We're off and loungin...or at least we'll be sporadically updating over the next few days.
Time to enjoy the fam, the fun and the sun..fuck that, the A/C...
"I came from the town that invented the style of throwing up throwin it down.."
There's something about straight, no chaser style of music and GLC's got it captured in this video.
No flash, no floss...
No big bubble booty girls droppin it like it's hot...
It really feels and looks like he either took the money out his pocket to put this together or pocketed the money the label gave him and gave us this...
But it's cool.
He brings out a certain "regular Joe" look, something more realistic, by capturing his hood, his boys, the landmarks and blemishes of the city...all in less than five minutes.
GLC- CHI STATE OF MIND
Fresh off his RCMH performance, Jay-z took the time to do another one of his chats with his fans via the Roc-A-Fella website. I could've chopped it up and quoted various things but I'll just give you the most important lines...
Will you appear on Nas' Def Jam debut Hip Hop Is Dead?
Aiyo...somebody who knows somebody tell Jay we want a Smoking Sessions chat!
After hearing Crazy Baby steadily screaming "it's the piano!" all day long, I let Rhianna's "Unfaithful" spin a few times and discovered I actually like the song.
But, I kept thinkin back to Mario Winans' "I Don't Wanna Know" and now this? I then started to ponder "Are motherfuckers really allowing all this cheatin'"?
Who are these sorry sap, sacks of shit posing as men that are barring this?
My dudes, if your chick is singing along to loudly to this or you're in this situation for sure, you are granted a few options...
1.) Throw a brick through her momma's plate glass window...
2.) Put one of her friends in the cobra clutch on the couch while you videotape the whole episode...
So -P and Nquest can do their html thing to the fullest outside of the restraints of a template. It was fun while it lasted and Blogger has definitely been what we needed to go from infancy to toddlin but we ready to walk. With that comes...
2. Working on the actual layout and design of the new joint.
You got ideas to share? Get @ us!
3. Pollyin' tryin to get the next few Smoking Sessions set up, done & up. We promise you more fire.
4. Our goal is to pull in an average of 7K in daily visitors by August so we're working on some things to help meet that goal, namely by steadily increasing our content and offerings.
You can help though...tell a friend and quiet keepin us your "e-secret"
5. Plus, it's been kinda slow musically. Nobody's really killin it right now so that slows the process down. But we're accepting submissions from unheard cats who need to be heard, diggin up a few more independent cats, and browsing thru quite a few different genres so just stay tuned and be patient...we're gonna bring it.
Musically, since there's a slight drought...we did a little diggin...
Let the record show that this album has been overlooked for a minute. Yeah, Nore's on some other shit right now but when he jumped solo with this joint, he owned shit. One of the first to give true hip-hop shine to the Neptunes with "Superthug", Nore's offbeat flow only grew stronger in comparison to The War Report. The grisly narrative on "Body In The Trunk"...Nore's reminscences + Carl Thomas' subtle hook on "Love My Life"... and "Banned From TV" might rank as one of the best mercenary posse cut of all-time.
Cha·ris·ma - Pronunciation Key (k-rzm); n. pl. cha·ris·ma·ta (-m-t)
I'm back, Mr. Magic City Blowin Color Purple I make it rain on yo fo'head Thought I had a fan the way I blow that money You'd thought I had a plan the way I throw that money The Feds outside and they checkin his tag But still the boy move wit'a helluva swag a. A rare personal quality attributed to individuals who arouse fervent popular devotion and enthusiasm.
It's like the soundtrack to my life Everyday I'm under investigation But I will not stop, so you can stop the hatin What more can I say, it's like my gift and my curse To fail or succeed, I don't know whats worse... They just tryin to find a glitch in my matrix b. Personal magnetism or charm: a television news program famed for the charisma of its anchors.
One slip and I'm back to the basics Red or blue pill what would you do? When the same aggins you love got hate in they blood 2. In Christianity, an extraordinary power, such as the ability to perform miracles, granted by the Holy Spirit.
I know God's watchin over me, so is the Feds When love turn to hate and aggins rather ya dead Lord have mercy, Jesus Christ All the bad I done will you still protect my life? Maybe...maybe not Until I keep an extra clip in that Glock...
So... the buzz is that Gillie The Kid wrote for Weezy...
