”  Chyskillz & Jam Master Jay; Co-Produced by Jeff Harris3:12
9.”Da Bounca Nigga”  Chyskillz & Jam Master Jay0:29
10.”Nigga Bridges”  Jam Master Jay & Jeff Harris; Co-Produced by Chyskillz4:12
11.”Onyx Is Here”  Chyskillz & Jam Master Jay3:03
12.”Slam”  Chyskillz & Jam Master Jay3:38
13.”Stik ‘N’ Muve”  Jam Master Jay & Jeff Harris; Co-Produced by Chyskillz3:20
14.”Bichasbootleguz”  Chyskillz & Jam Master Jay0:27
15.”Shifftee”  Chyskillz & Jam Master Jay4:19
16.”Phat (‘N’ All Dat)”  Chyskillz3:17
17.”Da Nex Niguz”  Kool Tee4:07
18.”Getdafucout”  Chyskillz & Jam Master Jay1:08


“Anti Climax” by Lee Morgan
Throw Ya Gunz

“Escape-Ism” by James Brown
“It’s a New Day” by Skull Snaps
“Nautilus” by Bob James
Bust Dat Ass

“Ode to Billie Joe” by Lou Donaldson
Atak of Da Bal-Hedz

“Blue Juice” by Jimmy McGriff
Da Mad Face Invasion

“It’s a New Day” by Skull Snaps
Blac Vagina Finda

“Nautilus” by Bob James
N**** Bridges

“Synthetic Substitution” by Melvin Bliss

“Rich Kind of Poverty” by Sam & Dave
“The Champ” by The Mohawks
Stik ‘N’ Muve

“Feel Like Making Love” by Bob James
Phat (‘N’ All Dat)

“Fat Boys” by Fat Boys

“It’s a New Day” by Skull Snaps
“Synthetic Substitution” by Melvin Bliss


Onyx – performer, vocals
Fredro Starr – performer, vocals
Sticky Fingaz – performer, vocals
Sonee Seeza – performer, vocals
Big DS – performer, vocals
Jam Master Jay – executive producer, producer
Randy Allen – executive producer,
Chyskillz – producer
Jeff Harris – producer
Jeff Trotter – A&R executive /editing / mastering
Tony Dawsey – mastering

Album chart positions

Year Album Chart positions

Billboard 200Top R&B/Hip Hop Albums

Red Everything Movement

Old School Mondayz – Icon – Doug E Fresh

Doug E. Fresh

Background information

Birth name – Douglas E. Davis
Born September 17, 1966 (age 46)
Christ Church, Barbados[1]
Origin – Harlem, New York
Genres – Hip hop
Occupations – Beatboxer, rapper, record producer
Years active – 1983–present
Labels – Enjoy Records
Danya/Reality/Fantasy Records
Bust it/Capitol/EMI Records
Gee Street/Island/PolyGram Records
Associated acts – Slick Rick, Vicious

Douglas E. Davis (born September 17, 1966), better known by the stage name Doug E. Fresh, is an American rapper, record producer, and beat boxer, also known as the Human Beat Box. The pioneer of 20th-century American beatboxing, Fresh is able to accurately imitate drum machines and various special effects using only his mouth, lips, gums, throat, and a microphone.

Music career

Although he began his recording career as a solo artist as one of the last artists on Enjoy Records and one of the first on Vintertainment Records (the same New York-based label owned by Vincent Davis that would later make a name of Hip-Hop artist Joeski Love and bring R&B icon Keith Sweat to ultimate fame), it was when he and a new team of DJs known as the Get Fresh Crew (Barry Bee and Chill Will) along with a newcomer named MC Ricky D (who would later achieve fame as Slick Rick) came to fledgling New Jersey-based Hip-Hop label Danya/Reality Records the following year and recorded “The Show” (which borrowed the melody of the Inspector Gadget theme by Shuki Levy),[2] and “La Di Da Di”, a tune that was completely voiced by MC Ricky D and backed by Doug E’s beat boxing for the entire duration of the song. It was when both of these songs were released on a single (particularly 12″ single) that broke him (and Slick Rick) into stardom. Both “The Show” and “La-Di-Da-Di” are considered two of the all-time greatest early hip hop classics and, as such, make up one of the first and only Hip-Hop singles to have two hit songs on the same record.

“The Show” peaked at #7 in the UK Singles Chart in December 1985.[3]

Unfortunately, Slick Rick would leave the group almost a year after the single was released leaving many wondering what happened to him until 1988 when he became a Def Jam artist and released his debut album, The Great Adventures of Slick Rick. Doug E. Fresh and the Get Fresh Crew soldiered on, now officially signed to Danya/Reality/Fantasy and releasing two albums from that period — Oh, My God! from 1986 (which includes the hit song “All The Way To Heaven”) and The World’s Greatest Entertainer from 1988—both of which are now long out of print and extremely rare. The main single from the album The World’s Greatest Entertainer was “Keep Risin’ To The Top” which was named after Keni Burke’s then-obscure 1981 hit “Rising To The Top”, which, thanks to being sampled in Doug E. Fresh’s song, has become Keni’s signature tune. Doug E.’s “Keep Risin’ To The Top” also samples the main chorus phrase of Heatwave’s 1976 classic “Ain’t No Half Steppin’,” which Big Daddy Kane also sampled that same year for his song of the same name.

In 1992, after a four-year hiatus, Doug E. Fresh joined with MC Hammer’s label, Bust It Records and issued one album, Doin’ What I Gotta Do, which (despite some minor acclaim for his single “Bustin’ Out (On Funk)” which sampled the Rick James 1979 single “Bustin’ Out”) was a commercial failure.

In 1993, Doug E. Fresh found a new home at Island Records-affiliated label Gee Street. At the time, he managed only to release one single that contained three songs—”I-ight (Alright),” which was the main song; “Bounce”; and “Freaks”. Although “I-ight” (which originated the now-famous club chant “Heyyyyyy, YO!… I-iiiiight?”) was slated to become the first major hit for Doug in 5 years, it was almost immediately overshadowed by “Freaks”, a Dancehall tune beat-boxed entirely by Doug E. and vocalized mainly by his protégé, a Brooklyn-born Jamaican teenage newcomer named Vicious. The song received major radio and club play, followed by video play when the video was finally produced a few months into 1994. The latter would soon ink a deal with Sony Music’s Epic Records for three years, although he would only release one album, Destination Brooklyn.

In 1995, Slick Rick and Fresh reunited for a track on an album titled Play, which found Fresh back on his feet. The album received positive reviews; Bret Love wrote, “A welcome flashback to the days when guns, drugs, sex, and violence were not the genre’s primary lyrical focus.”[4] Off the Play album also was a track title “Freak It Out” which featured Uncle Luke produced by platinum producer Frankie Cutlass and was also on the Don’t Be a Menace to South Central While Drinking Your Juice in the Hood soundtrack, and was certified a Gold Album by RIAA.

On May 23, 2007, Fresh performed variations upon “The Show” with finalist Blake Lewis on the season-six finale of American Idol, the first ever hip-hop performance on the show.[5]

2010 saw Fresh make a small comeback in popular culture as rap group Cali Swag District brought back some of his trademark dance moves with their song “Teach Me How to Dougie.” Members of Cali Swag District saw Texas college students doing a local dance created in Dallas called the D-Town Boogie. They recognized it as a modified version of Fresh’s dance moves and decided to create a song that would feature the dance, but also give Fresh his due credit.

On June 27, 2010, Fresh came out and performed with Cali Swag District while they were performing their song Teach Me How to Dougie at the BET Awards Pre-show.

Fresh performing in Williamsburg, Brooklyn on August 29, 2010.
On Nov. 8, 2010 Doug E. Fresh appeared at the Soul Train Awards where he taught CNN anchor Wolf Blitzer how to Dougie on stage as part of the show.

On Dec. 10, 2010 Fresh appeared on ESPN First Take to speak about the phenomenon of the Dougie as a sports celebration. As part of the show he, Lomas Brown, and Skip Bayless voted on the best sports related Dougie’s. The Dougie performed by Bayless himself on ESPN First Take was voted by Fresh as the best, although he rated Wolf Blitzer’s Dougie at the Soul Train Awards the best but it had no sports association.

On July 9, 2012 Fresh served as a celebrity judge on the Apollo Live TV show.

On May 25, 2013 Fresh debuted the classic hip-hip and r&b show called “The Show” on 107.5 WBLS 9-11PM Saturday nights.

Personal life

Fresh is a member of the Church of Scientology. He has performed for large audiences of its adherents at the Scientology Celebrity Center’s Anniversary Gala in 2004.[6] He also performed two tracks on the Scientology music album The Joy of Creating (other artists appearing include Isaac Hayes, Chick Corea, Edgar Winter, and Carl Anderson).[7]

Fresh is the spokesperson for the Hip Hop Public Health Education Center at Harlem Hospital Center,[8] in New York City.[9]

Fresh opened a restaurant in New York City called Doug E.’s Chicken and Waffles. He also has stated he has a club called Fresh.[10] He also performed at the Paradise Theater on August 12, 2010. The concert was titled The Show, brought to you by David L David (Spinback Entertainment). On October 28, 2011 Fresh performed at the Paradise Theater for a concert to benefit New York City’s public hospitals; the show was part of “STAT! for NYC’s Public Hospitals” to raise funds to reduce gun violence in New York City. STAT! was produced by The Fund for HHC, the philanthropic arm of the New York City Health and Hospitals Corporation – the agency that runs the public hospital system in the City.

Doug, who is the father of five, manages his sons Trip’s and Slims’ hip hop group Square Off. Doug E.’s brother-in-law Gleamz is also a member of the same group.



Oh, My God! (1986, Reality/Danya/Fantasy) (with the Get Fresh Crew)
The World’s Greatest Entertainer (1988, Reality/Danya/Fantasy) (with the Get Fresh Crew)
Doin’ What I Gotta Do (1992, Bust It/Capitol/EMI) (with the New Get Fresh Crew)
Play (1995, Gee Street/Island/PolyGram)


“Just Having Fun (Do the Beatbox)” [1984, Enjoy]
“The Original Human Beatbox” [1984, Vintertainment] (credited as Dougy Fresh)
“The Show” (with the Get Fresh Crew & M.C. Ricky D)/”La Di Da Di” (with M.C. Ricky D) [1985, Reality/Danya/Fantasy] – Platinum
“All The Way To Heaven” (with The Get Fresh Crew) [1986, Reality/Danya/Fantasy]
“Lovin’ Every Minute Of It (Cyclone Ride)” [1986, Reality/Danya/Fantasy]
“Keep Risin’ To The Top”/”Guess Who?” (with The Get Fresh Crew) [1988, Reality/Danya/Fantasy]
“Spirit” (1989, MCA) (with the Get Fresh Crew)
“Summertime” [1989, Reality/Fantasy] (with the Get Fresh Crew)
“Bustin’ Out” [1992, Bust It/Capitol/EMI] (with the New Get Fresh Crew)
“I-ight (Alright)” / “Freaks” (featuring Lil’ Vicious) (1993, Gee Street Independent/4th & B’way/Island)
“Superstition” [1997, Hollywood] (with the Get Fresh Crew)
“We Not Giving Up” (2005, The Xtatik Experience) (featuring Doug E Fresh and Machel Montano)
“You”ll Never Know (2005, E-Z Rollers) (featuring Doug E. Fresh & Sharon Brown)
“Rhyme & Punishment (2005, E-Z Rollers) (featuring Doug E. Fresh) [Distorted Minds Remix]
“Rhyme & Punishment (2005, E-Z Rollers) (featuring Doug E. Fresh)
“Virgo” (2005) (with Ludacris and Nas)
“Left-Right” (2007, Entertaining Music) (featuring Square Off)

Red Everything Movement

Old School Mondayz – Artist Review – Audio Two

Audio Two

Origin – Brooklyn, New York, United States
Genres – Hip hop
Years active – 1985–1992
Labels – First Priority Music/Atlantic Records
Associated acts – MC Lyte
Members – Gizmo ,Milk Dee

Audio Two were the Brooklyn, New York hip hop duo of emcee Kirk “Milk Dee” Robinson and DJ Nat “Gizmo” Robinson, most famous for its first hit, the classic “Top Billin’.”


The duo’s debut single, “Make it Funky,” was released in 1987, but it was the b-side, “Top Billin’,” that hit, making not only the group instant stars but also making a deep cultural impact on hip hop. The beat — made by Milk Dee and produced by Daddy-O of Stetsasonic[1] — and Milk Dee’s lyrics would be sampled and referenced time and time again, even by the group itself: both the group’s full-length debut, 1988’s What More Can I Say? and its 1990 follow-up, I Don’t Care: The Album, were titled after lines from the song. However, the duo would never recapture its initial success. The singles of its second album, “I Get the Papers” and “On the Road Again,” were only moderate hits. It was a time of rapid change in the hip hop market; gangsta rap was rising in popularity, and Audio Two found itself unsuccessfully struggling to maintain recording contracts and a fanbase. A third album, First Dead Indian, due for release in 1992, was canceled before it was released even though it had an assigned catalog number. Because of its downfall, the duo disbanded.

Audio Two did, however, pave the way for the duo’s labelmate MC Lyte, who would launch her career with the hit single “I Cram to Understand You (Sam),” which went to #1 on the Billboard Hip-Hop chart in 1989. Lyte’s 1998 album Seven & Seven would feature a remake of “Top Billin'” —with the original instrumental—this time a duet between her and Milk. In 1994, Milk released a solo EP titled Never Dated on Rick Rubin’s American Recordings. While the EP was notable for its single “Spam,” a duet with the Beastie Boys’ Adrock with drum programming by Mike D, aside from the devoted Beastie Boys fanbase the album generated little interest. Milk would eventually rediscover success by producing singer Eamon, who recorded the 2004 hit “Fuck It (I Don’t Want You Back).”

In 2007, Milk Dee recorded a verse for a remix of “I Get Money” by 50 Cent, thanking all the music artists that sampled “Top Billin’,” which earned him royalties.



1988: What More Can I Say?
1990: I Don’t Care: The Album
1992: First Dead Indian


1986: “A Christmas Rhyme / Audio Two’s Jam”
1987: “Make it Funky/Top Billin'”
1987: “Hickeys Around My Neck”
1988: “I Don’t Care”
1988: “Many Styles” / “The Questions”
1989: “Paquito el chocolatero”
1989: “I Get the Papers”
1990: “On The Road Again” / “Interlude One”

Red Everything Movement

Tribute Sundayz – Remembering – The Lost Boyz

Lost Boyz

Background information

Origin – South Jamaica, Queens, New York, United States
Genres – Hip hop
Years active – 1994–1999
Labels – Uptown, Universal, Contango
Associated acts – Canibus, Redman, A+

Website –

Members – Mr. Cheeks
DJ Spigg Nice
Pretty Lou
Past members – Freaky Tah (deceased)

The Lost Boyz is a hip hop group from South Jamaica, Queens, New York City. The original group members were lead MC Mr. Cheeks, backup MC and promoter Freaky Tah (1971–1999), DJ Spigg Nice and Pretty Lou.[1][2][3][4]

Recording career

In 1995, the group released their debut single “Lifestyles Of The Rich & Shameless”, charting on the Billboard Hot 100. The release landed them a record deal with Uptown Records. The group contributed a single to the Don’t Be a Menace to South Central While Drinking Your Juice in the Hood soundtrack, titled “Renee”. The song became a major hit, breaking into the Top 40 on the Hot 100 chart. The single also reached Gold status in 1996. On June 4, 1996, they released their debut album Legal Drug Money. The work was highly acclaimed, and the album featured five Hot 100 hits, including their past singles “Lifestyles of the Rich & Shameless”, “Renee”, as well as “Music Makes Me High” Which was Remixed By Platinum Producer Frankie Cutlass, “Jeeps, Lex Coups, Bimaz & Benz” and “Get Up”. The album was certified Gold by the RIAA in late 1996. Their second album, Love, Peace & Nappiness, was released on June 17, 1997 on Uptown/Universal Records. It featured another Hot 100 hit single, “Me & My Crazy World”. One of the most famous songs on the album was the posse-cut “Beasts From The East”, featuring A+, Redman and Canibus. The album wasn’t as acclaimed as their debut, but fared well commercially, reaching Gold status in late 1997.

In 1996, the group appeared on the Red Hot Organization’s compilation CD, America is Dying Slowly, alongside Wu-Tang Clan, Coolio, and Fat Joe, among others. The CD, meant to raise awareness of the AIDS epidemic among African American men, was heralded as “a masterpiece” by The Source magazine.

On the night of March 28, 1999, at a birthday party for Mr. Cheeks, Freaky Tah was shot in the head while exiting the Sheraton Hotel in Queens. Tah was taken to Jamaica Hospital, where he was pronounced dead at 4:20 am, at the age of 27. The getaway driver, Raheem Fletcher, was sentenced to 7 years in prison for Manslaughter. In 2001, Kelvin Jones pleaded guilty to the murder. The three remaining group members finished their third album LB IV Life, released in September 1999. The effort fell short critically and commercially, failing to provide any Hot 100 hits, and failing to reach Gold status. The three split-up after the release, and lead MC Mr. Cheeks began a solo career. He released his first solo effort John P. Kelly in 2001, which featured the smash hit “Lights, Camera, Action!”. The album also featured a heartfelt tribute song to Freaky Tah, titled “Till We Meet Again”, featuring Bob Marley’s son Stephen. Cheeks released another album in 2003, titled Back Again!, then followed in 2004 with Ladies & Ghettomen. On January 16, 2004, DJ Spigg Nice was tried and convicted of multiple bank robberies in New Jersey and was sentenced to 37 years in prison.[5] The group released a compilation album Lost Boyz Forever in 2005, featuring past hits and previously unreleased material. Lost Boyz reunited in 2010. A new single was released on their website. It’s called “Haaay”.


Main article: Lost Boyz discography

Legal Drug Money (1996)
Love, Peace & Nappiness (1997)
LB IV Life (1999)

Red Everything Movement

Tribute Sundayz – R.I.P To All The Fallen Legends – Mac Dre

Mac Dre

Background information

Birth name – Andre Louis Hicks
Born – July 5, 1970
Oakland, California, U.S.
Origin – San Francisco Bay Area, California, U.S. Vallejo, California, U.S.
Died – November 1, 2004 (aged 34)
Kansas City, Missouri, U.S.
Genres – Hip hop, West Coast hip hop, Hyphy, G-Funk, Gangsta Rap
Occupations – Rapper, record producer, screenwriter
Years active – 1988–1993; 1997–2004
Labels – Thizz Entertainment
Associated acts – Andre Nickatina, E-40, Keak da Sneak, Husalah, B-Legit, San Quinn, Yukmouth, PSD, Mac Mall, Richie Rich, Smoov-E (aka Eli Meltzer), Too Short

Andre Louis Hicks (July 5, 1970 – November 1, 2004), better known by his stage name Mac Dre, was an American rapper, and the initial founder of Thizz Entertainment, and the now defunct Romp Productions.[1][2]

Early Life & Career

Andre Louis Hicks was born in Oakland, California on July 5, 1970 and moved to Vallejo at a young age. He grew up in Vallejo, in the Crestside neighborhood, for the greater part of his life he attended Peoples High school in Vallejo.[3] He reflects back on his childhood and states, “Situations came out for the better most of them, I went through the little trials and the shit that I went through.” [3] He went through life’s trials to further figure out his true calling within the rap business. His father wasn’t a prominent figure within his life, he states that, “My father was a thug, like I am.” He credits his mother for taking the responsibility in his upbringing and teaching him to never forget his own sense of identity. Hicks wasn’t always a rapper and had a rough childhood growing up in the crestside neighborhood and started out ‘hustling’, the selling and distribution of narcotics. Hicks began his rap career under the name ‘MC Dre’, however at the age of 15 he would go on to change his name to ‘Mac Dre’, due to the fact ‘MC’ name was more typical of East coast rappers, and that ‘Mac’ was more suited to the West coast rap scene.

Mac Dre recorded his first three albums between 1989 and 1991.[1] In 1992 Mac Dre was charged with conspiracy to commit robbery and was sentenced to 5 years in federal prison after he refused the deal the police had offered him, which was informing law enforcement about his partners. Subsequently, Hicks wasn’t released from prison until 1997.[1] At the time Hicks owned the record label, Romp Productions.[1] His many references to “Romper Room” in his songs, bore a similarity the “Romper Room Gang”, a group of robbers who had been victimizing banks and pizza parlors in Vallejo.[citation needed] Following allegations by authorities about his membership in the gang, Hicks was sentenced to a further five years in prison.[1][4] He again refused a deal offered by law enforcement authorities that would have required him to inform on other gang members.


Hicks was going back and forth between the Bay Area and Fresno because he was promoting himself and entertaining his fans with shows. As Hicks was heading home to the Bay Area from Fresno, he was intercepted by several FBI agents and Law Enforcement officials for assumed affiliation with an attempted bank robbery that had taken place in Fresno. Hicks stated in an interview that, “They said that earlier that morning we was riding around looking at banks, but I was just at the motel asleep, by myself, no crime was ever committed”. Hicks further said, “No bank was robbed, no bank was entered, no bank was nothing”.[5] Hicks labeled his jail sentence as a “conspiracy” because he felt there was no credible evidence presented against him with his involvement in bank robberies. He was then arraigned, and incarcerated within Lompoc. In prison, Hicks gained some notoriety by recording the lyrics to songs directly over the Fresno County Jail and Lompoc United States Penitentiary inmate telephone. His album Young Black Brotha, was a result of such efforts, all while Hicks was still imprisoned. A later album, Back ‘N Da Hood, was also made up of these prison-recorded songs.[4] While in Lompoc, Mac Dre would go on to obtain his G.E.D, he stated that, “I had nothing else to do, I had to go back and get mine”.[6]

Post prison

During his time in prison, “Mac Dre Presents: The Rompalation” was released in 1996. After his release from prison in 1997, he recorded his second album Stupid Doo Doo Dumb. It was released April 28, 1998. Following those albums, Hicks met with Executive Producer Bernard Gourley and recorded the album Rapper Gone Bad with production help from Tone Cappone, Lev Berlak, and Warren G. This started a new beginning for Hicks as he began to release albums steadily, building a huge catalog of music recorded at The Grill Studios in Oakland in 2000. Hicks’s audience was growing, and mainstream hip-hop stations were beginning to give Hicks’s music more airtime. Hicks relocated to Sacramento, California in 2001, where he founded the label, Thizz Entertainment.[4]

He worked with well-known artists such as J-Diggs Keak da Sneak, E-40, B-Legit, Brotha Lynch Hung, Dubee,[7]Mistah F.A.B.,[8]Rydah J. Klyde,[9]Richie Rich,[10]Lil Ric[11]San Quinn, Mars, Yukmouth, PSD, Andre Nickatina, Mac Mall, Smoov-E (aka Eli Meltzer), Messy Marv, and Too Short. He also provided an uncredited hook to the track “Gotta Survive” from Young Lay’s Black ‘N Dangerous album that featured 2Pac.[12]


On November 1, 2004, Hicks was a passenger in a vehicle driving on a freeway in Kansas City, Missouri when an unknown assailant began shooting at the vehicle Hicks was occupying. The driver crashed and was able to get to a phone to call 911 but Hicks was pronounced dead at the scene from a bullet wound, there have also been no leads as to who the perpetrator was; and the case currently remains unsolved.[13] He was buried at Mountain View Cemetery in Oakland.[14] In 2006, his tombstone was stolen from the cemetery.[15]

Influence and legacy

Hicks became an iconic figure in the hip hop scene, of which he has also been credited for creating the “hyphy movement” by Bay Area hip hop artists such as E-40, who also paid respect to Hicks in the 2006 music video for Tell Me When to Go, and on the intro to the remix of the same song says, “R.I.P. Mac Dre, Dre you supposed to be on this one baby”. Hicks was an innovator to the rap movement in the Bay Area, which he offered a unique sound dubbed ‘Thizz’.

