MC Dee1 Turns Down Record Contract

Dee-1Rapper Dee1 famous for a video he made entitled Jay, Weezy and 50,  a song in which he calls the rappers on their responsibilities towards their fans.  The effects of the rappers lyrics and the effect they have on the young fans minds.  When working around children for several years he saw the affects that music has on the young minds.  These facts he expresses so eloquently in the video.  So impressed by his lyrical content and unique thinking, Lil Wayne from Cash Money Records wined and dined Dee1 and offered him a lucrative deal, it was declined. Money isn’t everything and responsibility is everything.  Cash Money/Young Money Records doesn’t deserve an artist such as Dee1 with all the garbage being put out by this label.

Azealia Banks Tells It Like Is

Azealia Banks  can rap and sing very well, she’s also crazy and Azealia Banksbeautiful!  Not only that, she does music way better than most female rap and R&B artists.  So if that’s the case, why doesn’t she top the charts and her songs played on the radio.  Has to do with the label interscope shelving her latest album and having creative issues, better explained by her in the interview she had with Pitchfork.com that I had the pleasure of posting below.  Her latest album, Broke With Expensive Taste, is different than Fantasea, her last album and 212, her break out EP.   Still keepimg her signature sound and adding flavor, basically the album is dope.  Ms Banks is fed up with the likes of imitation white girls messing up black culture with their watered down music that sounds like trash, specifically Gwen Stephani, Fergie and no doubt Iggy. read about her frustrations and new direction in the interview with Pitchfork.com….

Pitchfork: Two years ago, you told Spin that signing to a major label would be your one chance. 

Azealia Banks: At that point, I was really young and surrounded by a lot of older men who were working with me, that I was dating—a lot of older people I had to deal with. And having the male co-sign is something that people talk about a lot, especially with female rappers. Having been rejected by so many different people, I was just like, “Oh my God, I’m back in with these guys, this is my last chance.” But now I know how much it costs to go in the studio—I could make a thousand dollars and record for 12 hours and do whatever I need to fucking do. I don’t need these major label guys. These people are not my last shot. I know how to do this. I can do this. And thanks to Twitter, I can do it my own way, too.

Pitchfork: When did you realize it might not be working out with Interscope? 

AB: After I [self-]released the Fantaseamixtape [in 2012], and saw all this Internet success. I went on tour with a mixtape! With costumes! And it was being completely ignored by the label. They were almost trying to pretend that what I was doing wasn’t happening. It was confusing. And you know, I was young and having a real good time bugging out. Around that time, I was like, “OK, they don’t really get this.” And then once I started turning in Broke With Expensive Taste tracks, I was like, “Oh, they really don’t get this.”  I don’t know what the source of the conflict was because, to my understanding, I thought it was cool with everyone. I would always send them my songs and feel as if they liked me, even if they didn’t get it. But it got to a point where they were like, “Azealia, we get it, you’re cool, but we’ve spent $2 million on this record, can you just give us one [hit]?” So then I did “Chasing Time”, and I was just like, “You know, this isn’t gonna work out.” It was like that awkward point in a relationship where you’re forcing yourself to have sex because you’re like, “We live here, we’re sleeping in bed, it’s awkward if we don’t.”

Pitchfork: Can you see yourself ever signing to another major label?

AB: No. You know what my ideal situation would be? Just to make money from touring and record sales, fund my own album, and then sell it back to the label. That would be ideal for me. Because I don’t wanna work with people. I don’t want your opinion, I’m not interested.

Pitchfork: How do you explain the three years between your breakout moment with “212” and then being here?

AB: It’s really psychedelic, but not in the colorful, Scooby-Doo sense. It was scary. Sometimes I was like, “Oh my God, what the fuck have I gotten myself into? Why’d I take the red pill? I should have taken the blue pill.” It was like I took some medicine that made me really sick at first but ultimately made me better. I made it out. Now, I know what to say and what not to say. I know how to move. I’ve learned a lot about tact.

Pitchfork: It doesn’t help having to learn all of this while you’re in the public eye, especially with the Internet, which can make people insane.

AB: It’s making me insane. It also does bad things for the art world, because it puts every single artist into this one big virtual room. Everything gets really fucking homogenized, and all this shit just sounds the same, and everyone looks the same. It’s like you’re listening to one long song. I always think of the music industry as this weird human commodity game. It’s almost like slavery, where these people become popular for awhile, and then it’s done.