"Not for Carter 2," Gillie laughed. "I wasn't around for Tha Carter 2. Give all the credit to Lil Wayne for that. But it was a whole lot of things going down for Carter 1. Holla at your boy, Wayne." Source - MTV.com
CunninLynguists are geniuses. Not just for their namesake, but because they are one of the most original and creative groups making hip-hop today, and released the best album you probably haven’t heard this year. Their third album is appropriately titled “A Piece Of Strange,” the album’s dark feel evokes a unique blend of emotions. This is soul music.
“A Piece of Strange” conjures memories of Outkast with DJ Kno’s (native ATLien) smooth smoke infused grooves and Deacon the Villain’s Kentucky fried slang-filled introspection, or it may cause flashbacks to “Aquemini” on spaced out rock tracks like the album’s Chonkyfired last song, “The Light.” But more than anything else, this album causes the listener to contract a severe case of déjà vu to “Soul Food.”
Just like the GooDie MOb’s debut (hip hop’s most fitting acronym considering their current group status) they sing hooks together on “Nothing To Give,” “What Will You Do,” “Remember Me,” they have a reverence to the group’s most notorious song about mental prison on “Brain Cell,” and by the fourth song it’s no coincidence that one Cee Lo Green is the album’s first guest on “Caved In.” Just check out the hook on the second song “Since When,”
“I heard ‘em say Southern folk can’t rhyme Some of yall must be out ya Goddamn mind Yeah its about that time, we got that shine, and n….s been about them lines Since when? Ever since a pocket full of stones Ridin dirty in the Chevy sitting heavy on chrome Ever since Goodie Mo’ had Food for Soul and them dirty red dogs hit the do’”
But don’t get me wrong, they don’t rely on Jay-Z’s liberal interpretation of imitation (or biting) being the highest form of flattery to their heroes. In fact, the parts of the album that don’t sound like it was produced in the The Dungeon during the mid 90s are its highlight.
DJ Kno orchestrates a masterpiece theatre which features multiple interludes which serve as effortless instrumental segues to Deacon’s narrated sinful themes like their hood’s way of life on “Nothing To Give,” a Crash-like racial narration featuring Tonedeff at “The Gates,” and a love song to everyone’s favorite Mary on “Beautiful Girl.” Kno, who was the group’s second MC on CL’s first two albums has allowed newest group member Natti fill his vocal role and now elects to strictly handle the beats. And it’s Kno’s essentially southern, but not regionally biased, sound that gives this album it’s cohesive yet diverse feel. Especially in his excellent usage of guitar throughout the album, it’s almost as if Kno chooses to speak through the beats and his best verses are his guitar solos.
This album is a multi-layered refreshing sound for the ‘06 that is open for many interpretations and comparisons. Now listen for yourselves…
When Siegel got shot, a few things ran across my mind...
1.) "Bang bang Siegel Street Gang!"
2.) Damn this dude has the worst fuckin luck - jail, stepdad gets murdered, his record label essentially dissolves.
3. Son gully for taking pics fresh out of the hospital...and this dude is chubbier than a motherfucker. Hit the treadmill Beans, we seen what happened to Pun.
4.) Wow! Son stay in the hood. He keeps it real.
Then, you start to wonder "what's real?"
For rapper's it's always a thin line but at some point these dudes gotta get smarter...
Once one starts acquiring gold and platinum plaques, there's no need to stay in the hood coppin quarter waters and splittin sacks with the crew.
To Beans and even regular folk who've found some level of success - Understand that real is based off reality.
Your reality now is you have concierges or at least lil fellas happy to be your weed carriers. No need to handle the late nite runs for that purp or take that burner charge.
Your reality is now that you have the ability to sign checks and create at least a few business opportunities.
Your existence now has you flying around the country and the world. Your vision should expand. No one said say fuck the hood...but we understand that your visions and experiences are further than a few blocks radius.
At a certain point, you have to help end this backwards thinking that's been perpetuated for years.
No other race or culture takes offense that it's members achieve like Black folks and hip-hop culture.
Understand - if you made it out the hood, we're happy for you. We're glad to see you achieve things.
You don't have to try to stay in the hood to prove a point.
