20-Year Old From North Carolina Finds His Voice
3:00PM ET May 9th, 2012
Contributor : John West
A Rocky Williform Company

You hear rappers say all the time that they were 'born to do this,' but very few can make close to a literal claim to that cliche. Hip hop upstart Driicky Graham can say that he made his first appearance in a hip hop video when he was barely walking. He had a cameo as a toddler in a video for Lords of the Underground. "At age three," Graham shares. "If you watch the "Tic Toc" video, I was the baby [on-screen] while Tariq was rapping. I was the little baby with four silver caps in his mouth. That was me."

That rather unique introduction to the world of beats and rhymes was just a preamble for Driicky. The rhymer was a teenager living in North Carolina when he realized that hip hop was something he could use as an avenue of expression. "I waited until around the age of 14," he says of his initial forays into writing rhymes. "That's when I first started writing--[about] family life, my friends, peer pressure, different issues out on the streets. All that stuff."

Once his mother challenged him to figure out what he wanted to do post-high school, Driicky decided once and for all that he was going to pursue a music career full-time. "I took it upon myself," he says. "I came to Jersey, and my father's side of the family [were] kind of connected and they knew people. I was like 'I can really do this.' That's when I felt like 'OK we're about to go in real hard for this.'"

And Driicky went in hard. He's caught a significant amount of buzz from his heartfelt response track to Don Trip's "Letter To My Son." Written from the perspective of the son instead of the father, Driicky poured his heart and soul into the lyrics. "That's more of a personal, heartfelt record that I think everybody can relate to," Driicky explains. His "Snapbacks & Tattoos" has also joined the ranks of Generation Y hip hop anthems and was born out of an experience that virtually everyone can relate to.

"I'm sitting and I'm getting my first tattoo," he recalls. "I was excited about it. Being young, you get excited about the first time you do anything. [And when] snapbacks came out and I went snapbacks crazy. I wanted an anthem-type of track. I'm on a plane leaving charlotte, headed to Jersey and the hook just came ot me. I hooked up with Yung Berg and he produced the beat and so I sat and I waited for at least six months and I heard the beat and was like 'This is crazy.' I don't know what made it click. But all of a sudden the lyrics came out smooth and it manifested itself."

Creativity comes naturally to Graham, but he admits that he's had to learn how to navigate the business side of the hip hop industry.

"Its just that…in this game, we all know there's a business side and there's a musical side," he explains. "I do love the musical side--the business side is just okay. There comes a time when you have your fun, but you have to really get on your job. Its a lot of things that come with it. There are a lot of ups and downs. Certain things aren't going to always go your way. I feel like I still made it and I passed a certain point. It ended up working itself out. I just know that through different experiences, its made me stronger as far as how to deal with both sides."

Driicky's "You Gotta Start Somewhere" mixtape is almost street-ready and the ambitious rapper is just getting started. He expects his debut album to be released in late 2012 or early 2013 and has no limits on how far he can go. "I really work hard on my craft," he says. "I really want Artist of the Year. [laughs] I just wanna be looked upon as a serious artist that's here to stay."

Houston Speed-Rhymer Reps His City
3:00PM ET March 31st, 2012
Contributor : D. L. Thomas
A Rocky Williform Company

Rappers are notoriously confident.

Cockiness is a cornerstone of emceeing, but for Houston's Marcus Manchild--confidence in hip hop wasn't immediate. The former basketball standout may be one of the hottest up-and-comers in the Lone Star State, but in the beginning, he wasn't exactly bursting with confidence at his abilities. "I thought I was bad," he says with a chuckle. "But I started getting better and better and my partners would be like 'You killing it' and I just fell in love with it. They motivated me, basically. Since then, I've been going."

And going, and going.

Manchild has become one of the most talked-about young rhymers in the game--and he's gotten cosigns from veterans ranging from his fellow Houston rhymers Slim Thug and Bun B to Chicago spitters like Lupe Fiasco and Twista. The latter is one Marcus' major influences.

"Shoutout to the homie Twista," Manchild adds. "I give him all his props."

Being from Houston, Manchild knew that his own speedy delivery would set him apart from his peers. "My partner told me it kind of made me versatile and gave me my own kinda lane," he says of his rhyme approach. "We tend to hear stuff on the radio and on the internet and its hard to not mimic it. It gets stuck in your head--especially when you're not own. It kind of shows in your rap. [I said to myself] 'If I can make this happen, its gonna be unexpected.' Especially coming from down south, from Houston."

The speed-rap approach was actually a happy accident that Marcus attributets to a few too many libations in the studio during one session. "They had a song called 'Bottoms Up' and I remixed it on my first mixtape ever called 'Preseason,'" he shares. "I told my homies, 'Let me be in here by myself with the producer.' I was f**ked up and sh*t and started rapping too fast and he was like 'You still on beat.' Since then I was like, 'Let me practice this.' So I kept going with this."

The veteran support Manchild has received from notables like Bun B and Scarface hasn't gone unnoticed, either. He believes that the key to his success in the industry is his ability to listen and absorb. " Its a blessing that they even gave me a chance to get on records with them," he says of the Houston rap elite. "Shout out to them. It tripped em out when Slimm first gave me some advice: 'Don't ever think about the business first, because that'll take the fun out of your rapping.'"

Manchild remains humble--despite the A-list fans and the praise he's gotten in his hometown. He credits much of his success to his affiliation with the AMG label and the familial approach they've taken. "They keep you working and keep you going," he says. "They make sure everything you're doing is on-point. Its a brotherhood. All of them are older than me so they treat me like a little brother. its more than music, its actually family. If it wasn't for them, I wouldn't be in the position I'm in now. Nobody would know who Marcus Manchild is."

