The year 2009 saw the Hip-Hop world get devastated by several unexpected and tragic deaths.     Francis M, a trailblazing figure for music and fashion in the Philippines, died in March after a long battle with leukemia.   Powered by the hit song “Kababayan (My Countrymen),” Francis dropped Yo!, the first commercially released Hip-Hop album in the Philippines. His work continued throughout the 90s, inspiring nationalistic pride in youth and awareness through his social and political commentary.   Last year, Francis M was diagnosed with leukemia and kept fans updated until the day before his death via his website. Francis M is survived by his wife Pia Arroyo and 8 children. He was 44 years old.   Dolla (Roderick Anthony Burton II), 21, was a rising emcee signed to Akon’s Konvict Music label. Previously a model for lines like Sean John, Dolla had gradually raised his profile courtesy of the 2007 single “Who the F**k Is That?” featuring T-Pain, and last year’s “Make a Toast” featuring Lil Wayne. The young emcee was in Los Angeles on May 18 to finish recording his debut LP, tentatively titled A Dolla and a Dream. While waiting at P.F. Chang’s restaurant, Dolla had a confrontation in a bathroom stall with 23-year old Aubrey Robinson, a self-styled music promoter whom Dolla and his entourage allegedly attacked two weeks prior at Atlanta’s Platinum 21 gentleman’s club. Details next vary. Prosecutors allege that Berry followed Dolla outside, and discharged 4-5 shots from his 9MM handgun. Dolla was hit multiple times in the back, and succumbed to a fatal bullet piercing to his heart. Aubrey’s defense attorney Howard Price claimed his client was attempting to flee, and fired his weapon when Dolla accosted him outside with his friend Sidiq Abawi and cousin Wilbert Robinson. In addition, Price claims that his client believed Dolla was going for a weapon despite being unarmed. Aubrey has pleaded not guilty, and faces life in prison if convicted on one count of murder and two counts of assault with a deadly firearm.   On April 4, producer Tony D was killed when his jeep flipped over after striking a cemetery fence in Hamilton, New Jersey. Tony D (Anthony Depula), was not wearing a seatbelt upon impact, and a number of local residents tried to remove him from the wrecked jeep before medical personnel arrived. He was pronounced dead at Capital Health Systems due to trauma on the neck. Over his long career, Tony D produced tracks for DJ Muggs, Pace Won, King Sun, The Outsidaz, and the classic Poor Righteous Teachers single “Rock Dis Funky Joint.”   Founding Slum Village member Baatin (Titus Glover) passed away on August 1 of an apparent drug overdose. Baatin’s eccentric personality and off-color rhymes was an essential ingredient in Slum Village’s first two influential LPs Fan-Tas-Tic (Vol. 1) and Fantastic Vol. 2 (Vol. 2). Along with partners T3 and Jay Dee (J Dilla), the trio laid a strong foundation for Detroit’s growing Hip-Hop scene in the 90s, inspiring the city’s next generation of stars in Black Milk and Guilty Simpson. Baatin had left the group in 2004 due to a schizophrenia diagnosis, but had returned this year to the group as confirmed by T3. “The whole thing is I felt like the fans wanted Baatin to come back. And I felt like I really didn’t want to do another album without Baatin. I wanted his energy,” T3 told AllHipHop.com in July. “I found him and he was ready. He seemed like he had his stuff together.” Baatin was 35-years-old.    DJ AM (Adam Goldstein) was found dead in his NYC apartment on August 28 of a drug overdose. Friends and family were worried about AM when no one could reach him for several days. Police and medial authorities found him unresponsive inside the home and pronounced him dead at the scene. In September 2008, AM and close friend Travis Baker survived suffered burns but survived a deadly South Carolina plane crash that left 4 people dead. AM had previously worked on albums for Madonna, Will Smith, and Papa Roach, in addition to concert duties for Jay-Z. He was posthumously honored as DJ of the Year for 2009 at the BET Hip-Hop Awards. DJ AM was 36-years-old. The New York medical examiner officially determined his cause of death as an accidental overdose resulting from acute intoxication from a mix of prescription drugs and cocaine.    X-Ecutioners member and renowned turntablist Grand Master Roc Raida (Anthony Williams) lost his life on September 19 following cardiac arrest complications from a freak martial arts accident. Raida began DJ’ing at the age of 10, and received international recognition after winning the 1995 DMC World DJ Championship. His cut techniques were featured on the classic O.C. single “Time’s Up,” and he has a total of 10 albums to his name with between solo offerings and work with the X-Ecutioners. Raida also served as Busta Rhymes’ tour DJ, and was enshrined in the DMC Hall of Fame in 1999. Roc Raida was 37-years-old at the time of death, and is survived by a wife and four children. “I just wanna thank everyone 4 ur love and support and ur prayers,” Busta Rhymes Tweeted. “We will never let ur name die Roc…We love u and will 4ever miss u…RIP…I was told 2day, We r loosing [sic] all of these great people this year as a result of God calling his army because something is about 2 go down!”    On October 2, DJ Premier broke the news that pioneer Hip-Hop radio figure Mr. Magic (John Rivas) had succumbed to a heart attack. With the 1981 debut of the now legendary Mr. Magic’s Rap Attack show on NYC’s WHBI-FM, Magic was the first man to bring Hip-Hop music and culture to a major station. The show featured Marley Marl on the turntables, and played a significant hand in popularizing the seminal Bridge Wars. Magic and Marley backed Queens’ Juice Crew, while then upstart rival Kool […]

For years, we have given out “The Sausage Award” for Bad Hip-Hop Beef. When the “award” first started, there was a distinct difference between good Hip-Hop beef and bad Hip-Hop beef. For, example Nas vs Jay-Z was considered a good Hip-Hop beef, because there was a certain build up and lyrical competition attached to it. The bad beefs popped up all over the place this year! It was an amazing display, to be frank. Some of them seemed as minor and petty as anything seen in rap – like Budden and Wu Tang – while others – like Beans and Jay – broke our hearts. Even though we secretly look at bad rap beefs as a guilty pleasure, we ultimately know its harmful to the game as a whole. Here are the Bad Hip-Hop Beef Award winners: 40 Glocc vs Lil Wayne, Joe Budden vs Method Man Joe Budden vs Raekwon Beanie Sigel vs Jay-Z Charles Hamilton vs. Detroit Jay-Z vs. The Game Jay Z vs. Webstar Yung Berg Vs Master P’s Nephew Canibus Vs Eminem Eminem vs Mariah Carey and Nick Cannon Floyd Mayweather vs Rick Ross Joe Budden Vs Inspectah Deck Will.I.Am Vs Perez Hilton What were some bad Hip-Hop beefs in your opinion?