It’ll be like, “For a couple of years, we’re gonna fuck with blue-eyed soul, and here’s Duffy, here’s Adele”—who’s great—but now we’ve got a thousand white girls singing blue-eyed soul. It’s so regurgitated and corny. You have it in everything. You have it in indie rock. You’ll have Interpol, and then the National, and it’s just like, “Really, dude? Really?”

Or it’ll be like, “We’re gonna pop off the white-girl rapper,” so we’ll have Gwen Stefani and Fergie, and then it’ll get worse and worse and worse. And you’re just like, “What the fuck is this?” The whole trend of white girls appropriating black culture was so corny—it was more corny than it was offensive. Trust me, I’m not offended: All the things I’m trying to run away from in my black American experience are all the things that they’re celebrating. So if they fuckin’ want them, have them; if they want to be considered oversexualized and ignorant every time they open their fucking mouth, then fucking take it. But more than that, the art is not good. These songs are not good. It’s like, “Oh my God, you’re doing this black woman impression, is that what the fuck you think of me, bitch? I need to meet the black woman that you’re imitating because I’ve never met any black woman who acts that bizarre.” It’s crazy that this becomes mainstream culture. All of America is celebrating shit like that. It’s so weird.

Pitchfork: You’ve said “Miss Camaraderie” is your favorite song on your album.

AB: When I was 17 and first started rapping, I had this manager who was always doubting me and telling me I’d never make an album. They were like a lover, and it was really strange; I had a lot of issues with my love life over the course of everything, up until a year ago. “Miss Camaraderie” is the song that I wrote about this perfect relationship I would be in. I was born to write that song.  I don’t think I’ll ever write a better song than “Miss Camaraderie”, ever. It’s better than “212”. It’s the most meaningful song to me. When you’re an artist and you write songs, they play in your head all the time, and “Miss Camaraderie” plays in my head when I sleep, when I wake up. When I’m on my deathbed, that’s going to be what’s ringing in my head. That horn section is what it’s going to sound like when I’m leaving the world.

Check her new video , Heavy Metal and Reflective…

Nicki Minaj Lost Her Mind

Nicki Minaj OnlyI usually try to give Nicki Minaj the benefit of the doubt since she get’s s much unwarranted hate. This time with her new video, ‘Only’ she uses Nazi imagery featuring our favorite devil worshiper Lil Wayne, Chris Brown and Drake. Drake being half Jewish should’ve been too outraged to dress like this.  But I guess anything to make a buck, huh?  Pictured here is an image of her and crew, rocking military style clothes with the Young Money logo looking like a swastika.  Goodness gracious

Selectah EJah’s Club Mix 2014 Live From Bronx Rave

For your listening pleasure, HipHope.com resident DJ Selectah EJah live from a Bronx rave. All dance music including,Funk n Hip Hop Hip Hop, House and R&B music. If you don’t dance to this, there’s something wrong because this mix is jamming!

 

 

01. Indeep – Last Night a DJ Saved My Life (Selectah EJah JHud Mix)
02. Jennifer Hudson – He Ain’t Going Nowhere
03. Ultra Nate – The Rush (David Harness Radio Edit)
04. Tribal Music
05. Unknown House Track
06. Unknown House Track
07. Razor’N’Guido – Men Beat Their Men
08. First Choice – Let No Man Put Assunder (Selectah EJah Remix)
09. Blaze Pres. – A Wonderful Place feat Ultra Nate
10. Earth People – Dance
11. Dennis Ferrer – Hey Hey
12. Azealia Banks – Fuck Up the Fun
13. Givin It Up
14. Jungle Brothers – I’ll House You
15. Aly Us – Follow Me (Selectah EJah Remix)
16. Taste of Honey – Boogie Oggie Oggie (Selectah EJah Remix)
17. Project 4007 – It’d Our Turn
18. Chubb Rock – Treat Em Right
19. Nick Holder – Summer Daze
20. Major Lazer – Pon De Floor feat Vybz Kartel
21. Beyonce – Run the World
22. Unknown House Track
23. Nicki Minaj – Starships
24. Deadmau5 – All I Ask of You feat Penny
25. Soul II Soul – I Care (Kenny’s House Mix)
26. Ultra Nate – Hey DJ feat DJ Class
27. Fedde Le Grand and Nicky Romero Prodigy – Smack My Bitch
28. Don’t Let it Go To Your Head
29. I Wanna Share Forever With You
30. RDX – Jump
31. Unknown House Track
32. Black Box – Everybody (Selectah EJah Remix)
33. Diana Ross – You Keep Me Hanging On
34. Change – Holiday
35. Daft Punk – Phoenix
36. Talking Heads – Once in a Lifetime
37. Strafe – Set it Off
38. Sandee – Notice Me
39. Nina Sky – Move Your Body