More and more people are learning, however. And Marcus Manchild's track "Problems" has helped his ever-growing fanbase see a different side to the fun-loving rapper. The intensely introspective track is Manchild's proudest moment thus far. "Shoutout to Bun for being on that," he says of "Problems." "I always talk about the good stuff that goes on and i never really get to express to people what has happened in my life and what still goes on in my life. I felt like I had to do that for fans to respect me and my music, instead of just thinking 'he's another ni***a that's rapping.' I feel problems was just a good track to put out there.

But, despite "Problems" and its heady subject matter, the young emcee is still enjoying himself. And he's still learning the game. Both off-stage and on.

"In Minnesota I had a bad incident where I went up and shouted out Detroit," he reveals, laughing. "They was rocking, they was hype and at the end I was like 'Y'all get down here in Detroit!'"

Twitter.com/marcusmanchild
YouTube.com/amginternational ]]> admin 2012-03-31 19:03:50 http://www.hiphopblog.com/features-mainmenu-28/32000-generation-next-marcus-manchild.html http://www.hiphopblog.com/features-mainmenu-28/30861-point-of-review-wzrd.html

WZRD 10:00PM ET February 28th, 2012 Contributor: Todd Williams A Rocky Williform Company Rating: It's easy to roll your eyes at the idea of another high-profile 'hipster' rapper releasing an alt-rock album. After all, Lil Wayne's Rebirth, hackneyed vanity project that it was, didn't do much to endear that particular movement to the masses. As loathsome as the late 90s rap-metal boom was, it didn't initially come off as cornball and forced as many of these 'rock-rap' releases. But WZRD, the duo comprised of rapper Kid Cudi and producer Dot Da Genius, have crafted their own entry into the burgeoning subgenre. Their self-titled debut makes for an interesting listen--but doesn't always hit the mark that they undoubtedly sought to achieve when the project was announced last year. But even it's misses are compelling--though that could be damning with faint praise. The processed power chords of "High On Life" don't seem to mesh well with Cudi's somewhat stiff singing. He sounds unsure of himself on a track that would be a triumph if he just allowed himself to cut loose. When he sings "I'm ODing, High Off Life," you don't really believe him. "Love Hard" suffers from a similar problem--but here, the issue is a song that's all feel that doesn't really go anywhere musically. "Live & Learn" is a near-hit for the duo, but its bouncy verses are undermined by a non-hook that is near-unintelligible and makes the song sound unfinished--despite the fact that its heavy coda is one of the more dynamic moments on the album. "Dream Time Machine," which features Empire of the Sun, finds the duo attempting what sounds like an approximation of late 90s/early 00s Radiohead--a feel that permeates a lot of the album. And its closer to Cudi's own druggy, moody singsongy style on his 'normal' releases. He sounds much more at home here, offering more of the po-faced introspection his fans have come to expect. When WZRD find this sort of combination, the songs typically work. "Brake" is probably the most atmospheric moment on the album, full of hard percussion and ethereal distortion, with Cudi's trademark druggy, echo-heavy vocals floating above the din as opposed to wallowing in it. "Teleport 2 Me, Jamie," is an obvious choice for the first single. Not because it has 'hit' written all over it, but its probably the most 'conventional' sounding song here. With its singalong hook, lovelorn lyrics and off-key "na-na-na-nas," its probably the most akin to Cudi's previous releases. And the slightly off-kilter cover of Leadbelly's "Where Did You Sleep Last Night?" (which is actually more of an approximation of Nirvana's 1994 'unplugged' version) works well and shows that WZRD understand where they want to go musically. If only their original tunes had the songwriting heft to back up their ambitions. What hinders much of the WZRD project, like a lot of rappers' recently-released excursions into alt-rock, is that while Dot and Cudi nail the feel of the rock artists they are obviously influenced by, they forego melody and structured songwriting. Behind all of that pathos and angst, there has to be a melody--or at the very least, if you're going for abstract and unconventional, (a la Radiohead or Mars Volta) it helps to have the chops to pull it off. But, one has to admire WZRD's commitment to their vision. Even if all of their ideas aren't fully realized on this project.

]]> admin 2012-02-29 03:26:40 http://www.hiphopblog.com/features-mainmenu-28/30861-point-of-review-wzrd.html http://www.hiphopblog.com/features-mainmenu-28/30165-generation-next-brittany-bosco.html

Sultry Singer/Songwriter Carves Her Own Niche
7:00AM ET February 10th, 2012
Contributor : D. L. Thomas
A Rocky Williform Company

"I hate interviews. I really do."

You have to at least appreciate honesty. And, Brittany BOSCO, the doe-eyed beauty that fronts the BOSCO Band, is nothing if not honest. The Savannah, GA native has built a following on the strength of impassioned songwriting and an artistic fearlessness that has won her fans from Atlanta to Austria. Her genre-bending sound and ever-evolving image makes David Bowie and Annie Lennox comparisons understandable--but they're also a little too easy. BOSCO is a unique force, and Brittany's voice is all her own, and beneath the veneer of the unapproachable auteur lies a very relatable Southern girl who credits her personal and musical roots for her sound.

"I am really grounded in that whole very grass roots, very organic feel," Brittany says of her background and its influence on her. "Savannah is very organic--that's my style. Its something that I brought [from there] that was different compared to the music scene in Atlanta."

She pauses thoughtfully, before adding, " I think thats how i relate."

Her senior year of high school, when she had to sing in a cathedral, Brittany began to understand how stepping out of her creative comfort zone could yield great rewards for her artistically and personally. "You do this piece in another language," she shares of the experience. "You have different people come look at you; different colleges and stuff like that."

That recital was the first of many experiences that set her on her current path, but even as she moved to Atlanta and took her first steps towards becoming one of the city's most promising indie acts, she found herself having to prove to cynics that she knew what she was doing. "You always figure 'Ohmigod, this is something that i wanna do,'" she says. "[But] its like, to people dreams can seem so far-fetched and not tangible."

"But its almost like getting over that fear of other people's insecurities," she continues. "I was just like 'Enough. i've had enough of that.'"

