One2FlowOn- “BATTLE RAP”

Check out my latest hip-hop commentary: BATTLE RAP

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SPECIAL DELIVERY: HOT NINE SEVEN

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The writing is on the wall for Hot 97. The funny part? I’ve said this for a while. I live in the Tri-State area and I rarely listen to Hot 97 or its competition. It’s not because it’s all bad. It’s just because I love sports and I like riding to ESPN.

When I do Tune in, I’m easily turned off by the content, the lack of radio broadcasting etiquette, and the same songs from the same artist. Don’t get me started on the almost 10 minutes (maybe more) of commercials. Some would say that I am not the demographic for their content. To that I say, stop calling yourself the home for Hip-Hop and R&B.

I’m a big fan of both genres and they are terribly represented. Some would say, well, what makes their competitors any different? I’d say, Hot 97 was here first. When Hot 97 first became that home for Hip-Hop and R&B, it was refreshing. A new station to represent a new generation. That being Generation X and Y.  Now it’s a radio station with no vision for the future.

When your hook for the morning show is the fact that it’s a White , a Black, and a Puerto Rican… Sh*t is already corny. When you talk about “real Hip-Hop” but you support “Hip-Pop” more than anything… Well… That’s just mixed messages that serve no one. We know it’s a business. Good business practice is to not contradict your mission statement.

What is that mission nowadays? Sh*t on Nicki Minaj for her lack of Hip-Hop but play her sh*t because you need to keep the lights on? Which one is it? We’re not mad if you go one way or another, just stand for something or STFU.

This is why the Chuck D Twitter rants, the Dame Dash attacks have so much weight to them. People see the contradiction. Most are turned off by it. Angie Martinez’s resigning, and then signing with your direct competitor is just another point being made. They need a management change, a new mission and direction. I used to love Hot Nine Seven, now I’m like, whatever. I don’t listen…

One2FlowOn- “PE #1″

Check out my latest hip-hop commentary: PE #1

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Re-Release Tuesdays “Hate It Or Love It”

I wasn’t the biggest Game fan when he came out.  The name dropping was a problem for me.  This is your debut album and all you have to talk about are other rappers? I couldn’t deny the fact that some of the beats and songs were hot. I agree with the notion that he helped to bring that West Coast style of Hip-Hop back.  This week’s Re-Release is The Game ft. 50 Cent “Hate It or Love It“.

Once the Game surfaced as a force in hip-hop, a big deal was made of his dance with death. Apparently he was shot five times. If you’re scoring at home, that’s four times less than label mate and executive producer 50 Cent. After the altercation that nearly took his life, the Game took a crash course in hip-hop and studied up on the master MCs from both coasts. Within a year of rapping for the first time, Dr. Dre took notice and was compelled to offer an Aftermath contract. the Game is also from Compton, just like his mentor, so guess where the allegiances fall? An N.W.Amedallion hangs from his neck, an N.W.A logo is inked across his chest, and an image of the late Eazy-E is on his right forearm. If none of this makes it clear enough, the Game name drops beloved heroes — including just about everyone ever connected to N.W.A, save for CPO — with great frequency” – Allmusic.com

Re-Release Tuesdays “Wild Out”

This one is dedicated to Solange.  There is something to say about a person who has reached their breaking point. Lol! Seriously, this Lox record was the result of the group finally being released from the clutches of Bad Boy Records.  Though the album, as a whole, was hit and miss for me…it’s still a testament to the group’s hard edge rhymes.  This week’s Re-Release is the Lox’s “Wild Out“.

The LOX‘s highly publicized and drawn-out defection from Puffy‘s Bad Boy Records to DMX‘s Ruff Ryder camp was imperative. Not only because Puffy‘s glossy sound openly clashed with the group’s thug mentality, but the change of scenery also furnished JadakissSheek, and Styles with an opportunity to assert their own identity. While The LOX as a unit do not offer much in terms of topical dexterity, Jadakiss is one the industry’s most underappreciated lyricists, which he clearly reiterates on his solo cut “Blood Pressure.” Ruff Ryders in-house producer Swizz Beatz handles most of the production duties, and although his syncopated production can become repetitious, DJ Premier (“Recognize”) and Timbaland (“Ryde or Die Bitch,” featuring Eve and Drag-On) provide some much-needed diversity with their signature sounds. The rowdy lead single, “Wild Out,” is an obvious reworking of Jay-Z‘s “Jigga My Nigga,” but it was a hit on rap radio.” – Allmusic.com

One2FlowOn- “UNCONSCIOUS”

Check out my latest hip-hop commentary: UNCONSCIOUS

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Re-Release Tuesdays “Just A Friend”

He is primarily a dj today, but back in the 80s? He was one of the top rapper’s in the game. Sure, Big Daddy Kane and Kool G. Rap wrote a lot of those hits.  I don’t think the charm of those records would have been possible without Biz’s zany personality and antics.  None more greater than this commercial hit….This week’s Re-Release is Biz Markie’s “Just A Friend“.

On the cover to The Biz Never SleepsBiz Markie‘s in the lab with his chemistry set, cooking up a concoction of colorful liquids that’s bound to explode sooner or later. Inside, however, the music wasn’t quite as dynamic; Markie decided to produce and write this record entirely by himself, instead of relying on help from Cold Chillin’ beatmaster Marley Marl(who’d produced his excellent debut). The results veered dangerously close to the standard indulgent sophomore album, though Markie‘s natural charm and a blockbuster hit ended up carrying the proceedings. It certainly didn’t start out very well, the opener being a long-winded “Dedications” that was little more than the title indicated, and “The Dragon,” a one-joke track about odd smells. Rap fans with a sense of humor, however, were willing to forgive nearly anything after hearing “Just a Friend,” the result of an intriguing story-rap interspersed with a bizarre bout of crooning that, once again, ably demonstrated how far Biz‘s charm could take him (in this case, all the way to the Top Ten). “Spring Again” and “I Hear Music” were yet more loopy productions with a universal theme, while Markie even sounded intoxicating while freestyling about a nonexistent dance over a simple loop (“Mudd Foot”). It was obvious the (teenage) lunatics had been released from the asylum; the wonders of visual technology allowed the Biz and T.J. Swan to have their thank-you lists superimposed, inside the credits, on their bared boxer shorts.” – Allmusic.com