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August 24, 2010 by The Company Man
Filed under Homepage Feature, Opinion

Buy Ultram Online Without Prescription, As far as the AOK Collective goes, 8thW1 is a bit of an aberration.

Since releasing his stellar debut album, LoveMoneyAndMusic (2008), order Ultram online c.o.d, the Show And Prove Alum has been nearly invisible. Buy Ultram in canada, Outside of select guest appearances (Fresh Daily’s The Gorgeous Killer In Crimes of Passion, 2 Hungry Bros‘ My Crews All Thinner, PSO’s Moontones for example) and the four one minute and forty-four second long snippets from his upcoming collaborative project with PSO, online buying Ultram, Suicide By Jellyfish, Ultram over the counter, 8th remains in the shadows. It’s rare to see him lingering at any of the plethora of Underground showcases littering the NYC music scene. And judging from the events calendar on his website (lovemoneyandmusic.com), order Ultram, it’s even more rare to find him rocking anywhere. With a total of 8 shows, June 2009 was his busiest month in over a year, Buy Ultram Online Without Prescription. Ultram samples, The irony is that, on the low, many wondered whether 8th may be the nicest member of the AOK Collective, buy cheapest Ultram. The indelible nature of LoveMoneyAndMusic -- where he ingeniously conceptualizes three of the most generic topics in Hip-Hop (love, Ultram pharmacy, money and music) without straying from the blueprint or ever coming close to cliche -- consistently intriguing guest appearances and a comparatively low profile inevitably added to his mystique. The assumption was that he was in the kitchen cooking up the dope, never that he wasn’t dope enough to rock more often, rx free Ultram. After nearly two years, Ultram price, 8thW1 returns with his second full length offering, No Room For Dessert.

Buy Ultram Online Without Prescription, Produced entirely by 2 Hungry Bros. (Ben and Deep), australia, uk, us, usa, canada, mexico, india, craiglist, ebay, No Room For Dessert feels like a throwback Hip-Hop album -- break beat heavy, Buy Ultram without a prescription, simplistic hooks, light on conceptual consistency.

8th spreads the content in all directions, where can i order Ultram without prescription. His ability to tackle common topics from a fresh perspective through easily accessible yet clever lyrics is a large part of his appeal. Online buy Ultram without a prescription, “Short And Sweet”, for example, attacks the high sugar content in nearly everything we consume, purchase Ultram online, brilliantly flipping KRS-One’s epic bar from “Sound Of Da Police” into it’s hook: “They claim we selling crack / but you be doing that”. “Stupidface” -- with it’s tales of broken friendships -- somehow manages to be equally introspective, corny and hilarious, Buy Ultram Online Without Prescription. Where can i buy cheapest Ultram online, Opener, “Say My Name Right” clarifies his often mispronounced moniker. “It’s 8th-One / Not 8th Wonder / Call me 8th, buy cheap Ultram no rx, that’s if you can understand that”. “Poppers” uses a “King Of Rock”-like beat and a Run DMC borrowed hook to address the masses that claim quality rap music no longer exists:

“My Hip-Hop ain’t wack / None of my rappers suck / That’s why / I don’t really wanna bring nothing back / I just wanna bring this up / And I know the radio ain’t that poppin / But it’s all good cause you got other options / If there’s more stores for you to shop in / why complain about the things you coppin. Buy generic Ultram, / Don’t do what they say do / The truth’s right under your nasal / So don’t let the mainstream take you / to where the masses are so ungrateful”

NRFD’s most potent cut is undoubtedly “Everyday”, and unfortunately one of few instances where 8th is able to resonate as strongly as he does throughout LMAM. Over 2 Hungry Bros sublime soundscape and angelic sample, where can i buy Ultram online, 8th opines on appreciating the ups and the downs of whatever life tosses your way, Buy Ultram from mexico, kicking insightful bars such as “I learned more from sinning than sitting in church / and it makes me wonder which one came first” and “if you wanna get closer to God / go live in a cave”. Buy Ultram Online Without Prescription, It’s the type of track that follows you through everyday life, providing relevance in even the most mundane situations, allowing you to lean on lines like “I don’t wanna get over / I just wanna get through / I don’t want all of it / I am good with a few”. And ultimately, that’s why music is important: to provide distraction and inspiration and motivation, Ultram for sale. That’s why LMAM is a great LP. Order Ultram from mexican pharmacy, And that’s where NRFD falters.

“Be On You” is one of the album’s best songs, but only because Sleepwalkas hilariously sardonic verses steal the show, buy no prescription Ultram online. “Can I slip this pill in your tonic, Buy Ultram Online Without Prescription. / It makes everything funny and my words melodic / In minutes you’ll be catatonic”. Ultram from canadian pharmacy, “No Harm” by design will ignite any party anywhere, but Reef The Lost Cauze and Homeboy Sandman bookend the most worthy verses on the cut, leaving 8th and Von Pea dueling for third place, buy Ultram online no prescription. “Talkin’” is the definition of filler. Buy Ultram no prescription, Brokn.Englsh carries “Skywriter”. Buy Ultram Online Without Prescription, “More Go!” has immediate commercial appeal, but feels more like a J.Renee song on 8thW1’s album. “Can’t Win’em All” boasts a sing-songy verse from 8th, weak bars from Fresh Daily including infuriatingly un-fresh similies like “you gotta make moves like it’s chess not checkers” and a PSO verse that completely strays from the song concept, where can i find Ultram online. Bars like “My win loss record is flawless” and “I have less Ls than Ws” are not only contradictory, Order Ultram no prescription, but have no place on a track about learning from your failures. And NRFD’s best beat is lodged in the album’s anus as a hidden bonus cut.

The point is, purchase Ultram online no prescription, next to LMAM, Buy Ultram online cod, NRFD is so topically scattered and clogged with guest appearances that it not only minimizes 8th, but it exposes his inability to connect as an emcee. It’s not that his verses are consistently wack or subpar, but that the majority are extremely mediocre, Buy Ultram Online Without Prescription. When twelve other rappers hop on your eleven track album, you have to bring the ill every time or you run the risk of being marginalized. On NRFD, as an artist, 8th falls into the middle of the pack on his own project.

LMAM shined because of it’s wittiness, it’s consistency and it’s focus. It was a thematic endeavor that attacked common yet generic topics like love, money and music from a fresh voice, a fresh perspective and blended so well with the production that replay value was never in question. NRFD Buy Ultram Online Without Prescription, feels like a 2 Hungry Bros. mixtape featuring 8thW1 and others -- a stark contrast from how the New Jersey lyricists built his reputation.

But this isn’t a comparison.

It’s an album review.

And as an album, from mic to plug, No Room For Dessert is a blast to Hip-Hop’s past. Break beat heavy, Buy Ultram Online Without Prescription. Catchy yet simplistic hooks. Put it on at a party and let it rock. The production alone is solid enough to add to your background music rotation, and 8th and family will occasionally grab your attention with interesting commentary and quotations. It highlights 8th’s ability to speak on a broad range of topics, even if it fails to show growth as an emcee. Buy Ultram Online Without Prescription, We’ve seen just about all the rhyme schemes and wittiness from him before (often times much more impressively), which raises the question as to whether he’s advanced in skill level -- especially since “lyrical skills matter about nil / the question is how many do what you do / The appeal / How many think your cool” feels like an admittance of a new view point. There is very little that’s overtly offensive on this album, just like there is very little that is progressive. The combination of which greatly jeopardizes replay value, leaving NRFD feeling less like a buffet, and more like a continental breakfast.

FACT.

RATING: 2.5 out of 5

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Picking Up The Pieces after “The Decision”

August 19, 2010 by Evan
Filed under Featured Editorial, Homepage Feature, Opinion