A 2010 tour of Europe helped crystallize for the young artist that she was doing what she meant to be doing, and her art was most important. "Right when I got back from my European tour," she says. "That's when it all resonated with me."

Despite Atlanta's reputation for hip hop club anthems, BOSCO has helped remind fans that the city's musical identity is far more varied than some may realize. "You have to create your own scene. you have to have that burst of creativity," she says. "But on the flip side of things, i want to cultivate and bring to the surface that there's more than mainstream hip hop in Atlanta. There's soul. There's indie rock. There's more than just that. "

Brittany represents the latest in a long-line of Georgia artists that are building their followings from the ground-up. Building on the tradition of indie rock godfathers R.E.M., BOSCO is putting together another DIY tour. "We're raising money to go on tour," she reveals. "We decided to use KickStarter to raise $5000. We're going to do a southeast tour in May and Europe in September."

Brittany BOSCO is confident that just being true to herself will make or break her career. She isn't planning on selling herself short or selling out. "If that was the case, I would've been signed two years ago!" she says with a laugh. "If I wanted to do that I would've been signed a long time ago. But I refuse. I'm just gonna keep doing what's true to me. It's not my fault if people don't comprehend. Just continue to walk and do it until their level of consciousness catches up with yours."

brittanybosco.bandcamp.com
kickstarter.com/profile/boscoband ]]> admin 2012-02-10 06:57:55 http://www.hiphopblog.com/features-mainmenu-28/30165-generation-next-brittany-bosco.html http://www.hiphopblog.com/features-mainmenu-28/29593-generation-next-sean-falyon.html

Fiery Philly Rhymer Has A Knack For Being EVERYWHERE
5:30PM ET January 25th, 2012
Contributor : Todd Williams
A Rocky Williform Company

"Sean Falyon Be Everywhere."

The Philadelphia rapper's mantra is more than just a clever motto--its a truism if ever there was one. He's seemingly at all places at all times, from swanky boutiques in SoHo to the smoke-filled corridors of hole-in-the-wall clubs of Atlanta's Eastside. But whereas several of today's hungriest emcees spend their time 'on the scene' pushing their latest mixtapes or elbowing for a chance to impress the newest local superstars, Falyon seems to understand the value of making real connections.

In other words, people really like this guy.

"What sparked the [Sean Falyon Be Everywhere] idea was a producer named Cory Mo," Falyon explains with a laugh. " When he first got to Atlanta, I kept running into him and he was like 'Damn, Sean Falyon be everywhere.' And I was like, 'Imma use that!'"

Falyon's got that combination of everyman accessibility and an easygoing nature, coupled with a fierce determination to succeed and an impassioned approach to rhyming. Before heading south to Atlanta, Falyon was grinding in his native Philly, hustling with his own T-shirt company and only dabbling in music sporadically. "When I was in Philly, I didn't take [music] seriously," he says of that period. "I tried to take it serious when I hit college. You'd rap to be cool and get recognition. I actually recorded my first recording when I started going to Chicago. But then, I was like 'We ain't making no money, we ain't doing nothing.' So I went back to school. But in school I wasn't really focused on school, i was focused on throwing parties and doing T-shirts."

"But the best thing about school [was] it helped me network," Falyon explains. "I met a lot of artists, like DJ Unk and Bonecrusher and people like that. I was meeting folks through the clothing. Fashion and music go hand and hand, so it was like, 'You're down in Atlanta, you're around a bunch of rappers and you used to rap.' So [music] was bound to happen sooner or later."

Meeting with Bonecrusher, in particular, helped shift the rhymer back to his first love. The star asked Falyon to rhyme on a song, and it reignited Sean's love for rapping. "We actually had this song called 'Swerving,' with Bonecrusher and Cutty Cartel from Jim Crow and Dungeon Family. It was the first record that I mixed and mastered and sat through the whole process. People [heard] it and they were like 'Damn, I like it.' The response was crazy."

[Check Out Sean Falyon's "SFBE Riot" Here]

But even after hopping on a track with an established star, Falyon still held down a day job to help make ends meet. "I was still working," he shares. "I was at a customer service place doing accounts management, I worked at a hotel. I was leaving the house at six in the morning and not coming back till eleven. [But] I felt like if I worked as hard with [music] as I did with the t-shirts and the other jobs, this could be something. This could be my life."

Today, music is Sean Falyon's life. His "Sean Falyon Be Everywhere" mixtapes generated tremendous online buzz and garnered him an enviable following among fans of indie hip hop, as did his Playboy Tre and Tony Williams-assisted mixtape "1970 Charger." He was named one of the Top Artists of 2012 by Jenesis Mag, and the emcee has also been featured on ThisIs50, Arts Beats & Lyrics and MTVU. And there's more to come.

"I'm working on a remix project called 'Seven Degrees of Sean Falyon,'" he says. "Working with B.oB.'s lead guitarist and music director. And I'm working on the album, [and] I'm also looking to build my brand--even outside of music."

"For me to fulfill my dream, I gotta support it," Falyon says. "Being indie and self-managed, I still have to wear every cap in the world to make things happen. Bigger and better things."

As Falyon continues to climb, its certain that those that don't know now will eventually begin to see the light. At the very least, we know you'll see him.

'Cuz Sean Falyon be everywhere.

Follow Sean Falyon at Twitter.com/SeanFalyon
and Check Out Updates & More Music At SeanFalyon.com

What Does the Success or Failure of This Film Really Mean?
3:00PM ET January 21st, 2011
Contributor: Todd Williams
A Rocky Williform Company

Todd Williams is Senior Editor for HipHopBlog.com and A Pop Culture Commentator, Music Critic, Hip Hop Historian and Screenwriter. This Op-Ed Piece Does Not Necessarily Reflect the Views of HipHopBlog.com

Another Black film release, another opportunity to examine the state of Black Hollywood and what impact said film will have on Black Hollywood.

