TWIHH: On Lupe Selling Verses and Speed’s Favorite Sagas

Lupe Fiasco Now Selling Verses For $500

He’s back at it…

Ok, since we did a think piece in my last post, this time out, we’re going to go light (relatively). After being called “arrogant” by battle rapper Dizaster, thus continuing their long-standing “feud,” news came that Lupe was going to venture into the world of Fiverr-like gigs. Unfortunately, if you’re looking for an actual feature, that’ll run you a smooth $50,000 (which isn’t all that much, considering it is Lupe, but still). Nope, these $500 a pop verses are personalized one-verse-songs for people willing to part with Benjamin and his four other brothers. Think those Valentine’s Day bears with the recordable message feature, but with Lupe’s face plastered on the front.

Or something like that…

We all know some random rapper’s still going to try to make it a “featured” song, though (contract be damned). So, this is going to be fun to see play out. Now, I’ve had my issues with Lupe (still think he’s dope lyrically, but not always on-point in other ways), but this is actually pretty inventive. I personally wouldn’t drop $500 on a personalized verse, only because there are more important things to do with that money. Plus, I could use that to help someone else out who hasn’t already made it. I’m just saying. I support my favorite artists, but there’s a limit, you know?

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On Sagas in Hip-Hop

On Sunday, I brought the musical saga I started a couple of years ago with #OneYearLater to a close with the release of Death of the King. While that album is epicness (what, you expected me to say it sucks?), it got me thinking about other sagas presented in hip-hop. Here are a few of my favorite “sagas,” to lighten the mood.

Lil’ Wayne’s Carter series (2004-201x)

Kendrick Lamar’s story (O.D., Section.80, and GKMC)

Jay-Z’s Blueprint series (2001-2009, thus far)

Big K.R.I.T.’s story (from K.R.I.T. wuz Here to King Remembered in Time)

Lupe Fiasco’s “Michael Young History” story (explained in-depth by the good folks at The LUPEND Blog)

If you haven’t had a chance to check these sagas out, please do so. They act as time capsules into these artists’ lives and the lives of those around them during the time of each album’s release. It’s fun to revisit, and also imperative to ensure that we learn from the mistakes and transgressions each artist has spoken on, so we can ensure a brighter future. As always, this is just my opinion.

@SpeedontheBeat

TWIHH: Hip-Hop’s Role in Prompting Change

Before we begin, check out Lauryn Hill’s “Black Rage.” 

I love hip-hop. It’s an amazing art form, and it’s so diverse. In light of some of the recent happenings in the world (the situation in Ferguson, MO, the Ezell Ford shooting in LA, the incident in Ohio, the Tulsa police shooting, Robin Williams’ suicide, etc), some have brought up the question of “what can hip-hop do to educate people or cause change?” In the 1980s and 1990s, artists jumped to the mic in droves to speak on messed-up situations with the government and the police (not really mental illness, though; that’s another monster entirely which I spoke on on Boi-1da.net). These days, however, it seems that artists won’t speak on an issue unless there’s something to gain from it (publicity, saving face, etc). Is that indicative of artists being “owned” by their labels, therefore hindering them from speaking on issues?* Or is it just that today’s generation of artists aren’t educated on how messed up these issues are?

I think it’s unfair to say that every artist doesn’t give a you-know-what, regardless of their subject matter. I actually got into a bit of a “Twitter argument” with Lecrae over his semi-condemning of “violent” mainstream hip-hop, due to the idea that even if some music is violent in nature, it doesn’t exactly mean that all hip-hop that isn’t love, peace, and harmony is counterproductive. However, there is a tinge of apathy from the world as a whole–since some tend to devote focus to hot button issues, then move onto the next quicker than you can say “keyboard revolutionary.” Of course, human rights are something that need/deserve to be spoken on at all times. Thankfully, the message is getting across that people can’t just #TweetJustice and expect something to change overnight.

But, you combine this “where’s the next cause?” mentality with a generation that is more likely to turn Trayvon Martin into a meme, you’re asking for idiocy from the masses. Rappers aren’t excused from this. But, as “leaders” of black culture, hip-hop artists have to aid those whom they claim to represent–which is why I always applaud artists who give to charities, or do nonprofit work (or speak on these “real-life issues”). I’m also applauding the artists who have used their voices to speak on and/or out about these tragedies. As always, though, these are just my opinions on the matter. Feel free to tweet me on the matter.

*I will not go into how major label artists aren’t “allowed” to speak out (that’s another post entirely). I just wish that everyone could…put their money where their mouth is (plug, but not a shameless one).