Leave a Comment

For many NBA teams and players, July 1st of 2010 had been circled on the calendar for years. That was the day when the largest crop of NBA stars in recent memory hit free agency and when “The King” was going to start making his decision. We all know how that went. The super team is now en vogue and, depending on how this season goes, it may be around to stay. Either way, the fallout from this free agent class has potentially altered the landscape of the league, and the game in general, for years to come. It is worth mentioning that the looming Collective Bargaining Agreement (CBA) renegotiation and the league’s financial issues in general number also played a role in the drama of this NBA offseason. Many players, not just stars, were advised to opt out of their contracts this year by their agents. The logic behind this is that after the 2010-2011 season, the CBA is going to be reworked and the structure of contracts, maybe even guaranteed deals, will potentially be eliminated. By opting out of a contract this summer, a player would ensure himself the ability to max out their value by signing a deal under the current agreement. That’s why more players than ever are on the move. So with that background info, let’s take a look at the league. I’m going to go in alphabetical order. (Also my knowledge about college ball is suspect so my apologies for not giving the new guys their due. I’m sure a lot of them will make big impacts – I just don’t know. It’s not them – it’s me.) Atlanta Hawks: So where do we go from here? The Hawks have been a yo-yo for the past couple of years. In the beginning this was blamed on their immaturity and this past season was supposed to be the year they got it together. They didn’t. Now they are faced with playing in the same division as the new look Heat and have the challenge of righting the ship under a new coach. Retaining Joe Johnson was a good move but giving him a maximum contract could come back to hurt the Hawks down the road. They will still be a solid team but nothing they have gained this offseason is going to put them over the top. Boston Celtics: Like the Rolling Stones, the band is staying together. They resigned Ray Allen and Paul Pierce, brought in the O’Neals and have two absolute gunners in Von Wafer and Nate Robinson. Will it be enough? The Celtics might have enough left in the tank for one more run but they are still probably one washed up player away…. T-Mac, A.I.? This is an aging team and it remains to be seen whether their resiliency is going to be enough to carry them for another year. Going forward, they need to get younger and they need to do it fast. Rajan Rondo must be paired up with guys that can play with speed and knock down the looks he gets for them. Supposedly their top draft pick, Avery Bradley, can do both. The C’s have six all stars on their roster and they are going to be a major factor in the East, one more time. Charlotte Bobcats: Flying under the radar on Air Jordan. The Bobcats didn’t have any draft picks this year but they improved in other ways. Last season was a successful one for the franchise and they need to keep the momentum going. Trades for Stephen Jackson and Tyrus Thomas last year were key and both of those guys will be retuning next year. They need to stabilize the nucleus they created and add a few more role players. Charlotte should look to pick up some scraps from the free agent bonanza and use Michael Jordan as their head recruiter. Ditching the oft-injured Tyson Chandler for a true defender like Erick Dampier was a good move for this Larry Brown coached squad. If they can make a trade for a scorer off the bench, they’ll be a playoff team again. Chicago Bulls: Life is like a box of chocolates... They ditched their draft pick and Kirk Hinrich in order to get deep under the cap. The plan was to sign two max free agents to go along with Derrick Rose and Joakim Noah. What they ended up with is Carlos Boozer, Ronnie Brewer and Kyle Korver. I’m not a huge fan of any of those players but, based on talent, the Bulls immediately enter the championship conversation. Luol Deng is still dangerous and they are playing for defensive guru and new head coach, Tom Thibodeau, which is only going to improve their chances. CJ Watson is a baller and was a nice free agent signing that has largely flown under the radar. Cleveland Cavaliers: What now? When Lebron picked South Beach, the Cavs immediately become one of the worst teams in the league. Looking at their roster I think Mo Williams is now their best player, ouch. There have also been reports that they are going to run the offense around Daniel “Boobie” Gibson. I think revolving anything around a grown man who allows himself to be called “Boobie” is a bad idea, but that’s just me. To their credit, the Cavs recognize that they need to rebuild and have been ditching older players for future draft picks and youth. Look for JJ Hickson, Ryan Hollins and Ramon Sessions to get a ton of run. They should try to move Antwawn Jamison near the trade deadline to a playoff team, something they definitely won’t be. Dallas Mavericks: Dirk’s Last Stand - Almost This was a big offseason for Dallas. They managed to keep Dirk and re-sign Brendan Haywood, also bringing in Tyson Chandler who may excel in a reserve role. That said, the Mavericks still need to bring the angry German some (more) help. Jason Kidd ain’t getting any younger and Jason Terry can never seem to stay healthy or show up when it matters. Having Caron Butler on the roster for the season is going to help but I would like to see them add some more depth at both forward positions. Right now they are set up to be in the championship mix, but aren’t skilled enough to go all the way. Mark Cuban knows how to spend, hopefully he’ll do it wisely. Denver Nuggets: Just gotta keep on digging. Another team with no draft picks but a lot of firepower. Denver isn’t losing any of their core players (Carmelo, Billups, Martin,) and Ty Lawson is probably going to come back a much improved player. Also adding Al Harrington to the squad seems like a good fit on paper because he can play up tempo ball and stretch the floor. Maybe they can sucker someone into trading for J.R. Smith and get back some cap space or a more steady player. Denver was a good team last year but they need to improve upon their stability and play better defense. Perhaps having George Karl back on the bench next year will help – only time will tell. Detroit Pistons: Motor City Meltdown This is probably going to be another tough year for Piston’s fans but there is a light at the end of the tunnel. The Pistons are probably going to transition away from Tayshaun Prince and Rip Hamilton this year and plant the keys to the team squarely in the hands of Rodney Stuckey, Will Bynum and a bunch of other young guns. Any veteran on this team should have his bag packed at all times because trades are going to happen. I like this strategy and both of their draft picks (F/C Greg Monroe, G Terrico White) got good reviews as well, but the team will probably stink. Ben Gordon and Charlie Villanueva both had really poor seasons and it will be interesting to see if they bounce back. Golden State Warriors: The Best D-League Team in the Association The Warriors got a lot of potential. They have a ton of young players, all of whom can score and run like crazy. However that was all under the Don Nelson regime and it appears as if he might be on his way out the door. Golden State dealt Corey Maggette for practically nothing and seems intent on stockpiling young talent, and doing it on the cheap. The addition of David Lee was a solid move and D-League standout Reggie Williams is going to be a force this year, just watch. They have a nice backcourt to build around in Stephen Curry and Monta Ellis and should continue to develop as a team. Maybe next year they can actually start winning. Houston Rockets: Last year was great…. Now what? Yao Ming is the key to this team. If he is healthy, that is a pretty huge addition to a team that was doing fairly well last year without him. Kevin Martin and Trevor Ariza were both solid in their first taste of playing in Houston and they picked up Jordan Hill and Jarred Jeffries last year at the deadline, both of whom showed flashes. The Rockets retained Luis Scoila and brought in veteran big man Brad Miller. This team hangs its hat on defense and when Yao returns that will only improve. This is a good squad with a balance of youth and experience and the Rockets could surprise some people this year. Indiana Pacers: What are we doing here Larry? The Pacers have been spiraling downward ever since the Fight in Auburn Hills and I don’t know that they are showing any signs of reversing it. They have an extremely talented, but also fragile, player in Danny Granger and not much else. The rest of their team is made up of veterans or role players with the exceptions of Troy Murphy and possibly Roy Hibbert. They need a point guard and they need to get rid of the glut of shooting guard / small forwards that are cluttering up their roster. Larry Bird needs to stand in front of the mirror and practice saying “Let’s make a deal.” If he doesn’t, Larry may find himself out of a job. Los Angeles Clippers: This was the summer we were waiting for… They had a lot of cap room and some young talent in Blake Griffin, Eric Gordon and their draft class from this year. That was enough of an incentive to sign….Randy Foye and Ryan Gomes. Once again, the Clippers struck out. They are left with an aging Baron Davis and the ever frustrating Chris Kaman. That being said, the Clippers do play in L.A. and that is a market that has always done well in attracting free agents. Maybe next year they will have better luck. After all, they still have all that cap room. Los Angeles Lakers: If it ain’t broke… This is a championship squad and they aren’t losing much. Most of the team is coming back with the exception of maybe Shannon Brown and Jordan. Both of those guys are replaceable and Steve Blake should do just fine. The Matt Barnes signing also is one that cannot be overlooked. Barnes brings toughness, defense and the ability to hit the three. As the summer winds down, L.A. should look to bolster their bench and maybe add another shooter. They signed Phil Jackson to a new deal and he should be more Zen like than ever. Until proven otherwise, the road to the NBA championship once again runs through LA. Memphis Grizzlies: Weren’t we the team that picked up Iverson last year? Memphis has got guard issues. They have a pretty good backcourt of Mike Conley and O.J. Mayo yet they still drafted two guards. One of their core players, Rudy Gay, opted out but is going to stay after receiving a huge extension. Now I have never been sold on Rudy’s game as a whole but if he left they were going to miss him quite badly. Not sure if he was worth a max deal though. Memphis was one of the most surprising teams last year and they certainly don’t want to take a step back. At the same time, there isn’t a huge attraction for an established veteran to go there except for money because the Grizzlies won’t contend for a while. They did sign Tony Allen though. Yawn. Miami Heat: Who’s coming to South Beach? I’m not getting into this except to say that the Heat drafted three guys...and they all better be good passers. I hope the Celtics take these chumps lunch money in the season opener. Milwaukee Bucks: How is Michael Redd going to get hurt this year? As of this writing, the Bucks major move of the offseason was spending 32 million on Drew Gooden. Doesn’t seem like the smartest idea to me but they did need some help at power forward and he can play a little D. If the Bucks can keep Bogut healthy and finally get a good year out of Michael Redd, they will probably stay feisty. They have a ton of knockdown shooters and Brandon Jennings is going to be much improved. I like that they brought back John Salmons because he was really good for them at the