There's been much discourse surrounding the film Red Tails over the last several weeks. Much of it rooted in equal parts hyperbole and cynicism, much of it about Hollywood racism, Black apathy and the dubious motivations of a long-time Hollywood heavyweight who suddenly has been decreed a de facto spokesperson for the Black struggle in Tinseltown; early criticisms of the film have been peppered with references to producer George Lucas' efforts to 'guilt' audiences into seeing his film. Lucas made headlines by appearing on "The Daily Show" and discussing the resistance he encountered from Hollywood executives uninterested in helping to produce a film with a large budget and a majority Black cast. Some that have seen the film and were unimpressed were especially vicious in their attacks on Lucas for what they felt was a mediocre 'bone' thrown to Black film audiences, tossed with snide condescension from the quasi-benevolent benefactor of Star Wars fame.

But Lucas' complaints have been volleyed about by several Black filmmakers for decades, as many of his detractors point out. But what's not usually acknowledged, however, is the rather obvious fact that what Lucas says it's true--even if we're less-than-comfortable with him being the one who says it. So if this is indeed a problem that we can all agree on, why can't we agree on how to address it? Or who is best suited to address it?

Why did a White man telling the truth about race, Hollywood and the struggle to see our stories anywhere other than on premium cable or independent film circuits turn everyone into cynical naysayers? And, in the case of this particular battle, is it more important for a big-budget Black film to be successful or good?

Filmmakers like Michael Bay and Brett Ratner will never be mistaken for Martin Scorsese or Stanley Kubrick, but their films have made money. Having a big Black film open well could send a powerful message--moreso, even, than if the film is a cinematic masterpiece.

Let's understand something; Black audiences have proven that they will support Black films. Black romantic comedies, melodramas, indie films that get strong word-of-mouth buzz, and 'hood' comedies have gotten support from audiences for years. The problem, fundamentally, is that studios have not produced enough all-Black action films, period pieces and epics for there to be a fair gauge of Black audience support for such films. But the few times one manages to get greenlit, produced and released, it does matter whether or not audiences care enough to spend money to see it. And, yes, this dilemma is rooted in Hollywood's inability (or unwillingness) to market predominantly African American films to non-Black audiences--particularly in the overseas market--but that doesn't mean that Black audiences are always turning out in droves for these films, either. Especially in the case of bigger budget films that require a higher box office to be considered successful than a movie that cost less to produce.

Obviously, the ideal end is for Blacks to finance their own studios to tell their own stories. But, we can't be naive enough to think that, even in that ideal scenario, there won't be films that are less-than-stellar. But, realistically, the ultimate goal is not to create a mystical film universe where every Black release is Citizen Kane. The objective is to have so many voices telling so many stories, that no one project would be definitive or viewed as some make-or-break torchbearer for all of Black moviedom.

But it takes a lot longer to get there when films like Miracle At St. Anna and Red Tails bomb at the box office. What possible reason would any film studio--Black, White, Hollywood major or arthouse indie--take the chance of funding an expensive film that audiences have proven time and again that they don't want to see?

How can we blame studios for casting the Lone Black Superstar in blockbusters alongside 'safe' White castmates, as was the case with Eddie Murphy for much of the 1980s and Will Smith for the majority of his career? How can we criticize the lack of an advertising push for challenging, multi-layered films like the captivating Pariah when even accessible popcorn flicks can't put butts in seats? Blacks can win Oscars till we're blue in the face. It won't mean a thing when it comes to box office.

For all of the cinematic shortcomings of Tyler Perry's filmography, (and there are many), his audience supports his work. Part of the reason is his effective branding, but also its because he gives them the films they have proven (with their wallets) that they want to see. As a result, not only has Tyler Perry Studios been able to churn out a seemingly infinite amount of buppie rom-coms, but similar-themed films like Woman, Thou Art Loosed, Jumping the Broom and more have been released by various other studios in recent years.

The movie Red Tails will not be the end all-be all of African American cinema. What the possible success of this film represents, more than anything, is an opportunity for audiences to let the filmmaking community know that they can support a film that has a significant budget, a wide release, and a cast full of Black people. There have been, and will always be, brilliant black indie and art house films. There will be riveting made-for-television movies with stellar writing and remarkable casts. We've seen those before. But what we see far less of are period pieces and action films with majority Black casts, big budgets and, most importantly, a significant advertising push.

Or we can just sit back, give Tyler Perry 8 or 9 days to write, shoot, edit and release Madea Saves Easter and applaud in unison when it crushes the competition on its opening weekend.

Because that's a victory for Black cinema, too. Right?

Will Fans Ever Get To See Behind the Personas?
2:30PM ET December 7th, 2011
Contributor : Jecquea Howsie
A Rocky Williform Company

Nicki Minaj crash landed onto the pop culture landscape a few years ago as a fresh-faced 24-year-old draped in jeans, a wife beater and Jordan’s, but just four short years later, the Barbie-clad emcee traded in her ‘around the way girl’ outfits for fried chicken necklaces, neon wigs and Strawberry Shortcake dresses.

Although her alter-egos initially had me laughing and guessing what she would come up with next; now I believe she’s nothing more than a gimmick. Is it possible that Nicki and her Barbie mobile are nothing more than the remixed version of the ‘90s Queen Bee she desperately tries to distance herself from? Or is she the focus of a calculated marketing plan?

It’s fair to say that as artists progress musically, they also start expressing themselves the way they see fit. Lil Wayne went from Hot Boy to rap-rocker, Chris Brown went from teen pop star to pseudo-rapper/R&B tough guy. Whatever path an artists’ career takes, most still stay true to who they are at their core. Even during his early days with Cash Money Records, Wayne always displayed a willingness to experiment with different genres of music. And after the ‘Rihanna scandal’, Chris waved goodbye to the squeaky-clean image and embraced his anti-hero persona.