Prove a point by taking a piece of the hood with you and speak for the rest of the hood as you're out connecting with people who otherwise wouldn't hear the voice of South Street Philly, The Wild Hundreds in Chi or South 8th out here in Cashvegas...let'em know we exist.
I was gonna speak on this song anyways but the past few days, time has had a way of having it's own way of timing...
This track showed me two things...
* It was good to hear Snoop come back to the mic with some passion and, really, he sounds like at any given time he can get back on that "Deep Cover" shit whenever he chooses...
* It was even better to hear someone finally say fuck the Terminator. No, it won't have the same effects of Kanye's spazz on Bush but it still needed to be recorded so that it could be stored as a piece of auditory history for future generations to reference just so they know "nah, folk wasn't cool with that."
I'm a Gemini and I've been told before that I definitely have two sides.
Recently, a female friend imparted to me...
I've known you for years and it feels like I just met you. I get all excited when you show your feelings. I like it. It's actually a very attractive side you have. But you are soooo complex...one minute you're natural and have feelings. But then the "fuck it" side kicks in..."fuck everybody!" I see you have this amazing side that you only show tiny bits of...Then the rest is "fuck it all" and untouchable. Funny thing is I'm intrigued by both because one is just as interesting as the other.
She went on to tell me "you have this mystique, like Mr. Big"
Big and his broad, cig in hand...I could dig this persona
Here...let me show that I do have a softer side as well as the ability to reveal my emotional side.
The World's Greatest Joys According To Gotty™ AKA The Softer Side Of Things AKA Half My Heart...
1. Having someone intimate, not just a random someone, soft on the other side of the bed when you wake up.
2. There's nothing better than hearing a small child's laughter or seeing them smile with that twinkling glow in their eyes.
3. Watching the syndicated episodes of Sex In The City and learning that, as much as I think I know, I know so little about how women's brains work. Women are peculiar creatures.
4. The most magnificient thing in the morning is enjoying a cup of coffee and a cigarette in your sock feet, boxers and no shirt.
5. Layin back coolin' with a good book > hittin up the club.
6. There's something attractive about when a women whines "Teee-whyyyyy" because of some dumb shit I've done and quite possibly it's the reason why I do ignorant shit.
7. Although most men, myself included, are often called "selfish," there's generally nothing more rewarding than ensuring the happiness of those around us.
8. I get that "sugar lump" in my throat every time I watch Hardball and G-Baby gets killed.
There you have it...
Salute!
Gotty™
StereoTee went another step and created a "commercial" on behalf of the TSSCrew...
Rap is the language of the slick-talker, lover, brute and by extension, the hustler. Hustler prudence sways my sentiments just like the next man -- particularly in the land of limited opportunity. Those who make their way intrepidly are rewarded and those who make their way intrepidly in raps are similarly rewarded.
There's nothing better than the narrative of true hustler transcribed in the various homespun albums of the Deep Trap we know as the South. Dope boys in Brooklyn have blocks and corners sure but both the heated climate of the Dirty and the trunk-pushing-emcee archetype add for slightly more intrigue. In other words, it's rough and tumble when you want to stay dopeboyfresh in the territory of hustlers. Trapp Mendoza is Dade County's newest trap congressman. He elevated his name like Jeezy, Ross and T.I. has before him and purports some of the same blistering warnings and glories of the life.
Trapp's double feature includes "Bumpin" with Posta Boy and "Hot 1," which animate the dilemmas of his all-or-nothing scenario. Be a Hustler or else. Push or be pushed out. He relies on the custom fables of his own life, respectable if familiar. On one track Trapp explains the ineffable problem of having a snitch in the camp but must rebuke his own cousin for being a bitch and endangering the hustle. There it goes. Trapp falls just short of Lil Wayne with swelling swagger on each track but the simplicity of the hustle never fails. For that, I give the young buck his due for sticking to the script and finding ways to persevere through music.