Main article: Mac Dre discography

Solo albums

1989: Young Black Brotha EP
1991: California Livin EP
1992: What’s Really Going On? EP
1992: Back N Da Hood EP
1993: Young Black Brotha: The Album
1998: Stupid Doo Doo Dumb
1999: Rapper Gone Bad (Re-Issued in 2004)
2000: Heart of a Gangsta, Mind of a Hustla, Tongue of a Pimp (Re-Issued in 2003)
2001: Mac Dre’s the Name
2001: It’s Not What You Say… It’s How You Say It
2002: Thizzelle Washington
2003: Al Boo Boo
2004: Ronald Dregan: Dreganomics
2004: The Genie of the Lamp
2004: The Game Is Thick, Vol. 2
2007: Pill Clinton
2008: Dre Day: July 5th 1970
Extended Plays
1989: Young Black Brotha
1991: California Livin’
1992: What’s Really Going On
1992: Back n da Hood

Compilations2002: The Best of Mac Dre

2004: The Best of Mac Dre II

2006: The Best of Mac Dre Vol. 3

2008: The Best of Mac Dre Vol. 4

2010: The Best of Mac Dre Vol. 5
Collaboration albums

2001: Turf Buccaneers (with Cutthroat Committee)

2005: Money iz Motive (with Cutthroat Committee)

2005: Da U.S. Open (with Mac Mall)

2005: 15 Years Deep (with Da’unda’dogg)

2007: DreDiggs: Me & My Cuddie (with J-Diggs)

2007: Everybody Ain’t Able (with Jay Tee)

2008: A Tale of Two Andres (with
Andre Nickatina)

2009: Maccin’ & Doggin’ (with Da’unda’dogg)

2010: Tha Furly Ghost Vol. 2 (with Dubee)

2010: Tha Furly Ghost Vol. 3 (with Husalah)

Red Everything Movement

Tribute Sundayz – R.I.P To All The Fallen Legends – Freaky Tah

Freaky Tah

Background information

Birth name – Raymond Rogers
Born – May 14, 1971
South Jamaica, Queens, New York, USA
Died – March 28, 1999 (aged 27)
Queens, New York, United States
Genres – Hip hop, Rap
Years active – 1991–1999
Labels – Universal Records
Associated acts – The Lost Boyz

Raymond Rogers (May 14, 1971 – March 28, 1999),[1] better known as Freaky Tah, was an MC, hype man and promoter. Freaky Tah was a member of a hip hop group called the Lost Boyz, together with Mr. Cheeks, DJ Spigg Nice, and Pretty Lou.[2][3]


On the night of March 28, 1999, on his way to a friend’s birthday party, Freaky Tah was shot in the back of his head while he was going towards the exit of Sheraton Hotel in Queens, New York. He was pronounced dead at about 4:20 AM, after being rushed to nearby Jamaica Hospital.[4] The getaway driver, Raheem Fletcher, was sentenced to 7 years in prison. It was also revealed that a man named Kelvin Jones was the killer.[5] Jones pleaded guilty to murder.[6] Freaky Tah was 27 at the time of his death, his 28th birthday being a month and a half away.

With The Lost Boyz

List of albums, with selected chart positions

Title Album details Peak chart positions Certifications


Legal Drug Money
Released: June 4, 1996
Label: Uptown
Format: CD, cassette, digital download, LP

RIAA: Gold[7]
Love, Peace & Nappiness
Released: June 17, 1997
Label: Uptown
Format: CD, cassette, digital download, LP

RIAA: Gold[7]
LB IV Life
Released: September 28, 1999
Label: Uptown
Format: CD, cassette, digital download, LP

Red Everything Movement

Saturday Focus – Album Review – Nas_The Lost Tapes

The Lost Tapes

Compilation album by Nas
Released – September 23, 2002
Recorded – 1998–2001
Genre – Hip hop
Length – 43:02
LabelIll Will, Columbia
Producer – The Alchemist, Deric “D-Dot” Angelettie, Hill, Inc., L.E.S., Nas (exec.), Poke and Tone, Precision, Rockwilder, Al West

Nas chronology

The Lost Tapes(2002)
God’s Son(2002)

The Lost Tapes is a compilation album by American rapper Nas, released September 23, 2002, on Ill Will Records and Columbia Records. It follows his artistic comeback in 2001, which led to his record label’s release of the album. The album compiles previously unreleased tracks that were discarded from recording sessions for Nas’ previous studio albums, I Am… (1999) and Stillmatic (2001). The songs feature production by L.E.S., The Alchemist, Poke and Tone, Precision, and Deric “D-Dot” Angelettie, among others. The Lost Tapes features a low-key, sparse sound and themes regarding sociology and urban life. Music writers have noted the album for its nostalgic tone, austere production, and Nas’ detailed narratives.

Released with little promotion, the album debuted at number 10 on the US Billboard 200 chart, selling over 70,000 copies in its first week. Upon its release, The Lost Tapes received universal acclaim from music critics, who praised its songs, production, and Nas’ lyricism. Although some critics viewed that it lacks a cohesiveness as an album, others called it Nas’ best album since his 1994 debut album Illmatic. As of July 2008, The Lost Tapes has sold 340,000 copies in the United States. A follow-up compilation album was expected to be released by Nas in 2010, but was delayed due to issues with his record label.


In 2001, Nas made an artistic comeback with his fifth album Stillmatic and his highly-publicized feud with rapper Jay-Z.[1] Both revitalized his image in hip hop music at the time, following a string of commercially successful but critically subpar albums.[1] Nas’ record label, Columbia Records, capitalized on his comeback with a promotional campaign that included the release of two archival albums, the extended play From Illmatic to Stillmatic: The Remixes and The Lost Tapes, while leading up to the release of his 2002 studio album God’s Son.[2]

The liner notes for The Lost Tapes display the slogan “No cameos. No hype. No bullsh*t”, alluding to the nature of the compilation’s recordings.[3] The album’s booklet features artwork by Chris “C-Money” Feldman and photography by Kareem Black.[3]


The Lost Tapes compiles previously unreleased tracks recorded during 1998 to 2001 in the sessions for both Nas’ 1999 albums I Am… and Stillmatic.[4][5] Several songs from the sessions for the former album, including “Blaze a 50”, “Drunk by Myself”, and “Poppa Was a Playa”,[6] were bootlegged prior to its release and leaked to the Internet through MP3 technology,[7] which led to their exclusion from I Am….[8] Most of the compiled songs first became available as bootlegs on underground mixtapes before being selected and mastered for The Lost Tapes.[4]

Songs on The Lost Tapes were recorded in several recording studios in New York, including Right Track Studios, The Hit Factory Studios, and Sony Studios in New York City, Lobo Studios in Long Island, and Music Palace in West Hempstead, as well as South Beach Studios in Miami, Florida and Westlake Studios in Santa Monica, California.[3] Production was handled by The Alchemist, L.E.S., Poke and Tone, Precision, Rockwilder, Al West, Deric “D-Dot” Angelettie, and Hill, Inc.[3]

Music and lyrics

The Lost Tapes features sociological themes, narratives, and commentary on urban life.
The Lost Tapes features introspective lyrics and themes of urban life, sociology, and despair.[1][9] Its music is characterized by low-key beats,[10] sparse production, subtle string flourishes,[11] mellow piano work, and subdued soul music loops.[12]Stylus Magazine’s Brett Berliner views that songs such as “Doo Rags” and “No Idea’s Original” incorporates classical melodies, while songs such as “Purple” and “Fetus” feature neo-classical themes.[13] Music critic Nathan Rabin perceives “an undercurrent of pain and desperation” in Nas’ lyricism and notes “melancholy production that places an emphasis on Nas’ ferocious flow and incisive lyrics.”[1] John Bush of Allmusic writes that the songs “have more in common with his early recordings; there’s more of a back-in-the-day, wasn’t-it-all-so-simple-then sound to ‘Doo Rags’ and ‘Poppa Was a Playa,’ two tracks that definitely wouldn’t have fit on the raging Stillmatic.”[14]

Music writer Craig Seymour notes “spare beats” and few boasts in Nas’ rapping.[9] Chris Conti of the Boston Phoenix characterizes its music as “straight-ahead beats [that] counteract Nas’s complex bars of braggadocio and street-life storytelling.”[15] David Samuels of Slate interprets “a message that begins with a rejection of the materialism of his […] rival Jay-Z” and “the home truth about how most kids in the projects feel about the real-life gangstas who live in their neighborhoods”, citing “No Idea’s Original” as an example.[16]New York Daily News writer Jim Farber comments on his lyrical observations, “Nas focuses on linear scenarios and on human motivations”, and asserts that “unlike many hard rappers, Nas’ tales of ghetto horror are not covert boasts but expressions of true fear”, noting “a cinematic tale of self-destruction in ‘Drunk by Myself,’ and a compelling autobiography narrated from the womb in ‘Fetus.’ “[17]


The opening track “Doo Rags” contemplates Nas’ youth and society’s cyclical nature.[18] It features a contemporary piano loop and jazz tones.[5] Richard Hazell of HipHopDX describes the song as “a piano propelled painting of time and space as seen through the third eye of Nas, which can easily be envisioned by any New York City dweller.”[19] On “My Way”, he meditates over his rise out of poverty to the “life of a rich thug”,[19] recalls the death of his childhood friend Ill Will, and concedes that he “still feels broke with millions in the bank.”[20] On “U Gotta Love It”, Nas makes reference to the “’86 crack blitz” and discusses his own significance: “This thug life you claimed it, I make millions from entertainment / Now back in the hood, certain cats they wanna kill me / They ice-grill me, but on the low, niggas feel me.”[21] “Nothing Lasts Forever” advises to appreciate life’s small epiphanies and be optimistic about the future.[11] On “No Idea’s Original”, Nas notes the similarities of people in life and views other rappers as creatively derivative, while distinguishing himself from them:[22] “No idea’s original, there’s nothin new under the sun / It’s never what you do, but how it’s done / What you base your happiness around material, women, and large paper / That means you inferior, not major.”[6] He references the line “there’s nothing new under the sun” from the Book of Ecclesiastes in the song’s chorus.[16] “No Idea’s Original” samples Barry White’s 1973 song “I’m Gonna Love You Just a Little More Baby”, a frequently sampled recording in hip hop music.[22]

“Poppa Was a Playa” was co-produced by Kanye West.
“Blaze a 50” features a violin-based instrumental and a complex narrative that follows a tale of murder,[23] sex, and betrayal.[20] Nas narrates the tale in conventional fashion until the ending, at which the track rewinds to an earlier point and he revises his original ending.[24] “Everybody’s Crazy” features complex rhymes and braggadocio rap by Nas: “Gangsta see, gangsta do / A Langston Hughes predecessor / Gun in my dresser, slang I use.”[15] In “Purple”‘s narrative, Nas lights up a blunt and expresses his thoughts, including criticism of hoodlums and their effect on their neighborhoods: “The ‘hood love you, but behind your back they pray for the day / A bullet hit your heart and ambulance take you away / That ain’t love it’s hate / Think of all the mothers at wakes / Whose sons you’ve killed and you ain’t got a cut on your face?”[25] “Drunk by Myself” has lyrics concerning alcohol and self-medication.[1]

“Black Zombie” is an impassioned, self-reflective critique of problems afflicting the African-American community, including prejudice (“You believe when they say we ain’t shit, we can’t grow / All we are is dope dealers and gangstas and hoes”), economic insolvency (“What do we own? The skin on our backs / We rent and we ask for reparations, then they hit us with tax”), and dependency (“I’ma Colombia record slave / So get paid / Control your own destiny, you are a genius / Don’t let it happen to you like it did to me, I was a black zombie”).[26] Its socially-conscious lyrics deride media stereotypes of African Americans, inequality in the educational system, and black-on-black violence.[20] According to writer Dax-Devlon Ross, the song foreshadowed the themes and “world view” of Nas’ subsequent albums.[26] “Poppa Was a Playa” features uncredited co-production by Kanye West,[27] and discusses Nas’ complicated relationship with his father, jazz musician Olu Dara, addressing his lusty, itinerant lifestyle throughout Nas’ youth.[28] Gabriel Alvarez of Complex calls it an “honest dedication to his old man: a jazz player, a rolling stone” and writes of the song, “The love is there despite the man’s faults. Nas crafts a full picture of the past, looking at the infidelity and fights from both parents’ perspectives.”[29]

An untitled hidden track follows “Poppa Was a Playa” and has Nas rapping from the perspective of his prenatal self.[1] It was originally recorded for I Am… and had planned titles “Fetus” and “Belly Button Window”.[8][30] The track opens with solemn guitar chords and the sound of bubbling liquid before being overlaid with a beat and a piano riff.[31] An introductory verse is delivered by Nas in a spoken word tone: “Yeah. I want all my niggas to come journey with me / My name is Nas, and the year is 1973 / The beginning of me / Therefore I can see / Through my belly button window / Who I am.”[31] The narrative follows the time before his birth, covering subject matter such as his parents fighting and his expectations for life.[32] In Book of Rhymes: The Poetics of Hip Hop (2009), writer Adam Bradley denotes the track’s lyrical narrative of an MC’s story of birth as “one of the core narratives in rap”, having its roots in a similar autobiographical convention found in African-American slave narratives. Of Nas’ narrative, Bradley states, “By endowing the insensible with voice, he aspires to an expressive level that transcends speaking for oneself, or of oneself, to one that self-consciously constructs itself as an artist giving shape to that which lacks coherence.”[31]

Commercial performance

The album was released by Ill Will Records and Columbia Records,[14] distributed through Sony Music Entertainment,[33] and had little promotion.[34] It was released on September 23 in the United Kingdom, September 24 in the United States,[35] October 9 in Japan, where it was issued with three bonus tracks,[36] and January 20, 2003, in Australia.[10]The Lost Tapes debuted at number 10 on the US Billboard 200 chart, with first-week sales of over 70,000 copies in the United States.[37] It spent eight weeks on the chart.[38] It also entered at number three on the Billboard Top R&B/Hip-Hop Albums.[39] As of July 2008, The Lost Tapes has sold 340,000 copies in the US, according to Nielsen SoundScan.[38]

In France, the album reached number 104 on the Syndicat National de l’Édition Phonographique’s albums chart, on which it remained for two weeks.[40] In Switzerland, it peaked at number 50 and spent three weeks on the Swiss Albums Top 100.[41]

Critical reception

Professional ratings
Review scores


Boston Phoenix[15]
Robert ChristgauB+[42]
Entertainment WeeklyA−[8]
Pitchfork Media6.9/10[20]
Rolling Stone[12]
The Rolling Stone Album Guide[43]
The Source[44]
Stylus MagazineB[13]

The Lost Tapes received universal acclaim from contemporary music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 82, based on 12 reviews.[45]Craig Seymour of Entertainment Weekly wrote that Nas’ “gritty, yet hopeful, reflections make Lost Tapes a real find.”[8] Jon Caramanica of Rolling Stone dubbed it “the real Stillmatic” and felt that it “displays Nas’ gifts for tightly stitched narrative and stunningly precise detail.”[12] Ken Capobianco of The Boston Globe stated, “These discarded songs are filled with the elements that made Nas such a promising artist in the beginning. Internal rhymes, blade-sharp narrative, a smooth sly flow without being beholden to ridiculous hooks.”[11]Boston Phoenix writer Chris Conti opined that his “trademark street-crime-rhyme” “rival that of Ice-T, G.Rap, and the late Big L”, and cited The Lost Tapes as “his most impressive album since his phenomenal 1994 debut, Illmatic.”[15]Nathan Rabin of The A.V. Club called it “a filler-free tour de force” that “confirms Nas’ status as rap music’s poet laureate of urban despair” and stated, “Though essentially a collection of odds and ends, the disc sounds as cohesive and consistent as any of Nas’ proper studio albums.”[1] David Samuels of Slate described its recordings as “quasi-legendary” and called it “a long-awaited step forward from an artist who was uniquely burdened by the success of his first record”.[16]

Although he found the lyrics and production “fantastic”, Brett Berliner of Stylus Magazine observed a lack of cohesiveness and stated, “Separate, the songs all sound great, but together, they don’t make a real album … like a superb mixtape.”[13]Robert Christgau of The Village Voice gave the album a “B+”,[42] indicating “remarkable one way or another, yet also flirts with the humdrum or the half-assed.”[46] He viewed that the tracks eschew the thug persona of his previous work for “sensitivity” and stated, “Surrounding outtakes that were just outtakes is back-in-the-day recommended to Tim and Missy (even has some pronunciation in it) and four autobiographical pieces.”[42] Rashaun Hall of Billboard critiqued that, “while the production on some tracks is clearly dated, Nas’ lyrics are as crisp and vivid as ever.”[18] Chris Ryan of Spin praised its “brutal, honest, politically charged” content and viewed the album as a hip hop Basement Tapes, “a raw document [that] still proves that Nas had it all along.”[23] Marc L. Hill of PopMatters called The Lost Tapes “a necessary addition to the collection of any hip-hop fan” and found it to be “masterfully arranged”, writing that it “maintains a cohesiveness that almost makes you forget that you are not listening to a studio album.”[35]


In The Rolling Stone Album Guide (2004), Chris Ryan found The Lost Tapes to be “somewhat inconsistent, and certainly too scattered to be considered an album per se,” but stated, “it contains some classics, such as the nostalgic ‘Doo Rags,’ that are not to be missed.”[43] In a retrospective review, Allmusic editor John Bush recommended it to “hip-hop fans who want to hear some great rhyming with no added features” and commented that tracks such as “Doo Rags”, “No Idea’s Original”, and “Black Zombie” “stand up to anything Nas has recorded since the original Illmatic.”[14] Jesal Padania of RapReviews commented that the album “proved remarkably consistent throughout, and was a superb listening experience” and considered it a studio release, stating “this was a short sharp shock of awesome lyricism, and many, unofficially, consider this to be the closest cousin we will ever get to Illmatic II.”[47] Pitchfork Media’s Ryan Dombal cited the album as one of Nas’ “finest moments”.[48]’s Henry Adaso called it “noteworthy because of its superiority to half the stuff in Nas’ catalog.”[49] In its 2007 issue, XXL included The Lost Tapes in its list of “classic” albums to be given the publication’s maximum “XXL” rating.[50] In 2012, Complex included The Lost Tapes in their list of “25 Rap Albums From the Past Decade That Deserve Classic Status”.[51]


A follow-up compilation, The Lost Tapes 2, was originally intended to be released on December 16, 2003, and include unreleased recordings, remixes, and freestyles tracks.[52] However, its release was delayed,[53] and in 2006, Nas signed to Def Jam Recordings.[54] In a June 2010 interview for Hot 97.5 KVEG, he said of following-up The Lost Tapes, “I do got a lot of songs that really didn’t make no album, that’s just sittin’ around [or] got lost. So I’ve got enough actually, for a Lost Tapes 2 and 3 by now. So I’ve just got to set it up, put them together – 12 songs for one album, 12 songs for another album, and figure it out. That’s all it takes.”[55] In September, he announced plans to release The Lost Tapes 2 on December 14.[48] However, its release was further delayed by Def Jam, whom Nas accused of mishandling the project and its budget in a personal e-mail sent to label executives.[56] Reports of the project’s delay incited fans to create an online petition in December asking for Def Jam to release the album.[57] After losing time to the project’s delay, Nas began recording for a new studio album and put plans for The Lost Tapes 2 on hold.[58][59] In a May 2011 interview for MTV News, he discussed the situation with the sequel and Def Jam, stating:

When I released Lost Tapes, it was on Sony. Being at Sony for so long, I was used to things going easy. Kinda easy. At Def Jam, I just got there, I’m still in my ways at Sony. I’m like, ‘yeah, this record’ll come out this time, a few months later I’ma drop this.’ But we just started working together, so they’re like, ‘We can do this, but wait, maybe we should do it like this,’ and I wasn’t used to that. And then there was no communication at all, and I wasn’t used to that. With Sony, I wasn’t used to a lot of communication, it was just, we understood what we were doing. […] Def Jam, it was more, ‘Let’s sit down, let’s have tea and talk this over.’ I wasn’t so used to that, and I saw kinda things falling behind. It kinda messed up my flow, I thought. The timing for that is gone. Now, it’s all about the new record.[60]

Track listing


1.”Doo Rags”  Nasir Jones, Larry Gates, Michelle Lynn BellPrecision4:03
2.”My Way”  Jones, Alan MamanThe Alchemist3:55
3.”U Gotta Love It”  Jones, Leshan Lewis, Carlos Wilson, Louis Wilson, Ricardo WilsonL.E.S.3:18
4.”Nothing Lasts Forever”  Jones, LewisL.E.S.3:52
5.”No Idea’s Original”  Jones, Maman, Barry WhiteThe Alchemist3:04
6.”Blaze a 50″  Jones, L.E.S., Jean-Claude Olivier, Samuel BarnesL.E.S., Poke and Tone2:49
7.”Everybody’s Crazy”  Jones, Dana StinsonRockwilder3:35
8.”Purple”  Jones, Tommie SpearmanHill, Inc.3:39
9.”Drunk by Myself”  Jones, Al West, Barnes, OliverAl West, Poke and Tone4:03
10.”Black Zombie”  Jones, SpearmanHill, Inc.3:35
11.”Poppa Was a Playa”  Jones, Deric Angelettie, Allan Wayne Felder, Norman Ray HarrisDeric “D-Dot” Angelettie, Kanye West (co.)[27]7:09
Japan edition bonus tracks
12.”It Ain’t Hard to Tell” (Large Professor Remix)Highleigh Crizoe, Jones, William Paul MitchellLarge Professor2:51
13.”Affirmative Action” (Remix (featuring Foxy Brown and AZ))Dave Atkinson, Barnes, Anthony Cruz, Jones, Inga Marchand, Cory McKay, OlivierDave Atkinson, Poke and Tone3:23
14.”One Mic” (Remix)Tyrone Fyffe, Jones, James MtumeTy Fyffe4:34
“U Gotta Love It” contains excerpts from the composition “Love Song” performed by Mandrill, written by Carlos Wilson, Louis Wilson, and Ricardo Wilson.
“No Idea’s Original” contains excerpts from “I’m Gonna Love You Just a Little More Baby” written and performed by Barry White.
“Poppa Was a Playa” contains excerpts from the composition “The Newness Is Gone” written by Allan Wayne Felder and Norman Ray Harris, performed by Eddie Kendricks.
A hidden track begins at 3:49 of track 11.