Twitter gave the fan, the stan and the voyeur something to talk about over and over again in the year year 2009. As more and more artists jumped on, they left more and more to converse about. The social network was used in a number of different ways. Early adopters like MC Hammer made huge strides in both the business world and networking.  Mistah Fab had an underground hit song about it. Jean Grae connected with fans, allowing them to see her personality. Some artists used it solely as a promotional tool. Some used it to get their “side” of the story. Some used it as their own form of media. Others still used it for beef and humor. However they used it, it was interesting, a bit weird and it kept the media chasing a new story. Out of all the tweets that took place, AllHipHop complied a listing of Twitter moments that stood out. Top Twitter Beefs: Fabolous vs Bow Wow Charlamagne Tha God vs Marlon Wayans Fabolous vs T-Pain‘s imposter Noreaga vs Perez Hilton Swizz vs Mashonda Top Twitter Moments: Twitter used in the Iraq war Inauguration of Barack Obama (those that weren’t there were able to get an inside look from their fans that were there) Chris Brown vs Rihanna (everybody had an opinion) BET Awards (which played out on Twitter) Slaughterhouse’s online campaign, executed on Twitter Asher Roth’s misguided “Nappy headed hoes” comment. He meant no harm, but it was dumb. Detroit’s hexmurda fell ill and his family, friend rallied for him ways unseen on TwitterThose are the AllHipHop Top Twitter moments. Please share yours.

Hey party people,Nobody on the AllHipHop staff wanted to write about this one so it was immediately ordered that illseed would write about it. I deal with Epic Fails on a daily basis and, I guess, they felt like I should be the one to continue with it – but with artists. But, truth be told, artists and “fails” is a tricky topic. They are the risk takers they are the ones that are out on the field under a microscope of scrutiny. With that said, we have to give them a bit of credit for even getting out there and playing hard ball. Nothing personal here, guys! Love, illseed Here are the Epic Fails of 2009! Kanye West for blowing up Taylor Swift even more Chris Brown for beating Rihanna like a berserker-slash-animal Charles Hamilton for trying to battle Detroit and having Jay Dilla as His EP Charles Hamilton for playing his ex and then getting punched for it Joe Budden for getting punched in the eye by Raekwon’s dude then video blogging while sitting “indian style” Lil’ Mama for jumping on stage with Jay-Z and Alicia Keys with the ill b-boy stance Alfamega for challenging his past and then being ethered by thesmokinggun.com Crooked I’s tat which misspelled “Slaughter” Rick Ross’ baby mom for doing p#### and then getting exposed by 50 Cent for it Sure there are other fails of note so, join in the conversation if you so desire.

Rebellion 1 : opposition to one in authority or dominance 2 a : open, armed, and usually unsuccessful defiance of or resistance to an established government b : an instance of such defiance or resistance Hip-Hop, at its core, is a rebellion. It is a cultural and musical rebellion that has continued to redefine just about every aspect our world across the globe. If it exists, Hip-Hop has touched it. The insurrection has not been without its flaws and fallacies and was very evident in 2009. All was not perfect. While people focus on the genre’s decline, the underground was flourishing, as it had in the 70’s and 80’s. This year, the spirit of rebellion manifested itself in very fundamentally positive ways. The grotesque beauty of Hip-Hop is that it constantly rebels against itself. Jay-Z declaring war on Autotune. Eminem making his darkest album in such a “happy” climate. Soulja Boy seemingly dismissing the traditions of Hip-Hop, a move that has made him more appealing to his core. Drake considering himself a wholly independent artist that happens to be distributed by a major. This year, the nation and the global community has felt the sting of recession, witnessed heinous crimes, but those are the conditions in which Hip-Hop was born under. And in recent years, Hip-Hop’s dominance has fallen into normalcy, but that is merely a formality for the young art form. Through it all, if you are paying attention, there have been pockets of resistance that show signs of renewed independence and reality. To put it blunt, Hip-Hop is taking control of its own fate. Look no farther than Lupe Fiasco, Jay Electronica, KRS-One, Duck Down, Detroit, the whole Southern Movement and the flourishing California underground, among a plethora of other efforts. Hip-Hop is fighting back and the time couldn’t be better. With that, we peer back on 2009 and run down the ups , the down, the good, the bad and all that was this year. Enjoy The Rebellion! Here are a few stories to get you started!ChartWatch: a run down of Hip-Hop’s top sellers!The 2009 Chronicles: Emotional Musical RollercoasterThe 10 Most Fashionable Women Of 2009The 10 Most Fashionable Men Of 20092009: The Real Death of Autotune: Flavor Flav2010 Hip – Hop Predictions and Beyond By Ms. DramaHip-Hop: We Bid One Decade Adieu & Welcome Another10 Huge News Stories In 2009: Alfamega 