However, the real draw of tracks like "Hot 1" is the way in which Mendoza commiserates with thumping beats and presses the vocal delivery for pure effect. Try out "snuck up in the scene set off no alarms/everything in position it's a go, it's on/you witnessin' a certified pro performance/they wishin they had the talents that's bestowed upon me" in an aloof drawl that comes off as cool, in the hustler's pronounced tones. In those dragging syllables he can complement the relentless tap of drums, high hats and regal horns a la T.I.'s King. (Sidebar: T.I. has really been blessed with the beat of the summer '06 with Young Joc and Rick Ross tied for noble runners-up) Point being, the way that many Southern artists have missed out on joining their more popular peers is by stressing one element too much -- either too much beat, too few lyrics or vice versa. Trapp Mendoza is going to excel to the class of radio artist with fan appreciation because he is paying attention to the needs of the song and the truths of his life.
For the East Coast 'heads' and such who affix the sourpuss about Southern dominance, I say this. Get over that shit. The emcees we came to favor dared to talk about shit that affected them, mostly through anti-cop anthems and cautionary allegories. This is the same thing with an accent and the entrepreneurial git-up that the corner MC could take a page from. Neither Jeezy, T.I. nor Trapp make any bones about being a successful reporter for the hood. Neither should we.
Bobbito Garcia, as my ex-girlfriend once described him in a WKCR interview, is hip-hop incarnate. Even through her shy questions about the magnitude of his career, which began at WKCR on the Stretch and Bobbito Show, one could tell it was no presumptuous label. The phrase 'real recognize real' comes to mind when bearing witness to the man who has produced groundbreaking records, devastated basketball courts and created the handbook for sneaker-heads (Where'd You Get Those? Testify Books, 2005). I talked with him on a smoky morning in June and his insights were as casual as they were boundless. This is the finite account of how a culture diffused itself through the veins of an uptown NuYorican and his ability to transmit it across regions and social strata.
The Smoking Section> Lebron or Kobe?
Bobbito Garcia> That's hard to say. I don't follow NBA Basketball like that but the regular-season MVP was Kobe. Lebron did some strong things in the playoffs but Kobe had a great year.
TSS> Favorite track off Reasonable Doubt?
BG> The 22 two's joint. I like that one.
Hip-Hop Triumvarate - Bambataa, Bobbito and Red Alert 2.22.06
Photo By Stanley Lumax
TSS> What were your favorite albums in high school?
BG> When I was in high school -- from 1980 to 1984 -- that was a dry period for albums. The format of the complete album didn't really take off until 1986 through maybe '89. The album that was popular in the 'hood was Run DMC's first joint, Sucka MC's. Most of the time we were looking for singles and they weren't necessarily on the radio. Groups would put out singles and you'd have to get the record.
TSS> Any singles that you could remember defining that time?
BG> Well, it depends on what you mean by 'define'...I loved Trecherous 3 because they were the group to come out as all fierce emcees. Everyone was lyrical and Kool Moe Dee was killin' on every track using vocabulary. He had real skills. Apart from that, I remember coming out to "Body Rock" at the Holcombe Rucker Memorial games that summer.
TSS> What kind of music do you listen to now?
BG> My musical tastes, at this age, are highly cultivated...I can tell within the first few minutes of listening to a record whether I'm going to like the artist or not. I like to listen to music that sounds good or what might be called "soulful music."
Stretch and Bobbito circa '95
TSS> If you could make a hip hop group of any artists, who would be in it?
BG> Like a group?
TSS> I mean, using Rae and Ghost as an example or duos that worked well.
BG> The thing about that is, the reason why some dudes come off in a group is because they are partnered with someone who understands their style. Rae and Ghost have chemistry because they did so many songs together.
TSS> So the chemistry originates off the record you're saying?
BG> Yeah, I mean Nas killed it on "Live at the BBQ" and he sounds good with that group of guys. I always thought maybe Nas and Rakim could do something together but I never assume it can work out. There's a lot of factors that make a good group.
TSS> You spent some time producing records with the Fondle Em record label. What happened to it?
BG> I deaded it in 2001. We made a lot of good records only on vinyl in the [six years] it was going. I did the "Farewell Fondle Em" record with Def Jux and that was the last project we did. I started Fruitmeat Records and that lasted until recently but I haven't put out any records of late.
TSS> Can you think of some of the prized records you put out during that time?
BG> A lot of the cats that's considered 'big' in the underground now, we were fortunate enough to find and introduce to the public. The MF Doom record (Operation Doomsday) made a splash; we did the Arsonists' first joint and Clear Blue Skies for the Jugganots, which is still a classic and rare record to find. We also put out Cage's first record and the Cenubites LP with Kool Keith. I liked Vinia Mojica's project because that's her only solo; she's usually been featured on others' albums like The Roots and Common. But, there's a lot.