Credits for The Lost Tapes adapted from liner notes.[3]

The Alchemist – producer

Julian Alexander – artwork
Deric “D-Dot” Angelettie – producer
Pablo Arraya – assistant engineer, mixing assistant

Kareem Black – photography
Kevin Crouse – engineer, mixing
Chris “C-Money” Feldman – artwork
Bryan Golder – engineer
Paul Gregory – assistant engineer
Hill, Inc. – producer
Ken “Duro” Ifill – engineer
L.E.S. – producer
Nikki Martin – coordination
Jonathan Merritt – assistant engineer, mixing assistant
Nas – composer, executive producer
Lenny “Linen” Nicholson – A&R
Jake Ninan – assistant engineer
Poke and Tone – producer
Precision – producer
Rockwilder – producer
John Shriver – engineer
Grayson Sumby – assistant engineer, mixing assistant
Richard Travali – mixing
Al West – producer


Chart (2002)Peak position

French Albums Chart[40]104
Swiss Albums Charts[41]50
US Billboard 200[61]10
US Billboard Top R&B/Hip-Hop Albums[61]3

Red Everything Movement

Red Alert ! In Its Fourth Week, Talib Kweli Joins”Stand Your Ground Protest” In Florida

In Its Fourth Week, Talib Kweli Joins
“Stand Your Ground Protest” In Florida

Talib Kweli is among artists and public
figures who have joined “Stand Your
Ground Protest”. In Tallahassee yesterday, veteran rapper Talib Kweli joined the ongoing sit-in protests at the Florida Capitol.

Now in its fourth week, protester shave occupied the state. house demanding Governor Rick Scott call a special session of the state legislature to address concerns about the Stand Your Ground law that gained national attention after the killing of Trayvon Martin last year.

Led by the Dream Defenders organization, with the #TakeOverFL campaign, the group wants the Stand Your Ground law repealed, racial profiling banned, and for state legislators to review their zero tolerance policies in schools.

Talib is now the most recent celebrity to visit the site. Harry Belafonte and Jesse Jackson have also made found themselves at the Capitol to show their support for the Dream Defenders.

Red Everything Movement

Saturday Focus – Nas _Top 10 Songs

Aight, maybe not of all time, and he has so many songs you cant even make a damn list. I was able to compress 9 albums into 10 really good songs… damn this wasnt easy at all.

#10)Halftime – Illmatic – Number 10 on your list is halftime. This is hands down Nas’ most energetic song from start to finish. He kicks the braggacidio raps that leave your jaw dropped. “You couldnt catch me in the streets without a ton of reefer thats like malcolm x catchin the jungle fever”


Single by Nasty Nas

from the album Zebrahead and


Released – October 13, 1992
Format12″ single
Recorded – 1992
Genre – Hip hop
Length – 4:44
Label – Columbia
Writer(s)Nasir Jones
W.P. Mitchell
Producer – Large Professor

Nas singles chronology
(1992)”It Ain’t Hard to Tell”
Illmatic track listing
“The World Is Yours”
(5)”Memory Lane (Sittin’ in da Park)”

“Halftime” is the 1992 debut single by American rapper Nas, released under his original moniker of “Nasty Nas”. It was originally recorded for the Zebrahead soundtrack album, released October 13, 1992, on Ruffhouse Records.[1] “Halftime” was produced by Large Professor and features samples from “Schoolboy Crush” by Average White Band, “Hawaiian Sophie” by Jaz-O, “Soul Traveling” by Gary Byrd, and “Dead End” by Japanese Hair. The song was later included on Nas’ influential 1994 debut album, Illmatic.


“Halftime” features an up-tempo beat led by percussion and trumpets over which Nas rhymes. Memorable lines include “You couldn’t catch me in the streets without a ton of reefer/That’s like Malcolm X, catchin’ the Jungle Fever” and “I’m as ill as a convict who kills for phone time.” [2] Nas also uses this song to give a “shout-outs” to Ill Will Records, and the Queensbridge Crew, a reference to the Queensbridge housing projects in Queens, NY, USA. He also reveals he’s a fan of Marcus Garvey, the Jackson 5 and Mr. Magic.[3]


The inclusion of “Halftime” to the Zebrahead soundtrack by MC Serch led to Nas’s breakthrough as a rapper, as a record deal with Columbia Records and the release of his debut album, Illmatic (1994), followed.[4][5] According to Vibe magazine, the song “created a niche that only Illmatic could fill”.[6]


Lyrics from “Halftime” are sampled in these songs:

“Exercise” by Akinyele
“Rugged Ruff” by Bahamadia
“We Got It Hemmed” by Cella Dwellas
“Down for the Kaz” by Kazi
“I Will Always Love H.E.R.” by Peanut Butter Wolf
“Strike Back” by Army of the Pharaohs
“Vengeance” by East Coast Avengers
“Am I Dope Or What” by Vakill
“Furam Obleku” by Target of Tram 11
“Crazy Like a Foxxx (D.I.T.C. Version)” by Bumpy Knuckles
Track listing
“Halftime” (Radio Edit) (4:19)
“Halftime” (LP Version) (4:19)
“Halftime” (LP Version Instrumental) (4:19)
“Halftime” (Butcher Remix) DJ Bubie (4:41)
“Halftime” (Butcher Instrumental) (4:42

#9)Streets Disciple – Streets Disciple – I try to include at least one song from every album, although one album of course isn’t included (I’ll let you guess). Streets Disciple kind of lived up to the hype, I wouldn’t say all the way but it could be the second greatest double disc CD of all time. Thats great to say considering this album hasn’t even been alive for a year, it could have been better, some songs were fillers but it was still above average. Nas proving “you couldn’t come close on my worst day” with this album. Aight, now…this is one of the best lyrically put songs on this album, the beat is right too and a subliminal diss to Cam’Ron keeps you listening to this song all day “crack baby turnin young thug description might fit you look around it might hit you no joke i wanna pistol fight witchu shit comes around faster than you think blood and white chalk make pink so whats that make you” ROFLMAO.

#8)Purple – The Lost Tapes – What album was this song supposed to be on? And why did it not make it there? This song is an instant classic from the moment you first listen to it, absolutely flawless, no need for explaining just read the damn lyrics. The second verse of this song has to be put in the top 10 verses of all time by any rapper.

#7)One Love – Illmatic – People say who’s the better storyteller Nas or Slick Rick? anybody with a brain would say slick rick, but if you had to judge between just two songs, one love and children’s story, what would you take? With that said for the next 5 minutes Nas is the best storyteller ever. This song is packed with subliminal disses to cormega, they were even cool at the time!!! lol this is hands down one of the finest stories told on a track. This song would be higher on the list, but once again Nas has so many classics its hard to decide which goes where “wildin on an island but now with elmyra better chill cause them niggas will put that ass on fire”

“One Love”

Single by Nas featuring Q-Tip
from the album Illmatic

Released – October 25, 1994
Format12″ single
Recorded – 1992
Genre – Hip hop
Length – 5:25
Label – Columbia
Writer(s)Nasir Jones, Jonathan Davis, Jimmy Heath

Nas chronology

“Life’s a Bitch”

(1994)”One Love”
(1994)”If I Ruled the World (Imagine That)”
Illmatic track listing
“Memory Lane (Sittin’ in da Park)”
(6)”One Love”
(7)”One Time 4 Your Mind”

“One Love” is a song by American hip hop rapper Nas, released October 25, 1994 on Columbia Records. It was issued as the fifth and final radio single in promotion of his debut studio album Illmatic (1994). The song was produced by Q-Tip of A Tribe Called Quest, who also contributed vocals for the chorus line. According to Nas, the title of the song originates from Jamaican singer-songwriter and musician Bob Marley’s song of the same name.

“One Love” is composed as a series of letters by Nas to his incarcerated friends, describing events that have occurred prior to and after the receivers’ imprisonment. “One Love” contains samples of the Heath Brothers’ “Smilin’ Billy Suite Part II” (1975) and Parliament’s “Come In Out the Rain” (1970). In the song’s first verse, Nas references fellow Queensbridge emcee Cormega, whose rapping career had been put on hold due to his incarceration during the early 1990s. In 2008, VH1 named “One Love” the forty-eighth greatest hip hop song.[1]

Produced by Q-Tip, “One Love” samples the double bass and piano from the Heath Brothers’ “Smilin’ Billy Suite Part II” (1975) and contains a drum break from Parliament’s “Come In Out the Rain” (1970), which add to the song’s mystical and hypnotic soundscape.[2]

Lyrically, “One Love” is composed of a series of letters by Nas to incarcerated friends,[3] recounting mutual acquaintances and events that have occurred since the receiver’s imprisonment,[4] including unfaithful girlfriends, emotionally-tortured mothers and underdog loyalty.[5] According to one writer, the phrase “one love” represents street loyalty in the song.[6] Nas later explained that the title of the song originated from Jamaican singer-songwriter Bob Marley’s song of the same name, which, according to writer Mickey Hess, “echoed the ubiquitous street salutation ‘one’ (similar to ‘peace’) used around Nas’s neighborhood.”[3] In a 1994 article on the distinct styles of East Coast and West Coast hip hop, music journalist Touré referred to “One Love” as an example of the thematic differences between the two regional scenes, stating:

The more ambitious themes of New Yorkers’ rhymes over those of their L.A. counterparts can be traced to the original intention of hip-hop in each city: Many L.A. rappers embraced the drug culture, while those in New York tended to use hip-hop as an avenue of escape from it … In ‘One Love’, Nas echoes that perspective, rapping about his own temporary getaway: ‘So I be ghost from my projects/ I take my pen and pad for the weekend/ A two-day stay/ You may say/ I needed time alone/ To relax my dome/ No phone/ Left the nine at home.'[7]
Among those referenced in the song was fellow Queensbridge-based rapper Cormega (“And night time is more trife than ever/What up with Cormega, did you see him, are y’all together?”).[8] Cormega’s rapping career had been put on hold due to his incarceration during the early 1990s, before his release in 1995.[8] After delivering “shout-outs to locked down comrades”, Nas chastizes a youth who seems destined for prison in the final verse, “Shorty’s laugh was cold blooded as he spoke so foul/Only twelve tryin to tell me that he liked my style … Words of wisdom from Nas, try to rise up above/Keep a eye out for Jake, shorty-wop, one love”.[9] Music writer Mickey Hess wrote that “the literary technique Nas most strongly excels in is the one that would seem to be most pedestrian: rhyme”, and cited “One Love” as the first display of Nas’s “formal inventiveness”.[3] The song’s lyrical structure has been compared to that of American rapper Eminem’s “Stan” (2000).[3]

From artist:

Q-Tip used to come and hang out with me in my projects from time to time. I remember him coming out there and hanging out, and I remember him letting me hang out at his session when he was working on Midnight Marauders. I thought he was just the most incredible, so to have him producing my album, for him to even do the chorus for me is a blessing. The song just came from life, it’s a song about letters to prison inmates, friends of mine, shout-outs to childhood friends and their uncles and people who were like family to me. I was, again, too young to be going through all of that. That’s what I think about when I hear that album. I was too young to be going through all of that.[10]

Track listing

“One Love” (Album Version) (5:23)
“One Love” (Radio Edit) (5:23)
“One Love” (Album Instrumental) (5:23)
“One Love” (Acappella) (5:21)
“One Love” (LG Main Mix) (5:33)
Produced by The LG Experience
“One Love” (LG Radio Edit) (4:29)
“One Love” (LG Instrumental) (2:06)
“One Love” (One L Main Mix) (5:43)
Produced by Godfather Don and Victor Padilla
“One Love” (One L Radio Edit) (4:48)
“One Love” (One L Instrumental) (1:55)

Chart (1994)Peak position[11]
US Hot Rap Tracks24
US Hot Dance Music/Maxi-Singles Sales6

#6)N.Y State Of Mind Part 1 – Illmatic – Instant classic, no need for explanations, every hip hop fan in America has heard this song, I hope. Go back to your jessica simpson albums if you haven’t.

“N.Y. State of Mind”

Song by Nas from the album Illmatic

Released – April 19, 1994
Genre – East Coast hip hop, hardcore hip hop
Length – 4:54
Label – Columbia Records
WriterNasir Jones, Chris Martin
Producer – DJ Premier

Illmatic track listing
“The Genesis”
(1)”N.Y. State of Mind”
(2)”Life’s a Bitch”

“N.Y. State of Mind” is a song by American hip hop recording artist Nas, taken from his debut studio album Illmatic (1994). The song’s production was handled by DJ Premier who sampled two jazz songs: “Mind Rain” by Joe Chambers and “Flight Time” by Donald Byrd.[1][2] Premier additionally scratches vocals from Eric B. & Rakim’s “Mahogany” for the song’s chorus.[3] Nas raps two verses on the song in which he talks about his rapping talent and describes the dangerous environment that is the city of New York. Nas has attributed the song “Streets of New York” by Kool G Rap as one of the song’s primary influences (Kool G Rap would later sample this song, plus give Nas a guest spot on his album 4,5,6). A sequel to “N.Y. State of Mind” can be found on Nas’ 1999 album I Am…. An early version of the song can be found on Nas’ demo tape under the name “I’m a Villain.”[citation needed] It was rumored that a track entitled “N.Y. State Of Mind Pt. III” was scheueled to be released in an Nas’s upcoming album “The Lost Tapes 2”, but it is unknown if this is true.

Critical acclaim

“N.Y. State of Mind” ranks #74 on’s Top 100 Rap Songs.[4]

Rolling Stone magazine placed the song on its list of “The 50 Greatest Hip-Hop Songs of All Time.”[5]

Marc L. Hill of PopMatters describes “N.Y. State of Mind” as a standout track on Illmatic claiming that it “provides as clear a depiction of ghetto life as a Gordon Parks photograph or a Langston Hughes poem.”[6] The song is also one of a few rap songs to be featured in the Norton Anthology of African American Literature.[7] It is featured on Nas’ 2007 greatest hits album as the only non-single song in the album, and on the 1999 compilation Best of D&D Studios, Vol. 1. Steve ‘Flash’ Juon of states:

“”[Illmatic] was to be an album steeped in the rich traditions of hip-hop history, mixed with the most advanced verbal styles and fat beats that could be put on wax. And if it couldn’t be set off any more right already, the DJ Premier produced “N.Y. State of Mind” was designed to knock you right off your feet. Primo’s knack for finding the illest piano loops and matching them to pounding beats was perfected in this track, and paired with a Rakim sample on the chorus that provided the mental link for an analogy most rap heads had already made by now: Nas was the NEW Rakim on the block.[8]”
The song is included on the soundtrack of video games True Crime: New York City and Saints Row 2.[citation needed]

Lyrics from “N.Y. State of Mind” are

sampled on these songs:

“The Message” by Nas
“N.Y. State of Mind Pt. II” by Nas
“Interlude” by Different Teep
“Beyond Real” by Jigmastas
“4, 5, 6” by Kool G Rap
“Mission One (Intro)” by Fanatik & Peanut Butter Wolf
“Force the Resistance” by Task Force
“Monkey See, Monkey Do” by Sonic Boom Six
“Hip Hop State Of Mind” by Israel The ILLa Real
“Boombox” by Blueprint
“Beyond” by Dj JS-1 Feat. O.C.
“New York New York” by LL Cool J
“Sneakers” by Raekwon
“Detroit State of Mind” by Elzhi
“Streets of New York (City Life)” by Alicia Keys, Nas, and Rakim

#5)Nas Is Like – I Am – N-n-n-n-n-n-n-nas is like! The first line of this song put it down into greatness. When you hear this song on the I Am album you think “NASTY NAS IS BACK!” unfortunately 60% of this album was disappointing. Of course this song saved it though, this song takes you back to the 1994 days where Nas was spittin that real shit, and lets not forget … another beat by primo gets the job done. “Freedom or jail clips inserted a baby’s being born same time a man is murdered the beginning and end as far as rap go its only natural i explain my plateu and also what defines my name”

“Nas Is Like”

Single by Nas
from the album I Am…

Released – March 2, 1999
Format – CD single
Recorded – 1998
Genre – East Coast hip hop
Length – 3:57
Label – Columbia
Producer – DJ Premier

Nas singles chronology
“Escobar ’97”
(1997)”Nas Is Like”
(1999)”Hate Me Now”

“Nas Is Like” is the first single from Nas’ third album I Am…. The song is the sixth collaboration between Nas and producer DJ Premier. It was critically well received as it was a change from the more commercial and pop-oriented singles from It Was Written and Nas, Foxy Brown, AZ, and Nature Present The Firm: The Album. The song contains a combination of braggadocios and introspective lyrics over a choppy string sample.

The lyrical presence of Nas was clearly evident from the first lines: “Freedom or jail, clips inserted,/ a baby’s bein’ born Same time my man is murdered,/ the beginning and end”
In the third verse of the song, Nas uses similes to describe his prowess. These include: “I’m like a whole lot of loot, I’m like crisp money / Corporate accounts from a rich company / I’m like ecstasy for ladies, I’m like all races / combined in one man; like the ’99 summer jam.”

In the 14 Deadly Secrets by DJ Premier,[1] Primo said:

“This shit is crazy : the day I made this record, I was at my house in Long Island, and I found this old record that I was gonna throw away. It was a ten inch record from a Lutheran church, and it was pink with a black fish on it. And I was gonna throw it in the garbage, ‘cuz it didn’t look like it had anything hot on it. But somethin’ told me “before you throw it away, put it on the turntable, see if you can find something on it”.
And I found that sample of “Nas Is Like”, and I broke it into 3 parts, scratched it live to the drumbeat that I already had, with the little chirpin’ birds and from there, “Nas Is Like” was born, man…

The song is also notable for featuring one of the most sought-after samples by cratediggers. For almost a decade since the track’s release, the main sample used by DJ Premier remained unknown. However, April 2008 an unnamed MP3 file featuring the original sample used was uploaded to the Internet by Dusty Kid from Strictly Breaks. Right after, the sample was identified as “Cantata of New Life” by John Rydgren. However, it was later revealed that the track was actually John Rydgren and Bob R. Way’s 1966 song “What Child Is This?”,[2] from their record Thoughts on the Carols.

Other than this, the song also contains scratched vocal samples from Nas’ previous songs “It Ain’t Hard to Tell” from 1994 and “Street Dreams” from 1996. The song also samples bird chirps from Don Robertson’s “Why” and a vocal sample from Biz Markie’s “Nobody Beats the Biz”.

Music video
The song’s music video directed by Nick Quested shows Nas rapping in the Queensbridge projects and features cameo’s by NBA player Ron Artest and fellow Queensbridge rappers Nature and The Bravehearts

Reception and Influence
“Nas Is Like” was positively received on a commercial and critical level. It reached number 86 on the Billboard Hot 100, number 14 on the Canadian Singles Chart and peaked at number 3 on the Rap songs chart.[3] M.F. DiBella of Allmusic justifies the success of “Nas Is Like” stating: “Superproducer Premier comes to save the day…[“Nas Is Like” is] nothing short of Illmatic perfection. “Nas Is Like”‘s symphonic composition is the perfect complement for an MC of Nas’ supreme vocal quality and precise lyrics.”[4]

The song’s popularity caused various songs to borrow “Nas Is Like”‘s beat, structure and lyrics:

During his brief feud with Nas, Memphis Bleek recorded a song named “Memphis Bleek Is…” which stylistically mimicked “Nas Is Like”.
On Royce da 5’9″‘s 2007 mixtape The Bar Exam, he freestyles over the “Nas Is Like” instrumental and forms a song with a similar structure.
Lyrics from “Nas Is Like” were later sampled in Braille and Rob Swift’s 2008 song “The IV”.
West Coast rapper Kendrick Lamar made a freestyle to this song in January 2013 on Hot97.[5]
J.Cole uses the first part of Nas Is Like for the intro of Let Nas Down.

Track listing

“Nas Is Like” (Main) (3:50)
“Nas Is Like” (Clean) (3:57)
“Nas Is Like” (Instrumental) (3:57)
“Dr. Knockboots” (Main) (2:25)
Produced by Poke & Tone
“Dr. Knockboots” (Clean) (2:25)
“Dr. Knockboots” (Instrumental) (2:25)
Chart (1999) [3]Peak
Canadian Singles Chart14
U.S. Billboard Hot 10086
U.S. Billboard Hot R&B/Hip-Hop Singles & Tracks30
U.S. Billboard Hot Rap Singles3

#4)I Gave You Power – It Was Written – …aight, its official, Nas can do ANYTHING!!!!, not only is this song a story … its a fucking metaphor!!!! The whole song he spits from the perspective of a handgun, not himself… a handgun. Nas is the gun and he’s talking about the life a gun goes through. I heard songs where other rappers narrorate through other people… but a gun? come on, thats talent right there. another great beat by primo. “beat up and battered they pull me out I watched these niggas scatter makin me kill but what I feel it never mattered”

#3)Life’s A Bitch – Illmatic – Life’s a bitch and then ya die! AZ! no not jay-z bitch AZ. One of the most lyrically gifted rappers ever, if you never heard of AZ, quick run to best buy or fye and purchase “Doe Or Die” AZ blesses us and teaches us about flow with one of the greatest verses ever.”visualizin the realism of life and actuality fuck who’s the baddest a person’s status depends on salary” Of course Nas follows up with another great verse probably more lyrical than AZ’s but AZ just blew us away with this won so of course he outshined him. “i switched my motta instead of sayin fuck tomorrow that buck that bought a bottle coulda struck the lotto”

#2)One Mic – Stillmatic –

Many consider this song to be the resurrection of Nas, you know after the horrendus Nastradamus album, the lyrical slaughtering of rapper Jay-Z, Nas is back right? … Wrong … Nas never left, in fact he had this in him all along, with a song like this … even jay-z fans I know like this song. Whats there not the like? the calm/energetic switched flow makes this song all much enjoyable to listen to. “they dont understand dont wanna see me on top too egotistical talkin all that slick shit the same way these bitches do”

“One Mic”

Single by Nas
from the album Stillmatic

Released – April 16, 2002
Format – Maxi-single, 12″ vinyl
Recorded – 2001
Genre – Hip hop
Length – 4:28
LabelIll Will, Columbia
Writer(s)Nasir Jones, Chucky Thompson
Producer – Nasir Jones, Chucky Thompson

Nas singles chronology
“Got Ur Self A…”
(2001)”One Mic”
(2002)”Made You Look”

“One Mic” is a song by American hip hop rapper Nas, released April 16, 2002 on Columbia Records and distributed through Ill Will Records in the United States. It was issued as the third single from his fifth studio album, Stillmatic (2001). The song samples a portion of Phil Collins’s “In The Air Tonight”. The single peaked at number 43 on the Billboard Hot 100, making it Nas’s third top-fifty hit on the chart.