In 2008, Alfamega gained more prominence as the close friend of superstar T.I. and supposed “street muscle” for his Grand Hustle label. But in 2009, Alfamega’s rap career was stalled after documents leaked confirming his past as a federal informant.   The documents were first published by thesmokinggun.com in May. The information detailed that in September 1995, Alfamega (Cedric Zellars) was convicted of selling guns to an undercover federal agent, and sentenced to 110 months in prison.   The DEA report then verifies that Zellars contacted authorities to become a witness in the trial of Atlanta drug trafficker Ali Baager. The rapper confirms that he is agreeing to “cooperate with the government,” and reiterated during cross examination that he was the one that reached out to the DEA.   “I had people calling, and I was writing,” Zellars explained. “I been asked for information. They picked some of the guys up, but it didn’t do nothing to help me. I just gave it [information] because they asked me.”   After testifying on 4 separate occasions, Alfamega was able to receive 18 months shaved off his sentence. T.I., who was facing federal charges as the result of his bodyguard’s testimony against him, acted swiftly in severing all personal and business ties with Alfamega live on Atlanta’s 107.9, effectively shelving his debut I Am Alfamega.   “Even though all our artists and employees are asked by us to be honest and open about their past history, at no time did Alfa disclose to me or Grand Hustle what has now appeared in the media,” T.I. read on air. “He essentially deceived us by failing to fully disclose the truth about his past, and there is no place in our organization for dishonest and misleading behavior. As I have always said, you must take responsibility for your own actions. We at Grand Hustle can not support or condone the blaming of others for our own mistakes. I hope and pray to God, bless his savings plans, but I don’t foresee me or my company playing a role in his personal or professional business.”   Adding to Alfamega’s woes in 2009 was his arrest on felony gun charges and attempted escape. The rapper tried to flee a routine traffic stop after authorities located a loaded .40 caliber semi-automatic weapon in his SUV. Zellars was pepper sprayed, hit with a police baton, and broke his ankle after jumping 25-30 feet off a garage wall. The injury was enough to be mentioned in the police report that the rapper’s bone was protruding, resulting in a specialized cast. After being released on bail, Alfamega launched a PR campaign to clear his name and rejoin Grand Hustle.   His manager Decks gave an exclusive interview with AllHipHop.com. While not directly addressing the informant accusation, he requested compassion and understanding from the fans.   “I just feel like people should have more compassion for what Alfa is going through as a human being first and foremost. At this point, Alfa has been a victim of police brutality and social injustice,” explained Decks to AllHipHop.com. “Music is an expression of life and I think that he’ll get his just due as far expelling the feelings that he’s having right now through music. But right now, it’s something that he has to endure, unfortunately. And it’s involving a lot of pain. So you can imagine being in excruciating pain on a day to day basis: the last thing on your mind, or anybody else’s, would be music. I think Alfa, at the end of the day when all the facts come out, he’s gonna be on his feet. Alfa’s a fighter. That I know about him.”   In July, Alfamega attempted reconciliation on his own, first through an “Open Letter to T.I.”   “I’m coming at you as a man who is disappointed that he was publicly exiled by a friend. You’ve often said that you’re a man of your words but hommie; you are not being true to your words,” Alfmega wrote. “Instead, you’re tryin to play me like I’m a pawn in your own personal game of chess…At one time, a lot of dudes were questioning how you got that year and a day so the word in the streets was that you were a snitch. I went off in those same streets for you.”   T.I. did not respond, leading to Alfamega becoming more confrontational on the mixtape track “Round 1,” which the rapper later denied was a T.I. diss.   “Committing treason/Get more than a 100 lashes,” Alfamega rapped. “Drop your ass like Jay did Dame Dash’s/Let me cool down before I below a head gasket/Slappin’ this b**h, put a n***a in a casket/One phone cool do a n***omething tragic/Make your wife a widow and your son a bastard.”   To date, T.I. has not addressed Alfamega’s open letter or spoken with his former protégé. Earlier this week, the Atlanta star was released to a halfway house after being imprisoned for seven months on a federal weapons conviction. Alfamega remains without a label home following his Grand Hustle dismissal. His proposed debut I Am Alfamega has been shelved indefinitely.

    Scott Storch is quietly making his return, yet shunning opportunity to exploit himself. In returning to the scene, the producer is re-considering the media (canceling reality shows), steering clear of w###### himself out (Twitter) and even reflects on the loves of his life (Lil’ Kim). Through it all, “The Piano Man” is ready to do it again, with a more composed, humble boastfulness, where deeds speak louder than words.  Click here for Part 1, where Scott discusses ending beef with Timbaland, working with Shyne and battling an addiction to cocaine. AllHipHop.com: Timbaland recently said that he’s abandoned Hip-Hop and that he’s no longer interested in the music as a genre. What are your feelings on Hip-Hop these days?   Scott Storch: I love Hip-Hop. I love all music. In terms of its place in the market. Its not, you know, technically as strong and other [forms] of music. I shouldn’t even say that. It’s not as strong as it was at one point, dominating like everything. I still there there’s gems and plenty of ill Hip-Hop records to make.  Living proof is Jay-Z.     AllHipHop.com: Yeah, Jay-Z and Raekwon. They pretty much have things on lock, you know, for the album.   Scott Storch: That realness of the album. The Hip-Hop experience.   AllHipHop.com: You’ve worked with a lot of pop acts in the past. I don’t know who came first, you or Tim, but you had Brooke Hogan and Paris Hilton. Do you plan to go forward with those other types of artists going forward?   Scott Storch: I’m going to be more selective about what I’m working on. In the world of pop, I did a whole album for Christina Aguilera, I mean, seven songs. Things like that, I would definitely attach myself to.   AllHipHop.com: I have to ask you about this too, especially with Brooke. Was there any “exchange” – a** for beats (also known as f***ing for tracks)? Any non-monetary exchange for music?   Scott Storch: No, not at all. You know what it was? I worked with her solely on one thing: her father asked me to do it. I was cool with The Hulk [Hogan]. You know? I did him a solid. It kind of backfired on me, but, you know…that’s the only reason that I did it.   AllHipHop.com: You and Christina seemed really close, but she really aired you out on a song. Do you guys feel like you will be able to repair that relationship again?   Scott Storch: I’m not sure. I would love to work with her in the future. But  you know, things happen…people change…we’ll see where that goes. Again, that move, her making that song was like the Timbaland and myself feud. It wasn’t necessary.   AllHipHop.com: I asked a lot of people about you on my twitter and a lot of people wanted to know what was up with you and Lil’ Kim. Were you in love…? Are you able to answer those questions?   Scott Storch: I love her to this day. She’s a wonderful girl. She has had a not-so-easy life. And she’s dealt with the same things that the media puts everybody through and I have feelings for her as a person and we dated. We were cool and that’s all that was. I consider her a friend and somebody I care about for the rest of my life. AllHipHop.com: You just mentioned the media. I can only imagine, but what is it like to be under such a microscope?   Scott Storch: It sucks and 90% of the stuff that comes out about me isn’t true. Like I was sitting around my boy’s crib one day and watching a movie, and flipping channels and I’m seeing on TV that I’m arrested and I’m in jail. I sitting there watching this s**t like, “What are they talking about?” Just dumb s**t like that. And look at Chris Brown and what he’s gone through – not that was he did was right – but still, its the media. And Tiger Woods. Anybody. People they just want to have an opinion these days. I think its too much information, too accessible to people. People should really care more about your art form or your craft. Everybody’s gonna be sorry when they turn on the TV and they are watching golf and they’re not going to be able to see Tiger.  They ran him out of [golf] and now he’s going gonna want to [play]. Now, you’re going to have to suffer for a year. Its the fault of the media.   AllHipHop.com: Its crazy sometimes, because certain low-brown media almost force you to cover things you wouldn’t normally cover, due to a new demand for it. Its a Catch 22, very monkey see, monkey do. What’s your view on Twitter? Are you into that?   Scott Storch: I’m not really into it, but its kinda strange. Maybe people should try to do stuff instead of talking about what other people are doing. I don’t know. And Twitter…would you want people to know what you are doing all the time? I don’t. All these Facebooks and Twitters, there are 10 Scott Storchs on there and none of them are me. To this day, 90% of the interviews that I read, it says that I’m from Canada. I’ve never been to Canada in my life.   AllHipHop.com: Oh yeah? I read that too.   Scott Storch: I’m from New York. I was born in Long Island. I’ve never been to no Canada.   AllHipHop.com: (Laughs) Wow.   Scott Storch: It’s annoying when you read fake s**t about yourself, you know?     AllHipHop.com: That’s like “a fact,” because if you read certain credible sites its listed as suck.   Scott Storch: Its f**kin’ weird, man.   AllHipHop.com: That’s the internet. It’s still very Wild, Wild West. It probably will be for a long time.   Scott Storch: From a production standpoint, what equipment […]