TSS> Are there any groups or artists who are under the radar that you look out for?
BG> There's meritocracy in rap music -- or in music period. I don't consider artists to be bad if they don't sell records or good if they do. There are a lot of talented emcees who just don't make it so I don't focus on if they are well-known. There's never been a time when lyricists were appreciated by mass media.
TSS> What's your wildest moment in the studio?
BG> Actually, Rich Medina and I are working on a record of Eddie Palmieri remixes. We were in the studio a couple weeks ago just buggin' out. It's fun because we boys too but we're also music-lovers. It's always great to get together with someone who knows good music. Rich is a genius and we'll be putting out that on 12-inch in the near future.
TSS> What's your current kicks rotation?
BG> I don't share that information with the public.
TSS> How did the idea of custom sneakers come about for the ESPN series "It's the Shoes"?
BG> The producers, David and Kevin, both play ball and they're both sneaker-heads. They created the show and ESPN brass gave it the green light. The good thing about that show is that I can contribute and give the okay to certain ideas as Creative Producer. They had the idea about making sneakers for every guest and it's ended up being one of the trademarks of the show...the viewers enjoy that part the most.
TSS> Are you interested in the film production aspect of hip-hop?
BG> I was in Prison Song which most people know me for. I did Basics 2 Boogie for ballers to have an instructional basketball video but people never connect the different aspects of my life. They either know me as Bobbito from music or Bobbito from basketball or (now) "It's The Shoes"...so I want to do a DVD documenting the things I've done in my life. As for a feature films, I'm not really interested in doing that.
Nuyorican...PR Day Parade, NYC '06 Photo By Joe Conzo
TSS> What do you aspire to do at this point?
BG> Frankly, I could die in five seconds and be happy. I've accomplished enough in these arenas to be content with the roads I've taken. If anything really presses me right now, it's family. I want to be a family man and focus on those things.
TSS> What's the latest news?
BG> I'll be hosting a program on the MSG network called "Summerball" which will be like Bounce magazine except on T.V. We're gonna follow playground legends and basketball players and tournaments all over the country. The soft-cover version of Where'd You Get Those?: New York City Sneaker Culter 1960-87 is coming out later this year as well.
SS> Our signature question - What would you say to the first chick you broke up with?
BG> I wouldn't say nothin'. I don't have anything to say to her.
TSS> So the cold shoulder?
BG> Yeah...something like that.
TSS> Aiight my good man, thanks for taking the time with us.
BG> No doubt. I enjoyed.
For updates on what Bobbito's got up next, check the following....
I'm a No Limit motherfuckin soldier till I die We run this place, and I say the same shit, with a gun up in my face I ain't scared to die, bitch like I said before, hoe 3rd Ward, I'm from that motherfuckin Calliope
Projects supported worldwide by drug dealers
Transformin wimpy ass niggaz into killers Taking over, worldwide, doin shows oversea Bringing bitches to the telly, put them hoes upon they knees Gangstafied, like my motherfuckin homies Kane and Abel No Limit, the world's numberone fuckin rap label (worldwide) Competition get smoked like we smokin blunts I take a playa hata and knock out his fuckin fronts Dope slanga, now I'm slangin CD's A million records (platinum), it used to be some QUARTER KI'S TRU tattooed on my back bitch thats my click Ready to hop into some motherfuckin gangsta shit I say No Limit loud, cause we ain't scared of nobody Organized by P or should I say, John Gotti Real niggaz, put ya guns up if ya feel me But if ya talk shit, bitch ya betta kill me Like Skull I'm a hoodlum 4 life, I told ya We be some motherfuckin No Limit TRU soldiers
On one of the hardest first songs on a compact disc ever, C-Murder went comatose on that verse from the crew's early days, setting the mantra for the label as well as his own future...
"Ask my God how he thought travellin the world sound/Found it hard to imagine he hadn't been past downtown..."
Hip-Hop History Lesson...
Remember that ill clip @ the beginning of "Respiration"?
You know...
"what'd you do last night? "
"we did umm, two whole cars
It was me, Dez, and Mean 3 right?