Musical style
Production for “One Mic” was handled by Nas and hip hop producer Chucky Thompson.[1] The song samples English musician Phil Collins’s “In the Air Tonight” (1981). On selecting the sample for “One Mic”, Nas stated “I’m a huge fan of Phil Collins and I just wanted to take the vibe from ‘In the Air Tonight’.”[2] Steve Juon of RapReviews wrote that the song features a production technique previously implemented by such hip hop artists as Outkast and The Roots, which he described as “a quiet groove that steadily increases in energy and intensity until an increasingly amped Nas lets his lyrical rage boil over like a Final Fantasy fighter smacked ONCE too often.”[1] Music writer Nick Butler described the song’s structure as “slowly building up from a simple ‘In the Air Tonight’ sample toward the full production … like hearing two mini hip-hop versions of ‘Stairway to Heaven’, before Nas flips the script for the third verse and does the same thing in reverse.”[3]

According to Juon, the final verse has a reversal of this formula, in which Nas “goes from amped up to soft-spoken, drawing you even closer into his rap.”[1] “One Mic” begins with a slow, deliberate flow and beat.[4] Music critic Brett Berliner wrote “‘One Mic’ starts out with a slow beat reminiscent of a crappy R&B song. Throughout the song, Nas’ lazy flow turns into an angry rant over a fast paced beat, and finally a siren.”[5] According to Mark L. Hill of PopMatters, the song “crescendos until Nas is nearly screaming over the subtly elaborate track.”[4]

Lyrical content
The lyrics of “One Mic” discuss Nas’s desire for a simple life (“Only if I had one gun, one girl, and one crib/One God to show me how to do things his son did”) and obstacles that prevent it (“[if] One ni**ga front, my face on the front page”),[4] and a lifestyle in which Nas proclaims “All I need is one mic – fuck the cars, the jewelry”.[1] It has been noted by music writers for its political consciousness and dystopian themes.[6][7] Keith Harris of City Pages described the lyrical structure of “One Mic” as “urban claustrophobia distilled and digitized, with Nas’s reportorial eye zooming in on a detail, then pulling back to a panoramic overview.”[8] One writer described the song’s lyrical scheme as “building slowly to a crescendo of declaration and rage, then coming back, to seek a way to make a difference, with that precious one mic.”[9] Del F. Cowie of Exclaim! described Nas’s narrative in the song as “Memento-inspired … with typical visual flair.”[6] One music writer wrote that the lyrics “emit a sense of reality and call to action.”[10]

In an interview for Rolling Stone, Nas discussed the theme of the song, stating “‘One Mic’ is just about the power. It’s almost like Hip Hop is Dead in its infant stages, saying how much this is a blessing to be out here, speaking about what’s happening in my neighborhood, having the whole world understand and relate.”[2] He also referred to commentator Bill O’Reilly’s criticism of “Shoot ‘Em Up”, a song from Nas’s fourth album Nastradamus (1999), as he stated “If I didn’t have a microphone, I could never talk about ‘Shoot ‘Em Up’, and I was talking about Queens, New York, being shot up. What do I have to do to get somebody to turn around and hear what I’m saying and take it serious? I’m not here just to be in your face talking nonsense, we’re talking about reality. For him to be upset or people like him to be upset is insane to me. It just shows how ignorant people are.”[2] In the interview, Nas continued to discuss his inspiration and the song’s lyrical theme, stating:

‘One Mic’ just gives me the ability, no matter how much ignorant people are mad that I’m exposing or talking about our country, no matter what the language is, I’m talking in a language that the people can hear, I’m not sugar-coating it. So if it scares people and people feel guilty, people feel like they’ve got to make up excuses to why the world’s this way, no matter what they say, like they’ve got their mic, I’ve got mine, and that’s what that song’s about.[2]
In the song, Nas also asks God to forgive him for his sins.[11] In the hip hop book Beats, Rhymes & Life (2007), music writer Ytasha Womack compared Nas’s lyrics on “One Mic” to the work of rapper Tupac Shakur, analyzing it as a song with strong religious, Christian overtones and lyrical themes.[12] Womack wrote that “Nas’s references ultimately humanized Jesus, with attempts to show direct parallels between our quest and that of the Wayshower.”[12] Womack concluded with analyzing the incorporation of religious themes by Nas in his composition, stating “Nas clung to spiritual questioning, expressing a desire to be like the early mystics, in order to possess their knowledge and powers. While he expresses that he has the potential of the greats, in ‘One Mic’ he asks God to show him how to do things his son did. Nas intertwined his day–to–day life and decisions with the pressures felt by Jesus and others, doing so almost as a means to somehow transfer their spiritual gifts to himself.”[12]

Release and reception
The single entered the Billboard Hot 100 singles chart on April 20, 2002, debuting at number 79.[13] It peaked on the Hot 100 at number 43.[14] On June 8, 2002, “One Mic” made its debut on the Hot Rap Tracks chart at number 9, before eventually peaking at number 7.[15] The single peaked on the Hot Rap Singles at number 23,[16] the Rhythmic Top 40 at number 32, and the Hot R&B/Hip-Hop Singles & Tracks chart at number 14.[14] A remix of “One Mic”, featuring a sample of Mtume’s “Juicy Fruit” (1983), was later released on the remix album From Illmatic to Stillmatic: The Remixes (2002).[17]

Critical response
The song was well received by music critics, some of whom hailed it as a “classic”.[12] Steve Juon of RapReviews lauded the song’s production,[1] while Marc L. Hill cited it as Stillmatic’s “standout track”, and described Nas as “our magnificently human rap god.”[4] Del F. Cowie described “One Mic” as the album’s “centrepiece epic”,[6] and Sputnikmusic’s Nick Butler cited “One Mic” as “the best rap song of this decade”. Butler went on to describe his first listen of the song, stating “This song blew me away on first listen, and it’s still having the same effect now. Not many rap songs can send chills up my spine. This is one of them.”[3] A columnist for MVRemix called “One Mic” a “perfect song”, and also wrote of his first listen of the song, stating “when I first heard this I almost literally blacked out since I did not breathe at all from listening to the whole song the first time. There also have been reports of this song almost causing car accidents, so skip this if you’re driving. And no, I’m not kidding.”[11] Brett Berliner of Stylus Magazine was particularly favorable of the song’s use of a siren, as he called the concept “Truly incredible, and one of the best ideas for a song I’ve ever heard in my life.”[5]

Negative criticism came from Kathryn McGuire of Rolling Stone, as she wrote “The hyperbolic urgency of ‘One Mic’ feels staged.”[18] In spite of this, a columnist for Blender lauded the song’s lyrical detail,[19] and James Poletti of Yahoo! Music cited it as “some of the best hip-hop recorded last year.”[20] A writer for the website BlackPrint described “One Mic” as “soon to be legend … perfect in every way.” The columnist continued to write “This track is simply incredible and will be the measuring stick of every other deep soul searching type of rap joint from here on out.”[10] Steven Potter of the Journal Sentinel called the song a “testament to the lyrical skill only the best emcees possess.”[21]

In retrospect, IGN’s Jon Robinson viewed “One Mic” as a comeback for Nas, writing that it “proved that he was still not only one of the dopest MCs in the world, but possibly the most gifted writer of the rap community.”[22] According to music critic Steve Juon, the song signalled a return for Nas to his early musical roots, stating “you know that the rapper we all once called Nasty Nas has truly returned.”[1] In 2005, the song was ranked number 54 on’s list of the 100 Greatest Rap Songs.[23]

Music video
The music video was directed by Chris Robinson.[9] Robinson stated in an interview with MTV that he had wanted to feature the 1976 Soweto uprising in a video, and had eventually won Nas over to the idea.[24] However, the video’s production ran into difficulties due to the restrictions on travel after the September 11, 2001 attacks. Instead, the scene of the riots was filmed in Los Angeles with participants from a local inner-city baseball team playing the rioters.[24] The scene of the rock being thrown in the direction of the camera was taken over 10 times (the actor “had a bit of a curve on his throwing arm,” according to Robinson) before post-production work managed to complete the desired effect.[24] Robinson also told his director of photography to open and close the shutters of the camera in the apartment scene, creating an effect of blurred streaks of light.[24]

The video begins with a montage of scenes from inner-city areas of New York City, followed by a camera shot of an apartment window in which a light has just been turned on.[25] The video then centralizes upon a view of Nas reflectively rapping with a single microphone in a bare apartment room. While Nas is rapping, the video switches to a scene of a routine police stop of four suspects which quickly escalates to an on-foot chase of the suspects by police as a surprised elder bystander “fiend drops his Heineken” onto the asphalt.[25] The suspects and the police dramatically part around Nas, who is rapping in the middle of the street, as they continue the chase around a corner. As Nas shouts “The Time is Now!”, the scene cuts back to Nas rapping in the barren apartment room with the microphone.[25]

The video transitions to a scene in Soweto at the beginning of the 1976 uprising, in which a protester rallies a crowd of residents against the government while baton-wielding black and white soldiers of the SADF prepare for the impending crackdown on the protesters.[25] Gradually, the scene escalates to violence, with the impetus being a rock thrown in the direction of the camera.[25] Soon, the two sides clash on the dirt road, and Nas pauses to a steady iteration of “One Mic” while standing contrastedly in the middle of the ongoing violence, the scene ending with the silent scream (symbolized by a descending piano) of a little bystanding Soweto girl as the scene cuts back to Nas, in the apartment room, kicking the chair and launching headfirst into a full-blown litany.[25]

The Soweto scene is interpolated with various scenes of young people listening and lip-syncing the lyrics, including a teenager wearing headphones in an apartment bedroom beside her younger sister, a group of Latino men sitting in a car and a young, angry Los Angeles County prisoner behind bars.[25] Gradually, as the camera overlays a view of Nas upon the forward-moving shot of a street, the video then calms down alongside the descending tone of the song, the facial determination of Nas and other participants in the video remaining visible as the video draws to a close with the light in the apartment window turning off.[25]

Released on December 17, 2001,[9] the video received heavy rotation on the music television network MTV.[26]

Track listing

“One Mic” (Explicit) (4:28)
“One Mic” (Clean) (4:32)
“One Mic” (Instrumental) (4:36)
“2nd Childhood” (Explicit) (3:51)
Produced by DJ Premier


Charts (2002)Peak
US Billboard Hot 10043
US Billboard Hot R&B/Hip-Hop Singles & Tracks14
US Billboard Hot Rap Singles10
US Billboard Hot Rap Tracks7

#1)Memory Lane – ………Nuff said.

Artist: Nas
Album: Illmatic
Song: Memory Lane (Sittin’ in Da Park)
Typed by: OHHLA Webmaster DJ Flash

(Check that shit)
Aight fuck that shit, word word
Fuck that other shit, youknowhatI’msayin?
We gon’ do a little somethin like this, yaknahmsayin?
(Is they up on this?)
Keep it on and on and on and on and..
KnowhatI’msayin? Big Nas, Grand Wizard, God what it is?
(What it is like?) Hah, knowhatI’msayin?
Yo go ‘head, do that shit nigga

I rap for listeners, blunt heads, fly ladies and prisoners
Henessey holders and old school niggaz, then I be dissin a
unofficial that smoke woolie thai
I dropped out of Kooley High, gassed up by a cokehead cutie pie
Jungle survivor, fuck who’s the liver
My man put the battery in my back, a differencem from Energizer
Sentence begins indented.. with formality
My duration’s infinite, moneywise or physiology
Poetry, that’s a part of me, retardedly bop
I drop the ancient manifested hip-hop, straight off the block
I reminisce on park jams, my man was shot for his sheep coat
Childhood lesson make me see him drop in my weed smoke
It’s real, grew up in trife life, did times or white lines
The hype vice, murderous nighttimes, and knife fights invite crimes
Chill on the block with Cog-nac, hold strap
with my peeps that’s into drug money, market into rap
No sign of the beast in the blue Chrysler, I guess that means peace
For niggaz no sheisty vice to just snipe ya
Start off the dice-rollin mats for craps to cee-lo
With sidebets, I roll a deuce, nothin below (Peace God!)
Peace God — now the shit is explained
I’m takin niggaz on a trip straight through memory lane
It’s like that y’all .. it’s like that y’all .. it’s like that y’all

Chorus: repeat scratches 4X

“Now let me take a trip down memory lane” -> BizMarkie
“Comin outta Queensbridge”

One for the money
Two for pussy and foreign cars
Three for Alize niggaz deceased or behind bars
I rap divine Gods check the prognosis, is it real or showbiz?
My window faces shootouts, drug overdoses
Live amongst no roses, only the drama, for real
A nickel-plate is my fate, my medicine is the ganja
Here’s my basis, my razor embraces, many faces
Your telephone blowin, black stitches or fat shoelaces
Peoples are petrol, dramatic automatic fo’-fo’ I let blow
and back down po-po when I’m vexed so
my pen taps the paper then my brain’s blank
I see dark streets, hustlin brothers who keep the same rank
Pumpin for somethin, some uprise, plus some fail
Judges hangin niggaz, uncorrect bails, for direct sales
My intellect prevails from a hangin cross with nails
I reinforce the frail, with lyrics that’s real
Word to Christ, a disciple of streets, trifle on beats
I decifer prophecies through a mic and say peace.
I hung around the older crews while they sling smack to dingbats
They spoke of Fat Cat, that nigga’s name made bell rings, black
Some fiends scream, about Supreme Team, a Jamaica Queens thing
Uptown was Alpo, son, heard he was kingpin, yo
Fuck ‘rap is real’, watch the herbs stand still
Never talkin to snakes cause the words of man kill
True in the game, as long as blood is blue in my veins
I pour my Heineken brew to my deceased crew on memory lane


“Comin outta Queensbridge” -> scratched

The most dangerous MC is..
“Comin outta Queensbridge” -> scratched

The most dangerous MC is..
“Comin outta Queensbridge” -> scratched

The most dangerous MC is..
“Comin outta Queensbridge” -> scratched

The most dangerous MC is..
Me numba won, and you know where me from!

I know all you die hard Nas fans are ready to email me threatnening to kill me and shit, but relax man. I did my best with this top 10, you got any questions or concerns you know where to find me. Songs that almost made it on the list: Shootouts, 2nd Childhood, The World Is Yours, N.Y State Of Mind Part 2, Doo Rags.

Red Everything Movement

Saturday Focus – The Icon – Nas


Background information

Birth name – Nasir bin Olu Dara Jones
Also known as – Nasty Nas
Born September 14, 1973 (age 39)
New York City, New York, U.S.
Origin – Queensbridge, Queens, New York, U.S.
Genres – Hip hop
Occupations – Rapper, actor
Instruments – Vocals, Sampler
Years active – late 1980s–present
Labels – Def Jam, The Jones Experience, Ill Will Records
Associated acts – 3rd Bass, AZ, Bravehearts, Damian Marley, The Firm, Kelis, Mobb Deep

Website – Nasir Jones

Nasir bin Olu Dara Jones[1] (/nɑːˈsɪər/; born September 14, 1973), better known simply as Nas /ˈnɑːz/, is an American rapper and actor. He is the son of jazz musician Olu Dara. Since 1994, Nas has released eight consecutive platinum and multi-platinum albums and sold over 25 million records worldwide. Aside from rapping and acting, Nas is an entrepreneur through his own record label, retail sneaker store, and magazine publishing. He currently serves as Mass Appeal Magazine’s associate publisher as well as an owner of a Fila sneaker store.

His musical career began in 1991 when he was featured on Main Source’s track “Live at the Barbeque”. His debut album Illmatic, released in 1994, received universal acclaim from both critics and the hip hop community. It is frequently ranked as one of the greatest hip hop albums of all time.[2][3] His follow-up album It Was Written debuted at number 1 on the Billboard Charts, stayed on top for four consecutive weeks, went platinum twice in only two months, and made Nas internationally known.[4][5]

From 1996 to 2005, Nas was involved in a highly publicized feud with rapper Jay-Z. In 2006, Nas signed to Def Jam. In 2010, he released a collaboration album with reggae artist Damian Marley, donating all royalties to charities active in Africa. His tenth studio album, Life Is Good was released in 2012.

Nas is often named as one of the top hip hop artists. MTV ranked him at number 5 on their list of The Greatest MCs of All Time.[6] In 2012, The Source ranked him No. 2 on their list of the Top 50 Lyricists of All Time. In 2013, Nas was ranked fourth on MTV’s “Hottest MCs in the Game” list.

Early life

Nas was born Nasir bin Olu Dara Jones in Crown Heights, Brooklyn, New York.[7] His father, Olu Dara, is a jazz and blues musician from Natchez, Mississippi. His mother, Fannie Ann Jones, was a Postal Service worker from North Carolina. He has one sibling, a brother named Jabari Fret who assumes the alias Jungle. As a young child, Nas and his family relocated to the Queensbridge Houses in Long Island City, Queens. His neighbor, Willy “Ill Will” Graham, influenced Nas’ interest in hip hop by playing him records.[8] Nas’s parents divorced in 1985,[8] and he dropped out of school after the eighth grade.[7] He educated himself about African culture through the Five Percent Nation, the Nuwaubians, the Bible and the Qur’an.[9][not in citation given]


Late 1980s–1994: Underground beginnings and classic debut
Further information: Illmatic
As a teenager, Nas enlisted his best friend and upstairs neighbor Willy “Ill Will” Graham as his DJ. Nas initially went by the nickname Kid Wave before adopting his more commonly known alias of Nasty Nas. In the late 1980s, he met up with the producer Large Professor and went to the studio where Rakim and Kool G Rap were recording their albums. When they were not in the studio, Nas would go into the booth and record his own material. However, none of it was released.[10][11] In 1991, Nas performed on Main Source’s “Live at the Barbeque”. In mid-1992, Nas was approached by MC Serch of 3rd Bass, who became his manager and secured Nas a record deal with Columbia Records the same year. Nas made his solo debut under the name of “Nasty Nas” on the single “Halftime” from Serch’s soundtrack for the film Zebrahead.[7] Called the new Rakim,[6] his rhyming skills attracted a significant amount of attention within the hip-hop community.

In 1994, Nas’s debut album, Illmatic, was finally released. It was awarded Five Mics from The Source.[12] It also featured production from Large Professor, Pete Rock, Q-Tip, L.E.S. and DJ Premier, as well as guest appearances from Nas’s friend AZ and his father Olu Dara. The album spawned several singles, including “The World Is Yours”, “It Ain’t Hard to Tell”, and “One Love”. Shaheem Reid of MTV News called Illmatic “the first classic LP” of 1994.[13] In 1994, Nas also recorded the song “One on One” for the soundtrack to the film Street Fighter.[14] In his book To the Break of Dawn: A Freestyle on the Hip Hop Aesthetic, William Jelani Cobb writes of Nas’ impact at the time:

Nas, the poetic sage of the Queensbridge projects, was hailed as the second coming of Rakim—as if the first had reached his expiration date. […] Nas never became ‘the next Rakim,’ nor did he really have to. Illmatic stood on its own terms. The sublime lyricism of the CD, combined with the fact that it was delivered into the crucible of the boiling East-West conflict, quickly solidified [his] reputation as the premier writer of his time.[15]
Steve Huey of Allmusic described Nas’ lyrics on Illmatic as “highly literate” and his raps “superbly fluid regardless of the size of his vocabulary”, adding that Nas is “able to evoke the bleak reality of ghetto life without losing hope or forgetting the good times”.[16] Reviewing Nas’s second album It Was Written, Leo Stanley of allmusic believed the rhymes to be not as complex as those in Illmatic but still “not only flow, but manage to tell coherent stories as well”.[17] ranked Illmatic as the greatest hip hop album of all time,[18] and Prefix magazine praised it as “the best hip-hop record ever made”.[19]

1995–97: Mainstream direction and The Firm
Further information: It Was Written and The Firm (hip hop group)
Columbia Records began to press Nas to work towards more commercial topics, such as that of The Notorious B.I.G., who had become successful by releasing street singles that still retained pop-friendly appeal. In 1995, Nas did guest performances on the albums Doe or Die by AZ, The Infamous by Mobb Deep, Only Built 4 Cuban Linx by Raekwon and 4,5,6 by Kool G Rap. Nas also parted ways with manager MC Serch, enlisted Steve Stoute, and began preparation for his second LP, It Was Written, consciously working towards a crossover-oriented sound. It Was Written, chiefly produced by Tone and Poke of Trackmasters, was released during the summer of 1996. Two singles, “If I Ruled the World (Imagine That)” (featuring Lauryn Hill of The Fugees) and “Street Dreams”, including a remix with R. Kelly were instant hits. These songs were promoted by big-budget music videos directed by Hype Williams, making Nas a common name among mainstream hip-hop. It Was Written featured the debut of The Firm, a super group consisting of Nas, AZ, Foxy Brown, and Cormega. The album also expanded on Nas’s Escobar persona, who lived more of a Scarface/Casino-esque lifestyle. On the other hand, Illmatic, which, while having numerous references to Scarface protagonist Tony Montana, was more about his life growing up in the projects.[7]

Signed to Dr. Dre’s Aftermath Entertainment label, The Firm began working on their debut album. Halfway through the production of the album, Cormega was fired from the group by Steve Stoute, who had unsuccessfully attempted to force Cormega to sign a deal with his management company. Cormega subsequently became one of Nas’s most vocal opponents and released a number of underground hip hop singles “dissing” Nas, Stoute, and Nature, who replaced Cormega as the fourth member of The Firm.[20]Nas, Foxy Brown, AZ, and Nature Present The Firm: The Album was finally released in 1997 to mixed reviews. The album failed to live up to its expected sales, despite being certified platinum, and the members of the group disbanded to go their separate ways.

During this period, Nas was one of four rappers (the others being B-Real, KRS-One and RBX) in the hip hop super-group Group Therapy, who appeared on the song “East Coast/West Coast Killas” from Dr. Dre Presents the Aftermath.[21]

1997–2000: Inconsistent output

Nas in 1998.
In late 1997, Nas began work on a double album, to be entitled I Am… The Autobiography; he intended it as the middle ground between Illmatic and It Was Written, with each track detailing a part of his life.[7] In 1998, Nas co-wrote and starred in Hype Williams’s 1998 feature film Belly.[7]I Am… The Autobiography was completed in early 1999, and a music video was shot for its lead single, “Nas Is Like”. It was produced by DJ Premier and contained vocal samples from “It Ain’t Hard to Tell”. Music critic M.F. DiBella noticed that Nas also covered “politics, the state of hip-hop, Y2K, race, and religion with his own unique perspective” in the album besides autobiographical lyrics.[22] Much of the LP was leaked into MP3 format onto the Internet and Nas and Stoute quickly recorded enough substitute material to constitute a single-disc release.[23]

The second single on I Am… was “Hate Me Now”, featuring Sean “Puff Daddy” Combs, which was used as an example by Nas’s critics of him moving towards commercial themes. The video featured Nas and Combs being crucified in a manner similar to Jesus; after the video was completed, Combs requested his crucifixion scene be edited out of the video. However, the unedited copy of the “Hate Me Now” video made its way to MTV. Within minutes of the broadcast, Combs and his bodyguards allegedly made their way into Steve Stoute’s office and assaulted him, at one point apparently hitting Stoute over the head with a champagne bottle. Stoute pressed charges, but he and Combs settled out-of-court that June.[23] Columbia had scheduled to release the pirated material from I Am… under the title Nastradamus during the later half of 1999, but, at the last minute, Nas decided to record an entire new album for the 1999 release of Nastradamus. Nastradamus was therefore rushed to meet a November release date. Though critics were not kind to the album, it did result in a minor hit, “You Owe Me”.[7]

In 2000, Nas & Ill Will Records Presents QB’s Finest, which is popularly known as simply QB’s Finest, was released on Nas’s Ill Will Records.[7]QB’s Finest is a compilation album that featured Nas and a number of other rappers from Queensbridge projects, including Mobb Deep, Nature, Capone, the Bravehearts, Tragedy Khadafi, Millennium Thug and Cormega, who had briefly reconciled with Nas. The album also featured guest appearances from Queensbridge hip-hop legends Roxanne Shanté, MC Shan, and Marley Marl. Shan and Marley Marl both appeared on the lead single “Da Bridge 2001,” which was based on Shan & Marl’s 1986 recording “The Bridge.”[24] Fans and critics feared that Nas’ career was declining, artistically and commercially, as both I Am… and Nastradamus were criticized as inconsistent.[25]

2001–03: Feud with Jay-Z and artistic comeback
Further information: Jay-Z–Nas feud and God’s Son
After trading subliminal criticisms on various songs, freestyles and mixtape appearances, the highly publicized feud between Nas and Jay-Z became widely known to the public in 2001.[7] Jay-Z, in his song “Takeover”, criticized Nas by calling him “fake” and his career “lame”.[26] Nas responded with “Ether”, in which he compared Jay-Z to such characters as J.J. Evans from the sitcom Good Times and cigarette company mascot Joe Camel. The song was included on Nas’s fifth studio album, Stillmatic, released in December 2001.[27]Stillmatic peaked at number five on the U.S. Billboard 200 chart and featured the singles “Got Ur Self A…” and “One Mic”.