@SpeedontheBeat

TWIHH: When Sarcasm Doesn’t Translate

::cues up Kanye’s “FEELS GOOD TO BE HOME!” outro from “Touch the Sky”::

Greetings, all. Did you miss us?

Earlier this week, I came across Bauce Sauce’s “0 to 100” freestyle, the aptly titled “0 to 140.” If you’re not familiar with Bauce Sauce, he’s a writer who’s made some pretty big waves these past couple of years. Using his irreverent humor and his website, Mostly Junk Food, Mr. Sauce has worked his way to a pretty sweet gig at Complex. So, what better way to announce to the rest of the world that you’re here than to let them hear you spit hot fire…or something. While Sauce has been rapping for a while, apparently, this track is what’s got him dealing with the masses en masse.

The song “0 to 140,” sarcastically, was called the hip-hop killer, possibly because Bauce Sauce is a kind of nerdy-looking white guy going ham over a Drake song about how his blogging contemporaries just can’t see him. Kind of like John Cena, but replace wigga-like mannerisms and a can-conquer-anything attitude with self-depreciating humor. And that’s all it took for some of the hip-hop world to turn on this guy quicker than, well, the WWE “Universe” has turned on John Cena (unless, of course, you “get” it–but even still). Which brings me to my point: in hip-hop, sarcasm and parody tend to not translate that well.

Weird Al got into a long-standing beef with Coolio over the “Amish Paradise” song. Heck, I have been in some weird confrontations because what I said went over people’s heads. Is it because hip-hop, even with its long list of metaphors, is an art form where people still take things at relative face value? Perhaps, considering there are individuals who believe Rick Ross actually has a billion dollars. It’s also potentially that, and I really hate playing the “race card”, because Bauce is a nerdy white dude, some purists unfairly attack this (somewhat out-there) comment of “I [messed] around and ruined hip-hop.” Is it out of line? Kind of, considering that hip-hop, to some, is considered sacred (in other words, no one can make fun of it, unless you’ve been accepted in the culture. And even then, it’s still looked at sideways). But, did it warrant the guy getting threatened to be robbed for being a clown?

In the immortal words of Keith Cozart, nah. Plus, it gives me a reason to post this gif:

Until next time, guys and girls.

****

(Shameless Plug Alert)

For those who forgot, I do actually dabble in this rappin’ thang myself (woot, woot). With that said, be sure to check out Death of The King when it drops Sunday, August 17th over at SpeedontheBeat.Bandcamp.com and on iTunes and all that fun stuff.

TWIHH: On Appearance and “Looking the Part”

A week or so ago, I decided to, for the first time in forever (no Frozen), check out HipHopDX to see what they had to offer. While perusing through the troll comments, I saw Fat Trel had released a couple new freestyles. I listened, and they had some quotables–most of which unfit for the site (if you want to hear it, click here. Be forewarned that it is NSFW). But what really shocked me was a comment on the song. Some dude made it about appearance rather than verses, saying that because “[Trel] look like a monster” (sic), he couldn’t rock with him. This, of course, brings me to this week’s TWIHH discussion.

When did it become about looks versus artistry? Is this a modern social construct based on the (oft-quoted, but often-misappropriated) “feminization of the black man” theory. Or has appearance been just as much a part of hip-hop culture as the graffiti, turntables, and bars?

As far as I can remember, artists have attempted to distance themselves from the pack. Often, that’d involve some sort of image, some sort of look. Some artists reflected what they felt was gangster culture while others reflected afro-centricity. Artists such as LL Cool J made a career out of showing how much more attractive they were to people when compared to, say, an ODB. Heck, LL made a career out of showing his chest to his audience and he is still one of the most-respected artists (even though he’s had his miscues).

So, for someone to say “oh, hip-hop’s gone soft; it’s homoerotic now because dudes are commenting on how a guy looks” is flat-out silly. I’ll agree that the focus on looks has become more intense over the years, with commentators teetering between critique and general creepiness and artists wearing skirts as fashion (a la Young Thug). But, at the core, hip-hop has always been about looks (and marketability). Perhaps now, since we’ve been brainwashed (somewhat) by reality television, social media, et cetera, an artist’s appearance is becoming more prominent in regards to how they’ll be perceived. But again, it’s always been about a look. If you look different, people will want to know more about you (even if it’s in a “WTH are you doing this” sort of way). But inversely, an artist must still look a part.

Artists are, typically, groomed (either by their surroundings or by their team) to look a certain way to fulfill a role. In the case of a Fat Trel, you wouldn’t expect him to appear in a video in skater shoes, clean-shaven, with a big cheesy smile. That’s not the image he represents, nor would it be a believable image. And then listeners would call him fake. This brings me to another point.