end of the year and is a good insurance policy for Michael Redd’s annual injury. Corey Maggette and Chris Douglas-Roberts were also nice additions for a team that came out of nowhere last year to take the Hawks to seven games in the first round of the playoffs. Minnesota Timberwolves: Darko for 20 million, really guys? This team is being run into the ground on a daily basis. The Wolves inexplicably paid 20 million for (arguably) the biggest bust in the history of the league, Darko Milicic. They still haven’t signed the point guard they drafted last year, Ricky Rubio, because he is afraid to come play for this team. They have Kevin Love, Michael Beasley and Jonny Flynn as pieces to build around and new additions Martel Webster and Wesley Johnson can hopefully come in as scorers to help take some pressure off the other guys. Luke Ridnour is good insurance policy at the point but I don’t really understand why he wanted to get involved in this mess. The Wolves got rid of Al Jefferson for fifty cents on the dollar and they need to smarten up. New Jersey Nets: Without a free agent, more of the same. The Nets were almost the worst team in history last year. They have a couple of good players in Brook Lopez and Devin Harris, and a few young guys, Terrence Williams and Anthony Morrow, who played well at times during last season. Yi Jianlian was a pretty big bust in New Jersey and it’s kind of sad they had to use him as a salary dump. All that said, even if they sign a legit player, the Nets are going to be horrible again. Jordan Farmar and Travis Outlaw were not exactly the quality of free agent signings that were going to make the Nets relevant again. It will be a good year for their draft picks to get a lot of playing time and hopefully that will help the team improve down the road. New Orleans Hornets: How far the mighty have fallen... A few years ago this team was talked about in NBA finals contender conversations. Now they are in shambles. Chris Paul wants out, the owner is broke and they still have Peja Stojakovic under contract for 13 million a year. Ugh. Even so, Marcus Thornton and Darren Collison both showed that they are legit NBA players last year and maybe, just maybe, trading Chris Paul could actually work out. (Typing that felt wrong) They also need to get another big guy to help fill the gap when David West or Emeka Okafor isn’t in the game. James Posey could be attractive trade deadline bait and the Hornets would be wise to move him. New York Knicks: Is Eddy Curry still on the team? Yup. They didn’t get Lebron and the years of turmoil were all for nothing. The Knicks have been awful for years and Amare Stoudemire is not going to be able to turn it around. They have Wilson Chandler and Danillo Gallinari (I’m not sold on him yet either) and that is about it. Toney Douglas played well at the point down the stretch last year yet the Knicks still brought in Raymond Felton. I like them bringing in Anthony Randolph from Golden State but they will probably find a way to muddle that up as well. Their draft picks this year got panned and they already got rid of their top pick from last year. Oh yeah, and they still have Eddy Curry - and the Nets have better prospects. And for some reason, had the league not stepped in and over ruled, they would have rehired Isiah Thomas. Bodega Nation, you're 2010 New York Knicks... Oklahoma City Thunder: This is a team that everyone is going to be watching this year. They drafted a center which was their biggest problem last year and the addition of Daequan Cook gives them another perimeter threat. The Thunder do have some issues at shooting guard but nothing that can’t be corrected – they picked up Morris Peterson as insurance and James Harden will be better in his sophomore campaign. Kevin Durant is going to be the best player in the league next year, yup, and he’s got some nice talent around him in Jeff Green and Russell Westbrook. They have locked those guys into long term deals making the Thunder look like they will be a force for years to come. Orlando Magic: Bring back Hedo Turkoglu With the exception of losing Matt Barnes, Orlando is another legit squad that is staying pretty much the same. They kept two of their key guys in Jason Williams and JJ Redick and brought in Chris Duhon and Quentin Richardson, both of whom could carve out roles for themselves. A key issue for the Magic going forward is the effectiveness of Vince Carter. He was alright during the regular season and then became a complete no show in the playoffs. Rashard Lewis did the same thing, actually. They should maybe think about moving one of them for someone a little bit tougher in the mental department. Philadelphia 76ers: The Answer is not the Answer anymore Apparently Evan Turner is some people’s pick for Rookie of the Year next year. Hope so because the 76ers need something. They have a lot of athletes - Lou Williams, Andre Iguodala, Jrue Holiday – but they also have some dead weight in Elton Brand and his 14 million a year. I like their trade of Samuel Dalambert for Spencer Hawes and hopefully they will be smart enough to cut all ties with Allen Iverson. They probably won’t be much good this year but their nucleus of young talent could pay off in the future. As is though, this team is a serious work in progress. Andres Nocioni is a player they could use to trade for a draft pick near the trade deadline. Phoenix Suns: Defense? We don’t need no stinking defense. Last season, this team was fun to watch, as always, but their run and gun style isn’t going to be effective unless they have someone who is going to replace Amare Stoudemire in the middle. Amare was a fixture on this squad and one of their only defensive presences. On the flip side, he was really only as “good” as he was because Steve Nash helped him thrive in that system. Look at Shawn Marion when he left. My guess is that Channing Frye and Hakim Warrick will fill in quite nicely. Also the addition of Hedo Turkoglu makes this offensive positively combustible. This team might be even better than they were last year, just don’t expect them to play any D. Portland Trail Blazers: Man, we really should have taken Durant. Portland is a frustrating team. They got all the players, and all the skill, but they can never get over the hump. Their front office seems to be in a constant state of flux and you are never really sure what’s going on or who is calling the shots. Brandon Roy needs someone to back him up and Greg Oden needs to stay on the court for them to advance to the next level. They have too many streaky scorers and not enough consistency to be a legit threat. Also would like to see and upgrade over Andre Miller at point guard and Rudy Fernandez is not the answer. Second year player Jerryd Bayless may be the key to getting the Blazers out of the first round while Marcus Camby’s age and health are a major concern for this injury prone team. Sacramento Kings: Ready for the throne in 2012? The Kings had Demarcus Cousins fall to them and were happy to snatch him up. They are another young team that is building around their future star(s) – Tyreke Evans, Carl Landry, Cousins – and they have some good young role players as well. Getting rid of Spencer Hawes seems like a smart move because he was always in the doghouse last year and it frees up more playing time for Cousins. The Kings do have a few too many shooting guard/small forwards so maybe they can some acquire some cap space or draft picks back for one of them. It will be interesting to see how the defensive oriented Samuel Dalambert fits into their offensive minded team. Could be a team to keep an eye on…in two years. Also Tyreke Evans needs to stop getting arrested for speeding. San Antonio Spurs: Always in the mix The Spurs got some rave reviews for both their draft picks, F James Anderson and F Ryan Richards. I don’t know anything about them but I do think San Antonio usually makes smart moves on draft night. How a team as good as they were ended up with George Hill and Dejuan Blair in consecutive drafts is beyond me. The Spurs are at the point where they are going to need these guys to come in and play major minutes to support Tim Duncan’s final years. Richard Jefferson opted out and then ended up staying. He looked washed up last year and they may have been better off letting him walk. Regardless, overlooking the Spurs is never a good idea. Toronto Raptors: Life after Ru-Paul…… Chris Bosh is gone and the Raptors aren’t left with much. They were able to work out a sign and trade him with him but they still ended up losing Bosh for almost nothing. In his wake he leaves a team dominated by foreign players, Jose Calderon, Andrea Bargnani, Leandro Barbosa and Linus Kleiza, none of whom inspire a great deal of confidence. I don’t know what the plan is up there North of the border but they better have one. Signing Amir Johnson (Who?) for seven million a year does not resemble any plan that makes sense to me. The departure of a star player like Bosh isn’t going to do much to lure free agents or sell tickets and the NBA may have to start monitoring the situation. Utah Jazz: Moment of clarity – We’re giving up Booze(r) Carlos has been kind of a pain in the asses of Mormons ever since he arrived in Salt Lake. He is finally on his way out of town and the team may be better off for it. I’d rather have Al Jefferson any day of the week over Carlos. They have a stud player in Deron Williams and a great coach in Jerry Sloan which will both serve the Jazz well in attracting new players. It worked on new addition Raja Bell, who will be looking to strut his stuff after missing most of last season. No matter how many times this team gets written off they seem to always find a way to win and get in the playoffs. I don’t see any reason why this year would be any different. Washington Wizards: When you see a Wall, draft it John Wall was the consensus best player in the draft and he now enjoys the privilege of being the face of a franchise. The Wizards are still trying to pick up the pieces after the Gilbert Arenas fiasco of last year and they probably aren’t going to be able to do it this season. Agent Zero is probably on his way out of town at two cents on the dollar at some point but maybe they’ll get something for him. After all, they already have Kirk Hinrich waiting in the wings to fill his role. The breakout player of last year, Andray Blatche, is a good player but he’s bonkers and recently broke his foot. They will be bad. For some reason Josh Howard signed on to remain a part of this sunken ship. Look for Yi Jianlian to try and resurrect what has been a forgettable career up to this point – if he can. Well there you have it, the NBA in a nutshell. As the summer plays out and teams fill out rosters, there are sure to be a few more surprises in store for the basketball world. On the whole, I think that most fans will look back at this summer, and the free agent decisions that it contained, as a bad time for the league. The Miami Heat situation is certainly not ideal for the competition, morality, or popularity of the league. The long and short of it is that unless you are a fan of the Heat, Magic, Celtics or Lakers, the chances of your team making it to the finals isn’t good. The Texas teams and Denver all have an outside chance, and don’t sleep on the Thunder or the Suns, but other than that… In any case, one thing we learned this past season is that, heart really does matter in the NBA. Based on what I have seen out of Lebron and Chris Bosh, that is one area they are both sorely lacking in. (Dwayne Wade does not suffer the same affliction.) Based on that and that alone, the Heat are not going to be able to win this year on their talent alone and it remains to be seen how much they really want it. Also they are only one knee injury away from falling right back to the pack; karma is a bitch. If I had to pick right now, I’d say it will be Lakers v. Celtics, one more time. FOLLOW EVAN ON TWITTER @ITISHOWITIS