Nas performing in 2003.

In response to “Ether”, Jay-Z released the song “Supa Ugly”, which Hot 97 radio host Angie Martinez premiered on December 11, 2001.[26] In the song, Jay-Z explicitly boasts about having an affair with Nas’s girlfriend, Carmen Bryan.[28] New York City hip-hop radio station Hot 97 issued a poll asking listeners which rapper made the better diss song; Nas won with 58% while Jay-Z got 42% of the votes.[29] In 2002, in the midst of the feud between the two New York rappers, Eminem cited both Nas and Jay-Z as being two of the best MC’s in the industry, in his song ‘Till I Collapse. Both the feud and Stillmatic signalled an artistic comeback for Nas after a string of inconsistent albums.[30]The Lost Tapes, a compilation of previously unreleased or bootlegged songs from 1997 to 2001, was released by Columbia in September 2002. The collection attained respectable sales and received rave reviews from critics.[31]

In December 2002, Nas released the God’s Son album including its lead single, “Made You Look” which utilized a pitched down sample of the Incredible Bongo Band’s “Apache”. The album peaked at number 12 on the Billboard Hot 100 and number one on the Top R&B/Hip-Hop Albums charts despite widespread internet bootlegging.[32] Time Magazine named his album best hip-hop album of the year. Vibe gave it four stars and The Source gave it four mics. The second single, “I Can”, which reworked elements from Beethoven’s “Für Elise”, became Nas’s biggest hit to date during the spring and summer of 2003, garnering substantial radio airplay on urban, rhythmic, and top 40 radio stations, as well as on the MTV and VH1 music video networks. God’s Son also includes several songs dedicated to memory of Nas’s mother, who died of cancer in April 2002, including “Dance”. In 2003, Nas was featured on the Korn song “Play Me”, from Korn’s Take a Look in the Mirror LP. Also in 2003, a live performance in New York City, featuring Ludacris, Jadakiss, and Darryl McDaniels (of Run-D.M.C. fame), was released on DVD as Made You Look: God’s Son Live.

God’s Son was critical in the power struggle between Nas and Jay-Z in hip hop at the time.[33] In an article at the time, Joseph Jones of PopMatters stated, “Whether you like it or not, ‘Ether’ did this. With God’s Son, Nas has the opportunity to cement his status as the King of N.Y., at least for another 3–4-year term, or he could prove that he is not the savior that hip-hop fans should be pinning their hopes on.”[33] After the album’s release, he began helping The Bravehearts, made up of his younger brother Jungle and friend Wiz (Wizard), put together their debut album, Bravehearted. The album features guest appearances from Nas, Nashawn (Millennium Thug), Lil Jon, and Jully Black.

2004–06: Double album and Def Jam
Nas released his seventh studio album Street’s Disciple, a sprawling double album,[7] on November 30, 2004. It addressed subject matter both political and personal, including his impending marriage to recording artist Kelis.[7] The double-sided single “Thief’s Theme”/”You Know My Style” was released months before the album’s release, followed by the single “Bridging the Gap” upon the album’s release.[7] Although Street’s Disciple went platinum, it served as a dropoff from Nas’ previous commercial successes.[7]

In 2005, New York-based rapper 50 Cent dissed Nas on the song “Piggy Bank”, which brought his reputation into question in hip hop circles.[7] In October, Nas made a surprise appearance at Jay-Z’s highly-publicized I Declare War concert, where they reconciled their beef.[7] At the show, Jay-Z announced to the crowd, “It’s bigger than ‘I Declare War’. Let’s go, Esco!”. Nas then joined him onstage,[34] and the two performed Jay-Z’s “Dead Presidents” (1996) together, a song that featured a prominent sample of Nas’s “The World Is Yours” (1994).[7] The reconciliation created the opportunity for Nas to sign a deal with Def Jam Recordings, of which Jay-Z was president at the time.[7] He signed Nas in January 2006.[35]

2006–08: Politicized efforts and controversies

Tentatively called Hip Hop Is Dead…The N,[35]Hip Hop Is Dead was a commentary on the state of hip hop and featured “Black Republicans”, a hyped collaboration with Jay-Z.[7] The album debuted on Def Jam and Nas new imprint at that label, The Jones Experience, at number one on the Billboard 200 charts, selling 355,000 copies—Nas’s third number one album, along with It Was Written and I Am….[36] It also inspired reactions about the state of hip hop,[7] particularly controversy with Southern hip hop artists who felt the album’s title was a criticism at them.[37] Nas’ 2004 song “Thief’s Theme” was featured in the 2006 film The Departed.[38] Nas’s former label, Columbia Records, released the compilation Greatest Hits in November.[39]

On October 12, 2007, Nas announced that his next album would be called Nigger. Both progressive commentators, such as Jesse Jackson and Al Sharpton, and the right-wing news station Fox News were outraged; Jackson called on entertainers to stop using the epithet after comedian Michael Richards used it onstage in late 2006.[40] Controversy escalated as the album’s impending release date drew nearer, going as far as to spark rumors that Def Jam was planning to drop Nas unless he changed the title.[41] Additionally, Fort Greene, Brooklyn assemblyman Hakeem Jeffries requested New York’s Comptroller Thomas DiNapoli to withdraw $84 million from the state pension fund that has been invested into Universal and its parent company, Vivendi, if the album’s title was not changed. On the opposite side of the spectrum, many of the most famous names in the entertainment industry expressed a sense of trust in Nas for using the racial epithet as the title of his full-length LP.[42][43] Nas’s management worried that the album would not be sold by chain stores such as Wal-Mart, thus limiting its distribution.[44]

On May 19, 2008, Nas decided to forgo an album title.[45] Responding to Jesse Jackson’s remarks and use of the word “nigger”, Nas called him “the biggest player hater”, stating “His time is up. All you old niggas’ time is up. We heard your voice, we saw your marching, we heard your sermons. We don’t want to hear that shit no more. It’s a new day. It’s a new voice. I’m here now. We don’t need Jesse; I’m here. I got this. We the voice now. It’s no more Jesse. Sorry. Good bye. You ain’t helping nobody in the ‘hood and that’s the bottom line.”[46] He also said of the album’s title:

It’s important to me that this album gets to the fans. It’s been a long time coming. I want my fans to know that creatively and lyrically, they can expect the same content and the same messages. The people will always know what the real title of this album is and what to call it.[47]
The album was ultimately released on July 15, 2008, untitled. It featured production from Polow da Don, of Dead Prez, Sons of Light & J. Myers,[48] “Hero”, the album’s lead single, reached number 97 on the Billboard Hot 100 and number 87 on the Hot R&B/Hip-Hop Singles & Tracks.[49] In July, Nas attained a shoe deal with Fila.[50] In an interview with MTV News in July, Nas speculated that he might release two albums—one produced by DJ Premier and another by Dr. Dre—simultaneously the same day.[51] Nas worked on Dr. Dre’s studio album Detox.[52] Nas was also awarded ‘Emcee of the Year’ in the HipHopDX 2008 Awards for his latest solo effort, the quality of his appearances on other albums and was described as having “become an artist who thrives off of reinvention and going against the system.”[53]

Bill O’Reilly/Virginia Tech controversy

Nas performing in Ottawa, 2007.
On September 6, 2007, Nas performed at a free concert for the Virginia Tech student body and faculty, following the school shooting there. He was joined by John Mayer, Alan Jackson, Phil Vassar, and Dave Matthews Band.[54] When announced that Nas was to perform, political commentator Bill O’Reilly and Fox News Channel denounced the concert and called for Nas’ removal, citing “violent” lyrics on songs such as “Shoot ‘Em Up”, “Got Urself a Gun”, and “Made You Look”. During his Talking Points Memo segment for August 15, 2007, an argument erupted in which O’Reilly claimed that it was not only Nas’s lyrical content that made him inappropriate for the event, citing the gun conviction on Nas’s criminal record. In the midst of his debate with author Bakari Kitwana (The Hip Hop Generation), who defended Nas, claiming that Fox News had “cherry picked” select fragments of the songs to make their case, O’Reilly shouted, “Even in his personal life, man, he’s got a conviction for weapons, all right? He’s got a weapons conviction, sir! On his sheet! This is a school that had a mass murderer with a shotgun gunning down people—this guy has got a conviction for weapons, and you say he’s appropriate? Come on!” O’Reilly repeated the claim another five times before cutting the segment short.[citation needed]

On September 6, 2007, during his set at “A Concert for Virginia Tech,” Nas twice referred to Bill O’Reilly as “a chump,” prompting loud cheers by members of the crowd. About two weeks later, Nas was interviewed by Shaheem Reid of MTV News, where he criticized O’Reilly, calling him uncivilized and willing to go to extremes for publicity.[55] Responding to O’Reilly, Nas, in an interview with MTV News, said:

He doesn’t understand the younger generation. He deals with the past. The people he represents are Republican, older, a generation that has nothing to do with the reality of what’s happening now with my generation. … He’s not really on my radar. People like him are supposed to be taught and people like me are supposed to let niggas like him know. I don’t take him serious. His shit is all about getting facts twisted or whatever. I wouldn’t honor anything Bill O’Reilly has to say. It just shows you what bloodsuckers like him do: They abuse something like the Virginia Tech tragedy for show ratings. You can’t talk to a person like that.[56]
On July 23, 2008, Nas appeared on The Colbert Report to discuss his opinion of O’Reilly and Fox News, which he accused of bias against the African-American community and re-challenged O’Reilly to a debate.[57] During the appearance, Nas sat on boxes of more than 625,000 signatures gathered by online advocacy organization Color of Change in support of a petition accusing Fox of race-baiting and fear-mongering.[57]

2009–present: Collaboration and final album for Def Jam

Nas and Marley performing in New Zealand, 2011

At the 2009 Grammy Awards, Nas confirmed he was collaborating on an album with reggae musician Damian Marley which was expected to be released in Fall 2009. Nas said of the collaboration in an interview “I was a big fan of his father and of course all the children, all the offspring, and Damian, I kind of looked at Damian as a rap guy. His stuff is not really singing, or if he does, it comes off more hard, like on some street shit. I always liked how reggae and hip-hop have always been intertwined and always kind of pushed each other, I always liked the connection. I’d worked with people before from the reggae world but when I worked with Damian, the whole workout was perfect”.[58] A portion of the profit is planned to go towards building a school in Africa.[59] He went on to say that it was “too early to tell the title or anything like that”.[60]The Los Angeles Times reported that the album would be titled Distant Relatives.[61] Nas also revealed that he will begin working on his tenth studio album following the release of Distant Relatives.[62] During Fall 2009 Nas used his live band Mulatto with music director Dustin Moore for concerts in Europe and Australia.[63]

After announcing a possible release in 2010,[64] a follow-up compilation to The Lost Tapes (2002) was delayed indefinitely due to issues between him and Def Jam.[65] His final album for Def Jam,[66]Life Is Good (2012) was produced primarily by Salaam Remi and No I.D.[67] Nas called the album a “magic moment” in his rap career.[68] Nas announced that there will also be a collaboration album with Mobb Deep, one with Common, and another one with DJ Premier.[69][70][71] Common said of the project in a 2011 interview, “At some point, we will do that. We’d talked about it and we had a good idea to call it Nas (Dot) Com. That was actually going to be a mixtape at one point. But we decided that we should make it an album.”[72]Life is Good would be nominated for Best Rap Album at the 2013 Grammy Awards. In January 2013 Nas announced he had begun working on his twelfth studio album.[73]


Nas has been praised for his ability to create a “devastating match between lyrics and production” by journalist Peter Shapiro, as well as creating a “potent evocation of life on the street”, and he has even been compared to Rakim for his lyrical technique. In his book Book of Rhymes: The Poetics of Hip Hop (2009), writer Adam Bradley states, “Nas is perhaps contemporary rap’s greatest innovator in storytelling. His catalog includes songs narrated before birth (‘Fetus’) and after death (‘Amongst Kings’), biographies (‘UBR [Unauthorized Biography of Rakim]’) and autobiographies (‘Doo Rags’), allegorical tales (‘Money Is My Bitch’) and epistolary ones (‘One Love’), he’s rapped in the voice of a woman (‘Sekou Story’) and even of a gun (‘I Gave You Power’).”[74]Robert Christgau writes that “Nas has been transfiguring [gangsta rap] since Illmatic”.[75]Kool Moe Dee notes that Nas has an “off-beat conversational flow” in his book There’s a God on the Mic – he says: “before Nas, every MC focused on rhyming with a cadence that ultimately put the words that rhymed on beat with the snare drum. Nas created a style of rapping that was more conversational than ever before”.[76]

O.C. of D.I.T.C. comments in the book How to Rap: “Nas did the song backwards [‘Rewind’]… that was a brilliant idea”.[77] Also in How to Rap, 2Mex of The Visionaries describes Nas’s flow as “effervescent”,[78]Rah Digga says Nas’s lyrics have “intricacy”,[79]Bootie Brown of The Pharcyde explains that Nas does not always have to make words rhyme as he is “charismatic”,[80] and Nas is also described as having a “densely packed”[81] flow, with compound rhymes that “run over from one beat into the next or even into another bar”.[82]

In 2006, Nas was ranked fifth on MTV’s “10 Greatest MCs of All Time” list.[6] In 2012, The Source ranked him No. 2 on their list of the Top 50 Lyricists of All Time.[citation needed] In 2013, Nas was ranked fourth on MTV’s “Hottest MCs in the Game” list.[83]

Personal life

Nas is a spokesperson and mentor for P’Tones Records, a non-profit after school music program with the mission “to create constructive opportunities for urban youth through no-cost music programs.”[84]

On June 15, 1994, Nas’s ex-fiancée Carmen Bryan gave birth to their daughter, Destiny.[85][86][87] Bryan later confessed to Nas that she had a relationship with his then-rival rapper and nemesis Jay-Z, also accusing Jay-Z of putting subliminal messages in his lyrics about their relationship together, causing an even bigger rift in the feud between the two hit rap music giants.

Nas also briefly dated Mary J. Blige.[86] In 2005, Nas married R&B singer Kelis in Atlanta after a two-year relationship.[88][89] On April 30, 2009, a spokesperson confirmed that Kelis filed for divorce, citing irreconcilable differences.[90][91] Kelis gave birth to Nas’s first son on July 21, 2009, although the event was soured by a disagreement which ended in Nas announcing the birth of his son, Knight, at a gig in Queens, NY, against Kelis’s wishes.[92] The birth was also announced by Nas via an online video.[93] The couple’s divorce was finalized on May 21, 2010.[94]

In January 2012 Nas was involved in a dispute with a concert promoter in Angola, having accepted $300,000 for a concert in their capital city for New Year’s Eve and then not showing up. The promoter and his son were detained by the angry Angolan promoter at gunpoint and taken to an Angolan jail. Only after the US Embassy intervened were the promoter and his son allowed to leave jail—but were placed under house arrest at their hotel.[95] As of the end of the month Nas returned all $300,000 and after 49 days of travel ban the promoter Patrick Allocco and his son have both been released.[96]

Nas is one of a few rappers of known fame to discuss the UFO phenomenon candidly in a song and in an exclusive magazine interview.[97]

On March 15, 2012, Nas became the first rapper to have a personal verified account on Rap Genius where he’ll be explaining all his own lyrics and commenting on the lyrics of other rappers he admires.[98][99]

On April 10, 2013, Nas ventured into the business of magazine publishing. As a businessman and investor, he invested an undisclosed six figure sum into Mass Appeal Magazine, where he will serve as the publication’s associate publisher. On the Mass Appeal deal, he will be joined by creative firm Decon and White Owl Capital Partners, an early stage investment firm with business interests in technology, media and energy located in North America, Europe and China.[100][101] In June 2013, he also announced on Twitter that he was opening his own sneaker store, signalling his entrance into the retail industry. He inked a deal with the company Fila back in 2008, serving as one of its main spokespersons.[102][103] Nas has also struck a business partner with the annual Rock The Bells music festival and a deal with the online retail company[104]

In September 2009 the U.S. Internal Revenue Service filed a federal tax lien against Nas for over $2.5 million, seeking unpaid taxes dating back to 2006.[105] By early 2011 this figure had ballooned to over $6.4 million.[106] Early in 2012 reports emerged that the IRS had filed papers in Georgia to garnish a portion of Nas’s earnings from material published under BMI and ASCAP, until his delinquent tax bill is settled.[107]

In July 2013, he was honored by Harvard University, as the institution established the Nasir Jones Hip-Hop Fellowship, which will serve to fund scholars and artists who show potential and creativity in the arts in connection to hip hop.[108]


Main article: Nas discography

Illmatic (1994)
It Was Written (1996)
The Firm: The Album (by The Firm) (1997)
I Am… (1999)
Nastradamus (1999)
Stillmatic (2001)
The Lost Tapes (2002)
God’s Son (2002)
Street’s Disciple (2004)
Hip Hop Is Dead (2006)
Untitled (2008)
Distant Relatives (with Damian Marley) (2010)
Life Is Good (2012)


Year Film Role

1999In Too DeepDrug Dealer (uncredited)
2001TickerDet. Art “Fuzzy” Rice
2001Sacred is the FleshIsa Paige
2010Hawaii Five-0Gordon Smith
2013Black Nativity

Awards and nominations
Grammy Awards

2013, Best Rap Performance, Best Rap Song: “Daughters” (Nominated)

2013, Best Rap Song: “Daughters” (Nominated)

2013, Best Rap/Sung Collaboration: “Cherry Wine” feat. Amy Winehouse (Nominated)

2013, Best Rap Album: Life Is Good (Nominated)

2010, Best Rap Performance by a Duo or Group: “Too Many Rappers” (Nominated)

2009, Best Rap Solo Performance: “N.i.g.g.e.r. (The Slave and the Master)” (Nominated)

2009, Best Rap Album: Nas (Nominated)

2008, Best Rap Album: Hip-Hop Is Dead (Nominated)

2008, Best Rap Performance by a Duo or Group: “Better Than I Ever Been” (Nominated)

2003, Best Rap Performance by a Duo or Group: “The Essence” (Nominated)

2003, Best Short-Form Music Video: “One Mic” (Nominated)

2000, Best Rap Album: I Am (Nominated)

1997, Best Rap Solo Performance: “If I Ruled the World” (Nominated)

MTV Video Music Awards

2005, Best Hip-Hop Video: “Bridging the Gap” Nominated

2003, Best Rap Video: “I Can”

2003, Best Rap Video: “Thug Mansion”
2002, Video of the Year: “One Mic”

2002, Best Rap Video: “One Mic”

1999, Best Rap Video: “Hate Me Now”

BET Hip Hop Awards
2012, Impact Track: “Daughters” Won
2012, Lyricist Of The Year Award:

2006, I Am Hip-Hop Icon Award: Won

Red Everything Movement

Friday Showdown – West Coast – Kendrick Lamar

Kendrick Lamar

Background information

Birth name – Kendrick Lamar Duckworth[1]
Also known as – K.Dot
Born June 17, 1987 (age 26)[2]
Compton, California, United States
Genres – Hip hop
Occupations – Rapper, songwriter[3]
Years active – 2003–present
Labels – Top Dawg Entertainment,
Aftermath Entertainment, Interscope Records
Associated acts – Black Hippy, Drake, Dr. Dre, Game, Jay Rock, J. Cole

Website –

Kendrick Lamar Duckworth[1] (born June 17, 1987), simply known as Kendrick Lamar, is an American rapper from Compton, California. Initially signed to independent record label Top Dawg Entertainment, in 2012 Lamar and the label signed a joint venture deal with Aftermath and Interscope Records. Lamar is also a member of West Coast hip hop supergroup, Black Hippy, along with fellow California-based rappers and label-mates Jay Rock, Schoolboy Q and Ab-Soul.[4]

He first gained major attention after the release of his fourth mixtape Overly Dedicated, in 2010. The next year, he released his first independent album to critical acclaim, Section.80 (2011), released exclusively through iTunes and instantly ranked as one of the top digital hip hop releases of the year.[5] Early in his career, before releasing his major label debut, Lamar amassed a large internet following, and had already worked with Dr. Dre, Game, Drake, Young Jeezy, Talib Kweli, Busta Rhymes, E-40, Warren G and Lil Wayne, among other popular artists.

His major label debut studio album good kid, m.A.A.d city, was released October 22, 2012 to widespread acclaim. The album spawned the Top 40 hits “Swimming Pools (Drank)”, “Bitch, Don’t Kill My Vibe”, and “Poetic Justice”. The album was later certified platinum by the Recording Industry Association of America (RIAA). In early 2013, MTV crowned Lamar the No. 1 Hottest MC in the Game, on their well known annual list.[6]

Life and career

1987–2009: Early life and musical beginnings

Kendrick Lamar was born in Compton, California, to parents from Chicago, Illinois.[7] In 1995, at the age of eight, Lamar witnessed his idols Tupac Shakur and Dr. Dre, film the music video for their hit single “California Love”, a very significant moment in Lamar’s life.[8] As a teenager Lamar attended Centennial High School in Compton, where he was a straight A student.[7][9]

In 2003, at the age of sixteen, Lamar released his first mixtape, Youngest Head Nigga In Charge, under the moniker K-Dot.[10] The mixtape garnered enough local attention for Lamar to get a record deal with Carson-based independent record label Top Dawg Entertainment.[10] He then released a twenty-six track mixtape two years later titled Training Day (2005).[11] From 2006 through 2007, Lamar, alongside other young West Coast rappers such as Jay Rock and Ya Boy, had opened for fellow West Coast rapper Game. Lamar, under his pseudonym K-Dot, was also featured on Game’s songs “The Cypha” and “Cali Niggaz”.[12][13]

In 2008, Lamar made a brief cameo appearance in the music video for Top Dawg label-mate Jay Rock’s debut single, “All My Life (In the Ghetto)”. More recognition came Lamar’s way after a video of a Charles Hamilton show surfaced, where Hamilton went in the crowd to battle fellow rappers in attendance. Lamar did not hesitate and began rapping a verse over Miilkbone’s “Keep It Real”, that would later appear on a track titled “West Coast Wu-Tang”.[8]

After receiving a co-sign from American hip hop superstar Lil Wayne, Lamar released his third mixtape in 2009 titled C4, heavily themed around Wayne’s Tha Carter III LP.[14] Soon after, Lamar decided to drop K-Dot as his stage name and go by his birth name. This resulted in him releasing a self-titled EP, Kendrick Lamar, in late 2009.[15] In 2009, Lamar also formed Black Hippy, a supergroup with label-mates and fellow California-based rappers Jay Rock, Ab-Soul and Schoolboy Q.