Jennifer Hudson – JHUD

JHUDWhen it comes to R&B and Hip Hop albums, most artists like Beyonce and Rihanna seem plastic. Not that they’re terrible artists, but when listening to their albums you don’t always tend to get that feeling of passion. They tend to sound like they’re at a job, which isn’t necessarily a bad thing. Not the case with Jennifer Hudson’s latest effort JHUD! This album sounds incredible and she’s also looking incredible with her fine self. She has several uptempo songs, which is great thing, a lot of R&B artists tend to shy away from house tracks. All and all a great album, I give it a 91%, great job JHud! My choice songs on this album are It’s Your World featuring R.Kelly and He Ain’t Going Nowhere, listen to the album on the video below and let me know yours.

 

 

Is Hip Hop Too Soft

Back in the early days of Hip Hop, they wore suits and tuxedos on stage and walked around in Lee Jeans, Adidas and sheep skin coats.  Later the normal wear was baggy jeans, Timbs Wayne Gay?and a hoodie.  Now it seems like anything goes, not only as far as dressing, but also the way people act.  Seems like being gay is not only acceptable in Hip Hop it’s applauded.  Lil Wayne is the most notorious of them all being seen kissing Baby and Stevie J on camera.  Imagine in the 90’s what would happen to you if you crossed any member of the Wu Tang Clan or Tribe Called Quest.  You would get your ass beat (or worse) the same day or the next time they caught up with you.  There would be no suing, no cop calling nothing, just the headlines the next day, “Wu Tang Clan whupped the ass of some A&R who talked shit about them.”  Seems to me that the record execs were so scared from when they rip off artists they come in there mad deep with guns saying you better give me my money or you and everything you love gets shot right here.  Get these soft ass people off the mic and bring us some real artists back to Hip Hop.  A good example is back in the day someone punched Q Tip in the face in a club, Tip didn’t go call the police, he went and called the Zulu Nation to come to his aid and whupped the people right in the club who did it (can’t recall whom it was at the moment, if you remember please comment).

 

 

This Or That

 

Jeezy Debuts Number One

JeezyCongrats to Jeezy for his album Seen It All: The Autobiography debuting number one on the R&B/Hip Hop charts.  We gave it such high praise on this site with a 78% good album and now look, he’s number one.  Hey sold 164,000 units week ending Sept 7th, a ridiculously high number since the age of the digital download.  Go Jezzy, we got your back.  Preview the whole album Seen It All: The Autobiography on the Youtube clip below.

 

 

 

Jeezy – Seen It All: the Autobiography

Jeezy - Seen It All: the AutobiographyWhen Jeezy first came out in the eary 2000’s I didn’t really care for him.  Did we really need another gangsta rapper to listen too.  Here we are over 10 years later and my opinion of him has changed a little bit.  On September 2nd, 2014 he drops the album Seen It All: the Autobiography, my only complaint about this album is the beats almost sound identical, I’m barely able to distinguish between the songs.   But his lyrical content is better, he sounds more mature when he raps and he doesn’t only rap about drugs and money.  There’s some nice street anthems here that may have you nodding your head back and forth while listening too.  He went autotune on the song  4 Zones, sounds a little off, but his raspy rap voice is pretty cool on this song and throughout the whole album.  4 Zones is actually a nice song, had me waving my hands in the air.  He took it back to trying to piggy back off of his first hit Soul Survivor by using Akon on the song Been Getting Money.  Na sun, that song is wack, not gonna be big hit, if it is I’m surprised like I am with mad other songs they play on the radio.  But this album is pretty nice if you can get past all the beats sounding similar, hopefully next album, he’ll switch it up a bit.  Check the video for his first single from this album below, Me OK, pretty good video, nice song.  I give the album a cool 78% overall.

The Real Hip Hop!