And on the first car in small letters it said
all you see is.. and then you know
Big, big, you know some block silver letters
That said ..crime in the city right? "
"it just took up the whole car? "
"yeah yeah, it was a whole car and shit..."
The homie Neil Diamonds has really been chastising me for not showing resepct to the roots, especially graff...
So my son went straight to the PO & shot me this movie...
And I remembered something...
Graff is truly a part of the essence of hip-hop - a rugged & raw form of expression showcased in any area where young cats are strugglin to find ways to let the world know what's goin on with them.
cookiehead: lemme use that waterbaby pic... pauiie:k cookiehead: hmm....i'mma need a lyric to match it... cookiehead: let me scan my memory bank... pauiie: lol cookiehead: Ahh....i got it pauiie: ? cookiehead: We heart Nirvana pauiie: they named a song after me pauiie: =D cookiehead: ? pauiie: there's a song named "paulie" pauiie: by nirvana cookiehead: Polly cookiehead: not paulie pauiie: i renamed it foo pauiie: so it's PAULIE cookiehead: the fuck outta here lol pauiie: cuz i fucken said so
We must give full credit where it's due. Tiggalo has been 100% cool with us jacking his Myspace blog entries (Subscribe!)and we do so proudly because he's always got something insightful to pass along and he's one of the few artists puttin his thoughts out there in full.
I'mma show y'all the difference between niggas and niggers.....
As most of you have noticed, I've taken the liberty of adding the -er back to the end of one of Black people's most beloved words: nigga.
Now generally speaking, the rule goes that 'nigga' is a term of endearment while 'nigger' is a racial slur used to describe the ignorant, shuffling, happily uninformed monkeys that roam the streets everyday under the guise of Black people.
To be fair, I'll admit that all niggas have nigger tendencies. Every Black person has at one time or another exhibited nigger behavior either because A, it just felt good (talkin' loud as fuck during a movie), or B, the situation called for it (cussin out your child's racist math teacher at a PTA meeting).
There's nothing wrong with bringing out your inner nigger every once in a while, but when that shit permeates your life on a consistant basis, and you find yourself consciously doing and/or saying ignorant shit more than half the time? My nigga, you's a nigger. And its time for us as Black people to cut the bullshit and call niggers out when we see 'em. We're the only ones who can save ourselves, and that starts by policing ourselves and not condoning ignorance. That whole bandwagon, 'supportin a nigga just cause he black' shit has got to stop.
I know many apologist niggers would say that my line of thinking is just another way of separating Black people, and that I'm simply a pawn in the white man's game of divide and conquer.
Miss me with that bullshit. Seriously.
Call me whatever you want, but I don't consider every person of color to automatically be my 'brother' or 'sister' just because we got the same skin tone and nose shape. I deal with people PERIOD. And if you're not a person that's trying to better yourself and be a positive force in this world then I ain't fuckin with you. White, black, or whoever.....
I love my Black people to death. I swear I do. But niggers done let me down yo......even moreso than white folks have. I say that because white and Black race relations in this country have always been volatile at worst, and uneasy at best. I mean, we were brought to this country in CHAINS, for God's sake. So like most niggas, I EXPECT white folks to rob me, steal from me, plot my downfall, and just try to fuck me over in general, cause its the American way. Call me crazy for expecting better treatment from my OWN people.......
Its time for us to be Black folks and cut this nigger shit out. I'mma always love my niggas, but niggers? Fuck 'em yo. What's the difference you might ask?
Nigga- sells dope Nigger- PROUDLY sells dope
Nigga- goes to jail Nigger- goes BACK to jail
Nigga- distrusts the white man Nigger- BLAMES the white man
Nigga- listens to coke rap Nigger- DEFENDS coke rap
Nigga- loves self Nigger- equates self-love to being 'bougie' and self-hate to being 'hood'
I could go on forever but I think y'all get the point.
What got me thinking about all this was watching "Block Party" last night and listening to that part where Wyclef was talking to the kids in the marching band. The one thing that stood out to me was when he told them niggas, "Fuck that, get yours." I respect 'Clef for that. Dude came to the country and barely spoke English. Fuck that, get yours. Didn't blame the white man, didn't make excuses, he just honed his talent and made something of himself. Fuck that, get yours.