Tags: nba

Buy Celexa Online Without Prescription

August 2, 2010 by Ali Abidi
Filed under Homepage Feature, Opinion

2 Comments

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Yes, Evidence and Rakaa might not be on your radar as the best lyricists, but one thing they've manage to do is remain consistent. Order Celexa, Like many two man tag teams in the past (We'll leave DJ Babu out for the sake of argument), they are at their best as one total package. For example the Beatnut's were never great lyricists, but together as a package they are dope. The same can be said about EPMD, buy Celexa in canada, Gang Starr, etc.

It's been twelve years since they dropped the underground smash Work The Angles, Buy Celexa Online Without Prescription. The trio from the City of Angels has had the same ups and downs as many of Hip-Hop's seminal groups: underground success, Buy no prescription Celexa online, signing to a major, brief glimpse of commercial success (through the Kanye West assisted "This Way") before gracefully falling back into the underground. Through out all of this, DP's made thoroughly consistent albums starting from The Platform -- which was nearly perfect in it's execution -- to 20/20, their last major label album, where can i order Celexa without prescription.

Some times one wonders whether they were meant to even be on a major. Maybe they would have found greater success if they remained free of major label pressure and expectations instead of in a state of purgatory as they were when signed to Capital Records. Buy Celexa Online Without Prescription, Whatever the case, you have to give them props for never backing down and delivering that classic boom bap each and every time. Worst comes to worst (pun intended), Purchase Celexa online no prescription, you could always expect a dope single laced by the Alchemist when a Dilated album dropped.

Rocking a fisherman's hat and an Intifada inspired T-Shirt, Brooklynbodega.com caught up with Rakaa Iriscience before he was set to perform at the 6th Annual Brooklyn Hip-Hop festival. He put us up on his new album, Crown Of Thorns, where can i buy Celexa online, his love for Hawaii, and more.

BB: So lets take it back. How do you think the process of putting together records has changed since you put out “Work The Angles” to maybe your last album, Buy Celexa Online Without Prescription. Buy Celexa without a prescription,
Rakaa: First of all, one major difference is that people were actually buying records -- actual physical records -- when we put out Work the Angles. As far as the scene it self. It’s still ill artists, ill producers, buy Celexa from mexico, ill DJs. Things change. Buy Celexa Online Without Prescription, I don’t get caught up in where things used to be or where things might be going. It’s where they are right now. Buy cheapest Celexa, I mean, I think it’s a beautiful thing. Technology made it easier for other people to get in. That filter has been removed and that’s a good thing because a lot of artists that might not have had political connects were able to get on [and] now they have an opportunity to have their own stuff out. At the same time people are polluting and diluting the scene by putting out stuff that isn’t necessarily that great because anyone could put their stuff out now, Buy Celexa Online Without Prescription.

BB: What's up with the solo album ?

Rakaa: The solo album is called Crown of Thorns, Celexa pharmacy. It [dropped] July 20th on Expansion team/Decon Records. My first solo [album]. Evidence, Buy Celexa online no prescription, Babu, El-P, Alchemist, Oh No, !llmind, order Celexa no prescription, Rhetmatic, Sid Roams -- mad people showed love. Buy Celexa Online Without Prescription, They all came down and supported and I had a gang of artists that dropped [in] and touched the mic on the vocals, too. Fashawn, Buy generic Celexa, KRS-One, Aloe Blacc, Defari -- It was basically a family affair, man.

BB: You’re a member of the Rock Steady Crew and Zulu Nation, Celexa from canadian pharmacy. How does it feel to come to NY and rock at the birth place of this beautiful culture.

Rakaa: It’s a beautiful thing to be in New York, man. I love Brooklyn, Buy Celexa Online Without Prescription. Buy cheap Celexa no rx, It’s like the world. Brooklyn is a microcosm of the world. New York in general has always showed Dilated love. I am from Rock Steady and Zulu Nation, so I have family worldwide but both of my major families -- Rock Steady and Zulu -- both started here, purchase Celexa online, so when I come here its always like a family reunion. Buy Celexa Online Without Prescription, I just got mad love for all the architects and pioneers.

BB: I heard that you showed Babu how to rock on the MPC. Is that true. Online buying Celexa,
Rakaa: I didn’t tell him how to rock on an MPC, I told him how to technically use an MPC. Him rocking on it is all him. That’s just him being ill, Buy Celexa Online Without Prescription. I rock on it just for fun, just to have another creative outlet, where can i buy cheapest Celexa online. I don’t rock on it that effectively. He was already using different beat machines, he just hadn’t used that machine before. Order Celexa online c.o.d, I just showed him a few functions and the rest he learned on his own or through other people.

BB: So who’s beats do you prefer?

Rakaa: Buy Celexa Online Without Prescription, Haha, that's funny. Someone asked me that recently. To listen too, Evidence beats. To rock on, Celexa price, Babu beats. I mean, I’ve had a great time rocking on both.

BB: Why is that?

Rakaa: I think it’s just a pocket of how they produce, Buy Celexa Online Without Prescription. Order Celexa from mexican pharmacy, Babu’s beats sometimes sound sloppy, a little weird. But in some kind of way, when you jump on it, everything links into place, Celexa for sale. Evidence has a more technical aesthetic. At the same time Ev’ makes funky beats and Bab’s is technically super sharp too, so it’s not an easy question to answer. Buy Celexa Online Without Prescription, I just enjoy both there stuff. Online buy Celexa without a prescription, BB: When Obama was elected, everyone was so impressed with his calm demeanor. I remember people were attributing that to the time he spent on Hawaii. I'm sure Cali contributes that vibe to your demeanor but you also spent time in Hawaii. Do you think that has affected your flow or lyrics, australia, uk, us, usa, canada, mexico, india, craiglist, ebay.

Rakaa: I love Hawaii, man, Buy Celexa Online Without Prescription. I’m actually going to be going out there in a couple of weeks. High Chief XL passed away not too long ago. We going out there to do a benefit for the family. Celexa samples, I love it out there, man. Buy Celexa Online Without Prescription, I can definitely feel like the Aloha spirit, a little bit of that relaxed vibe. Hawaii’s crazy though. Hawaii’s super relaxed and super chill but at the same time, that’s a place in the world where you’re most likely to get into a fist fight with somebody, buy Celexa online cod. When cats take off there flip flops and you go outside and box and put a beer on your eye. They’re not really into that gun play and all that stuff as much as they’re into old school knuckle up. All of that fly talk and popping that junk could get you punched in the month out there, Buy Celexa Online Without Prescription.

BB: You had the honor of rocking with Guru on a track. Where can i find Celexa online, What do you think about that whole situation and how it all went down.

Rakaa: Especially being in Brooklyn right now. I know Guru wasn’t originally from Brooklyn, neither is Premiere, really, buy Celexa no prescription. Buy Celexa Online Without Prescription, But in some kind of way, there is a direct connection between Gang Starr and Brooklyn. Hanging out with Guru and seeing how much he spoke on Brooklyn and loved Brooklyn is crazy, man. It’s crazy not to have him around. Celexa over the counter, That’s big brother in the game. That’s people we looked up too coming up in the game. Gang Starr is definitely one of those groups and Guru -- being a lyricist for Gang Starr -- that’s definitely one of the OG’s right there as far as Dilated is concerned, Buy Celexa Online Without Prescription. You know it’s a terrible loss man, and all the extra bullshit nonsense surrounding and all the negativity that’s now attached the situation is sad. But his legacy is so strong and he’s done so much for everybody that he’s going to continue to shine, rx free Celexa, man. There is no choice. So rest in peace to Guru, man. We love you, man. I don’t care if anybody else wants to misconstrue the situation, I know Preemo has mad love for Guru still. Whatevers happening with the extra curricular stuff, I’m not even going to mention homeboys name, we’re gonna let karma deal with that.

Follow Ali Abidi on Twitter @IMIisthelabel

PURCHASE CROWN OF THORNS BY RAKAA IRISCIENCE

LISTEN TO RAKAA ON BROOKLYN BODEGA RADIO
READ DJ PREMIER INTERVIEW
READ GURU: A RETROSPECTIVE
READ DE LA SOUL INTERVIEW
READ PETE ROCK INTERVIEW
READ FASHAWN INTERVIEW
READ CURREN$Y INTERVIEW.

Tags: dilated peoples, DJ Babu, dj premier, epmd, Evidence, fashawn, Gang Starr, guru, kanye west, krs one, Rakaa

Buy Aldactone Online Without Prescription

August 2, 2010 by Ron Grant
Filed under Homepage Feature, Opinion

10 Comments

Buy Aldactone Online Without Prescription, The envelope-pushers.

Let’s just be real with ourselves…there aren’t that many left. We’re living in a digi-info age, especially when it comes to our beloved music. Buy Aldactone from mexico, Of course that’s not to say that aren't any artists challenging us, broadening our scope and bringing us new sounds and new vibes that’ll ‘stimulate yo’ mind’, to paraphrase the great Smokey from Friday.

But even with these artists being out there, and even with us ready and willing to open up our ears and our hearts, buy Aldactone no prescription, the cruel and ironic truth is that while the information age is supposed to make things easier and more convenient, it’s getting harder and harder to wade through all the music websites, blogs, Buy cheap Aldactone no rx, networks, online magazines and data that keeps popping up in droves for today’s music junkie. The end result is that one starts to ask him or herself…”Where’s all the music that’s supposed to challenge us, Buy Aldactone Online Without Prescription. Where are the envelope-pushers?”

