From E-40 to the Juice Crew

Apparently the Juice Crew is reuniting & performing. I was just geeked at the
young Masta Ace flick.
courtesy of young Brandon @ Urb

"I don't care who first or who's last but all I know is that y'all better rock this at the drop of a dime, baby!" It's been roughly 17 years since the original Juice Crew last performed together, but this month in Atlanta, GA at the A3C Hip Hop Festival, you'll be able to witness history as Biz Markie, Big Daddy Kane, Marley Marl, MC Shan, Craig G and Roxanne Shante reunite to perform some of the songs which steered the course of Hip Hop music as we know it today.

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It's rare that I come across someone with an appreciation,
greater than mine, for Bay English, but it happened.

40 is single-mindedly fixed on linguistic contrivance, on the verbal play of game, on “the gift of spit” as he calls it. He’s ridiculous sometimes, but that quality is of a piece with his charm; he’s always willing to risk silly for the sake of invention. There’s never been a rapper as in love with language as 40–never, none, not one. And by way of long-term contributions to rap aesthetics, only Kool G. Rap and Mikah are competitive.

**peep how g rap is in this post twice already?

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Real Talk. Im bout to start a side hustle as a fact checker.
I mean this woman writes about and lies to kick it about
growing up in the hood and hustling and her sister turns
around and rats her out. Keep Snitching?

(NEW YORK) — A memoir by a white woman who claimed she was raised in poverty by a black foster mother and sold drugs for a gang in a tough Los Angeles neighborhood has turned out to be pure fiction, a newspaper report says.

In Love and Consequences, published last week by Penguin Group USA imprint Riverhead Books, author Margaret B. Jones writes about growing up as a half-white, half-Native American girl in South-Central Los Angeles in the foster home of Big Mom. One of her foster brothers, she writes, was gunned down by Crips gang members outside their home.

I am seriously contemplating creating a list of White women, who
over the last ten that have lied on Black people to Popo, to the media
or just in general.

I mean. For certain.

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Why did I have a neurotic Mobb Deep moment.
I woke up this morning, with the beat playing.
A while back, Filthy was playing this blend tape with girl
singing over a Mobb deep track that I had long since forgotten.
Man. I woke up, this morning and spent 20 minutes looking for
the joint.

The song is Trife Life.



Queens story telling at its finest.

So dark and ominous. I don't know if anyone since,
perhaps Pac, has matched their criminal mentality,
sense of dred. Oh wait, Ready to Die, duh.

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LA's Skid Row is Vegas for Junkies. Damn Homie.




Man.
He just blew my bird back. "How we do anything, is
how we do everything".

The City of LA/State of California needs to be sued.
Skid row has to be violation of their Civil Rights.
Thats my emotion's speaking.

I know, with my limited understanding Con Law,
that that sh-t is legal.

But we can do it the OTHER way, and make it illegal
by enacting legislation that says so,
and get it cracking like that.

Good Video's Are so Euro Money, just good.

Its like. 4 minutes. Blam. My mind is spinning.

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Mick Boogie got a fresh as*s blog.
I am surprised at how good it is.

On a recent post he interviews Pete Rock,
who breaks down his career, song by song.

On producing “Shut ’Em Down” by Public Enemy...

Pete Rock: This was when I was born man. Big up to the Bomb Squad, Keith, Hank Shocklee, and Chuck D for even giving me a shot to do this for them. By the time I matched the tempo, and matched the beat to the vocals, I fell in love with it. I just started mixing it down, I did it all in one day. They didn’t think I’d get it done in one day. The shit was incredible.

“Down With The King” by Run DMC...

Pete Rock: I thought I was dreaming working with Run DMC. It was like ’92, ’93. I really worked with [Jam Master] Jay and D [DMC]. I had a little difficulty with Run in the beginning of the song. He didn’t really like it, and we had to convince him to like it. When the beat was done, D put his vocals down, but Run put his vocals down after CL put his verse on it. I think CL inspired him to jump on the joint.

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Passion of the Weiss is one funny dude. Often times he light weight
offends me, and he is also funny as sh*t at the same time so I
appreciate it his work.

Case in point. His post on the Bone Thugs titled,
first of the month Why the "First of the Month is the Greatest song
ever written about Welfare".

Sometimes, I feel sorry for the 13-year olds of today. I can’t even begin to imagine how disgruntled my adolescence would’ve been had I been forced to listen to “A Bay Bay” and “Low” everywhere I went. We got “Regulate,” and “Hip-Hop Hooray,” they got the Soulja Boy dance. And of course, there was “1st of Tha Month,” a song that pretty much defined the summer of 1995. Those were a weird couple of months. O.J. tried on the infamous “if it don’t fit, you must acquit” bloody gloves, Jerry Garcia died, and really not much else happened. It was the 90s,

The thing I like most about Bone Thugs is how completely untethered from any sort of reality they seem. Somebody at their label had to be advising them not to release a five-plus minute paean to welfare as their lead single. The beats, provided by the terminally underrated DJ U-Neek, are as anti-pop as possible, with sinister, sinuous synth lines and slow hard drums. And I can’t imagine that anyone thought it’d be a good idea for them to pose as male fortunetellers staring into crystal balls (unsurprisingly, Bone’s short-lived 1-900 psychic hotline had very little success). But while Bone always seemed completely unconcerned with any sort of commercial compromise, they still managed to sell roughly 20 million CD’s worldwide in the 90s alone. “1st of tha’ Month” is as good a record as they ever made, one of the decade’s finest singles and a perfect distillation of what made Bone great: the fact that they were willing to wear Mark Price jerseys.

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From 40 to G Rap.

Vallejo to Queens.

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