Niggers could learn alot from that.
Let's all do better, y'all.
Tay
This has been a Real Nigga PSA, sponsored by the Percy Miracles Foundation.
Check for more of Phonte & Little Brother @ the following sites...
The sensibilities of our rappers usually include a penchant for dionysian indulgence. Louis Logic's 2003 record Sin-a-Matic veered into the repugnant hilarity of alcoholism all while blending quick-witted punchlines and sharp lyrics. In a genre much domineered by maryjane referrals and gung-ho gangsterism, each one of Louis Logic's songs stands apart from the flank of diluted rap chronicles. He raps mostly about drinking, the downfalls of relationships and the consistent humor that lies in failure. Resignation about the somberness of these topics notwithstanding, Louis and I talked about matching the intimacy of his debut and how his personal ballads have taken on new life among his fans.
TSS> What are the effects of the personal connection you've had with fans through your music?
LL> Sometimes it's inspiring. People come up to me and say 'I've been through that' or 'my friend had that happen to him' and I appreciate that. My music can be like a word for word group hug although it has made a furious drinker of a fan or two. I can't say I'm proud of that but I don't regret the things I talk about. I mean, I know that I'm a nerd so it's cool to have other nerds come up to you and be like 'you're the king of the nerds' because you shared your experience.
TSS> So people do come up to you expressing the themes of your music?
LL> Yeah, sometimes it works out for the best. One young man I met was a good friend and I even wrote a recommendation for him to be admitted to a music program that he got into.
TSS> What have you learned through working with J.J. Brown (DJ/producer) on both your first and second album?
LL> It's been a magical stroke of luck to work with a producer who knows my sound. I know how it feels to be on the other side -- scrambling for producers and trading favors for beats -- it's not fun. I liken it to being homeless when you have no real source of criticism or inspiration right with you. With other producers it was like, it's quantity over quality. J.J. gives me a chance to say something worthwile. He gets me on the level quickly because he understands the concepts I wanna do so we don't waste time trying to figure it out. We can concentrate on making an album that sounds like a cohesive string of music.
TSS> What music are you checking for?
LL> I don't really keep up with all the hip-hop albums that come out but, I always listen to music. I'm the type of person to pick an artist and fixate on their work for a year. Right now, it's Rufus Wainwright. He has the kind of chops as a musician, to use someone's quote, to make you feel like a bad musician. I went to learn piano this year and a little guitar. Other than that, there's an underground cat, Brother Ali, who has an album I look forward to hearing. His first album was better than just good.
TSS> What's changed for you since joining the Fat Beats label?
LL> I can honestly say it's the best career move I've made thus far. Before when I went on tour, I had to do a lot of the legwork whereas now when I make stops, I have in-stores scheduled and radio shows. I just did a session on Squeeze Radio (WKCR) where I sort of got into with the callers and had to let them know what was what. It was a touchy topic. But, as for the label, it's in the baby stage right now. We're unifying and trying to maximize our resources. We learned a lot from the first record to the point, where I'm more excited to get the second record out. My faith is intact that Misery Loves Comedy will do more than my first project (Sin-A-Matic, 2003).
TSS> Where can we find Louis Logic music?
LL> Check your local music outlet. If not, you can hear me on myspace.com/louislogic or www.louislogic.com. I'm going on tour after I do the Knitting Factory here in New York. The hometown shows are always touch-and-go because you're anxious about everything going right, people enjoying themselves. That's why I don't play New York all the time. I want to build up to it and really make it a special night.
TSS> Thanks for your time.
LL> No problem.
Selected Tracks...
"The Great Divide" "Happy Hour" "Between Your Legs" "Idiot Gear" "Who The Fuck Are You"
Donate some dough to help fund some of the shit we want to do over the next few months.
Nas - Where Yall At ?
The hunger for more...
Lupe Fiasco- Kick Push II
Robin Thicke feat. Faith Evans - Got 2 Be Down
I'm may catch a little hell but...out of all this hip-hop, the funkiest piece out of this list might be the Robin & Faith track.
Retro says it's blasphemy but to me this joint has a nice psuedo Motown feel to it that's enjoyable. It's light & airy, both of them crooning and ad-libbing their way through the track...