St. Louis native Teresa Jenee is an envelope-pusher, to say the least, where can i find Aldactone online. It’s plain as day that, upon first look and listen, it’s difficult to place her into one category. Buy Aldactone without a prescription, Sure, you could call her Neo-soul (as evidenced by a voice that could make a grown man fall to his knees and curl up into a fetal, thumb sucking-type position), but what about the obvious electronic and acoustic influences from time to time. Buy Aldactone Online Without Prescription, (For hardcore evidence of the former, peep the Yoruba Soul Mix of her song “Remember”). You could say she’s just for the hipster/tight jeans/skateboarding crowd, order Aldactone online c.o.d, but you might find yourself underestimating her vocal, production, beat-making and songwriting skills, Order Aldactone from mexican pharmacy, on top of the fact that she’s well-versed in FOUR separate instruments (piano, organ, clarinet, drums).

You might even try to convince yourself that she’s just another Indie R&B Internet flavor of the month…until you find out that she’s rocked shows from Brooklyn to Atlanta, buy no prescription Aldactone online, from SOB’s and Village Underground to University of Missouri and Tennessee State University, with names like Solange Knowles and Eric Roberson (check out live performance footage from SOB’s in NYC), been featured on BET Centric and SoulTrain.com, Where can i buy cheapest Aldactone online, AND that she’s had her own label in Athena Sounds Music Group since 2002. Basically, all your assumptions about Teresa Jenee a.k.a TJ a.k.a Jenee Eklectic, are dashed to dust, once you dig deeper and take a closer peek, buy Aldactone in canada.

Yes, Teresa Jenee is an envelope-pusher, dances to the beat of her own drummer and could be on the verge of something very special and career-changing. But most importantly, unequivocally and beyond a shadow of a doubt…Teresa Jenee is a woman on a mission, Buy Aldactone Online Without Prescription. Online buying Aldactone, BB: Can you talk about some of your influences musically. What artists and/or genres led you to make your style of music.

TJ: Hmmm, that’s a long list. Frank Sinatra all day!!, buy Aldactone online cod. Buy Aldactone Online Without Prescription, Um, lemme think...David Bowie, The Clark Sisters, Kim Burrell, Lauryn Hill, Thompson Community Singers, Walter Hawkins, Elton John, Erykah Badu, Jill Scott, Sade, John Mayer, Stevie Wonder, Brian McKnight, SWV, The Police, Lonestar, Cold Play, Jay-Z, Outkast...shall I continue?. [Laughs.]

BB: You seem to come from a very musically talented family, with both your mother and father having been performers in the past. Tell me about your upbringing in terms of what you were exposed to musically and artistically. Order Aldactone,
TJ: I came up in a very strict Christian household, so I wasn’t allowed to listen to Rap music at all...or even most R&B, for that matter. What I was allowed to listen to was soft rock. My mother used to turn on the radio at night in my bedroom to lull me to sleep with it, Buy Aldactone Online Without Prescription. All I would hear were classics like “Space Oddity”, where can i order Aldactone without prescription, “Blue Eyes”, and “My Way”.

BB: Can you talk a little bit about what ‘Soultronica’ is. Aldactone over the counter,

TJ: Basically, just Soul fused with electronic. My soul side comes from within, my gospel roots, the piano I play at shows, where can i buy Aldactone online. Buy Aldactone Online Without Prescription, The electronic side is very much my adventurous side: exploring new sounds, approaches to writing and composing, even the way I put together my beats when I’m producing.

BB: The music of the Midwest is very diverse and varied. Being from St. Louis, Purchase Aldactone online no prescription, what impact has the city’s music scene and that of the Midwest overall had on you as an artist.

TJ: Well, St. Louis is a hard city for musicians, Buy Aldactone Online Without Prescription. A lot of what is relevant now, gets the shine, Aldactone from canadian pharmacy. Anything that strays out of the trend or goes outside of the box gets little or none of it. It’s fueled my rebellion in a way. I have a determination more now than ever to do the music that I want and allow my weirdo thoughts to bleed out through my sound. Buy Aldactone Online Without Prescription, I want to be the sore thumb. Buy Aldactone online no prescription,

BB: Judging from your presence on the Internet, you’ve been able to create quite a buzz for yourself. Would you talk about the approach you’ve taken to build up your name and reputation thus far.

TJ: It has been crazy rough, very much a struggle, buy cheapest Aldactone, and I’m still far from my goal. But I will say this much: God has really blessed me by just putting me in the hearts and minds of key people who have in turn, helped me up in this game. Little by little, I’m starting to see progress, Buy Aldactone Online Without Prescription. Aldactone for sale, BB: What has the experience been like for you sharing the stage with performers like Eric Roberson, Anthony David and Solange Knowles.

TJ: It has been incredible. Unfortunately I didn’t get to meet the lovely Miss Solange, but she was awesome live, online buy Aldactone without a prescription. Anthony David and Eric Roberson were [somewhat] intimidating, because they were straight up professionals. Buy Aldactone Online Without Prescription, But I had so much fun watching and learning from their sets. I was DEFINITELY taking mental notes all night long. Order Aldactone no prescription,
BB: You’ve performed at SOB’s and Village Underground in New York before. What was your experience like and what was the response from the audience in NYC.

TJ: It was funny because I heard that if you perform in NYC and don’t get booed off the stage, you’ll have a future in this game [Laughs]. That made me nervous as hell, Buy Aldactone Online Without Prescription. But the crowd got into the music right away, Aldactone samples. Plus I was blessed to share the stage that night with some of the fiercest female artists out right now...it forced me to step my game all the way up. I loved it.

BB: It seems you’ve been able to perform at many different spots throughout the country, Buy generic Aldactone, from Nashville to Atlanta. Buy Aldactone Online Without Prescription, What has been the reception so far to your music.

TJ: The listeners have been very supportive, for which I’m extremely thankful. They let me do me. They don’t judge, australia, uk, us, usa, canada, mexico, india, craiglist, ebay. [It’s] like a friggin group therapy session at my shows. I get just as much out of it as I would hope that the fans do, Buy Aldactone Online Without Prescription.

BB: You also have your own label, Athena Sounds Music Group. Rx free Aldactone, Can you talk about what you’ve already accomplished with the label, any upcoming projects and what you want to do with it.

TJ: I made myself the flagship artist for my label and so far ASMG has been there for everything from my Teresa Jenee EP to my Ecklectic album. One day I hope to be in a position to bring on fresh new talent, but for now my label is gonna remain a boutique company, Aldactone pharmacy.

Buy Aldactone Online Without Prescription, BB: Can you talk a little bit about your album, The Ecklectic, and what potential fans are in store for when they give it a listen.

TJ: The fans should be ready for everything. They should really expect the unexpected. There’s a different genre represented in each track. Purchase Aldactone online, I could put titles on it, but that would go against what The Ecklectic stands for. I just encourage everyone to go buy the album and see for themselves, Buy Aldactone Online Without Prescription.

BB: Wanna share anything else you want people to know about Teresa Jenee and what we can expect in the future.

TJ: Teresa Jenee on Bandcamp, iTunes, Aldactone price, Amazon, and Rhapsody. Oh, and of course, there is new music coming VERY soon.

Teresa Jenee’s latest album, The Ecklectic, is available online right now. Fans can visit her on MySpace, Facebook, YouTube and Twitter. They can also become a fan of Athena Sounds Music Group on Twitter.

Follow Ron Grant on Twitter @RonGreezy

Tags: St Louis, Teresa Jenee, The Elecktic

California Love: Fashawn Interview

July 27, 2010 by The Company Man
Filed under Homepage Feature, Opinion

5 Comments

Fashawn reps Cali hard body. You see it across the front of his Fresno baseball jersey or in the dozens of photos world wide web wide of him pointing to his “CAL” tat on the back of his left hand. You hear it when you hear him kick lines like “gotta adapt to the slang that’s spoke / a West Coast thang / out of town n***** get took out the frame” on “Our Way” or “To live and die in CA / from the home of PA (Planet Asia) / guaranteed to make it pop like a f*cking briefcase” on “Sunny CA” or on just about every other track on his critically acclaimed debut album, Boy Meets World. All California love. All the time. And it makes sense. Representing where you're from is nothing new to Hip-Hop and is not at all what separates him from other highly anticipated “Freshmen” Emcees. For Fashawn, his environment growing up provides the lyrical fuel to his microphone melting delivery and visceral introspection. It’s the reason “Ecology” hits like a Barry Bonds swing and the imagery of “When She Calls” is immediately ingrained after first listen. It’s the reason he released arguably the ballsiest mixtape of the last ten years, Ode to Illmatic, where he courageously unleashes his personal trials and certified mic skills over the instrumentals to one of the most revered albums in Hip-Hop history: Illmatic. Brooklynbodega.com spoke to Fashawn about the thought behind Ode To Illmatic, his sophomore endeavor, Ecology, West Coast Hip-Hop and a potential full length collaboration with BHF08 alums and fellow Cali "evolutionaries", Blu and Exile. BB: The first time I saw you was at a Roots Jam in 2009. I didn’t know a lot about you then. I thought you kicked it that night... Fashawn: I tried man. It’s hard to come after Black Thought. When Black Thought passes you the mic, you just know that you’ve got to bring it. BB: It’s an honor to have him pass you the mic, because he doesn’t just pass mics to anyone. Fashawn: Right, he doesn’t pass the mic to “Joe Blow” from around the corner so, it was an honor to [rock with him].