Most of the United States has been in a recession of sorts for a little over a year, but producer Scott Storch has been experienced his own personal slump. In the last few years, the New York native had succumbed to an addiction to cocaine that contributed to a matching financial calamity as well. From the loss of material goods to cash, Scott’s plight was documented -whether was accurate or inaccurate – in everything from public records to common blogs.   Nowadays though, Scott has recovered from the grip of drugs and his relentlessly clawing his way back to the top of the music food chain. Mending relationships and business ties can be difficult in music, but a multi-platinum selling producer of this self-proclaimed “tough Jew” is already working with Jennifer Hudson, Usher, Shyne, Gucci Mane and others.   His descent was greatly hyped, but his resurrection will be far less satisfying in the bloody waters of paparazzi-driven, sensational media. In this exclusive interview, Scott Storch looks forward and peers back at a much darker period.   AllHipHop.com: So…how you doing?   Scott Storch: Pretty good, pretty good. I can’t complain. Getting these records poppin’…   AllHipHop.com: You sound pretty upbeat. I was looking at something online and you were looking and sounding far different.   Scott Storch: Yeah, I was a couple weeks out of rehab. I was going through a lot of emotional changes, etc, ect. I bounce back, man.   AllHipHop.com: Well, what are you working on these days?   Scott Storch: A bunch of stuff. I just got done with the Usher song, “In My Bag.” And, uh Chris Brown and Gucci Mane with Soulja Boy, that “Bingo” record. Jennifer Hudson. You know, working on various projects with up and coming acts, different stuff. Actually, [I’m] about to start working with Shyne on his project. He’s over in Belize.   AllHipHop.com: Oh, wow…   Scott Storch: Yeah, Shyne’s my man. I’ve been talking to him and I was talking to him all through his prison sentence. He’s always remained a loyal person to me. I am headed to L.A. to work with Dr. Dre on his next album.   AllHipHop.com: Did you work with Shyne before?   Scott Storch: No, we became friends after he was already in [jail] and I found out he was a fan and he’s just a hell of a cool guy. He was real close with my friend Steven. And, Steve is on his management team now. And he put us in contact and it became a healthy relationship. I’m looking forward to doing, not just one record, but doing a chunk on his album.   AllHipHop.com: I don’t know why I assumed he wouldn’t be rapping anymore. I guess that’s stupid of me.   Scott Storch: He’s in full effect. He’s got people sending him tracks. I have a feeling he’s going to make a really huge album…He’s got a lot to say.   AllHipHop.com: I can only imagine.   Scott Storch: [Laughs.] Hopefully, he says nice things. [Laughs]   AllHipHop.com: Yeah, hopefully he doesn’t burn bridges that are already burnt.   Scott Storch: Yeah, I don’t think so. He’s got his head on straight. He’s going to kill this s**t. “There was a certain amount of hesitance from certain people in them believing, but I somehow get in where I fit in and show people by doing records, that I am still in the game. If they can’t hang in there with me over a couple years “off on hiatus,” that would be pretty f**ked up.”       -Scott Storch        AllHipHop.com: I don’t want to get too off course, but do you care to give any insight on the Detox album? Dre’s got people waiting forever.   Scott Storch: That seems to be his trend and every time he comes out, its amazing. I don’t want to spill the beans on exactly the direction he’s going but its definitely different than that last one.   AllHipHop.com: One thing I wanted to ask you with your trials with addiction, did you find it hard to get back in the mix?   Scott Storch: There was a certain amount of hesitance from certain people in them believing, but I somehow get in where I fit in and show people by doing records, that I am still in the game. I think after people get in the same room with me, its clear that those problems are solved. And, its just a matter of regaining respect and trust, but as far as track record, I think I have done way above the average producer in the world. I did that over a span of 18 years. So, if they can’t hang in there with me over a couple years “off on hiatus,” that would be pretty f**ked up. I think its being pretty well received.               AllHipHop.com: Sometimes, in the music industry, it seems to be a concerted effort to suppress people that aren’t quote/unquote “hot.” Like you said, you had a track record that speaks loudly. How do you cope with the addiction? From what I understand, you are an addict forever…even if you have been rehabilitated.   Scott Storch: No, not so much. My addiction was based on being trapped in it through, not so much, depression or escape, but it was more like partying too much and having too much fun until it got unhealthy. I just made a change in my life. It really isn’t a battle or a constant thing.  Its just something I don’t want to do. I like the way I feel so it hasn’t been a thought.   AllHipHop.com: So, it’s not like…   Scott Storch: Its not like heroine or something. The real problem these days are these kids with these pain killers – OxyContin and s**t like that. That’s a constant battle, because that’s a physical addiction. Me, after 3-4 days in detox, I mean, rehab, I was physically cured. Just […]

As we bear witness to the close of another year, the inevitable reflections occur. I reflect on the supposed, presumed and possible premature Death of Autotune. Sure, we all know the Jay-Z record that more or less stuck a fork in the trend that had previously swept the Hip-Hop Nation through agents like T-Pain and the lesser acclaimed Ron Browz. If Jay-Z was the one to kill Autotune, Flavor Flav came along and pee’d on the gravesite. Most fans don’t realize it, but the Public Enemy hype man is quite the musical prodigy that is very proficient in several musical instruments. He’s even got a few hit records, which were recorded under Public Enemy’s umbrella. The past be damned, Flav’s “I’ll Never Let You Go” makes Ron Browz’s “Jumping Out The Window” sound like a T-Pain classic. For this reason, we give Flavor Flav – not Jay-Z – the honor of decimating Autotune beyond recognition. Like, really…the Talk Box is going to have to come and identify the body. Here is the song. video platformvideo managementvideo solutionsfree video player