2010–2011: Overly Dedicated

In 2010, he toured with Tech N9ne and Jay Rock on The Independent Grind tour.[10] On September 4, 2010 Lamar unveiled the cover art for Overly Dedicated, designed by RedefineCreativity.[16] On September 14, 2010 he released the visuals for “P&P 1.5”, a song taken from Overly Dedicated, featuring his Black Hippy cohort Ab-Soul.[17] On September 14, 2010, Lamar released Overly Dedicated to digital retailers under Top Dawg Entertainment, and later on September 23, released it for free online.[18][19] The highly acclaimed mixtape includes a song titled “Ignorance Is Bliss”, in which Lamar glorifies gangsta rap and street crime, but ends each verse with “ignorance is bliss”, giving the message “we know not what we do;”[20][21] it was this song specifically that made legendary hip hop producer Dr. Dre want to work with Lamar, after watching the song’s music video on YouTube.[22] This led to Lamar working with Dr. Dre and Snoop Dogg on Dre’s Detox album and him considering signing to Dre’s label, Aftermath Entertainment.[10][23][24] In December 2010, Complex spotlighted Lamar in an edition of their “Indie Intro” series.[25]

2011–2012: Section.80

In January 2011, Lamar stated his next project was 90% finished.[10] In early 2011, Lamar was included in XXL Magazine’s annual Freshman Class, and was featured on the cover alongside fellow up and coming rappers CyHi the Prynce, Meek Mill, Mac Miller, Yelawolf, Lil B, Big K.R.I.T. and Diggy Simmons, among others.[26] On April 11, 2011 Lamar announced the title of his next full-length project to be Section.80, and revealed he would release it’s lead single the following day.[27] As promised, on April 12, 2011 Lamar released “HiiiPoWeR”, the album’s first promotional single, of which the concept was to further explain the HiiiPoWeR movement.[28] The song was produced by fellow American rapper J. Cole, with whom Lamar began closely working with at the time; the song marked their first of many collaborations to come.[28]

Kendrick Lamar performing in Toronto on June 16, 2011.
On the topic of whether his next project would be an album or a mixtape, Lamar answered: “I treat every project like it’s an album anyway. It’s not gonna be nothing leftover. I never do nothing like that. These are my leftover songs y’all can have ’em, nah. I’m gonna put my best out. My best effort. I’m tryna look for an album in 2012.”[29] In June 2011, Lamar released “Ronald Reagan Era (His Evils)”, acut from Section.80, featuring Wu-Tang Clan leader RZA.[30] On July 2, 2011, Lamar released Section.80, his first independent album, to critical acclaim. The album features guest appearances from GLC, Colin Munroe, Schoolboy Q and Ab-Soul, while the production was handled by Top Dawg in-house production team Digi+Phonics along with Wyldfyer, Terrace Martin and J. Cole. Section.80 went on to sell 5,300 digital copies in its first abbreviated week, without any television or radio coverage and received mostly positive reviews.[31]

In August 2011, while onstage with Snoop Dogg, Dr. Dre and Game at a West Los Angeles concert, the three of them crowned Lamar the “New King of the West Coast”.[32] On August 24, 2011 Lamar released the music video for the popular Section.80 track, “A.D.H.D”. The video was directed by Vashtie Kola who had this to say of the video: “Inspired by “A.D.H.D”s dark beat and melancholy lyrics which explore a generation in conflict, we find Kendrick Lamar in a video that illustrates the songs universal and age-old theme of apathetic youth. Shot in New York City during the sweltering July Summer heat, “A.D.H.D” is the third video to be released from Kendrick Lamar’s album Section.80.[33] In October 2011, Lamar appeared alongside rappers B.o.B, Tech N9ne, MGK and Big K.R.I.T., in a hip hop cypher at the BET Awards.[34] In October, Lamar also partnered with Windows Phone, and crafted an original song, titled “Cloud 10”, with producer Nosaj Thing, to promote their new product.[35] In the second half of 2011, Lamar appeared on several high-profile albums including Game’s The R.E.D. Album, Tech N9ne’s All 6’s and 7’s, 9th Wonder’s The Wonder Years and Drake’s Grammy Award-winning Take Care, where Lamar had a solo track.

2012–present: good kid, m.A.A.d city

On February 15, 2012, a song titled “Cartoon & Cereal” featuring Gunplay of Triple C’s, was leaked online.[36] Lamar later revealed that the track was for his debut studio album and had plans to shoot a video for it.[37] Although the song would later be ranked #2 in Complex’s Best 50 Songs of 2012 list, it failed to appear on Lamar’s debut.[38] It was announced in February 2012, for their Spring Style issue, FADER enlisted both Kendrick Lamar and fellow rapper Danny Brown, to cover the front pages.[39]

In March 2012, MTV announced that Top Dawg Entertainment closed a joint venture deal with Interscope Records and Aftermath Entertainment, marking the end of Lamar’s career as an independent artist. Under the new deal, Lamar’s projects, including his debut album, good kid, m.A.A.d city, were set to be jointly released via Top Dawg, Aftermath and Interscope, while releases from the rest of Black Hippy were to be distributed via Top Dawg and Interscope, respectively.[40] In 2012, Lamar toured alongside Drake on his Club Paradise Tour, opening along with fellow rappers ASAP Rocky and 2 Chainz. In March 2012, he appeared on the track “Fight the Feeling”, from Mac Miller’s Macadelic mixtape. In March 2012, Lamar also appeared on Last Call with Carson Daly, where he spoke on Compton and Dr. Dre.[41] Lamar premiered his commercial debut single, “The Recipe”, on Big Boy’s Neighborhood at Power 106 on April 2, 2012. The song, which serves as the first single from his debut studio album, was released for digital download the following day. The song was produced by Scoop DeVille and features his mentor Dr. Dre, who also mixed the record.

On May 14, 2012, J. Cole, again, spoke on his collaborative effort with Lamar. In an interview with Bootleg Kev, Cole stated: “I just started working with Kendrick the other day. We got it in, finally, again. We got maybe four or five [songs] together.”[42] On May 21, Lamar made his 106 & Park debut, alongside Ace Hood, joining Birdman and Mack Maine on stage to talk “B Boyz,” his style and sound, Dr. Dre and Snoop Dogg, as well as his word on his upcoming collaborative LP with J. Cole.[43] On May 21, Lamar also released “War Is My Love,” an original song written and recorded for Tom Clancy’s Ghost Recon: Future Soldier video game, which he appeared in a mini promo clip for, earlier that month.[44] On May 24, Cole posted pictures of him and Lamar working in the studio, via his DreamVillain blog.[45] On November 13, 2012, in a recent interview with the LA Leakers, Lamar revealed that the two are still working on the project, and that there will be no given release date for the joint album: “We gone drop that out the sky though. I ain’t gonna give no dates, no nothing. I’m just gonna let it fall.” The two recently teamed up for a track called “The Jig Is Up”, celebrating the success of Kendrick’s studio debut. Shortly after J. Cole announced that he would be releasing his sophomore album Born Sinner, on January 28.[46]

Lamar performing in 2013

On August 15, 2012, Lady Gaga announced via Twitter that she and Lamar had recorded a song tentatively titled, “PARTYNAUSEOUS”.[47] The song, later re-titled “Bitch, Don’t Kill My Vibe”, ultimately did not feature Lady Gaga due to creative differences. On August 17, 2012, Lamar liberated “Westside, Right on Time”, a new song featuring Southern rapper Young Jeezy.[48] The song was released as a part of the “Top Dawg Entertainment Fam Appreciation Week” that the label was hosting. During 2012, Lamar also toured with the rest of Black Hippy and Stalley on BET’s Music Matters Tour.[49]

Lamar’s major label debut studio album, good kid, m.A.A.d city, was released October 22, 2012. The album was met with critical acclaim and debuted at number two, selling 242,122 copies in its first week.[50] In December 2012, FUSE TV named Lamar’s single, “Backseat Freestyle,” one of the top 40 songs of 2012.[51] The album has sold 938,000 copies as of June 2013 and has been certified Gold by the Recording Industry Association of America (RIAA). HipHop DX named Lamar “Emcee of the Year” for their 2012 Year End Awards.[52] On January 26, 2013, Lamar performed the album’s lead singles “Swimming Pools (Drank)” and “Poetic Justice” on Saturday Night Live. He also appeared alongside host Adam Levine and The Lonely Island on an SNL Digital Short; which spawned the single “YOLO”.[53][54][55] On February 22, 2013, Lamar released the video for “Poetic Justice”, the Janet Jackson-sampling collaboration with Drake.[56] On February 26, Lamar performed “Poetic Justice” on the Late Show with David Letterman.[57] Just nine months after it’s release, good kid, m.A.A.d city was certified Platinum by the RIAA, with Lamar receiving his first Platinum plaque for an album. [58]



He has stated that 2Pac, The Notorious B.I.G., Jay-Z, Nas and Eminem are his top five favorite rappers. Tupac Shakur, arguably his biggest influence, has influenced not only his music, but his day-to-day lifestyle as well.[10][59][60] In terms of subject matter and technical ability, Kendrick Lamar has often been compared to Tupac, Eminem, Nas, and Jay-Z. Lamar also gave Lil Wayne (during his Hot Boyz days) credit for influencing his style.[61] He has said that he also grew up listening to Rakim, Dr. Dre and Tha Dogg Pound.[62] He also cites rapper DMX as an influence: “[DMX] really [got me started] on music,” explained Lamar in an interview with Philadelphia’s Power 99. “That first album [It’s Dark and Hell Is Hot] is classic, [so he had an influence on me].”[63]


Main articles: Kendrick Lamar discography and Black Hippy


Section.80 (2011)
Good Kid, M.A.A.D City (2012)

Awards and nominations

BET Awards

2013: Video of the Year – “Poetic Justice” – (Nominated)
2013: Best Collaboration – “Poetic Justice” – (Nominated)
2013: Best Collaboration – “Problems” – (Won)
2013: Viewer’s Choice – “Swimming Pools (Drank)” – (Nominated)
2013: Best Male Hip-Hop Artist – (Won)
2013: Best New Artist – (Won)
BET Hip Hop Awards

2011: Best Mixtape – Section .80 – (Nominated)
2012: Lyricist of the Year – (Won)
Billboard Music Awards

2013: Top Rap Album – good kid, m.A.A.d city – (Nominated)
MTV Video Music Awards Japan

2013: Best Hip-Hop Video – “Swimming Pool (Drank)” – (Nominated)
2013: Best Hip-Hop Video – “Fuckin’ Problems” – (Won)
mtvU Woodie Award

2012: Breaking Woodie – “Y.H.N.I.C” – (Nominated)
2013: Woodie of the Year – (Nominated)

Red Everything Movement

Friday Showdown – West Coast – Xzibit


Background information

Birth name – Alvin Nathaniel Joiner
Also known as – X to the Z
Born September 18, 1974 (age 38)
Detroit, Michigan, U.S.
Origin – Los Angeles, California, U.S.
Genres – Hip hop
Occupations – Rapper, Actor, TV host
Years active – 1994–present
Labels – Open Bar Ent., EMI
Associated acts – DJ Quik, Dr. Dre, Eminem, Jelly Roll, King T, Knoc-turn’al, Kurupt, Nate Dogg, Snoop Dogg

Website –

Alvin Nathaniel Joiner (born September 18, 1974), better known by his stage name Xzibit (pronounced “exhibit”), is an American rapper, actor, and television host. He is known as the host of the MTV show Pimp My Ride, which brought him mainstream success. Before hosting the show, he achieved fame in the West Coast hip-hop scene as a rapper, debuting with his acclaimed At the Speed of Life and gathering chart success with his follow-up albums Restless, Man vs. Machine and Weapons of Mass Destruction, working with high-profile artists such as Eminem, Cypress Hill, Snoop Dogg, Ice Cube, Dr. Dre, Knoc-turn’al, Timbaland, Limp Bizkit, Alice Cooper, Game and 50 Cent, as well as being one of the first out internationally, working with overseas acts such as russian superstar Timati, Raptile from Germany, Bliss N Eso from Australia and Adil Omar from Pakistan.

Early life

Born as Alvin Nathaniel Joiner on September 18, 1974 in Detroit, Xzibit grew up with a single mother. His father left the family early to pursue a career as a preacher, forcing his mother to raise a young Alvin and his four siblings (an older sister and brother as well as a little brother and younger sister) alone. After her death he had to move in with his father. His father remarried and relocated to Albuquerque, New Mexico. Xzibit lived in Albuquerque from age 10 to 17, this is when he began writing rhymes. However, Xzibit had numerous run-ins with the law and ultimately ended up moving to California to live with his sister. It was here where he first began to rap and pursue a music career. He later reconciled with his father, who can be heard on his second studio album.[1]


1994–1999: Career beginnings, At the Speed of Life and 40 Dayz & 40 Nightz
Xzibit started to rap at the age of 14, shortly after his relocation from Albuquerque to Los Angeles, then under the pseudonym “Exhibit A”.[2] He marked his first appearance on a professional record in February 1995 on The Alkaholiks’ Coast II Coast, on the song “Hit and Run” and also appeared on King Tee’s IV Life shortly after, on the track “Free Style Ghetto”. After touring with Likwit Crew the same year, Xzibit signed to Loud Records[2] and released his acclaimed debut album, At the Speed of Life in October 1996, which peaked at number 74 on the Billboard Hot 200 and reached 38 on the Canadian Albums Chart. The album produced his first breakthrough single “Paparazzi” which peaked at No. 86 on the Billboard Hot 100 and proved very successful in Germany, where it peaked at number 11 on the German Singles Chart.

After spending the next two years with further building his reputation as a West Coast underground artist and touring with the Likwit Crew, he released his second album, 40 Dayz & 40 Nightz on August 25, 1998 which charted in the U.S. at number 58 and 50 in Canada.[2] Like its predecessor, it was well received by critics and is widely seen as a Classic West Coast Hip-hop record. It spawned four singles, the most successful being “What U See Is What U Get” charting at number 50 in the United States. With his growing following in the West, he caught the eye of rapper and producer Dr. Dre, who secured him high-profile guest spots, such as joining Snoop Dogg on the Dre-produced hit “Bitch Please” of his album No Limit Top Dogg, and appearing on Dr. Dre’s 6x platinum album 2001, on the songs “Lolo”, “Some L.A. Niggaz”, and “What’s the Difference” with Eminem. He closed the year 1999 with his acting debut, starring in the The Breaks.

2000–2003: Restless and Man vs. Machine

Xzibit started the year with the release of a compilation album Likwit Rhymes, which featured mostly previously unreleased material from his earlier recordings and a guest spot on Bitch Please II, along with Eminem, Snoop Dogg, Dr. Dre and Nate Dogg. His breakthrough came with his third studio album Restless, with Dr. Dre as executive producer and guest appearances by Snoop Dogg, Nate Dogg, Eminem, Dr. Dre and the Alkaholiks, among others, which sold almost 2 million copies and was certified platinum. It spawned three singles, the most successful being “X”, which peaked at number 76 in the U.S., 14 in the UK and 4 in Germany.[3] The album climbed to number 12 in America. Dr. Dre invited Xzibit to perform on his American Up in Smoke Tour in mid-2000, which featured Snoop Dogg, Eminem, and Ice Cube, among many others. The same year, he also starred in the direct-to-video crime film Tha Eastsidaz by the group of the same name and was a playable character in the football game Madden NFL 2001. He continued to star in films involving fellow rap artists such as The Wash, co-starring Dr. Dre and Snoop Dogg, in 2001 and The Slim Shady Show and 8 Mile, co-starring Eminem, in 2001 and 2002, respectively. He released two concert films in 2001, Xzibit: Restless Xposed, centered around the recording of his third studio album and various live-performances and was also seen in Tha Alkaholiks: X.O. The Movie Experience by the rap group of the same name. He also released a compilation album of songs that featured him, entiteld You Better Believe It.

In 2002, he guest-starred in the comedy series Cedric the Entertainer Presents as Mack Daddy in the eponymous episode and released his fourth studio album Man vs. Machine with mostly similar guest appearances like its predecessor, which spawned three singles, which all failed to chart in the Hot 100, although “Multiply” reached number 39 in the UK and 33 in Germany. The album itself went gold,[4] although Xzibit was unhappy with the crafting and promotion of his newest product, ending the cooperation with Dr. Dre. The album is his highest charting album to date, reaching number 3 in the U.S. and 8 in Canada. He starred in 8 Mile and The Country Bears the same year. He continued to collaborate with his closest West Coast colleagues, primarily Ras Kass and Saafir, with whom he formed The Golden State Project rap collective,[5] and Tha Alkaholiks, along with bigger names like Snoop Dogg and Eminem, whom he accompanied on his All Access Europe tour in 2003.

2004–2008: Pimp My Ride, Weapons of Mass Destruction and Full Circle

Xzibit at the 2004 MTV Video Music Awards in Miami

Xzibit with some Coast Guardsmen in 2004

The popular MTV show Pimp My Ride boosted his popularity even further, as it introduced him to a major audience in 2004. The show starred him as the host, who brings an individual’s wrecked car to West Coast Customs, where it undergoes a rejuvenation. He continued hosting the show until its cancellation in 2007, those years can easily be seen as the most successful in his career.

Xzibit posing with the W for Weapons of Mass Destruction
Musically, he started the year off with the release of his second compilation album Appetite for Destruction featuring 50 Cent on one track, consisting mostly of tracks from his Dre period and songs that didn’t make the cut for his fifth studio album Weapons of Mass Destruction, which was released in December 2004, entering the charts at 43 in the U.S. For this album, he reunited with Columbia Records, after having parted ways with producer and mentor Dr. Dre. The album managed to go gold,[6] but yet again Xzibit was unhappy with the promotion and backing of his label, claiming that they were trying to promote him like Jessica Simpson, leaving the label in anger and going independent. His single “Hey Now (Mean Muggin)” featuring Keri Hilson marked his last chart success on the Billboard Hot 100, peaking at number 93, while the second single “Muthafucka” failed to chart. Aside from his music and Pimp My Ride, he starred in the movie Full Clip, alongside Busta Rhymes, guest-starred in CSI: Miami in the episode The Rap Sheet, released a concert documentary with his new group, eponymously titled Strong Arm Steady and hosted the 2004 MTV Europe Music Awards in Rome. In 2005, he collaborated with shock rock legend Alice Cooper on a track entitled “Stand” from the album “Dirty Diamonds”. This represented Cooper’s first-ever foray into rap music. This year marks his most busy one, also being featured in three video games, The Chronicles of Riddick: Escape from Butcher Bay, where he lent his voice and likeness to the warden Abbott and Def Jam: Fight for NY and NFL Street 2, where he was a playable character.

The following year, he mainly focused on acting, getting roles in the Hollywood blockbusters Derailed as Dexter, xXx: State of the Union as Zeke and Hoodwinked, where he voiced Chief Ted Grizzly. In 2006, he starred in the drama Gridiron Gang as Malcolm Moore and made two guest-appearances in the animated sitcom The Boondocks. The year also saw the release of his sixth studio album Full Circle released independently on Koch Records. The album charted at position 50 but was a commercial flop, selling merely 120,000 copies in the U.S.. None of the three singles were able to chart, although “Concentrate” climbed at number 68 in Germany. The album featured Kurupt, T-Pain and The Game, whom he assisted on his album Doctor’s Advocate, where he rapped on the track “California Vacation”. He also worked on two video games that year, Def Jam Fight for NY: The Takeover and Pimp My Ride. The year 2007 saw him hosting the final season of Pimp My Ride only, although he competed in the Gumball 3000 2007 rally, where he lost his driver’s license, due to a speed limit violation.

2008–present: Musical hiatus, focus on acting and Napalm

Xzibit at the Gumball 3000 Rally, London 2007

After the cancellation of Pimp My Ride in 2007, 2008 was the first year where Xzibit did not release an album in his former two year cycle. Though starring in two movies The X-Files: I Want to Believe as Mosley Drummy and American Violet as Darrell Hughes, this year marked a significant financial downstep for him, earning merely $70,000, opposed by almost $500,000 one year prior.[7] He was also featured on The Alkaholiks Tha Alkaholiks: Live from Rehab concert film that year. In 2009, he played the mob leader Big Fate in the acclaimed The Bad Lieutenant: Port of Call New Orleans and reprised his role as Abbott in the enhanced remake of 2004’s The Chronicles of Riddick: Escape from Butcher Bay, The Chronicles of Riddick: Assault on Dark Athena, while Sony released his first greatest hits album, entitled The Greatest Hits. Even though his financial troubles were increased even further, as he had to file for bankruptcy in July 2009 and January 2010, although both attempts were dismissed and his houses and belongings liened.

In 2010 he had a guest-spot in the crime series Detroit 1-8-7, in the episode Royal Bubbles / Needle Drop. He also had the role of the Jabberwock in Malice n Wonderland, a short film based on the novel Alice in Wonderland, included on the re-release of the eponymous Snoop Dogg album, entitled More Malice. After having guest-starred three times in the previous season, he was added to the permanent cast of Extreme Makeover: Home Edition, where he is a part of the design team. After a four year hiatus, he planned to release his seventh studio album MMX in 2010, but due to label issues the album was not released by the end of year. In March 2011, he teamed up with Extreme Music, to release a new compilation of material titled Urban Ammo 2. Xzibit produced, composed and performed all 40 tracks on the compilation album, created primarily for professional music users and music supervisors in need of material for their movie/television productions. Xzibit enlisted veteran director Matt Alonzo to shoot the videos for the two singles, which are titled “Man on the Moon” and “What It Is”, both featuring Young De.

In April 2011 he teamed up with Pakistani rapper Adil Omar for a single off his debut album The Mushroom Cloud Effect titled “Off The Handle” which is produced by longtime collaborator Fredwreck, and was released on May 24, 2011, also with a video by Matt Alonzo.[8]

On May 29, 2011, Xzibit announced via Twitter that the new album was to be renamed, quote from his Twitter: “MMX (2010) was the tend. title of the new album. Of course that wont work now, so I decided the body of work has earned the title: RESTLESS2” [9]

On October 19, 2011 it was announced that the title of the album has been changed to Napalm. Xzibit said that the album is 75 percent done and that it should be released by the beginning of next year.[10]

On October 9, 2012, Napalm was released and Xzibit had also made an appearance on the BET Cypher in the 2012 BET Hip Hop Awards.

On October 29, 2012, Xzibit announced the Collateral Damage tour with the first 16 shows in Canada starting in early November.[11] The Xbox 360 sponsored tour eventually grew to 18 shows and Xzibit announced this was the first leg on a global tour that would continue into 2013.[12]

On November 19, 2012, Xzibit was announced as a partner in The Bonita Spirits Company’s ultra-premium tequila Bonita Platinum. The company claims Bonita Platinum is the world’s only five-times distilled tequila.[13]

Internet meme

Xzibit has gained something of a cult status in a pictorial internet meme. The meme is based on the closure of Pimp My Ride episodes, where Xzibit says to contestants something along the lines of “We heard you like TV, so we put a TV in your car so you can watch TV while you drive”. This phrasing has been adopted as the basis for the meme, producing ironic and idiosyncratic phrases such as “Yo dawg, we heard you like cars so we put a car in yo’ car so you can drive while you drive” . The memes invariably start with the phrase “yo dawg”.[14] Two contrasting images of Xzibit’s face – one smiling with laughter and one looking confused and taken aback – have also gained popularity as a meme.