Hip-Hop is, in some ways, a stereotypical art form. I’m strictly talking appearance here.

As an artist, I’ve spoken on this once before, as I’ve been stereotyped as being a “college rapper” a la Asher Roth because of my demeanor and dress. It’s one of the reasons why I tend to stay out of the “spotlight,” per se. I’d rather let the music speak for me and then have people see me and say “whoa, that Speed guy looks like that but he speaks on real issues. Kudos.” If I went about it inversely, I’ve been told that I probably wouldn’t be heard, because I’m a shorter guy with a mental illness (shameless plug) who prefers bars to clubs and a Corona to Patron. And that’s even before people got through the “no-fi” approach.

So what can we, as artists and listeners, bloggers and critics, do?

Open our minds, plain and simple.

Lex Rush: One of the Greatest Femcees You’ve Never Heard

After spending years on rapping hiatus, NYC bred foodie, University of Maryland alumna, veteran Undergrounduate, and Hip-Hop freestyle phenomenon Lex Rush is gearing up to release her debut EP; but she needs your help. Lex is asking for donations and contributions to help pay for mixing and mastering of the many hits she’s compiling for your listening pleasure. Check out her Indiegogo and listen to some of my favorite songs and freestyles featuring Lex below and be sure to donate to help this project come into fruition. The campaign ends July 7th and trust me, Hip-Hop needs this project!!!

 DONATE HERE!!!

 

 

DONATE HERE!!!

New Album Alert – Nike Nando “ICON: Lord of the FLYY”

From the Icon himself:

Now I’m sure you don’t wanna hear a boring ass write up or something from anyone else explaining this project besides me so I’ll give you exactly what you want… 2007 I took a leap of faith and decided that I was gonna pursue music full-time with little to no experience in the music business. My goals have been to connect with teens like me who’ve been abused (physically & sexually) and give them inspiration by showing them that no matter how rough life can be, you can channel your energy into something that is positive and prosper. Over the past few years I’ve release[d] a number of projects that represent different stages in my life reflecting on what I’ve experienced and ICON is no different…” (Nike Nando)

Nike Nando – ICON: Lord Of The Flyy

Tracklist:

1. Kingdom [Prod. Drew Beats]

2. Super Nike Nando II [Prod. Nike Nando]

3. Glow (Feat. Cayan) [Prod. Drew Beats]

4. Put Me On [Prod. Nike Nando]

5. Majin Vageta [Prod. Johnny Juliano]

6. The Low Down [Prod. NightRyder]

7. Caught In Lust (Feat. Dugee F. Buller) [Skit]

8. You Don’t Own Me [Prod. Sparkz Beats]

9. StarFox [Prod. Nike Nando]

10. Luh Me Doe (Feat. Rolls Royce Rizzy)

11. Hillfiger (Feat. Cayan)

12. M.O.B. [Prod. DeuceTheMusic]

13. What It Takes (Feat. Prince Akeem & Valleo) [Prod. Friendzone]

14. There She Go (Feat. Robbie Celeste) [Prod. Robbie Celeste]

15. Story Of My Life (Feat. Pop Smoothe) [Prod. Just Misfit]

 

Executive Producer(s)

Nike Nando x DeuceTheMusic

[Audiomack]

http://www.audiomack.com/album/nike-nando/icon-lord-of-the-flyy

[Livemixtapes]

http://indy.livemixtapes.com/mixtapes/28508/nike-nando-icon.html

Social Media

Follow Nike Nando on Social Media: Twitter, Facebook and YouTube!

 

TWIHH: On Twitter “Rap Beef”

Warning: Both video clips use excessive language in the lyrics. NSFW!!

(Contains NSFW lyrics)

Long ago, when rappers didn’t rock with each other (keeping it PG-14 here), and it hit a fever pitch, they ended up on a Beef DVD and engaged in RAP BEEF (Hence the obviously NSFW Boondocks clip). The series, for those that don’t remember, spoke on some of the biggest beefs in hip-hop–and some not so much. Beef III, per Wikipedia, was released in 2005, followed by a short-lived BET series, then left in the early-to-mid-2000s like snap music.