Love it or hate it…Triple C’s have no intentions of slowing their grind until they touch every corner of the streets.  AllHipHop caught up with a Ross-less Triple C’s at a recent stop in Houston at Texas Southern University in the midst of hundreds of college students. The students bobbed approvingly to the vibes from their album Custom Cars and Cycles. With street-hop pumping, Gunplay, Torch, and Young Breed chatted about their vision of thug.  AllHipHop.com: You guys have big names like Young Jeezy, The Game, Bun B, Gucci Mane, Mac 10, Warren G, and Yo Gotti. Gunplay: We deal with people who deal with the streets. These are artists that are really fresh out of the streets.  Young Breed: Triple C’s collaborates with artists that control their markets, who have stepped up and earned their places in both the streets and the music business. AllHipHop.com: What did West Coast rappers like The Game, legends like Warren G and Mac 10 bring to the album?  Gunplay: They brought a special Cali’ feel to the tracks. It was cool to spit with cats who really know the streets. Shout out to Nickerson Gardens.   Torch: “Show me your friends and I’ll tell you who you are.” We’re real and the people we collaborate with are as well.  AllHipHop.com: There are those who insist that Hip-Hop is dead, and that there aren’t enough hood rappers who are really from the hood. Where does Triple C’s music fit in on the rap/street scene right now?  Torch: We are the streets.  Gunplay: We are. We dominate in every street market we’re thrown into, because we’re the truth, we’re real. It’s harder to get commercialized, but we just have to make everybody else follow us instead of us following what everybody else is doing.  “There isn’t a Hollywood bone in our bodies. We make real music, because it’s real life for us, we’ve really been through it, we’ve survived it.  Triple C’s holds promise for the future of rap music.”-Gunplay AllHipHop.com: Who or what are the inspirations for your flows and your music?  Young Breed: I’m from the South, better yet I’m from Miami. I remember the days of heavy bass ridin to JT Money. I’ve also been heavily inspired by Rick Ross, and when groups were hot, I rode wit Field Mob and MJG.   Gunplay: What’s good, Miami? I have to rep for Trick Daddy Dolla and JT Money. UGK, may Pimp C rest in peace. There’s of course Jay-Z, Nas, and ODB. ODB is the one who gave me my ‘I don’t give a f**k swag. You can call me YDB, young dirty bastard.  Torch: I’m from New York so I draw a lot of my grind and hustle in the business from late rapper Big Pun. This was somebody we knew from the block who made it to success. One day in the Bronx, one day on TV. He showed it was really possible to get out of the hood and do something to better yourself and your career.  AllHipHop.com: What is the message you are trying to get across in your music?  Young Breed: We’re normal people too. Fight for your dreams, anything is possible with hard work and dedication. Look at us, we’ve come from the streets, and we’re representing that.  Gunplay: There isn’t a Hollywood bone in our bodies. We make real music, because it’s real life for us, we’ve really been through it, we’ve survived it.  Triple C’s holds promise for the future of rap music. There are still hustlers out there that are willing to sacrifice benefits like Pepsi commercials, in order to pump real music from the streets back into the streets. The members of Triple C’s all brought a positive energy to the stage at Texas Southern University. AllHipHop.com supports the street artists in making their name regular in the mouths of music lovers and the ears of their supporting listeners. Keep your mind on Triple C’s, they’ll be around a while, bringing the real streets over trill beats.

Vinny Idol, self-professed King of Beats, may just fulfill his braggadocios title if he continues this upward trend. The New York based producer has steadily gained momentum for the last few years. Low under the national radar, Idol has served as the in-house beat maestro for D-Block. Not confined to making beats, Idol has really seen his star rise after rapping with artists like Cam’ron in 2009. With his Brand Idolized Music company, he’s looking to make even larger strides forward in 2010. AllHipHop caught up with the King of Beats out in the streets of NYC and had a nice chat with him. Check it out. video platform video management video solutions free video player

In the late 80s and early 90s, Ruthless Records was a premier label for Hip-Hop, especially on the West Coast. With the emergence of Eazy-E, and N.W.A., the label produced the rawest form of Hip-Hop ever presented at that time. Instrumental in that movement was Above The Law, on of the groups on the iconic label. Consisting of Cold 187um, K.M.G., Go Mack, and Total K-Oss, the group was a self-contained unit of lyrics, production, and DJ’ing. Cold 187um was one lyricist as well as the main producer behind the group’s funk-laced sound. Even though  Dr. Dre received most of the production credit for their first LP, Livin’ Like Hustlers, 187 says the group laid the foundation to what has become a string of Platinum, and Gold status albums. Although Cold 187um reached a level in the industry that most of us only dream about, he was convicted in 2004 of conspiring to traffic 100 pounds of marijuana and served 105 weeks in a federal institution. The time spent in prison did not sour 187’s view on the world of music he flourished in. He does however have a story to tell from his perspective. Now, the South Central don has a fresh start on life, and new insight on the trends in music. Cold 187um took time out to discuss his views on the current state of Hip-Hop as well as his views on the legendary Dr. Dre. AllHipHop.com: Do you feel like the that artistry has disappeared from rap while you were in jail? Cold 187um: One thing that’s missing in Hip-Hop is people putting themselves out there. Everybody bases it on the statistics or the masses, or the latest instead of saying, “This is how I feel about it.” I think as an artist, I can paint the picture and still entertain. Everybody can’t do that. It’s because of what I’ve been through in my life, being a hustler, and getting into the music industry, falling, and getting back up that I have something to say. Also being a veteran as well. I have a lot to say from my point of view because I saw a lot. AllHipHop.com: Where do you think that disconnect came with old and new school? Cold 187um: What happens with a lot of G-cats is that they’ll say, “Young people don’t have nothing to say.” They do, but they just don’t know how to do it because they’re young. Instead of them looking at us and embracing us, we have to start talking to each other in order to be a bigger and better industry. For me, I try to talk to people instead of at people. I’m not a teacher, I’m not a preacher, I’m a hustler, and I’ve been through some stuff from a real side of life. I want to tell people something that will help them. I think it’s very important to put yourself on the record, as yourself, if you’ve been through something. If you’re a fake mother f***er that’s looking outside the s**t, you shouldn’t talk about it. AllHipHop.com: So what in your opinion is the major problem in Hip-Hop? Cold 187um: Some of it to me is surface level. A lot of it is about the tennis shoes, the chain, the car, the b***h with the big booty. A lot of it has a little substance, but it started becoming just about that. It didn’t have a balance. Hip-Hop has always been about bling, girls, and shining. It’s just that in the beginning, you had diversity. You had people talking about bling, other people talking about political s**t, certain people talking gangster s**t, and a certain amount talking the abstract s**t. The beautiful part of Hip-Hop is that we’re the only form of music that can have one form and have all these types of styles in it. It doesn’t turn into something else. That was the beautiful part about the industry that was built. When I looked at what cats were doing, I found the problem. It’s not it’s bad, it’s just that only one aspect. It’s not like in the 80s you could go from De La Soul to N.W.A. Above The Law – “Murder Rap” AllHipHop.com: Livin’ Like Hustlers was easily one of the best, well put together, albums on Ruthless Records. That album took you through a journey. Cold 187um: We were one of the first groups that got banned talking from a real perspective. We were the ones who got banned for saying some real s**t to youngsters. AllHipHop.com: Switching gears to the production, many don’t know that you were instrumental in the production of that album. Even though Dr. Dre is listed as the producer, what was your contribution? Cold 187um: I brought Livin’ Like Hustlers to Ruthless Records done. The whole blueprint to Livin’ Like Hustlers was done. I had 75 percent of that record done. All me and Dre did was reproduced it because it was done on eight and sixteen track on the demo. We went and took every sample that I used, every groove that I used, and re-cut everything. To me, Dre was more of an engineer on that aspect of the album. Now there were songs that we produced together were like “Freedom of Speech,” “The Last Song,” “Kickin’ Lyrics,” and I think “Another Execution.” Everything else was done. I learned a lot about making Hip-Hop records from Dre. The thing about it was people don’t know that because I allowed myself to learn at that level. The theory, the production, the creation; I was just as much a part of it as Dre was. Dre didn’t hold my hand. Above The Law’s concept and the things we rapped about was already done. “Dre did take, and was influenced by the things that I was doing at Ruthless Records. I don’t care what nobody says. Even he would tell you. That’s why he took me under his wing.”-Cold 187um AllHipHop.com: Do you […]