Questioning, or implying that Nicki is just as manufactured as her predecessor Lil’ Kim is an educated assumption, considering that Biggie practically modeled and shaped Kim into the artist she is today—even going as far as to write her rhymes early on in her career. However, one thing Kim has that Nicki lacks is relatability.

Usually there is a clear distinction between an artist’s on-stage persona and who they are in real life. So it’s no coincidence that Nicki Minaj is just one of the many characters Onika Maraj plans to unleash on the industry during the lifespan of her musical career.

The true answer probably lies in the fact that the world has yet to actually meet the real Nicki Minaj. Maybe the characters she portrays are a made up sum of who she thinks she is, or hopes to be.

Has Post-1996 Hip Hop Abandoned the Turntablist?
2:30PM ET December 1st, 2011
Contributor : Todd Williams
A Rocky Williform Company

"Where's the DJ?"

The late, great Jam-Master Jay used to say that 'It ain't hip hop if there ain't no DJ," and while the rigidity of that statement may seem antiquated to a lot of contemporary rap fans, there was a time when it was entirely applicable. Hip hop has changed a lot since Run DMC were ruling the airwaves, but one under-discussed change in the culture is the demise of the DJ. Sure, the 'real hip hop' purists that dominate cyphers and showcases around the world still understand the importance of the man on the wheels, but for hip hop's mainstream, the DJ--and other aspects of 'classic hip hop'--have slowly been all but erased.

The Great Hip Hop Divide, generationally-speaking at least, seems to be 1996. That was the year the Death Row/Bad Boy feud escalated to ridiculous proportions, garnering numerous national headlines and dividing fan opinions from Brooklyn to Watts and all points in-between. The tragic killing of Tupac Shakur that September was one of the most talked-about stories of the year, and when Biggie died in March of 1997, hip hop fans reacted with understandable shock and grief over the loss of their two biggest icons.

But the aftermath of that feud and those twin murders slanted the perspective of hip hop audiences--in a way that seems to have created a chasm between late 90s/2000s hip hop fans and hip hop heads who remember what the landscape looked like before 2Pac and the Notorious B.I.G. were decreed the two bi-coastal pillars of rap music.

The late 90s emergence of Jay-Z is also significant. His popularity, along with the martyrdom of 2Pac and Biggie, have led to a generation of hip hop fans that are most familiar with the approach that 'The Trinity' used to make music. In the post-2Pac/Biggie/Jay-Z hip hop world, a DJ is more of a sideshow oddity and a top rapper has beats emailed to him and he just picks the ones he prefers to rock over. While this approach isn't 'new' at all, it has become the dominant approach and resulted in a generation of artists and fans who have a very limited notion of hip hop and artistry.

There are constant debates regarding who is the Alpha Male of hip hop currently. This is a decidedly post-1996 conversation. Prior to 2Pac and Biggie, hip hop's pinnacle was shared by groups and solo artists. Run DMC were hip hop's kings in the mid-1980s, with Public Enemy assuming the mantle as the 1990s dawned. Other collectives like N.W.A., A Tribe Called Quest and Wu-Tang Clan also emerged as pivotal forces in the genre. But it seems that groups began to die a slow death following the Death Row/Bad Boy beef. And while rap fans have argued about the best emcees since the genre's inception, the idea of who's 'running' hip hop became an ongoing topic after the dominance of the 'Super Solo' rhymer in the late 90s.

Rappers didn't want to be in groups anymore--they wanted to be kings.

The slow demise of hip hop groups led to another shift in the sensibility of hip hop fans; the idea of the self-contained hip hop group. A friend was watching the A Tribe Called Quest documentary, Beats Rhymes & Life: The Travels of A Tribe Called Quest, and asked if Ali was a 'real' member of the group. They didn't understand why someone who didn't rap was in a rap group. In the first twenty years of hip hop's recorded history, the DJ was an indelible part of the music, culture and scene. Hip hop groups weren't just collectives of emcees--they were emcees, DJs and (many times) the producer/beatmaker was also a member of the group.

Groups like like Tribe, N.W.A., Wu-Tang Clan and more never had to go outside of themselves for producers; the producer was in the group. And the DJ was always included. MC/DJ duos were very common as well, with the DJ's name almost always listed first--a testament to the turntablist's importance to the hip hop aesthetic. Even solo rappers like LL Cool J and Big Daddy Kane made a point to shout-out their DJs on a fairly consistent basis.

As more and more artists and fans fill up the blogs, Twitter and various message boards with their opinions on who are the best rappers today; it would benefit the genre for everyone to get more familiar with what was happening before 1996. Broaden the horizons of hip hop's future by understanding and celebrating its past.

And always shout-out the DJ.

Blacks Systematically Excluded From Death Penalty Juries
7:00AM ET October 27th, 2011
Contributor: Todd Williams
A Rocky Williform Company

In the wake of the controversial execution of Troy Davis in the state of Georgia, the racial disparities in death penalty cases have become increasingly scrutinized. The disproportionate amount of African American defendants being sentenced to capital punishment has been discussed and analyzed; but ongoing disparities in jury selection for African Americans in capital punishment cases have seemingly gone unnoticed.

But in Henry County, Alabama, the Equal Justice Initiative filed a civil rights lawsuit asserting that District Attorney Douglas Valeska has illegally excluded Blacks from serving on juries in serious felony cases--particularly death penalty cases.

Five African Americans state that courts previously excluded them from jury service because they are black and lawyers believe that the class action suit is the first of its kind to be filed against a prosecutor's racially discriminatory use of peremptory strikes.

"Mr. Veleska has been the D.A. for 21 years and is very powerful and influential in the community," explains Bryan Stevenson, lead attorney for the plaintiffs. "He's been fairly unapologetic about his policies and his practices. But he has, in seven cases, been found to have illegally excluded individuals from serving on juries on the basis of race."