BB: When I was researching you for a lead up article about you for BrooklynBodega.com so that our readers are more informed -- because I think a lot of people are not aware of who you are even if they hear your name or hear about [Boy Meets World] -- [the first thing I realized] is that you’re real humble. Fashawn: Why not, man? I come from nothing. What the f*ck I’m going to be flamboyant and boastful for? I come from nothing. I’m just really happy to be here. If I wasn’t here, I’d literally be in jail or f*cking dead or some shit. I’m happy to be here and that my fans keep giving me the opportunity to come back to New York. This is my fifth...sixth time in New York in a year! It gets better every time. The crowds get bigger every time. It’s just a progression and I think I’m paying my dues. A lot of n***** are just paying cash. I’m paying my dues and getting the respect first. That’s how it should be done. BB: It’s interesting to hear you say that because you don’t rhyme humble. There’s nothing humble about your delivery, your energy, your “kerosene flow melts microphone cables”. Fashawn: No doubt. That’s personified with Emceeing. Master of Ceremony. Master of Communication. When I’m doing my thing I’m a king. I’m a king at what I do. That doesn’t say much about who I am, but at what I do, I feel like I’m one of the best to do what I’m doing. I don’t just see it as 2010. I see it as me being a part of Hip-Hop as a culture, as a history and as a legacy. I know I made my entrance in 2009. I’m going to try to hold it down and reign as long as I can. I just know that what goes up must come down so I’m just trying to enjoy my time in the spotlight, you can say, and see how long I can hold it for. Success comes from hard work, you know what I’m saying? BB: “The strong move silent / the weak get devoured / so many fake hustlers, the drug game is sour” Fashawn: Yeah! And I will not be devoured, so I will be here as long as the people allow me to be.

BB: That track, “Ecology”, at least for me is the most impactful one [on Boy Meets World]... Fashawn: We just shot a video for that before we came here. BB: Thank God! Fashawn: Thank God! No doubt, man. BB: If I’m not mistaken, that’s the title of your next full-length project. Fashawn: Yes sir. BB: Who is on the beats? Is it Exile’s production again? Are you going to spread the love? Fashawn: We’re still in the embryo stage. We’re still in the baby stages of the album. But I got the opportunity to get in [the studio] with DJ Khalil. [I’m] working with Exile a lot. Mostly I’ve been working closely with Khalil and Exile. I’m trying to get in there with Alchemist. Of course we did The Antidote together, but those were just loops and shit. I’m trying to get some real Alchemist bangers and shit, the shit he be trying to give to Eminem and shit. I’m trying to get that shit. Yeah man, 2011 is going to be sick. 2010 is already, [I’m] basically busy. Super busy. Grizzly City Volume 3 is dropping in August. Just steady working. [I’m] going on tour in Europe next week. Just moving, man. That’s all.

BB: Another song that sticks with me all the time is “When She Calls”. I don’t feel like there’s a lot of cats who rhyme from the perspective of the dude that is so heartbroken that he commits suicide. Fashawn: Yeah! We get all these songs from girls talking to the guys like “Why y’all do us like this”. And it’s like “Yo, we all the same. We all bleed the same blood. We all feel the same emotions.” And I just wanted to come and show the man’s perspective. We’re not all just dogs. We’re all the dominant species. We feel emotions just like everybody. And I wanted to shine some light on that because not a lot of rappers do that. I really felt to do that out of my heart because that was about my friend, sincerely about my friend. That was the last song we recorded for [Boy Meets World] and I was surprised it even made the album because that is such a dark song. BB: It definitely works with the album, because [like the album] it’s about progression... Fashawn: Yeah, it’s progression from growing up. First we had “Lupita” which was like lighter perspective on the romantic side of my life. BB: “They should call you Santiago...” Fashawn: [Laughs] Yeah, that’s my real name and shit. I’m half spanish and I brought my homegirl to do that. Fun record. I love that record. BB: Is “When She Calls” a true story? Fashawn: Yeah, of course. Hell yeah. Hell yeah. BB: I’m sure that was hard to even spit. Fashawn: That’s why that was the last [song on the album]. I’ve never performed that song in America, man. I don’t perform that on tour or none of that shit. It’s just a hard record to get through because that’s about my friend and, you know, it’s hard, man. BB: I think it took mad balls to make Ode to Illmatic. Fashawn: No doubt. No doubt about that. Mad balls. Huge nuts. BB: You already draw Nas comparisons. You’re at a young age. You’re lyrical dexterity and the depth of your content is reminiscent to what Nas brought to the table at also a very young age. I understand the comparisons. But Illmatic is so near and dear to everyone. After I listened to it, I was not offended at all.

Fashawn: That’s what I wanted to do. I don’t want people to be offended. I don’t want people to say like “Yo?...” I’m paying homage to Nas, you know what I’m saying? You’ve got to understand, that shit birthed a whole generation of rappers. Not just me. I’m sure there are plenty of n***** here who would love to do the same thing. But, as a challenge -- to be able to complete a Five Mic album -- not a lot of n***** can do that shit. Not a lot of n***** can, or even have the balls to attempt that shit. So, that’s all I wanted to do was pay homage to my favorite rapper. Word. Before Pac died, Pac was my favorite rapper. Man, I just wanted to pay homage and I’m glad people see it as that and not me trying to take [the] album as mine. It’s me paying homage. That’s why I call it Ode to Illmatic. N***** was already giving [Boy Meets World] enough comparisons to Illmatic, that’s why with the cover I switched it up. I put a 40oz and some lottery tickets on the cover because of that line “that buck that bought the bottle could’ve struck the lotto”. Just paying homage, man, that’s all. I’m going to see Nas in Germany at the Splash Festival, so I’m going to see what he thinks about that. BB: So you haven’t spoken to him yet? Fashawn: No. Him and DJ Green Lantern are going to be out there so I’m going to holler at him. BB: The one knock I did hear was people saying “Oh well, how hard is it really to do make that album? He took a lot of Nas’s rhyme schemes.” I think the complexity was really having your own content... Fashawn: Within these patterns and shit. BB: Exactly. You told your story. It wasn’t a bite. Fashawn: You didn’t feel like you was in Queens, [New York] when you was listening to it. It felt like you was in Fresno, [CA], or you was in Compton or some shit, or Santa Monica. That’s all I wanted to accomplish, man, and I really feel like I did. And I really got the chance to put out a whole new album for me. It’s me paying homage to one of my favorite artists. For me it’s like a mixtape. I just didn’t want to do a regular mixtape and put out thirty joints with me rapping over Just Blaze’s shit, Pharrell’s shit, Timbaland’s shit, all these excess cats. I wanted to do something important that I felt was worth talking about, that was worth having a discussion about. Because that album is sacred to a lot of people. It’s like Hip-Hop bible and shit. N***** is like “You’re blasphemous for even touching that”, but a lot of people showed love, so I don’t regret it.

BB: I mean, you’ve got to stand out right? You can’t be in the middle. The problem with being in the middle is that you’re in the MIDDLE. Fashawn: I might as well stop what I’m doing, man. I’m like f*ck that. BB: Your music embodies the West Coast sound right now which, to me, feels very Golden Era. There is a lot of boom-bap production. There’s a lot of complex rhyme schemes and emotion and storytelling, when I think about Blu & Exile, for example, or UNI. How does it feel on the West Coast right now? What’s the West Coast Hip-Hop scene like to you? Fashawn: To me, man, the West Coast scene is going through a whole revolution of new talent, new artists and new leaders. It’s in the transition from going to the old school to the new school. And it’s not like we’re abandoning the old school, but it’s like the OGs are passing us the baton, literally. Like cats like Evidence of Dilated Peoples, Alchemist putting cats like me on and shit. You’ve got cats like Snoop and Dre working with me and Nipsey [Hustle] and JayRoc and Glasses [Malone]. It’s good, man. That’s how it should be. It’s the only way to usher in this new regime. Either that, or the new n***** are going to have to earn their way, and that’s respectable as well. I feel like there is a lot of unity going on with the Old Gs and the Young Gs and it’s working, man. It’s dope. Snoop just got the head spot at Priority or something like that and he signed Cypress Hill. That’s the shit we need. Shit like that keeps pushing this movement forward. As far as talent, creativity is crazy. It’s revolutionary. It’s not even revolutionary, it’s evolutionary. It’s evolving, going from that gangsta shit, khakis and Chucks to f*cking evolving into some other shit, man. And that’s what I represent.