Just Dizle, aka Le Champion, is one of the most sought after DJ’s hailing out of France. I had the pleasure of witnessing this first-hand as the spin doctor manned the wheels of steel at a recent party for industry staple Patty Laurent. With a crowd of insiders and celebrities, the self proclaimed outsider rocked the crowd like it was as unground sweat box in his native Paris. Rocking parties is just the tip of the proverbial iceberg. Just Dizle’s domination strategy includes spreading his brand across the world to go along with his strength in France, Belgium, Switzerland, Holland, Norway, the UK, Canada and the States. He’s been on BET’s Rap City and also hosts a daily show on AllHipHop Radio. He’s a gladiator for Hip-Hop that does not believe in taking prisoners. AllHipHop.com: Tell me about the state of Hip-Hop in France and specifically Paris.Just Dizle: Man, Hip-Hop here is extremely big, the movement is really on and popping over here, from the artists, the clubs, the dance scene, even American Hip-Hop acts stay here every week, Paris is the second marker [for Hip-Hop] after the USA -as a city not a country just to tell you how big it is.AllHipHop.com: What is the state of the DJ in your opinion?Just Dizle: It’s bad real bad -Michael Jackson [laughs]…I miss the days where the DJ’s were really digging, mixing, blending, cutting, like you would go to the club or listen to the radio just to escape, discover new music, rediscover old music, I mean the DJ’s would take you to a journey, now DJ’s are cyborgs or human ipods – no disrespect – but shouts out to the real…AllHipHop.com: How would you characterize yourself as a DJ?Just Dizle: I’m all about good music, I don’t have restriction of genres, era etc…I’m always attracted to the risk, I like to try new things, man…”I love you, music, I want everybody to know it. Once I touch the turntables, just to know that somewhere somebody will forget his problem just by listening to one of mixes keeps me going.AllHipHop.com: How were you as a child and what got you interested in Hip-Hop?Just Dizle: I was surrounded by music, playing several instruments, almost my whole family was into music, musicians, singers and all that, my dad got me interested in Hip-Hop. I mean i couldn’t escape, from the music videos, to basketball, it was everywhere I became the music carrier in my school.AllHipHop.com: Who did you admire growing up?Just Dizle: DJ Premier, DJ Jazzy Jeff, Grandmaster Flash, Michael Jordan, Michael Jackson and Wolverine (super hero)…. I know… [Laughs]AllHipHop.com: People also may realize that you spin for AllHipHop Radio too. How has internet Radio helped further your career?Just Dizle: It gave me a big push, ’cause I’ve always been into technology, it helped me reach a bigger audience, the internet is so powerful. I could be deejaying live from a club in Paris and share the link, then a promoter from New York would be watching live and book me for a gig in the big apple, that’s one example amongst many. AllHipHop.com: How does the internet compare to the many TV, radio and live appearances that you’ve made?Just Dizle: The biggest difference to me is that I have more control over the internet and less limitations than TV, radio and live appearancesAllHipHop.com: Where does the DJ fit into Hip-Hop now?Just Dizle: I almost feel like the DJ doesn’t fit nowhere, look at all the performances on TV for example, the DJ is in the background doing nothing. Just pressing play, no cuts no juggle, no nothing, just screaming, I’d rather see a performance without a DJ than that. That’s sad. DJs need to collaborate with artists like they used to and vice versa. I noticed in the States, DJ’s are even forced to play some records. I mean, they cant even break records anymore? But I keep on grinding, because I know its a lot of DJ’s out there that still have they same motivation and passion that i have, and real soon, the horoscope will be really bad for the ones disrespectful to the culture.AllHipHop.com: Can you speak on some of the mixtape things you have going on?Just Dizle: Man, I don’t even know where to start, I just finished two mixtapes with two big french artists, I’m about to release a series of mixtapes in the states called “Style De Vie”, watch out for those series, you will never know where I’m gonna take you, also everyweek i feed the streets with tons of mixes on my podcast, http://tinyurl.com/justdizlepodcast spread the word.AllHipHop.com: You have been to the U.S. a lot. How have the rappers and DJ’s in the States treated you?Just Dizle: They treat me really good…mostly, the DJ’s are skeptic of course, because they are really not aware of what’s going on outside of the States, so its gift and a curse. More a gift though, because I have no limitations, I’m outside looking in, so my vision and approach is different, most of the times they are surprised.AllHipHop.com: Has anybody thrown you shade or dissed you for being from Paris?Just Dizle: Yes, at APT four years. I had breads, a white Tshirt on, and blue jeans, this guy had the nerve to tell me, I’m “trying to be too American, I should just stick to skinny jeans, frogs and french fries.” He had a Girbaud shirt (French designer) on with Adidas sneakers…with french brands by the way. Of course I had to let him know, he got emotional and left.AllHipHop.com: Give you Top 5 DJ’s of all time.Just Dizle: In no particular order, DJ PremierDJ Jazzy JeffDee NastyDJ CrazeDJ PoneAllHipHop.com: Give us your Top 5 Keys to rocking a party.Just Dizle:  Here they are:- Read the crowd – Please the crowd then take them wherever you want to (almost treat them like women)- Be versatile, surprise the crowd- Don’t over talk or over-scratch, let the music play […]