"He really represents the resistance to diversity and protecting of the civil rights of all people," Stevenson added. "He has not been responding to the courts or to the press."

The complaint filed alleges that from 2006 to 2010, state prosecutors in Dothan, Alabama used peremptory strikes to exclude 82% of qualified black jurors from death-penalty cases. Because of this, every death-penalty jury in Houston County over this period has been all white or only inclusive of a single black juror. The circuit is nearly 25% African American, and Houston County has the highest per capita death sentencing rate in Alabama.

"There have really been no consequences," Stevenson says. "The defendant gets a new trial, but [officials] don't get sanctioned, they don't get disbarred. We've created an environment where people can engage in this kind of discrimination with impunity. If [Valeska] were a newscaster or a commentator, he would lose his job. But somehow , there have been no consequences for him or any of the other prosecutors that have been found to illegally exclude on the basis of race."

The complaint also alleges that Valeska's policies violate the federal Civil Rights Act of 1875, which provides criminal penalties for officials who exclude any qualified citizen from jury service on account of race, color, or previous condition of servitude.  The Department of Justice has not enforced this anti-discrimination law since its passage more than 135 years ago.

"African Americans are being excluded--regardless of the race of the defendant," Stevenson explains. "Its one of the peculiar aspects of this; [perhaps] there's a presumption that black people are not qualified or capable to participate in these trials. But [I think] prosecutors want jurors [who will] presume the guilt of the accused [and] who will believe everything the prosecutor says. All of the prosecutors are white. All of the judges are white. And they [prefer] having whites in the jury box."

A Funky Soul Band With A Hip Hop Swagger
5:30PM ET September 28th, 2011
Contributor : Malcolm Strong
A Rocky Williform Company

The J'Da Prynce Experience is about soul. The J'Da Prynce Experience is about heart. And the J'Da Prynce Experience is about family. Frontman J'Da Prynce has taken the long road to stardom, making a name for himself in his home state of North Carolina, before taking his show on the road throughout the southeast and East Coast. Now, the fiery soul singer with the larger-than-life stage presence has emerged a tried-and-true professional ready to take his next leap forward.

"My initial vision for starting this band [was that] I just really was at a point in my life where i wanted to pursue my creative passion," J says. The former schoolteacher decided that it was now or never. "This is the very reason why I moved to the Atlanta area. I was living in North Carolina for some time, pursuing music there."

Once he arrived in Atlanta, J was focused on taking the next step towards realizing his vision. "My thought was [that] I wanted to put together a unit that will [rally] behind the vision that i have," he explains. "Which is to create a sound that encompasses multiple styles and genres." Slowly-but-surely, the Experience became a reality: featuring vocalists Letitia Bowler and Bee Wade, versatile keyboardists Sir James and JoJo Morst, and a pulsating rhythm section of bassist Sterling Gittens and drummer Kris Rahming; all with J'Da Prynce at the center of a heady mix of soul, funk, hip hop and pop. Letitia serves as J's visual and stylistic counterpoint onstage, he's passion and fire, she's cool as ice. And the two complement each other remarkably, as does the rest of the Experience. "What I enjoy most about working with the Experience is that we all challenge each other in different ways to step outside of our comfort zones," Letitia shares. "To be the best singer, performer or musician we can be."

J'Da Prynce's work ethic and commitment to his art are evident in his performances and songcraft, and when he shares what legendary artists helped shape his vision, its understandable where he learned his artistry and showmanship. "I don't know of a single person that has not been influenced by Michael Jackson," he says enthusiastically. "He's one of my greatest influences when it comes to music. His passion and his ability to reach a global audience, an international audience. as a child, that had an impact on me. And James Brown. [Others like] Beyonce, John Legend, Anthony Hamilton. I love Sade. Her stamina and her story."

J's songwriting is the engine that drives the band. Tracks like "Cold" and "Operator" reveal a singer/songwriter with a strong point-of-view, and the Experience provides the sonic punch to bring all of J's ideas home. That creative synergy is not lost on the show-stopping frontman. "What works is the fact that its all about family," J says about the Experience's musical philosophy. "Musicians play best together when they are a family--when they feel connected to each other and share common struggles common goals and at the same time have their own individual goals. The individual goals are as respected as the collective goals. My vision is to create a family, first and foremost."

And in an era of digital tracks and AutoTune, the Experience relishes the elasticity and organic flow of performing as a band. "I believe all vocalist should perform to live music," Letitia says matter-of-factly, before adding with a laugh: "Tracks are wack." "We want to be able to entertain," echoes J. "We have so much fun, just being together and knowing that we all have a passion and a drive for true performing and genuine music. Real, heartfelt music. that's what brings us together."

Follow J'Da Prynce at Twitter.com/J_DaPrynce
and Check Out the Experience At www.reverbnation.com/jdapryncethenewprynceofrb

Can the Troubled Rapper FINALLY Turn Over A New Leaf?
7:00AM ET August 30th, 2011
Contributor : Jecquea Howsie
A Rocky Williform Company

It’s evident that over the past year hip hop has missed the southern sounds of T.I. TI recently penned his final heartfelt prison letter to his fans, again promising redemption upon his impending release. However, was it too little too late? And as he awaits the day until he finally gets his walking papers, we wonder if he’s honestly learned his lesson.

Just like a roller coaster, his life is filled with ups and downs, and for every stride T.I. makes in the right direction, it seems like he takes a step back. Understandably, his first prison stint on weapons charges was the result of the paranoia, fear and anger he felt in the wake of witnessing his best friend, Philant Johnson, die in his arms. In a misguided desire to defend himself, Tip inevitably put himself back in harm's way. And wound up in prison for it.

But does that explain the arsenal of machine guns found in his car? Nonetheless, we forgave him; overlooking the fact that, unlike everyday people who would’ve been locked up for a lifetime, he received a lighter sentence.