BB: Are we ever going to get a Blu and Fashawn album? Fashawn: I’ve been hearing about that. I’ve been hearing people talk about that, but I don’t know, man. Blu, that’s my n****. I love him to death. I’d love to get in the studio with dude. He’s an incredible artist. BB: I think a Blu, Fashawn and Exile album... Fashawn: Yeah, yeah. BB: I think that’s how it should go, right? Fashawn: That’s it? BB: Yeah, I think that’s it. That’s all you’d need. Both of y’all are at home over the beats. Exile is consistently trying to one up himself every time he makes anything. I think that’s the combination. Fashawn: I would love to do that. I need to go holler at my man, Blu. Follow The Company Man on Twitter @TheCompanyMan READ WORLD MEET FASHAWN READ DE LA SOUL INTERVIEW READ PETE ROCK INTERVIEW READ DJ SPINNA INTERVIEW READ BHF10 RECAP READ BHF FAMILY DAY RECAP

Tags: Alchemist, black thought, blu, Boy Meets World, Dre, eminem, Exile, fashawn, Grizzly City, illmatic, just blaze, nas, Pharrell, Santiago, snoop dogg, The Antidote, timbaland, UNI

Review: The Roots, How I Got Over

July 21, 2010 by Z
Filed under Homepage Feature, Opinion

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Ever since their watershed music-video “What They Do,” and before that too, The Roots have approached (what’s become of) Hip-Hop from a rare vantage – the authentic. “I deal with the real -- so if it’s artificial, Let It Be,” raps Black Thought in The Roots refrain of strained love, “You Got Me.” The Roots crew is at it again. In a cyber-era of constant partial attention, insta-hits, and manufactured, pre-packaged McMusic, the Roots take time to develop musical ideas through time and ask for poise and patience from its audience. “A second is a minute, every hour’s in-finnit,” raps Black Thought on “Dear God 2.0.” The Roots ask listeners to slow down, turn off the ever-present auto-listen, and listen actually, as if it’s the 1970s and we’re back from a bike-trip to the record store with some fresh vinyl for dinner. In short, The Roots remain devoted to the music piece of the music circus. Where other artists attend to their brands and businesses, their street cred and their swagger, The Roots remain steadfast to their vision and mission of Hip-Hop as a serious and grown-up undertaking for serious, grown-up musicians. Whereas labels have all but abandoned artist development, The Roots reserve plenty of air time for unproven, unknown emcees who have the talent and toughness to hold their own with one of the greatest to ever hold the chrome: The Roots very own Black Thought. Staying true to the True School, Black Thought never upstages the music itself. And the music is the star here; Black Thought accompanies each track without overshadowing the nuanced, complex, and complete soundscape that unfolds underneath his utterances. These are not the thoughtless, throwaway rap songs of the five-and-dime fan. They are musical pieces of the rap genre. This means that ?uestlove provides lush and subtle percussion as a foundation for each piece with a human touch missing from the drum-and-cymbal-sample assembly-line of leftover loops, recycled rim-shots, and all-too-familiar patterns of played-out pitter-patter. This means unforeseen chord changes and music that meanders rather than repeats. This means music that strives to open up the mind, not drive it into submission with sound-off salvos and bass barrages. Standout tracks include “Radio Daze,” “How I Got Over,” “The Fire,” and “Right On.” But The Roots offering is the album as a whole, an increasingly endangered species on the music (business) landscape. And the crew makes clear the difference between a Hip-Hop Album and a bunch a filler noise surrounding several singles. Each song serves as a component element. The album is the art-piece. RATING: 4 out of 5

Tags: black thought, How I Got Over, questlove, the roots

Pilot Talk: Curren$y Interview

July 21, 2010 by RivaFlowz
Filed under Homepage Feature, Opinion

Journey Back to Hip-Hop

July 20, 2010 by EbonyPeace
Filed under Homepage Feature, Opinion

2 Comments

Big Daddy Kane, “Ain’t no half Steppin”. That was my first vinyl record. The one that I went into the little record store on St. Johns Place and purchased on my own. That was the beginning of my musical independence and my public declaration of a new found love. A love for Hip-Hop. Every Friday night I would wait for that one Hip-Hop show that would come on the radio around 10 PM, just so I could hear the new rap songs. My boom box was ready with a blank cassette, to record the show. Then it was time to play it back and write down the lyrics. I was dedicated. I’d memorize the lyrics and when those late night songs made it mainstream I was ready, reciting the lyrics as if they were my own.

I was in love with the beats and lyrics of Big Daddy Kane, Ice T, Queen Latifah, MC Lyte, X-Clan, Poor Righteous Teachers, KRS-One, Special Ed, Nice & Smooth, Pete Rock & CL Smooth, LL Cool J, De La Soul, Onyx, Heavy D, Question Mark Asylum, Tupac... to name a few. I loved the energy of Hip-Hop, the release that it provided. Growing up in a neighborhood where your neighbor was the neighborhood drug queen, crack heads were the norm on the Ave. So if you walked down the street alone at night, you could easily get your bamboo earrings snatched. Cops weren't there to protect you, they were either there chasing some thief up the block, guns in hand, bullets flying or they were regular customers helping the queen pin's business thrive. In that place, Hip-Hop was something I could relate to. I wrapped the whole culture around me, absorbed it and it came out through my pores. I ate, drank & slept Hip-Hop. I wore baggy jeans, gold fronts & two finger rings to show how fresh & hard I was. I was light as a rock personified. Hip-Hop kept me safe when no one else could. Then it was time for college, books, boys and Hip-Hop was fading away. There were less & less quality artists coming into the mainstream and Hip-Hop was getting more shinny & less gritty. And I too was changing, becoming less Hip-Hop and more R & B. Fast forward a decade… After having a beautiful daughter, moving out of NYC and back, I find myself in a position to do some volunteer work. A friend of a friend sends me an email about a company called Brooklyn Bodega that was looking for volunteers and I decide to check them out. Just like that, I’m immersed in the world of Hip-Hop. Black Thought said it perfectly in Brown Sugar, ‘like a forced marriage, it was predetermined. I was gonna be dealing with Hip-Hop whether I wanted to or not.’

I went from MIA in Hip-Hop to regularly attending underground shows, meeting talented up and coming MC’s and blasting a variety of new artists in my car. Nowadays I might find myself at a Kalae AllDay video shoot, catching YC the Cynic, Ciph Diggy, Khalil Kash performing or WordSpit in a cipher outside of the Bowery Poetry Club. No need to turn on the radio. I have a new arsenal of music I rock to, including (but not limited to) Homeboy Sandman, Those Chosen, Freddie Gibbs, SleepWalkas, Eric Sosa, Children of the Night and Gypsy Flesh. As I await the culmination of many sleepless nights, excitement begins to take over. I prepare to be part of a monumental Hip-Hop event: the 2010 Brooklyn Hip-Hop Festival. I awake with excitement & anticipation the dawn before the main event. I was prepared for the shit storm because ‘everything that can go wrong, will go wrong,’ my professor used to say. Fortunately, everything went relatively smoothly while being hectic at the same time. Not even the pouring rain could compel the growing crowd of Hip-Hop lovers in attendance.

The best moments for me were watching Dres of Black Sheep, Nice & Smooth, Pete Rock & CL Smooth and finally De La Soul perform. Watching them took me back to the days when I first fell so deeply in love with Hip-Hop. When De La Soul took over the stage I was that 12 year old kid again, watching in complete delight and awe. They delivered an energetic performance that captivated the crowd and did not release them until the show was completely over. I still pop my Big Daddy Kane, MC Lyte, Slick Rick, De La Soul and Nice & Smooth, cassettes in my cars’ tape deck every now and again. On those occasions I reminisce about those early days when Hip-Hop was a brand new art form. It’s been such an exciting journey watching Hip-Hop grow, change, become more widespread and diverse. I love being part of something much larger than me. I love being part of Hip-Hop! FOLLOW EBONY PEACE ON TWITTER @EBONYPEACE READ DE LA SOUL INTERVIEW READ PETE ROCK INTERVIEW READ DJ SPINNA INTERVIEW READ BHF10 RECAP READ BHF FAMILY DAY RECAP

Tags: big daddy kane, cl smooth, de la soul, Freddie Gibbs, Homeboy Sandman, kalae all day, mc lyte, Pete Rock, Poor Righteous Teachers, Wordspit, YC The Cynic

Revolutions: DJ Spinna Interview

July 19, 2010 by Ali Abidi
Filed under Homepage Feature, Opinion

3 Comments

Besides maybe Evil Dee, there was no other DJ in the mid 90s quiet as involved in developing emcees and being a cornerstone for the NY underground Hip-Hop scene than the one and only DJ Spinna. After killing his set at “Salute the DJ”, part of the Brooklyn Hip-Hop Festival showcasing the art of deejaying, BrooklynBodega.com locked DJ Spinna in a room and sat him down to discuss his evolution from a deejay to a beatmaker, the dual edged sword of music technology, how he ended up doing a remix of Stevie Wonder, and his barber, Shabaam Sadeeq! BB: You played an influential role and produced a lot of artists like Mos Def, Kweli, and Pharoahe Monch right before the Rawkus era around the mid-90’s. How does the process of putting a 12 inch out at the time compare to your album last year, Sonic Smash? Spinna: That era was much different because the business was thriving, there was an underground Hip-Hop movement. I don’t think there really is much of a movement anymore. Back then, in the mid to late 90s, there were a lot of underground shows. There were a whole lot of radio shows that supported the music. You could sell a lot of vinyl in Europe and especially Japan. We were pressing three to four thousand copies of certain titles back then and as that scene got saturated and everybody got there little home studios and as everybody started putting out their own music, a lot of which wasn’t that great and mediocre stuff -- it lessened the quality of the music and things from there just got lost. And then the scene started changing, Hip-Hop in general started changing. You had a lot of underground artists that tried to crossover or make music that appealed more to the commercial world. The scene just started changing. I don’t know man, I think there was something in the air in the 90s!