In part 3 of this extensive conversation with Kool G Rap, the Corona, Queens legend debunks a number of rumors, talks ghostwriting, tells about when Big Daddy Kane shot somebody and how he felt when Bell Biv Devoe sampled his voice on their hit record. (Click here for Part 1 and click here for Part 2 of this series.)   AllHipHop.com: How long had the Juice Crew been around before you joined?   Kool G Rap:  They had been around for a couple years maybe. I had definitely heard about the Juice Crew before, but that really didn’t become the Juice Crew until they got a G Rap, a Kane, and a Biz. Before they name was really buzzing on the radio they name was already buzzing to me because I was dead smack in the middle of Queens Bridge, between Queens and Corona. I seen them bubbling from beneath.      AllHipHop.com: Did you ever work with Tragedy (Intelligent Hoodlum)?   Kool G Rap:  I knew of Tragedy before I even heard of the Juice Crew, he goes even before me. I didn’t work with Trag too much. I worked with Kane more, worked with Biz. I never recorded with Shan even though we was homies, I mean we used to hang out and we would be booked on the same shows, I had a real close relationship with Shan.     AllHipHop.com: Was there any truth in the rumor that you and Kane had a rivalry?   Kool G Rap:  There was really no rivalry with me and Kane. I think me and Kane always been in competition but it was always like a friendly competition.     AllHipHop.com: I heard Scoob and Scrap were your dancers first.   Kool G Rap:  Nah, not at all. Scoob and Scrap was always with Kane, they was from Brooklyn where Kane is from. Scoob and Scrap was just as much a part of the clique as anybody.     AllHipHop.com: Was that them in the “New York Streets” video?   Kool G Rap:  Those were my dancers. And I have to be honest I had the better set of dancers. They were the TCF crew they had come out with an R&B record on Cold Chillin’, TCF meant “The Chosen Few.”     AllHipHop.com: I was told a story about King A from the Kings of Pressure, he said Kane accidentally shot him in the arm and ended up giving him that huge Nefertiti chain, a Gucci suit, and some other stuff to keep it out of court.   Kool G Rap:  Yeah. That was a true incident that did happen. I don’t think he was trying to shoot nobody really. It was a small caliber gun and he was trying to shoot out the window, but by the bullet being a small caliber it kind of bounced off the window and hit somebody. (Laughs)  Nobody never wrote nothing for G Rap. I wrote for Shante and I produced for Shan. I wrote a whole song for Shante called ‘Straight Razor.’  -Kool G Rap AllHipHop.com: Who was writing for who within the Juice Crew?   Kool G Rap:  Nobody never wrote nothing for G Rap. I wrote for Shante and I produced for Shan. I wrote a whole song for Shante called “Straight Razor.” I wrote at least two songs for Shante and it was more like the horror s###. Kane wrote most of the radio commercial records and when they wanted something more sinister and lyrical then they came to G Rap to give her that element for her albums. I believe Kane may have wrote some stuff for Biz but I know the main writer for Biz was Grandmaster Caz from Cold Crush Four.      AllHipHop.com: I love the Cold Crush, one of the best crews ever. Caz is the f*cking dude.   Kool G Rap:  My favorite groups was Cold Crush Four and The Force MCs. USA Rollerskating rink in Queens I seen Cold Crush Four and Force MCs before they was the Force MDs. The Cold Crush used to come out a little dressy because rappers back then used to dress up. They wasn’t as dressed up at Soul Sonic Force or Melle Mel and the Furious Five but they was dressed up. I guess they lacked the same amount of money. Rappers didn’t really come out in street wear at that time. When I first heard the Cold Crush I was already loving Hip-Hop but to hear the routines and the harmonizing they took it from the level of the “Yes yes y’all, to the beat y’all,” and they would take harmonies from songs that you know and convert them to Hip-Hop and rap form, and the beats they were doing it over those were the ultimate break beats of that time, sh*t like “Rocking in the Pocket.” Oh my God, what they were doing was hot. That was a hell of a time for Hip-Hop.     When I was younger I thought Kool Moe Dee of the Treacherous Three was one of the most phenomenal rappers ever, him and Melle Mel. I never thought Soul Sonic Force was no phenomenal rappers to me they just made great records and that’s the credit I give them, but DJ Bambaataa I give a lot of credit because he was one of them dudes that helped push Hip-Hop period to the forefront, cause his name’s been prominent from a very long time ago. Kool Herc might have started it and everybody knew Kool Herc, but Bambaataa I think pushed it out there more and more because his name started to eclipse Kool Herc.     The Juice Crew – the 1980’s AllHipHop.com: I talked to Scorpio and he told me that Furious Five basically invented modern rapping.   Kool G Rap:  DJ [Grandmaster] Flash took it to a whole ‘nother level, they started to bring it from the parks and into the radio, to put Hip-Hop […]

If he was a music artist, he would be a multi-platinum seller. Instead, Robert Greene is one of Hip-Hop’s biggest influencers without ever have recorded an album. Released in 1998, his book, The 48 Laws of Power was a meticulously researched book about strategy that has become a must read for anyone, but especially people in the entertainment industry. Now, just over a decade later, Robert Greene has collaborated with 50 Cent to write and release The 50th Law. AllHipHop.com spoke with Mr. Greene by phone for a long discussion about the need for power and strategy and why the rap game is so much like the dope game. AllHipHop.com: First, I have to say that I love the book, The 50th Law; I’ve read it twice already. Robert Greene: I’m happy to hear that. AllHipHop.com: Your books are so popular, specifically, The 48 Laws of Power, I don’t know many young Black men who don’t own that book. Why do you think that your books are so popular among an urban audience? Robert Greene: A combination of things, probably. Number one, the timing of the book was pretty good. At that time, it sort of resonated in Hip-Hop; it just came out at a time when a lot of rappers were wanting to become entrepreneurs, owning their own labels, starting their own businesses. And the music business is just the worst as far as Machiavellian, sharky, evil games going on, as far as manipulation. So, a lot of these guys found the book helpful because they didn’t come from a business background and they needed something to tell it like it is, to show the kinds of power games that people have been playing for hundreds of years so that they could even the playing field. As far as in the urban community, for a lot of Black people in America know that people can profess to being good, but all they really care about is power, they’ve seen it, and they know that this is the game and how it’s played, so they were kind of attracted to the honesty. I’m speculating because I can’t really say for myself, but I have had a lot of conversations with people. AllHipHop.com: You mentioned how treacherous the music business can be and in The 50th Law you make a lot of comparisons between the music business and the drug game. Robert Greene: Hustling on the street and dealing with the police and dealing with other hustlers, 50 would say it was actually easier than dealing with the music business because on that level, your enemies are pretty clear, you couldn’t trust anybody basically so you had to be out for yourself and you had to be careful and people more or less revealed their cards openly. But the music business, what he wasn’t prepared for, was how people could smile and say nice things to you and promise you a big budget for marketing your record and then do just the opposite, things were so much more manipulative and subtle. So in some ways, the way he describes it, the music racket is even more brutal and difficult to deal with than the hustling racket and I’ve heard that from other rappers. I mean, you know, you have a greater chance of being a moderately successful hustler than being a successful rapper, even if you get that first record deal, that’s just one tiny little step, how many artists have that one album and then where are they now? Greene arm wrestles co-author 50 Cent. AllHipHop.com: Let’s talk about 50, how did your relationship with him evolve? Robert Greene: Well, you know at first, neither of us knew what to expect from the other person. He was expecting someone older and more conservative. I was expecting someone who was kind of this gangster thug-type person whom I might be a little intimidated by. Then we met each other and realized that wasn’t the case on either side. He’s actually really a kind of charming, nice person. He doesn’t have much ego considering where he is. When you talk to him, he listens. He’s kind of down to earth. I can kind of be that way myself. From the very beginning, we felt kind of comfortable with each other. We just had a really nice rapport, some of it comes from thinking alike, but some of it is stuff you can’t explain. We had a comfort level and I didn’t worry about him trying to meddle with the making of the book. To this day, we talk on the phone; we have a very nice relationship. AllHipHop.com: Each chapter of the book opens with a brief story of his past and then you kind of go into the “meat” of what that story is supposed to tell. How did you come up with that concept? Robert Greene: It was difficult, because to do a book together, there weren’t really other books out there like this, I had no model. We spent a lot of time together, I had a lot of interviews, great material, a lot of discussions, but it was a question of how to bring out two voices together, and at first, I tried to put a lot of 50’s own words in the book, but it wasn’t flowing right, between his voice and my voice, so I decided to do the book in my voice, but decided to use him as the anchor of each of the stories. When we were doing the book together, we came up with these ten chapters and we discussed them at length, but because his story is so amazing, just to think about it from where he came from, the circumstances of his life, to have experienced all that and to be where he is now, I mean, can you think of any other black person who can have that and hold onto his power and have that kind of success and […]