Rove McManus

In June 2007, Xzibit left the Rove Live studios in Australia before a scheduled appearance. Media outlets reported that it was due to Xzibit not being given stand-alone billing on the program, even though he had not even been booked in advance. According to Xzibit, he walked off the set after taking offence to comments made by a Rove staffer, who after informing Xzibit that his performance time would be shorter than the rapper might have liked, allegedly said: “You know, we came a long way just having you on the program.” Xzibit took this as a racist remark, although the staffer claimed that they were merely referring to his status as a late booking.[15]

Gumball 3000

In the Gumball 3000 2007 rally, Xzibit drove a black Jaguar XJ220. During the first day of the rally, Dutch police seized his driver’s licence for doing 160 km/h where only 100 km/h was allowed. After the penalty, his co-driver, producer Fredwreck Nassar took over the wheel and they were allowed to continue.[16] In an interview with Dutch radio personality Reinout “Q-Bah” van Gendt,[17] Xzibit says that he mistook the kilometers for miles (100 mph = 160 km/h). Ultimately, he never got his license back from the Dutch police and had to apply for a new one in the United States. Xzibit competed again in the 2013 Gumball 3000.[18]

Tax evasion

According to public records, as of late 2010 Xzibit owed more than $959,523 in delinquent federal taxes. He also tried to file for bankruptcy twice, in July 2009 and January 2010, but both times his bankruptcy filings were dismissed due to various reasons. The problems started after Pimp My Ride was cancelled: in 2007 he earned $497,175, and after the cancellation his 2008 income was reported as $67,510.[7][dead link]


Main article: Xzibit discography

At the Speed of Life (1996)
40 Dayz & 40 Nightz (1998)
Restless (2000)
Man vs. Machine (2002)
Weapons of Mass Destruction (2004)
Full Circle (2006)
Napalm (2012)


Year Film Role Notes

1999The BreaksJamal

2000Tha EastsidazBlueDirect-to-Video

2001The WashWayne

20028 MileMike

The Country BearsHimselfCameo

2003Full ClipDuncan

2005xXx: State of the UnionZekereleased as xXx: The Next Level in other countries

HoodwinkedChief Ted GrizzlyVoice Role
2006Gridiron GangMalcolm Moore
2008The X-Files: I Want to BelieveFBI Special Agent Mosley Drummy
American VioletDarrell Hughes
2009The Bad Lieutenant: Port of Call New OrleansBig Fate

2010Malice n WonderlandJabberwockShort Film, included on the re-release More Malice of the eponymous Snoop Dogg album
2011Weekends at BellevueChuckTelevision Film
2012Something from Nothing: The Art of RapHimselfDocumentary
Seal Team 6: The Raid On Osama Bin LadenMuleTelevision Film
Guardians of LunaAlan JeddaFilming, Voice Role

Concert Films

Year Film Role Notes

2000The Up in Smoke TourHimself
2001Xzibit: Restless XPosedDocumentary, also director and producer
Tha Alkaholiks: X.O. The Movie Experience
2003All Access Europe
2004Strong Arm SteadyDocumentary
2008Tha Alkaholiks: Live from Rehab

Television Series

Year Series Role Notes

2001MTV CribsHimself1 episode (Xzibit, Boy George, Penny Hardaway, Al Harris)
The Slim Shady ShowKnuckelsDirect-to-DVD, Voice Role
2002Cedric the Entertainer PresentsMack Daddy1 episode (Mack Daddy)
2004CSI: MiamiDwayne “10-Large” Jackman1 episode (The Rap Sheet)
2004–2007Pimp My RideHimselfHost, also producer
2006, 2007The Boondocks2 episodes (The Real, The Story of Thugnificent), Voice Role
2010Detroit 1-8-7Russel Pits1 episode (Royal Bubbles / Needle Drop)
2010–2012Extreme Makeover: Home EditionHimselfDesign Team, appeared 3 times as a guest star in the 2009/2010 season
Video Games

Year Title Role Notes

2000Madden NFL

2001HimselfPlayable Character

2004The Chronicles of Riddick: Escape from Butcher BayAbbottVoice Role
Def Jam: Fight for NYHimselfPlayable Character

NFL Street 2Guide, Narrator, Playable Character, released as NFL Street 2 Unleashed for PSP
2006Pimp My RideGuide, Narrator

Def Jam Fight for NY: The TakeoverPlayable Character
2009The Chronicles of Riddick: Assault on Dark AthenaAbbottVoice Role

Red Everything Movement

Friday Showdown – West Coast – The Hittman


Birth name – Brian Bailey
Origin – Los Angeles, California
Genres – Hip hop
Years active1998 – present
Labels – Aftermath, Interscope, Sickbay, Robata Automata
Associated acts – Dr. Dre, Mel-Man

Brian Bailey (born 1974), better known by his stage name Hittman, is an American rapper. Hittman joined Dr. Dre’s Aftermath Entertainment in 1998,[1] and although he has released a solo album, Hittmanic Verses, Hittman is best known for his contributions to Dr. Dre’s multi-platinum selling album 2001,[2] with appearances on 10 of the album’s 22 tracks. This makes him the most represented of 2001’s more than twenty guest artists. Hittman was originally supposed to release Murda Weapon in 2000, on Aftermath, however, the album was shelved and Hittman left Aftermath in October 2001.[1]

In 2006, he released his solo debut, Hittmanic Verses, on Sickbay Records. Bishop Lamont confirmed in an interview with Dubcnn that Hittman is working on Dr. Dre’s last album Detox.


2001: Murda Weapon
2006: Hittmanic Verses
2008: Big Hitt Rising

Guest appearances
Dr. Dre – 2001 (1999)

“Big Ego’s” (Dr. Dre featuring Hittman)
“Xxplosive” (Dr. Dre featuring Hittman, Kurupt, Nate Dogg & Six-Two)
“Light Speed” (Dr. Dre featuring Hittman)
“Let’s Get High” (Dr. Dre featuring Hittman, Kurupt & Ms. Roq)
“Bitch Niggaz” (Dr. Dre featuring Snoop Dogg, Hittman & Six-Two)
“Murder Ink” (Dr. Dre featuring Hittman & Ms. Roq)
“Some L.A. Niggaz” (featuring DeFari, Hittman, Xzibit, Knoc-Turn’al, Time Bomb, King T, MC Ren & Kokane)
“Housewife” (Dr. Dre featuring Kurupt & Hittman)
“Ackrite” (Dr. Dre featuring Hittman)
“Bang Bang” (Dr. Dre featuring Knoc-turn’al, Hittman)
Kurupt – Tha Streetz Iz a Mutha (1999)

“Ho’s a Housewife” (Kurupt featuring Dr. Dre & Hittman)
Knoc-turn’al – The Way I Am (2004)

“Watch Out” (Knoc-turn’al featuring Hittman)

Red Everything Movement

Friday Showdown – West Coast – The Game

The Game

Background information

Birth name – Jayceon Terrell Taylor[1][2]
Born November 29, 1979 (age 33)
Los Angeles, California,
Origin – Compton, California,
Genres – Hip hop
Occupations – Rapper, actor
Years active – 2002–present
Labels – The Firm, Interscope (present)
Aftermath, DGC, Geffen, G-Unit (former)
Associated acts – G-Unit, 50 Cent, Chris Brown, Dr. Dre, Fabolous, Jim Jones, Kanye West, Kendrick Lamar, Lil Wayne, Nas, Snoop Dogg

Website –

Jayceon Terrell Taylor (born November 29, 1979), known by his stage name The Game or simply Game, is an American rapper and actor. Game is best known as a rapper in the West Coast hip hop scene, and for being one of Dr. Dre’s most notable protégés. Born in Los Angeles, California, he released his first mixtape You Know What It Is Vol. 1 in 2002, and landed a record deal with the independent label Get Low Recordz owned by JT the Bigga Figga. Game’s mixtape reached the hands of Sean Combs, founder of Bad Boy Records, who originally was on the verge of signing him to his label. Five months later, he was discovered by Dr. Dre who listened to the mixtape and signed him to his Aftermath Entertainment label in 2003. He rose to fame in 2005 with the success of his debut album “The Documentary” (2005) and “Doctor’s Advocate” (2006). The Recording Industry Association of America certified his album “The Documentary” double platinum in March 2005 and it has sold over five million copies worldwide.

A rising artist in the 2000s, Game is considered to be a driving force in bringing back the West Coast hip hop scene into the mainstream and competing with many of his East Coast counterparts.[3][4][5] Game was placed into G-Unit by Dr. Dre and Jimmy Iovine. Due to his disputes with 50 Cent, Game left Aftermath Entertainment and signed with Geffen Records, another label under Universal Music Group’s Interscope-Geffen-A&M division, to terminate his contractual obligations with G-Unit in the summer of 2006. Game’s second album Doctor’s Advocate was released on November 14, 2006 and it became his second straight album to debut at No. 1 on US Billboard 200 chart. Doctor’s Advocate did not feature any production from Dr. Dre. Pitchfork Media placed “The Documentary” at number 35 on their list of Top 50 Albums of 2005. Game was nominated with a total of two nominations, including Grammy Award for Best Rap Song and Grammy Award for Best Rap Performance by a Duo or Group for the smash single “Hate It or Love It”. The New York Times named Doctor’s Advocate best hip-hop album of 2006.[6]

His next album LAX was released in 2008. With his fourth studio album The R.E.D. Album, Game made a return to Interscope Records. In addition to music, Game has starred in motion pictures and founded The Black Wall Street Records. In September 2011, Game started working on his fifth studio album titled Jesus Piece which was released on December 11, 2012.

Early life

Game was born Jayceon Terrell Taylor on November 29, 1979, in Los Angeles, California. He grew up in Compton, a low-income crime-ridden city in Los Angeles County, in a primarily Crip gang neighborhood known as Santana Blocc,[7] although he grew up to become a member of the Bloods.[8][9] He was born into a life of gang-wars and hustling. In an October 2006 interview with MTV News correspondent Sway Calloway, Game described his family as “dysfunctional” and claimed that his father molested one of his sisters.[10] When later interviewed, Game stated that at a young age, he recalled seeing both of his parents preparing to do drive-by shootings. His father was a Nutty Block Crip and his mother a Hoover Crippelette. Drugs and guns were all around Taylor when he was a youngster. His father was a heroin addict and both his parents frequently took cocaine. At around the age of 6, Taylor stated that a friend of his was murdered for his clothes and shoes in the neighborhood by a teenager.[11]

At age 7, Taylor was placed in foster care. Initially, he was teased by other children. However, his intelligence was acknowledged by his caretakers and he usually helped his foster brothers and sisters with their homework.[citation needed] Taylor had a defining moment in his life when he met his idol, rapper Eazy-E of the rap group N.W.A, around 1989.Throughout Taylor’s adolescence, he endured many hardships. At 13, one of Taylor’s older brothers, Jevon, who was 17 at the time and had just received a record deal, was shot at a gas station. Taylor stated that he felt his father played a hand in this by not being there, for if he had, his brother would not have been shot. Jevon died the day after Jayceon visited him in the hospital, promising that things would be better and that lost time would be made up. Two years later, when Taylor was 15, he was removed from the foster care system. He moved in with his mother, Lynette, as his father was no longer around, and had a tumultuous relationship with his mother at first.[11] Taylor attended Compton High School, where most students who were affiliated with gangs were Crips. However, his older half brother George Taylor III, known as Big Fase 100, attended Centennial High School and was the leader of the Cedar Block Piru Bloods.

In high school, Taylor was beginning to follow in his brother’s footsteps but when his natural athletic abilities earned him a position as the point guard on the basketball team, he chose to focus on athletics instead, joining the track team and playing other various sports. In 1999, Taylor graduated from Compton High School and enrolled in Washington State University. According to Taylor, he had earned a basketball scholarship to the university, but was kicked out of the university after being caught with drugs in his possession. The university’s athletic department, however, refutes that Taylor was ever enrolled in their athletic program and denies the drug claims.[12] After being expelled from college, Taylor fully embraced street life, selling drugs and running with gangs.[13] Game and his brother Big Fase owned an apartment on the outskirts of Compton in Bellflower. Shortly after moving there, they had a monopoly on the drug trade, but the operation was short-lived. On October 1, 2001, while Taylor was in the apartment alone, he heard a knock on the door at 2 a.m. Expecting a late night sale, Taylor opened the door to see a regular customer. The man, however, was accompanied by two other visitors. A fight then ensued between Taylor and another man, and before he was able to reach for his pistol, Taylor was shot five times by one of the assailants. After lying still for several minutes, Game used his cell phone and called an ambulance. Due to the severity of his wounds, Taylor went into a three-day coma.[11]

Music career

Early career (2002–03)

While recovering in the hospital from gunshot wounds he incurred in late 2001, Game told his brother to go out and buy all of the classic hip-hop albums. Over the course of five months, he studied all of the various influential rap albums and developed a strategy to turn himself into a rapper. With the help of his older brother Big Fase, they founded the label. It originally featured such artists as Glasses Malone, Vita, and Nu Jerzey Devil, along with Game himself.[14] His stage name was coined by his grandmother; she said that he was game for anything.[14] Game first gained prominence when he attended a hip hop summit hosted by Russell Simmons and Louis Farrakhan.[15] After he had fully recovered, Game and Big Fase made a mixtape together. He released his first mixtape You Know What It Is Vol. 1 in 2002, and landed a record deal with the independent label Get Low Recordz owned by JT the Bigga Figga.

Game’s mixtape reached the hands of Sean Combs, founder of Bad Boy Records, who originally was on the verge of signing him to his label.[16] Five months later, he was discovered by Dr. Dre who listened to the mixtape that had been produced by his brother. Dr. Dre contacted Game and signed him to his Aftermath Entertainment label in 2003.[17][18] In late 2003, Interscope Records CEO Jimmy Iovine and Dr. Dre decided to have Game work with 50 Cent and G-Unit in order to help build a growing buzz around Game which would also fuel interest in G-Unit. Game made his first cameo appearance in the music video for 50 Cent’s “In da Club”, where he is seen dancing with a girl. Since then, he has made numerous cameo appearances in music videos by 50 Cent, Lloyd Banks, Young Buck, and Fabolous. Game spent the next two and a half years working on his debut album and being mentored by Dr. Dre.[14][19]

The Documentary (2003-05)

Game (right) with Kool G Rap (left) in New York City, November 2004
Not having dropped an album despite being signed onto Aftermath Entertainment and Interscope Records for a while, Game was still able to create hype around his image alone. He appeared in ads for Sean Combs’s Sean John clothing company and had an endorsement deal with Boost Mobile, appearing in a commercial alongside Kanye West and Ludacris. Game also appeared heavily on the mixtape circuit and guest starred on mixtapes for DJ Green Lantern, The Diplomats, and G-Unit. The first single released with Game on it was “Certified Gangstas”, which also featured Jim Jones and Cam’ron. Though the single wasn’t considered to be mainstream, the buzz increased around the West Coast rapper.

On September 28, 2004, Game released his first promo single, “Westside Story”, from his debut album. He had originally chosen to title his debut album Nigga Wit’ An Attitude Volume 1 (as heard in the lyrics to “Dreams”), but an injunction filed at the request of Eazy-E’s widow prevented him from using N.W.A.’s name in the album title. Thus, the album was titled The Documentary, which featured Dr. Dre and 50 Cent as executive producers. The album spawned the hit singles “How We Do” and “Hate It or Love It”, the latter receiving two Grammy nominations.[20] The album debuted at number one on the Billboard 200 and was the tenth best selling album of 2005 in the United States.[21] It also debuted at number seven in the United Kingdom and sold over five million copies worldwide.[22] In October 2004, he released Untold Story through Get Low Recordz, which sold over 82,000 copies within its first three months.[23] The album featured artists like Sean T, Young Noble (of the Outlawz), and JT the Bigga Figga.[24] Game also appeared on various mixtapes hosted by DJ’s such as DJ Kayslay, DJ Whoo Kid, and DJ Clue. Game also released a second mixtape You Know What It Is Vol. 2 through his own record label and appeared on the video game NBA Live 2004 on a song produced by Fredwreck called “Can’t Stop Me”.[25]

Later that year, the young rapper Lil Eazy-E, son of rapper the late Eazy-E, entered a feud with Game. The two used to be close associates and even recorded music together. Lil’ Eazy-E has since directed numerous diss songs targeting the rapper, and has expressed his anger over what he felt was Game misuse of his father’s name. Game responded by claiming that Lil’ Eazy-E was trying to establish himself off the success he had made since releasing The Documentary.[26] He released a song titled “120 Bars” where he claimed that Lil’ Eazy-E does not write his own lyrics.[27] However, on the same track, Game stated that he would rather not feud with Lil’ Eazy-E due to the deep respect he has for Lil’ Eazy-E’s father. Lil’ Eazy-E later responded with “They Know Me”. On October 30, 2006, Game went on KDAY and said that he and Lil’ Eazy-E had ended their feud.

Dr. Dre’s nemesis, Suge Knight, also had an ongoing feud with Game that stemmed from Yukmouth’s claim that Game had been slapped by Suge Knight. Game responded on his website, saying that if Suge Knight had ever touched him, he would be “six feet under”.[citation needed] After the 2005 BET Awards show, associates of Death Row Records had their invitations to a party hosted by Ciara rescinded. Supposedly, a member of Death Row Records tried to steal Game’s chain. Game stated on his website that he disliked Suge Knight because of “the lives he has endangered”. In Miami for the 2005 MTV Video Music Awards, Suge Knight was shot and wounded at Kanye West’s party by an unknown gunman.[28] Game vigorously denied involvement in the shooting, but the incident renewed efforts to pacify hip hop feuds and Game has consequently been discouraged from attending certain events in hopes of averting retaliation.[29] Later, Game and various representatives of California’s rap cliques formed a West Coast “peace treaty” to end many rivalries between West Coast rappers.[30] Although Suge Knight did not attend, he and Game declared their feud over.[citation needed]

Doctor’s Advocate, G-Unit and feud (2005-07)

Main article: G-Unit–Game feud

Game performing at Supafest 2011
In early 2005, Game entered a feud with G-Unit. Even before Game’s debut album was released and their feud became public, there was tension between Game and 50 Cent.[31] Soon after The Documentary’s release, 50 Cent talked about an accident that occurred in the strip club by stating that he felt that the rapper’s actions of not partnering with 50 Cent to react to Fat Joe and Jadakiss after the New York song written by Ja Rule were wrong and then booted Game out of G-Unit. 50 Cent also claimed that he was not getting his proper credit for the creation of the album, as he had written six of the songs, all of which Game denied. During that dispute, a member of Game’s entourage was shot during a confrontation that occurred at the Hot 97 studio in New York City.[32] After the situation between them escalated, 50 Cent and Game held a press conference to announce their reconciliation.[33] Fans had mixed feelings as to whether the rappers created a publicity stunt to boost the sales of the two albums the pair had just released.[32] Nevertheless, even after the situation had apparently deflated,[34] G-Unit continued to feud with Game, denouncing his street credibility in the media and claimed that, without their support, he would not score a hit if he made a second album. Game responded during a performance at Summer Jam and launched a boycott of G-Unit called “G-Unot”.[35]

After the performance at Summer Jam, Game responded with a song titled “300 Bars and Runnin'”, an extended “diss” aimed at G-Unit as well as members of Roc-A-Fella Records on the mixtape You Know What It Is Vol. 3. The track is unique in that it is nearly 14 minutes long, in which Game criticizes all members of G-Unit, amongst many others. 50 Cent responded through his “Piggy Bank” music video, which features Game as a Mr. Potato Head doll and also parodies other rivals.[36] Since then, both groups continued to attack each other. Game released two more mixtapes, Ghost Unit and a mixtape/DVD called Stop Snitchin, Stop Lyin. 50 Cent’s rebuttal was “Not Rich, Still Lyin'” where he mocks Game.[37] In addition, G-Unit started to respond on numerous mixtapes and then-new G-Unit member Spider Loc began dissing Game. Game responded with “240 Bars (Spider Joke)”,[37] a song mainly aimed at Spider Loc, but also addressing Tony Yayo and rap group M.O.P.,[37] and on the song “The Funeral 100 Bars”.

The feud between Game and Roc-A-Fella Records grew out of an earlier rivalry with Memphis Bleek over the name of his label (Get Low Records), which was similar to the one Game was previously signed to (Get Low Recordz). On the single “Westside Story”, Game raps that “I don’t do button-up shirts or drive Maybachs”, which was perceived as being directed towards Jay-Z, though Game stated it was directed toward Ja Rule. Later Jay-Z performed a freestyle on Funkmaster Flex’s radio show on Hot 97 and in it, he repeatedly used the word “game”, which some hip-hop fans believed was directed towards Game. Game responded with ‘My Bitch” in which the first verse is directed at G-Unit, the second verse is directed at Jay-Z and the third verse at Suge Knight.[38]

Game performing at the 2007 Hip Hop Jam festival in the Czech Republic
Due to his disputes with 50 Cent, Game left Aftermath Entertainment and signed with Geffen Records another label under Universal Music Group’s Interscope-Geffen-A&M division to terminate his contractual obligations with G-Unit in the summer of 2006. The rapper’s second album Doctor’s Advocate was released on November 14, 2006. This album was set out by Game to prove that he was still able to make good music and be a successful artist without the help of Dr. Dre or 50 Cent. While Game originally claimed Dr. Dre would still do production on the album in the November issue of XXL magazine,[39] he admitted in September after the XXL interview was conducted during an interview on radio station Power 105 that Dr. Dre would not be producing any tracks[40] although four previously unreleased tracks produced by Dr. Dre were released on the internet, but no reason was given as to why they were not included on the album. The album debuted at number one on the Billboard 200, selling over 358,000 copies its first week.[41]

In October 2006, Game extended a peace treaty to 50 Cent, which was not immediately replied to.[42] However, a couple days later on Power 106, he stated that the treaty was only offered for one day. On Game’s album Doctor’s Advocate, he says the feud is over on a few of the songs. The feud seemed to have gained steam after Tony Yayo allegedly slapped the fourteen-year-old son of Czar Entertainment CEO Jimmy Rosemond. Game responded with “Body Bags” on You Know What It Is Vol. 4.[43] Since Young Buck was dismissed from G-Unit by 50 Cent, there has been interviews from both Game and Young Buck stating they never had a problem with each other. In an interview Young Buck said he was aware of Game’s support and that Lloyd Banks and Tony Yayo did not reach out to him.[44]

LAX and The R.E.D. Album (2007–12)

Game appeared on 106 & Park on May 16, where he confirmed LAX would be the last studio album he records. He had originally announced that Dr. Dre would be producing for the album, but neither Dr. Dre nor Aftermath Entertainment had confirmed. The album, went head to head with heavy metal band Slipknot’s All Hope Is Gone on the Billboard 200, seeing that both albums were released on August 22, 2008, therefore both albums were competing for the number one spot on the Billboard 200 albums charts. LAX ended up debuting at number two on the Billboard 200, at first it looked like LAX had debuted ahead of All Hope Is Gone by 13 copies, with such a close difference. Initially, Billboard published an article stating that The Game had secured the top spot with a margin of 13 units, in what was described as the “closest race for number one since Nielsen SoundScan began tracking Data in 1991”.[45] Slipknot’s labels Warner Music Group and Roadrunner Records asked for a SoundScan recount, a historic first. Nielsen proceeded to the recount, which placed LAX at number two with 238,382 copies, and Slipknot in first position with 239,516 copies scanned, a margin of 1,134 copies. After the recount 12 hours later, the article was rewritten and Slipknot was awarded the number one spot, having sold 239,516 units.[45] The album spawned four singles, “Game’s Pain” with R&B singer Keyshia Cole, “Dope Boys” with Blink-182 drummer Travis Barker, “My Life” with rapper Lil Wayne and “Camera Phone” with R&B singer Ne-Yo. In the United States the album has sold over 660,100 copies.[46]

It was confirmed in May 2009, that Game began working on a new album title, The R.E.D. Album[47][48] On June 26, 2009 Game released a song titled “Better on the Other Side” a Michael Jackson tribute, the day after Jackson’s death. It features Diddy, Mario Winans, Chris Brown, Usher & Boyz II Men.[49] On October 3, 2009, Snoop Dogg posted a picture on his Twitter of himself, Dr. Dre and Game in the studio working together,[50][51] The picture was taken a day earlier and it marked the first time Game had worked with Dr. Dre for some years since the beef with former fellow G-Unit labelmate 50 Cent caused him to release his two following albums on Geffen Records. Later in early January 2010 Game posted a twitpic of him wearing a lot of Aftermath chains with a caption saying “It’s funny how things come Full Circle”. Later he confirmed that he had returned to Aftermath Entertainment.[52] On June 3, 2011, Pitchfork Media announced that Game is working with Odd Future leader Tyler, The Creator on a track called “Martians vs. Goblins”.[53] Finally released on August 23, 2011, The R.E.D. Album reached No. 1 on Billboard 200 Albums Chart with first week sales of 98,000 units sold.[54]

Jesus Piece (2012-present)

Shortly after the release of the long delayed fourth studio album, Game announced he had begun work on his fifth album. At the time titled ‘Soundtrack to Chaos’ he said the album would not feature him “name-dropping” or feature any artists as guests for vocals.[55] In March 2012, Game announced the album name had been changed to F.I.V.E.: Fear Is Victory’s Evolution and that it could be his last album released under Interscope,[55] but in August 28 rapper published new title: Jesus Piece.