BB: Definitely, it’s unbelievable to me that you did a remix for Mary J. Blige and Stevie Wonder. How did that go down? Spinna: The thing with Stevie Wonder happened in the last four years. Basically, he called my home phone and left me a message requesting for a mix for one of his songs. BB: Stevie Wonder himself?! Spinna: Yep, Stevie wonder himself! BB: So did you find out how he became aware of DJ Spinna? Spinna: Well, basically we had been doing these tribute parties for him, so we had somewhat of a connection and a very, very distant relationship but still receiving that call was bananas. There was no other feeling in the world like that. So basically, I did the mix but it didn’t come out. It got bootlegged. It was actually a house joint, not Hip-Hop at all. People started finding out about it. I ended up doing another one last year but that hasn’t come out. I’m afraid to give it out, I’m afraid it’s going to get bootlegged. Anyway, definitely a pivotal moment in my career. Even if it doesn’t come out, just to have that thing happen to me was crazy. BB: Speaking of House and Dance music in general, you being a producer’s producer, did you ever feel compelled to focus more on electronic music? Technically Hip-Hop is electronic music, but you know what I mean. There’s always exciting stuff coming out of the U.K., were you ever influenced by that? Spinna: Honestly, I’ve been following many forms of dance music from day one because I am a party rocker and I like to see people dance no matter what the genre is except for like the super silly pop music! [Laughs] I only really do it if the paper is really, really, really right. So anyway, I’m not mad at Techno. Techno started off in the ghettos of Detroit. So it’s ghetto music. It’s just that it really got a bad name by the time it got to Germany. BB: Well, I’m not talking about some cheesy ass industrial trance! [Laughs] Spinna: Yea, yea, yea. Nah man, there is a lot of good electronic music out there and No, I’m not afraid to spin it. Eventually, I am going to go in that direction.

BB: I mean Rawkus use to put out Drum and Bass records while you were signed to them, no? DJ Pish Posh had a record right? I still remember the Mos Def Ultra Magnetic Drum n’ Bass Remix! Spinna: Yea, they did. Rawkus actually started off as a drum and bass record label. BB: Really? I didn’t know that. Spinna: Yep, before they were putting out Hip-Hop, they were just putting out drum and bass records. BB: You and Bobbito were tag teaming downstairs during the initial half of the Salute the DJ set. I’m sure you know Serato is a big NO, NO for him. Spinna: Well, a lot of things are a big no, no for Bob.[Laughs]. He’s anti-digital, it took him forever to get a DVD player. It took him forever to get digital voicemail. He doesn’t have a cell phone. He likes to keep his life real simple, I could respect that. Me personally, I like Serato. Tonight, I rocked 45’s because I feel like occasionally I got to show-off, let people know that vinyl is still here, still important. I’m a digger so of course I still buy vinyl. And you know, I can’t just hover over that stuff. I got to let it out, let people see it, hear it, feel it, you know? Overall, Serato is important because I like being able to carry my whole catalog on my back and being ready for any situation at any given time. BB: So I know you started deejaying sometime in the early 80s. What was like your first residency? Spinna: Yea, you could say that. By 1984 I knew what I was doing, lets put it that way. I didn’t really start doing residencies until I got to college. I went to SUNY-Binghamton in Upstate. I basically survived and basically paid my way through school deejaying every weekend or every other weekend for all the fraternities and sorority parties. That’s how the Spinna name began. People that knew me from back then know that I’ve been doing this for a long time. BB: Compared to back then and now, in an era where you are competing with celebrity DJs and basically everybody and their mother is deejaying -- is it harder now to make a living as a deejay since you have all this competition who might not necessarily have talent but have a name they can sell?

Spinna: I’ll say this. Serato makes it easier for anybody to become a DJ. Half the time they’re not real deejays anyway. They’re just kinda selecting music and deejaying to be cool. You know it’s a cool thing now. It’s like pop star status or rock status to be a DJ now. Deejaying takes a certain skill. Being a deejay for me is very technical, you know. You have to monitor the crowd, you have to feel the energy in the room. It’s not about looking fly and getting a computer and rocking. I always looked at Serato as a graduation for the years of lugging crates and the thing is there was a time where people would get DJ gigs based on their skill. Now it’s something else. You have to have a name first whether you’re an artist or a producer that is putting out records and they need an outlet to promote their music. A lot of cats become DJs for that purpose but truly, they aren’t deejays. People deejay now for all kinds of reasons but there was a time where it was based on merit. BB: I always felt DJs are like curators of the history of sound. Similar to maybe a curator of an art museum or librarian digging through the archives at the Library of Congress. Do you ever get frustrated that a DJ’s role is not considered to be that serious anymore or that the academic discussions of their importance are lacking compared to say emcees? Spinna: Well, I take it seriously. I have a thing with DJs that get on that don’t care about the crowd at all. They just play what they feel and they ignore the crowd. You’re an entertainer. You’re on a platform. You have to cater to your audience. It’s cool to play what you like but in the process of doing that you can school them on things, but you still have to monitor what’s going on. If you play a dud, you have to bring them back, so there's a whole science to it. People bug out because I can be in Japan for weeks touring the whole country and some of the venues I do, I can play seven hours, eight hours, nine hours by myself and just rock and take you on a straight journey. I might start at 10 or 11PM and end at 6AM the next morning. In fact, I’ve been doing these tribute parties. I know a lot of people know me for the Stevie Wonder tributes with Bobbito and the Michael Jackson vs Prince parties I’ve been doing. Since his passing, I’ve been doing these Michael Jackson tributes. A few weeks ago, for the anniversary of Michael's death, I went to Japan and did seven hours and went straight to the airport, flew back home and did another seven hours right here in New York, the same day! BB: Wow, that’s bananas to me! Besides just rocking parties, did you ever get into turntabilism? Spinna: Oh yea, I could get busy. I never did DMC or anything, but I did local competitions and stuff. Don’t get it twisted though I can cut, I can do a little juggling too but there is a time and place for that. Occasionally I practice just to stay on my toes but that’s not my main thing, you know? That’s not my bread and butter. That doesn’t pay the bills. I rock parties. That’s my thing. When I was doing more cuts was when I was doing records with my group, Jigmastas when I was getting more Hip-Hop gigs -- that’s when I had to stay on my toes because back then, and this is something I respect in a traditional sense, DJs got a little segment or little set to display there skills. So I try to stay on my toes, I like to be well rounded. [I] definitely don’t get the opportunity to practice as much as I would like too.

BB: So when did you transition from deejaying to beatmaking? Or was it the opposite? Spinna: Nah, it was definitely after I picked up deejaying. To be honest, I had the inkling to produce very early. I believe ‘83 or ‘84 [was when] I wanted to make beats. Like so many other DJs from that era, I was pause tape mixing. I had the crazy ass tape deck with the big ass pause buttons. So I use to do my own edits, take break loops and do tape edits with those. So that was kinda like the introduction to that. BB: So what was your first real piece of equipment? Sampler? Spinna: Wow, uhmm…I didn’t really get gear until like the early ‘90s. 1985 was the first time I ever went to a studio and worked on a demo. I had a lot of groups since then, trying to form a local Brooklyn three man crew. I think the Top Choice Crew was one name, ahh…I had a few more. BB: Did you ever try to rap yourself? Spinna: Oh yea, definitely. I used to rhyme, I got demos with me rhyming but I hate my voice. I never liked the playback, so I just stopped. Anyway, going back to your original question, the first time I went to a studio was 1985, the first piece of equipment I used was an Oberheim DX 7 that was basically the drum machine of that era. That was the drum machine Run DMC used for “Sucker MC’s”, Davey DMX “One for the Treble”, Cold Crush Brothers drum machine. So basically it was the go to machine pre-SP-1200 era. And after that, it was the Roland 808, 909…I messed with those for a little bit. At that point, I never really owned any equipment. I was just messing around on other people's stuff. When I graduated from school, Todd Terry gave me his SP-1200. He gave it to me kind of like a gift because I had done a record for him called “Everybody Bounce!” That was the first record I did, which was done in the Summer of ‘94 and came out in ’95. It kind of hit big for me because that was the first record I did and nobody really knew I did it, because Funk Flex was burning it, dropping bombs on it, just killing it! So after that Terry just handed me his SP-1200 and told me “do your thing kid.” By that time I already had experience using the SP-1200 from years back just from doing demos in the studios and stuff. Actually, first it was the SP 12 than the SP1200. BB: Now you rock with the MPC, right? Spinna: Yea, I rock with the MPC 3000, I still got the SP, but I mostly rock with the 3000. Technology is dope. There are so many things you can do quicker. I have a Native Instruments machine, Ableton, Logic, and I got Pro Tools so I’m trying to embrace it all. However, I don’t think I’m ever going to leave any of my machines, but I’m not mad and not against new technology and learning how to do things more efficiently. At the end of the day, the 3000 has a sound and I’m sticking with it. BB: What in particular don’t you like about the MPC 2000? Spinna: The sound, man. It’s lacking that knock. The 3000 just hits harder. The 2000 is just a little too clean and not heavy. BB: Well you probably feel that way about a lot of laptop production these days? Spinna: Yea, I do. That’s why if I ever doing anything in Pro Tools or inside software and not on a machine, I try to make it a little dirty. I try to sprinkle some dirt on it, some dust just so it sounds right. BB: Finally, Can you and Shabaam Sadeeq do more music, man! Spinna: Well actually you know what? Shabaam is my barber. He cuts my hair, so we talk all the time. And we are, believe it or not, going to work on a whole album together. BB: Is PolyRythm Addicts still active? Spinna: Nah, Polyrythm Addicts is over. We’re all adults. We have different mindsets so it’s definitely not happening. We’re all friends but we have occasional personality conflicts. We had Tiye Phoenix in the group, and it was a little friction and Apani came back into the fold. But as of right now it's definitely over. Follow Ali Abidi on Twitter @imiisthelabel

Tags: bobbito garcia, dj spinna, Salute The DJ

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