We applauded him from afar as he vowed to get his life together and focus on his family and music, even celebrating his return, and the many philanthropic acts he did leading up to his ‘09 prison term.

So it was surprising when he was caught-yet again, with drugs in Los Angeles. Of course we’re not passing judgment. In fact oftentimes it takes years for people to deal with their issues and get their lives together. However, many still view his current incarceration as a deliberate slap in the face to the justice system and those rooting for his success.

Celebrities tend to be celebrated one minute, criticized the next, by the media and the general public. Did T.I. succumb to the unrealistic demands the media and his fans placed on him? Perhaps. But his incarceration could be the result of his ongoing difficulty in surrounding himself with people that enable his worst tendencies. Maybe its still too soon to say whether or not he's changed. As time goes, it does seem as though T.I.’s redemption is a journey that never ends.

Quirky Queens Kids Share An Alternative Perspective
2:00PM ET August 14th, 2011
Contributor : Hip Hop Blog Staff
A Rocky Williform Company

Every week, HHB will spotlight a legendary hip hop artist and examine their legacy and body of work. Hip hop is 30+ years old, and HHB wants to make sure that everyone understands how rich and varied this musical genre is. From Grandmaster Flash to 50 Cent, there are an endless array of MCs, DJs and producers who have made this music what it is today. Let's clap for 'em...

The group most responsible for the commercial viability and ongoing influence and visibility of what some dub 'alternative hip hop,' A Tribe Called Quest is one of the most innovative, influential and beloved hip hop acts of all time. Four friends from Queens blessed with an almost-innocent love for rhyming, a quirky sensibility and one certified hip hop genius in the middle of it all. Tribe took the baton from alt-rap's first generation; fellow Native Tonguers the Jungle Brothers and De La Soul, along with the under-appreciated Ultramagnetic MCs; and carried it forward throughout the 1990s, ultimately providing a template for legions of followers, including Common, The Roots, Pharcyde and others.

The seeds for A Tribe Called Quest were planted when a young Jonathan Davis was encouraged to rhyme by his friend Malik Taylor. Davis, dubbing himself 'Q-Tip,' eventually attended the same performing arts high school and met aspiring DJ Ali Shaheed Muhammed. The two bonded over a love of music and Davis soon brought Taylor (now calling himself 'Phife Dawg') and Taylor's friend Jarobi White into the group. Also attending the same high school as Ali and Q-Tip were Michael "Mike Gee" Small and Nathaniel "Baby Bam" Hall of the Jungle Brothers. The Jungle Brothers were recording their seminal 1988 debut album Straight Out the Jungle and included Q-Tip on two tracks. The Jungle Brothers dubbed the foursome of Q-Tip, Phife, Ali Shaheed and Jarobi "A Tribe Called Quest."

Following the release of De La Soul's acclaimed debut 3 Feet High and Rising, (which also featured Q-Tip), the Native Tongues collective was recognized as a new, left-of-center perspective in hip hop culture. Their sound was quirky and playful while also maintaining Afrocentric and bohemian aesthetics; and their emphasis on positivity, humor and offbeat sensibility set them apart from both the incendiary political rap and the nihilistic gangsta rap of the late 80s/early 90s.

This all set the stage for ATCQ's debut album, People's Instinctive Travels and the Paths of Rhythm which was released in 1990. The group's sound built on the template established by the previous Native Tongues, with Q-Tip's rhymes dominating the record. The popularity of hit singles "Can I Kick It?" and "Bonita Applebaum" established the group outside the shadow of the Jungle Brothers and De La Soul; and Q-Tip's crossover visibility was raised after an appearance on the smash single "Groove Is In the Heart" by pop group Deee-Lite. People's Instinctive Travels... garnered significant critical praise from critics and eventually reached gold status. Despite the young group's success, Jarobi decided to depart for a career in the culinary arts.

The group soon returned to the studio to record its follow-up, released in late 1991, The Low End Theory was a stark departure from the playful quirkiness of its predecessor. The lo-fi, jazz-influenced production was unlike anything in hip hop at the time; minimalist-but-soulful with Q-Tip and a rejuvenated Phife Dawg delivering witty word riddles over a backdrop that perfectly complements their rhymes. The album was immediately hailed as a landmark, landing on several 'Best of' polls at the end of year and achieving platinum sales on the strengths of singles like "Check the Rhime" and "Scenario." Tribe abandoned a large part of their previous image, adopting a slightly-more street aesthetic while maintaining their freewheeling and positive persona as a group.

Tribe's hot streak continued with an appearance on the alternative rock-dominated Lollapalooza tour and another hit single, "Hot Sex," from the Eddie Murphy film Boomerang. Q-Tip also appeared in the John Singleton film Poetic Justice.

In 1993, ATCQ released the third in their string of classic albums, Midnight Marauders. Featuring some of the group's most well-crafted and accessible work, and production assistance such talents as Large Professor and J. Dilla, the album was yet another critically-acclaimed work from the group was now lauded as the most creative and ambitious act in hip hop. "Award Tour" became Tribe's biggest hit to date, with songs like "Electric Relaxation" and "Oh My God!" continuing the group's string of strong singles.

After touring in support of Midnight Marauders, the group worked on individual interests and projects. Q-Tip produced for artists like Nas and Mobb Deep. He also converted to Islam, changing his name to Kamaal Ibn John Fareed. Ali Shaheed Muhammed worked on, Brown Sugar, the debut album for soul singer/songwriter D'Angelo, and Phife Dawg left his native Queens, NY and moved to Atlanta and made an appearance on TLC's Crazy Sexy Cool.