In an interview with MTV on November 8, Game revealed that as Jesus Piece is his last album before his deal with Interscope comes to a close, he has had talks with both Maybach Music Group and Cash Money Records for a possible new record deal. He also stated that he would consider releasing music independently.[56]

The album was released on December 11, 2012, with features from Lil Wayne, Big Sean, J. Cole, Jamie Foxx, Wiz Khalifa, Tyga and Chris Brown among others. The album debuted at #5 on the Billboard 200 selling 87,000 copies in the United States.[57] In promotion for the album Game started a free weekly music giveaway titled, “Sunday Service”. All the tracks are leftovers from Jesus Piece. Game also showed interest in making a future collaboration LP with Chris Brown.[58] On November 30, 2012, Game announced that him and fellow rapper Stat Quo are starting a new record label titled Rolex Records. Both artists will use the label to release new music and sign other artists.[59]

Other ventures

As a result of his fame, Game ventured into areas outside of rap. He was chosen to play and had bought a large selection of shares for the now defunct Inglewood Cobras, an American Basketball Association basketball franchise team.[60]

In 2000, Game appeared on dating television show Change of Heart,[61] in the segment his partner criticised him for “acting macho when in reality is said to be sensitive”, it was also revealed that Game had taken his date Felicia to a male stripclub owned by his mother. The episode came to an end where a mutual friend of Jaceyon and his partner suggested in them staying together, Game decided to stay together but was rebuffed by the offer when his partner agreed to a change of heart and Game was subsequently dumped on TV.[62]

Game also ventured into acting. In 2004, he had a minor role voicing the character “B-Dup”, in the video game Grand Theft Auto: San Andreas. He also voiced a character in the video game Def Jam: Icon. In 2006, he made his film debut in Waist Deep as a character named “Big Meat” and is currently filming two more movies.[63]

Game has also partnered with 310 Motoring to create his own shoe, The Hurricanes. A portion of the proceeds of the shoe are donated to the victims of Hurricane Katrina.[64]

In December 2012, Game founded a new record label Rolex Records along with rapper Stat Quo.[65] Following its founding he bought his entire team at the record label Rolex watches. After a six month legal battle with Rolex he was forced to change the name and logo of the record label. He officially would then change the name of the label to The Firm.[66]

Personal life

Family and relationships

Game has three children, two sons and a daughter. His first son, Harlem Caron Taylor, was born on June 30, 2003.[67]

Game announced that he was engaged to actress and model Valeisha Butterfield, the daughter of US Congressman G. K. Butterfield. The couple was set to marry in March 2007, but the engagement was called off in June 2006.[68]

The Los Angeles Times reported that as of 2006, Game is a resident of Glendale, California after purchasing a home in the Kenneth Village neighborhood.[citation needed]

On July 8, 2012, 40 Glocc got into an altercation with rapper The Game. In a video clip, allegedly, shot by The Game via Game’s iPhone during the fight, 40 Glocc is seen running into a bush after being beaten up by the fellow West Coast rapper [69] 40 Glocc later stated he’d be suing Game. Game backed up what he did by saying he was retaliating for Glocc going up to rappers Lil Wayne and Plies in the past with large entourages.[70]

Legal issues

Game, Snoop Dogg, and Tha Dogg Pound, were sued for assaulting a fan on stage at a May 2005 concert at the White River Amphitheatre in Auburn, Washington. The accuser, Richard Monroe, Jr., claimed he was beaten by the artists’ entourage while mounting the stage.[71] He alleged that he reacted to an “open invite” to come on stage. Before he could, Snoop’s bodyguards grabbed him and he was beaten unconscious by crewmembers, including the rapper and producer Soopafly; Snoop and Game were included in the suit for not intervening. The lawsuit focuses on a pecuniary claim of $22 million in punitive and compensatory damages, battery, negligence, and intentional infliction of emotional distress.[72] The concerned parties appeared in court in April 2009.

On October 28, 2005, Game was charged with disorderly conduct and resisting arrest in Greensboro, North Carolina. At one point, police said his companions were pepper sprayed when they surrounded officers in a threatening manner.[73] Mall security officers said the rapper was wearing a full-face Halloween mask, filming shoppers, cursing loudly, and refused to leave when asked. Game continued to act up and was arrested, a police statement said. Game claimed that officers overreacted and that he did nothing wrong when he was pepper sprayed by the mall security.[73] The five officers involved in the incident ended up suing Game for defamation,.[74] The officers were awarded $5 million in compensatory damages, which was upheld on appeal by the North Carolina Court of Appeals in February 2012.[75]

On May 11, 2007, Game was arrested at his home reportedly in connection with an incident at a basketball game in South Los Angeles in February 2007. He is alleged to have threatened a person with a gun. The arrest took place after his home was searched for three hours. Game was released early the next day after posting $50,000 bail.[76] On January 9, 2008, a Los Angeles judge scheduled February 4 as the beginning date for Game’s trial on assault and weapons charges.[77] After pleading no contest to a felony weapons charge on February 11, Game was sentenced to 60 days in jail, 150 hours of community service, and three years probation.[78]

In 2011, Game was refused entry to Canada for alleged gang ties in LA; concert organisers said he was associated with the Bloods.[79]

On August 12, 2011, rapper The Game decided to tweet his search for a supposed internship opening. In the message sent to his over 580,000 followers, he posted the number to call as the emergency line for the Los Angeles Sheriff’s Department. The Game’s fans jammed the line for hours. Initially, The Game denied any wrongdoing saying the tweet was “a mistake.” The Game then posted a message saying the sheriff’s department can “track a tweet down but you can’t solve murders!” A criminal investigation was launched stating that the The Game could be charged for obstruction of justice. Despite all of this, the Los Angeles Sheriff’s Department issued this statement, “Based upon our investigation, as well as consultation with the Los Angeles County District Attorney’s Office, the LASD considers the criminal investigation into this matter closed. The Los Angeles County Sheriff’s Department will not be seeking criminal charges.” The Game issued an apology on CNN saying, “My sincerest apologies to the Sheriff’s Department, it was a joke gone wrong.”

In July 2012 an incident occurred where The Game had an altercation with rapper 40 Glocc where a self-shot video was released showing Game hitting 40.[80] In October 2012 40 Glocc would follow this with filing a lawsuit for $4.54 million for assault and battery, as well as damaging his reputation. This includes $500,000 in pain and suffering; $500,000 in emotional distress; $750,000 in lost earnings; $2 million for punitive damages; $25,000 in medical expenses; and various other reasons. Since then, Glocc has gone on a smear campaign against The Game, releasing his diss “The Full Edit” in December. Game has similarly addressed the situation in several interviews, claiming that filing a lawsuit of this nature “disintegrates your street cred.”[81] In December 2012, 40 Glocc assaulted Game’s manager Dontay “Taydoe” Kidd in Las Vega, Nevada.[82]


Game has many tattoos on his body. He has deceased rapper Eazy-E on his right forearm and has a graveyard under it in which the headstones say 2Pac, Jam Master Jay & Eazy-E. Under his left eye he has a teardrop and behind his left ear has a tattoo that says “HCT 6 30 03” which is a reference to his son Harlem Caron Taylor who was born on June 30, 2003.

On the left side of his neck he has his The Game logo and under it he has the Black Wallstreet logo. Under his right eye he had a tattoo of a Butterfly (symbolizing rebirth) but covered it with the L.A. Dodgers logo and a red star around it. Under his right ear he has the Converse All-Star logo and under it he has CBP which stands for Cedar Block Piru. On his upper chest he has Hate It or Love It. On the right side of his chest he has a tattoo that says N.W.A. On the left side of his chest he has a Bandana.

On his stomach he has “Stretch” which used to be his nickname because he was tall. On his right shoulder he has KJ and under it he has Tupac Shakur as an Angel. On his lower right forearm he has “Wallstreet” while on his other one has “The Black”. On his right arm he has a tribute to his deceased friend “Billboard”. On his right hand he has Chuck while his other hand has Taylor a reference to Chuck Taylor[disambiguation needed] and Game’s nickname. On his lower left forearm he has a Pigeon and above it a Clown. On his left elbow he has his Hurricane shoes logo and under it has G-Unot a reference to his feud with 50 Cent & G-Unit.

Across his stomach he also has his hometown of “Compton” and above that he has a tattoo of Barack Obama’s face. He also recently got the album covers of Dr. Dre’s The Chronic and his debut album The Documentary tattooed on his lower stomach by Kat Von D.[83][84] He also plans to get portraits of Muhammad Ali and Malcolm X tattooed on him soon.[85]


Main article: Game discography
Studio albums

The Documentary (2005)
Doctor’s Advocate (2006)
LAX (2008)
The R.E.D. Album (2011)
Jesus Piece (2012)


Year Film Role Notes

2006Waist DeepBig Meat
2006Belly 2: Millionaire Boyz ClubG
2008Street KingsGrill
2012House ArrestDeAndre
Video games

Year Title Role Notes

2004Grand Theft Auto: San AndreasMark “B-Dup” WayneVoice role
2007Def Jam: IconHimselfVoice role and likeness

Red Everything Movement

Friday Showdown – West Coast – Childish Gambino

Donald Glover

Background information

Birth name – Donald McKinley Glover
Also known as – Childish Gambino
Born September 25, 1983 (age 29)
Los Angeles, California, U.S.
Origin – Stone Mountain, Georgia, U.S.
Genres – Alternative hip hop
Occupations – Actor, rapper, songwriter, writer, comedian, music producer
Instruments – Bass, drums, guitar, synthesizer, sequencer, sampler, vocals
Years active – 2002–present
Labels – Glassnote Records
Associated acts – Ludwig Göransson, Nipsey Hussle, Flux Pavillion, Kilo Kish, Heems

Website –

Donald McKinley Glover[1] (born September 25, 1983) is an American rapper, actor, writer, comedian, and producer. Glover first came to attention for his work with Derrick Comedy and for subsequently being a writer for 30 Rock. Today, he is best known for his role as college student Troy Barnes on the NBC comedy series Community and for his rising career as a stand-up comedian and rapper. In 2011, Glover signed to Glassnote Records under the stage name Childish Gambino after releasing several albums and mixtapes himself; his first album for the label, Camp, was released on November 15, 2011.

Early life and education
Donald McKinley Glover was born in California, and raised in Georgia. His father is a postal worker and his mother runs a daycare center. His parents were also foster parents and Jehovah’s Witnesses. Glover graduated from New York University’s Tisch School of the Arts with a degree in Dramatic Writing in 2006 after attending DeKalb School of the Arts and Lakeside High School.


2006–10: TV, film, independent albums and mixtapes
Glover is known for his work on the NBC show Community. From 2006 to 2009, Glover was a writer for the NBC series 30 Rock where he also had an occasional cameo appearance. He was presented the Writers Guild of America Award for Best Comedy Series at the February 2009 ceremony for his work on the third season of 30 Rock.[2]

Glover performs music under the stage name Childish Gambino,[3] a name he found from a Wu-Tang Clan name generator.[4] He released an independent album entitled Sick Boi on June 5, 2008.

Glover is a member of the sketch comedy group Derrick Comedy, along with Dominic Dierkes, Meggie McFadden, DC Pierson, and Dan Eckman. Derrick’s YouTube videos gained the group nationwide attention[citation needed] and have contributed to Donald Glover’s recognition, as well as his newfound success in the television business. The group wrote and starred in a feature-length film, Mystery Team, released in theaters in 2009. On September 17, 2009, Childish Gambino released the independent album Poindexter.

A pair of mixtapes entitled I Am Just a Rapper, and I Am Just A Rapper 2 were released in close succession in early 2010. Robert Scahill added his producing expertise helping with the majority of the tracks. The track listings for those albums consist of the name of the song “he” raps, followed by the song he raps over. His third album, Culdesac, was set to be released on July 2, 2010, but a couple of last minute additions caused the album to be delayed for a day. The album was made available on July 3.[5] Glover has stated in interviews that on Sick Boi and Poindexter he felt he had to hide behind gimmicks, such as pink hoodies, but with his subsequent projects, he has touched on more personal subject matter, including family, schoolyard bullying, troubled romantic relationships, suicidal thoughts and alcoholism. He has disowned his 2005[6] album, The Younger I Get, as the too-raw ramblings of what he calls a “decrepit Drake.”

Donald Glover at Paleyfest in 2010
Glover’s stand-up special aired on Comedy Central on March 19, 2010. In May 2010, a fan suggested Glover for the role of Peter Parker in the then-upcoming The Amazing Spider-Man film, encouraging his supporters to retweet the hashtag “#donald4spiderman”.[7] The campaign, originally started to see how far social networking could carry a message, quickly gained a large following.[8] The call for Glover to be allowed to audition for the role was supported by Spider-Man creator Stan Lee.[9] Comics writer Brian Michael Bendis, who announced an African-American version of Spider-Man a year later, said he had conceived of the character before Glover’s campaign went viral.[10] Bendis gave credit to Glover for influencing the new hero’s looks; on seeing him dressed as Spider-Man on Community (a nod to the campaign) Bendis said, “I saw him in the costume and thought, ‘I would like to read that book.'”.[11]

Glover received the Rising Comedy Star award at the Just for Laughs festival in July 2010.[12] Glover was featured in Gap’s 2010 Holiday ad campaign. Donald Glover DJs and produces his own music under the moniker “mcDJ” (pronounced “M-C-D-J”). His music is of the electronic/remix variety and is often made available for free download via his official site. His current album releases include Love Letter in an Unbreakable Bottle and Utterances of the Heart.

On December 1, 2010, Glover released the first track off of his EP titled “Be Alone”. He released the next track, “Freaks and Geeks”, as well as a five-song track list, on February 11, 2011. On February 25, Donald released the dates for the IAMDONALD tour and also his very first music video for “Freaks and Geeks”.[13] The music video was shot by Dan Eckman, the director of the Derrick Comedy troupe. This song would later be used in an Adidas commercial featuring Dwight Howard which brought the song, and Donald, more recognition. On March 8, 2011 Donald released his newest EP via his official website.[14]

2011–present: Acting, touring and Camp

On March 16, 2011, Glover hosted the mtvU Woodie Awards held live at South By Southwest. On March 24, 2011, Glover taped his one hour comedy special Weirdo for Comedy Central; it aired on November 19.[15][16] Donald appeared at the 2011 Bonnaroo Music Festival on June 9 in the ‘This Tent’ as Childish Gambino and June 11 at ‘The Comedy Theater’ with Bill Bailey performing stand up. Comedy Central streamed the comedy live on their website.[17]

On May 4, 2011, in an interview with TheHipHopUpdate, Glover revealed that he was working on an LP, to be released in September.[18] On July 25, 2011, Donald Glover announced that his new album would be entitled Camp. On October 8, during his Orlando concert, he announced Camp would be released on November 15, 2011. On August 20, 2011, at the Los Angeles Rock The Bells concert, he gave an interview to, and announced to the crowd that he had signed with Glassnote Records.[19] On September 20, he released his first official single, “Bonfire”.

Childish Gambino in concert at the Bowery Ballroom in New York City (October 17, 2010)
The IAMDONALD tour made 23 stops in 33 days, beginning with Ames, IA on April 16, and finishing with Minneapolis, MN on May 19. In between, this included stops at music venues in Las Vegas, Houston, Washington, and Atlanta.[20] The Sign-Up Tour was Donald’s next pre-album tour. He visited 11 cities over the course of 38 days in October and November 2011.[21] Glover made a website for the tour called “Camp Gambino” on November 19, four days after his album released.[22] The tour featured special guest Danny Brown and made 20 stops during the course of 32 days along a dates in California in December.[23] On March 14, 2012, several dates on the CAMP tour were postponed due to a fractured foot Donald Glover suffered on March 10, while performing in Tampa, Florida. The tour began in Austin, Texas on April 5 and ended August 10 in Hollywood, California.

On January 11, 2012, Childish Gambino announced on his website that a new mixtape would be coming out soon. On April 2, he released a new song, “Eat Your Vegetables and Fruits”, through his website. On May 14, Funkmaster Flex premiered “Unnecessary”, featuring Schoolboy Q. On May 16, Gambino released “We Ain’t Them” through his website, produced by himself and frequent collaborator Ludwig. On May 22, Donald appeared on Das Racist’s radio show “Chillin’ Island” where he premiered a new song, “Tell Me”, which featured Himanshu Suri, aka Heems from Das Racist. On May 26, Donald released “Black Faces”, featuring Nipsey Hussle and produced by Boi-1da. On May 30, he released a third track, “Silk Pillow”, featuring Beck and produced by both Glover and Beck. On June 25, Glover revealed that the mixtape was to be released on July 4, 2012. On June 26, Donald premiered another new track, on Sway In The Morning (on Shade 45), entitled “One Up”, featuring his brother, Steve G. Lover. That same day, Donald stated that the mixtape would be titled Royalty (despite previous statements that it would not be called that). On July 4, 2012, Glover released Royalty for free via digital download. On July 7, 2012, Gambino released the track, “Body”, featuring Prodigy, which did not make the cut for the mixtape. On July 24, 2012, he released the music video for “Fire Fly” through his VEVO account on YouTube.

On August 21, 2012, BBC Radio 1 premiered Leona Lewis’ new song, “Trouble”, off her upcoming album, Glassheart, which features Childish Gambino. The song was available for purchase via iTunes on October 7, and peaked at #7 on the UK Singles Chart the following week, making it his first UK top 10 single. On November 4, 2012 Ludwig Göransson said in an interview with Portable that he and Donald were in his studio coming up with new idea for a new Childish Gambino album. It was said to be a bigger album, with more people involved.
On September 12, 2012, it was announced that Donald was working on a new sitcom with NBC that would be loosely based on his life.[24] Since then, however, Glover has decided to focus more intentionally on his music career, even reducing his work for NBC and planning to appear in only five of Community’s 13 episodes next season.[25]

Year Title Role Notes

2009Mystery TeamJason RodgersExecutive Producer
Original Score
2011The MuppetsJunior CDE ExecutiveCameo
2013The To Do ListDerrick


Year Title Role Notes

2005Late Night with Conan O’BrienCriminal1 episode
2012[28]30 RockHomosexual Kid
Young P.A.
Young Tracy JordanWriter; 23 episodes
Cameo in 3 episodes
Guest star in 1 episode
2007Human GiantCollege Webcam GuyEpisode: “24 Hour Marathon”
2009–presentCommunityTroy BarnesMain cast(Seasons 1-4)
Recurring (Season 5)
2010Comedy Central PresentsHimselfStand-up special
Robot Chicken: Star Wars Episode IIIStormtrooper
Scout Trooper
Mace WinduVoice

Television film

2011 Woodie Awards Host

Regular ShowAlpha-DawgVoice
Episode: “Rap It Up”
WeirdoHimselfStand-up special
2012The PlaylistRemix Victim – Eclectic MethodEpisode: “Instruments of Destruction”

Hip Hop Squares Childish Gambino Guest star

2013GirlsSandyEpisodes: “It’s About Time”
“I Get Ideas”
Sesame StreetLMNOPEpisode: ” Figure It Out, Baby Figure It Out”
Adventure Time[29]Marshall LeeVoice
Episode: “Bad Little Boy”

Year Title Role Notes

2006Channel 101Various
2006-2010Derrick ComedyVarious
2007Bronx World TravelersScoopy Brown3 episodes
2011CollegeHumorTroy BarnesEpisode: “Save Greendale”


Sick Boi (2008)
Poindexter (2009)
Culdesac (2010)
Camp (2011)

Red Everything Movement

Shout Out To – DJ Codax

Morne Joseph, aka Codax, is a well-known name on the mother City(cape town) DJ circuit, performing at most of the city’s top venues and doing live mixes at several radio stations around the country.
It is CODAX’s unique form of hip hop that he has perfected over his 18 years of djing, and his ability to read a difficult crowd that gets dance floors pumping across the Country.
Codax has won 10 first place DJ titles in his 6 years of competing in several dj battles. This includes 5x African Hip Hop Indaba, 2x DMC Regionals, 1x DMC South Africa, Hennessy Artistry as well as Da Cape VS Da Rest which was hosted by Sprite.
In 2008 Codax was selected as the official DJ for the Red Heart Rum Tour which was held over two months in Cape Town as well as Port Elizabeth.
2011 saw Codax representing South Africa in Reunion Island at the St Denis Hip Hop Festival, which reaffirmed why he is rated one of the best. His international experience continued on to Doha, where he was given the opportunity to perform at the W Hotel as well as The Pearl.
2012 and he finally achieved his lifelong dream by winning the DMC South Africa Championship, which qualifies him to compete against the Best of the World at the DMC World Championship which will be hosted in London…
His distinctive style is what sets him apart from the other djs. Whether it’s a battle, house or hip hop set, the man will leave you craving for more.

Red Everything Movement