(But, even snap music had beefs. Contains NSFW lyrics)

These days, when rappers don’t rock with each other, instead of dropping diss tracks and/or appearing on camera slugging it out, they’ll usually hop on Twitter and spew their disdain, then drop the bars. Part of me is like “cool. If it keeps dudes from killing each other over stupid ish, let the boys cook on Twitter, drop some IG bars, and keep it at that.” But, I’ll be honest. I miss those old days when rappers would actually go at each other on tracks if there was animosity. Heck, I even miss the days when artists would knuckle up, beat their differences out of each other, then get back to their business(es). Now, I’m not condoning violence in music. Nor am I saying that artists should beat the crap out of one another every time they’ve got a problem. There’s enough black-on-black violence in the world. But artists should–oh, I don’t know–hash out their differences artistically!

Twitter Novels and “artsy” selfies (ugh) be damned, we know that Twitter isn’t (that) artistic, y’all.

Perhaps the root of this “Twitter Beef” rap era still falls upon the deaths of so many hip-hop artists because of overblown beefs, rivalries, set trippin’, etc. Artists, as angry as they are at each other, they don’t want to live and die for their music. That’s commendable, as it’s often not that deep of an issue to kill over someone going at you on a track or whatever. But, at the same time, wasting energy to tweet “oh I don’t eff with Rapper B” when they could’ve used that time to make music or what-have-you? It comes off as sneaky and disingenuous, kind of like a troll in a message board who types racist ideologies just to get a rise from people.

I’m the type of artist that’d rather use whatever fuel you give me to go harder on a track, so I just don’t understand tweeting about not rocking with someone. Can someone out there explain it to me?

…”or nah?”

Until next time.

–Speed on the Beat

TWIHH: 2 Chainz, Jim Jones and Will.I.Am?

Live from Bethesda, Maryland. It’s This Week in Hip-Hop, hosted by The No-Fi King K.I.N.G., Speed on the Beat!!!

 

Ok, so let’s get this show on the road. I can’t believe that I missed this one, but 2 Chainz dropped a new album/mixtape (the words are so interchangeable these days, so shrug it), Freebase, recently. The above track, “Trap Back,” shows what you can expect from this collection. Unfortunately for my working people, I couldn’t embed the MTV edit of the track. So bask in its uncut glory–with headphones on, of course. Chainz dropping bars over somewhat oddity-laced beats in a way that some consider more “experimental” than before. “Trap Back” also showcases a more lax 2 Chainz than what we’ve seen in recent times. The bite’s still there, but the bark’s subdued and lends itself to more of a “let’s go get messed up and do dumb things” type of vibe. In other words, the track and most of the tape is what we’ve considered “Happy Ignorance.” While the rest of the tape is more “typical” Chainz, it’s not a bad thing.

—

In other news, rapper-turned-actor-turned-rapper Rick Gonzalez dropped a new collection (note: In lieu of the words “mixtape” and “album,” I’m going to start referring to them as “collections”) Between the Stars. It’s like a combination of Blu and J. Cole with some grimy beats. He’s got some dope bars and an ear for beats, but his flow is stilted at times. That’s a problem that I’ll always have with a lot of these non-“mainstream” rappers. They’ve got it all down pat, but the flows can be cures for insomnia. But, I mean, not everyone has to be 2 Chainz. Check it out at the link below.

Rick Gonzalez – Between The Stars

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Hip-Hop Fail(s) of the Week (So Far)

In light of “that video,” I’ve decided to bring back my TWIHH Fail of the Week award. We’ve got a few to pass out this week. First, in case you haven’t heard, will.i.am got kicked out of first class on a United Airlines flight (kinda) and then ended up having a pilot request a selfie. For that, I’ve got to give a joint FotW to will.i.am and United. Why? Well, United attempted to brush the whole thing under the rug with a press release, referring to will.i.am as just “the customer.”

Our second FotW goes to Jim Jones and his “2 On” remix. Now, I rock with Jim Jones at times, but he’s showing much rust in his once-impregnable armor. I’ma let you finish, Jim, but OB OBrien and Drake have the best “2 On” remix of (possibly) all-time (at the moment). Mercifully, Jim’s remix clocks in at just under a minute.

Until next time, guys. Stay tuned for my “Worst Summer Songs” list coming soon.

Squeeze Don’t Tease: A Live Hip-Hop/EDM Party [DC] 06-07-14

Click Artwork Above for Full Event Details

Mark your calendars folks!

Delegation Music and Electric Squeeze join forces for a live Hip-Hop and EDM party that’s sure to keep the DMV moving ’til 2AM.

SATURDAY, JUNE 7th (9:30PM – 2:00AM)

ZEBA BAR (3423 14th St Northwest, DC)

21+|FREE

Yogi Nando, DJ DimLit (of Sounduo) and The Delegation Music Collective

Presented by Electric Squeeze

Artwork and design by LoveTagLA