Talib Kweli - More Or Less (Prod By Hi-Tek)
Yessss....Hi-Tek & Talib reunited
Hell Rell - Fuck Around
Hell Rell goes hard over some horns.
8Ball & MJG feat. Project Pat -Relax_And_Take_Notes
It's good to hear 8 and JG still at it over these bass heavy track laced with synths. And sooner or later, Project Pat is gonna be recognized as the monster he's been known as in the South for years.
Peedi Peedi - Crakk Hit Em Hard (Dissin' Beanie Siegel)
We've decided that we want to give some shine to someone who's important to this thing we call hip-hop, but seldom acknowledged. In part, we also want to give salute to his brainchild that he left behind and take an active role in promoting its longevity...
This is the first of many pieces to be featured in the coming days with regards toJusto and the annual Mixtape Awards
Words by Kye Stephenson
Justo Faison got his start studying telecommunications and radio broadcasting at Cuyaga Community College in Albany, New York. There, he worked at the school radio station and made connections that led to him landing a job at Nervous Records around 1992. It was at Nervous that the Brooklyn native learned to use mixtapes as a way to promote music. Taking into account the small budget at Nervous, Justo used the tapes to get artists such as Black Moon and Smif-n-Wessun heard beyond the local barbershop. He was one of the first to use the mixtapes in this way and garnered much love from the local DJ's for hittin' them with new shit.
After three years working at Nervous, Justo spent the next several years doing marketing and promotions for Atlantic and Epic Records. At Atlantic he worked on projects from Junior M.A.F.I.A ., Lil' Kim and Aaliyah and realized it was time to give back to the DJ's that had flooded the streets with his label's music. It was around that time, Faison started the Mixtape Awards.
The first Mixtape Awards show was Justo's way of giving back to those that had helped him in his career. He wanted to create a venue for the mixtape DJ's to gain recognition as well as show them that they could make a living in the music business. From Florida's DJ EFN to Houston's DJ Screw, to Kay Slay and Clue, anyone who is someone has attended Justo's Mixtape Awards. His awards shows have given national attention to those DJ's that were grinding in the streets and helped create new outlets for DJ's to make a living. DJ Clue was one of the first big winners at the Awards Show and has used his fame to land gigs on radio and as a VJ on MTV. Kay Slay—who Justo at one point helped manage for free—won so many times at the Award Show that he was forbidden to get any more awards. He now holds down a gig on radio station Hot97 and has released two albums. Both can attribute much of their success to the attention they received from Justo's award show.
More recently, Justo created the first ever documentary of the mixtape hustle. His DVD, Justo Presents The Mixtape Documentary was released in 2005 in conjunction with his hugely successful 9th Annual Mixtape Awards Show. Justo also had started Just Entertainment and was doing promotions for various artists and companies such as T-mobile and Lil' Kim.
Justo's contributions to mixtapes and Hip-Hop will never be forgotten. But to me, Justo was more than just the mixtape king, he was a great person and showed love to all.
I first spoke with Justo Faison in January of 2005. I had started doing freelance writing for a Hip-Hop website and one of my first assignments was to contact Justo and get the scoop on his new Mixtape Documentary. I hit him up and got his thoughts and everything went smooth. A couple days after the story ran, I picked up my cell one day and noticed I had a voice-message from a number I didn't recognize. It was Justo. He had called to thank me for the story and tell me how much he appreciated it. I was taken back, I was like, "Damn, he ain't have to do that." I went on to talk with Justo a few more times after that first occasion and I remember how gracious he was. Often when we talked I would digress and start delving into my lurid opinions on various topics and Justo would just humor me and listen. He even helped me out with contacts in the industry and seemed to take a general interest in my so-called career. Oddly enough, the week of Justo's passing, I had been sitting in front of my computer thinking to myself, "Man, I need to call Justo and see what he's up to." Later that week I learned of his death and was saddened not only that I wouldn't be able to talk to him again, but for Hip-Hop as well.
Undoubtedly, Justo's contributions and accolades will be spoken of and acknowledged greatly, but Justo was more than mixtapes, he was a positive force in Hip-Hop and a great person in general. He will definitely be missed.
We're off and loungin...or at least we'll be sporadically updating over the next few days.