When the group reconvened for their fourth album, 1996's Beats, Rhymes & Life, cracks had begun to appear in the group's collective armor. Phife's relocation to Atlanta led to scheduling conflicts in recording and Q-Tip's religious conversion unexpectedly drove a wedge between he and his rhyme partner's previously-effortless musical chemistry. Further altering the group's dynamic was the creation of the Ummah--a production team that consisted of Q-Tip, Ali Shaheed and the aforementioned J. Dilla. Also, Q-Tip's cousin Consequence made several appearances on Beats, Rhymes & Life, leading many fans to question whether or not he had become an official member of the group. Beats... wound up receiving the most mixed reviews in the group's history together, with many critics noting the entire project's dark and slightly cynical feel. This was a noticeable departure from the optimism of Tribe's earlier work. The album still went platinum and the single "1nce Again" was nominated for a Grammy.

Q-Tip made another high-profile guest appearance on Janet Jackson's hit "Got Til It's Gone" before A Tribe Called Quest released what it had decided would be its final album together. 1998s The Love Movement, released while the group was fraying due to personal differences and frustrations with its label, was a return to the warmer feel of its earlier work but with the production style of the Ummah and the matured perspective of Phife and Q-Tip. The album was praised by critics but the group split almost immediately after its release. "Find A Way," the only official single released from the album, became a significant hit and served as the group's swan song.

In the years since they split, Q-Tip became a crossover star, hip hop recluse and is now a resurgent elder statesman for hip hop's quirkier side. Ali Shaheed Muhammad has found success as a producer for several soul artists and as one-third of the supergroup Lucy Pearl and Phife Dawg released a solo album and the demand for the entire group (including Jarobi) on the stage has only grown over time. Tribe's legacy is recognized in every hip hop artist that has showcased the culture's more cerebral side, the laid-back, intelligent and relatable artists that aren't afraid to embrace their eclecticism. Today, they still stand as one of the most beloved hip hop acts of their generation.

REQUIRED LISTENING:

People's Instinctive Travels and the Paths of Rhythm (1990)
"Can I Kick It?," "I Left My Wallet In El Segundo," "Bonita Applebaum"

The Low End Theory (1991)
"Check the Rhime," "Jazz (We've Got)," "Scenario"

Midnight Marauders (1993)
"Award Tour," "Electric Relaxation," "Oh My God"

Sexy Girl-Next-Door Is Determined To Rewrite Rap's Rule Book
8:00AM ET July 31st, 2011
Contributor : Malcolm Strong
A Rocky Williform Company

Khrys Deyon knows what you’re looking at. She’s been getting stared at for years. Khrys Deyon knows what you’re thinking about. She’s been getting lusted after for years. And Khrys Deyon knows what you think of her.

She’s been getting underestimated for years.

Her mixtape “Forever 21” showcases a brash-but-vulnerable young woman eager to speak her mind and share her perspective. Nonetheless, the sexy artist-formerly-known-as-Khrysti Hill knows exactly what kind of skepticism comes with being a beautiful woman holding a microphone.

But if Khrys Deyon let other people define her—well, she wouldn’t be Khrys Deyon.

What’s the biggest misconception the general public has about you?
Everybody thinks they know about me from ‘Khrysti Hill.’ You Google the name and you see all this sh*t. [laughs] I surprise myself sometimes—the pictures I see. It’s a whole other person. And no one understands that. They assume I’m just this freak that gets nasty and does whatever, but it’s a whole story to it. That was just a hustle. I’m more ‘Khrys Deyon’ than ‘Khrysti Hill.’

What’s the difference?
Khrysti Hill is the fantasy. She has the fat ass with the matching t***ies and talks sh*t and doesn’t care what people think about her. Does whatever, will do whatever [and will] say anything. She’s fearless. You can see it in the pictures. It’s a part of me, it comes out here and there.

But this music sh*t is some whole other sh*t. Its really me telling my story and how I want to do it. Khrys Deyon is the laid-back girl who wears her hair in ponytails and has on Jordans and is nonchalant and chilling. Might hit the blunt. [Laughs] She’s cool with everybody. She’s the girl in high school that played sports. The girl that was smart but never really had to make a scene. Everybody knew her as ‘The Cool Chick.’ The popular girl.

What’s been the harshest reality to face, industry-wise?
I just left a producer a couple of days ago who told me how dope I was, but [then added] ‘Let us just write for you.’ If I’m gonna do this sh*t, I gotta write my own sh*t. How else am I gonna do it? Who else to better tell the story but me? If its wack, at least I can say ‘I did it.’

What keeps you motivated to tell your story?
I think now people can follow me [as I take] the next step. I want them to see it. Underneath all of that makeup and hair and that dress and them red bottoms—that bitch is lonely. She cries in the shower. She’s getting tired of these n***as. She thinks she’s so important and the baddest bitch but when she goes home, its just her. She doesn’t have any real friends. Every guy just wanna f*ck. Khrys Deyon is the more laid back down to earth person that you can be best friends with, confide in…fall in love with.

What brought you to Atlanta?
I was in a relationship and I ran away. It was when ‘Khrysti Hill’ was doing really well. I was traveling and doing parties. But my personal life was crazy. My relationship was unraveling. My family hated me. I was lost in a lot of ways. I had no real direction—except ‘get money.’ My first experience moving to Atlanta, I was by myself in an apartment in Buckhead with no furniture. I looked the part, but I would go home and literally be in a corner twiddling my thumbs. When I ran away, I just needed a new start. I was going through a lot mentally. Those first couple of years in Atlanta were really hard.

Who do you think your mixtape, “Forever 21,” really speaks for?
I feel like, for all of those girls that think they’re ‘Barbies’ and the baddest bitch in the world—which they might be—there’s still a girl that’s hurting and that’s going thru sh*t. I was one of those girls. That was having the time of my life but was lonely and depressed. You Google me and you see my ass out—which my Mom doesn’t really understand--but it’ll all make sense. I just wanna be that voice.

I feel like I’m being led right now. Nobody gets it, nobody understands it, but you’re gonna see the difference. And you’re gonna like it. “I’m redoing the life that was Khrys Hill.”

Follow Khrys Deyon at Twitter.com/khrystihill