We are steady approaching a new year. With that comes fresh new starts, fresh new music, and fresh faces. Emerging from Hip-Hop royalty, Diggy Simmons (son of Run and nephew of Russell) is next up to shine from the family line up. His first Mixtape “The First Flight” was originally slated for a “Black Friday” release date, but was released on December 2, 2009. It can be downloaded on his blog (digslifeofthejetsetter.blogspot.com). During our brieft interview, Diggy proved to be abnormally well-spoken for a 14-year-old. Now, Diggy is ready to tell his story, and with music and fashion as his muse, he plans on living up to his family’s history of prominence.    AllHipHop.com: People would assume that you would use your father, or uncle to push this project, but you didn’t… Diggy Simmons: No. not at all AllHipHop.com: So why not? And which approach did you take for promotion? Diggy: Having the internet as such an advantage, that’s what I’m using to push this whole Mixtape. Of course my dad or uncle could walk up to a label which is the easiest thing to do but I feel in my heart that I can push it myself. AllHipHop.com: A lot of people have watched Runs House, and from the outside looking in people could say and think “Oh he’s spoiled, he gets everything” “What can he possibly be talking about” How do you handle statements like that?  Diggy:  I handle that with my music. I’m just talking about my life. People just think 14 year old rich kid what he is going to talk about. I’m going to show you all that I can talk about. AllHipHop.com: Do you feel any pressure to be a role model for the youth? Especially coming from a family with a strong religious background? Diggy: Not really, I just myself for the most part, so I’m good that way. I don’t feel any pressure; I just feel more pressure in proving myself…just the obstacles of being a new artist. AllHipHop.com: What topics and issues will you be talking about on this Mixtape? Diggy: I have a song with Karina Pasian called “Cold War” problems in the world, Darfur in Africa, to the war in Iraq, recession, poverty. The truth of me done on the Drake “Fear” beat, its about what people automatically think of me, me being arrogant, or cocky over my parents money that not necessarily mine…its just me telling my truth. AllHipHop.com: So are you looking to get signed? Or are you sticking to the independent route? Diggy: Right now I’m just independent, by myself using the internet. You know you have twitter, I use my blog, and all other music blogs. Hopefully I’m seen and somebody wants to do something major label wise.  AllHipHop.com: So why music? Diggy: I’ve been rapping since I was 5 then I stopped. I don’t even know why I stopped. Then two years ago I got back into just recording normal tracks. I recorded a song and posted it on my blog and it got crazy feed back, it wasn’t even that lyrical it was more for fun. I love music, I love making it. I’m almost in the studio everyday.  AllHipHop.com: Who are you musical influences? Diggy: Andre 3000, Q-Tip, Lupe Fiasco, Kanye…..just lyrical people. AllHipHop.com: Top 5 artists you want to work with in the future?  Diggy:  All of the people I said before, it’s a lot of people, too many to name. AllHipHop.com: What other avenues outside of music do you plan on branching out to…if any?  Diggy:  Music and fashion are my main loves. I can remember being real young and you can ask my mom, I didn’t let anyone pick out my clothes. I have my clothing line coming out next year. It’s going to be diverse. I grew up on Phat Farm and street wear, and then I would go to the Hampton’s and wear Ralph Lauren. So it’s a mix of preppy and adding that street wear aspect to it. AllHipHop.com: Are you on Twitter? Diggy:  Yeah, it’s helping me, and it’s a lot of people I can meet as an artist.  I’m not even gonna lie, if I heard Diggy Simmons was rapping for the first time I would be like “What is this kid gonna possibly talk about”. I’m just trying to give people just enough. I’m just trying to build my fan base. AllHipHop.com: So what’s next for Diggy Simmons?  Diggy: Just doing me, getting signed already, the clothing line popping. Just aspiring to do everything else that comes along the way and what I love to do. Download Mixtape | Free Mixtapes Provided by DatPiff.com

Looking from the outside its easy to see why a lot of people feel like Juelz Santana is living the good life and has been since he jumped out onto the rap scene with his fellow Diplomats. What people don’t see however is how hard it really is to be a young rapper on the brink of superstardom. Back when Santana’s sophomore album, What The Games Been Missing, was pumping out hit after hit and his face was plastered on MTV and BET countdowns it seemed as if the sky was the limit for the young Harlem bred spitter. What followed that series of highs were some disappointing and confusing lows for not only Juelz, but the Diplomat crew that he repped faithfully. It’s been about three years since fans heard a studio album from Santana and in that period he’s gone through changes that no one expected. He’s seen a nasty in house feud between Cam’ron and Jim Jones boil over into the public eye, followed soon by the Diplomats disbandment and he parted ways with Cam’ron himself due in part to contractual issues. It hasn’t been all bad during his time away from the game however as Santana has used his off time to start his own label and build up the excitement for his latest offering, Born To Lose Built To Win. AllHipHop.com: So what have you been doing with yourself since your last studio album was released? Juelz: I’m still in the studio grinding; a lot of things don’t change. It’s still Dipset for life, but me and Cam aren’t exactly the way things should be due to different reasons. Definitely not nothing malice, I didn’t try to prevent or get right. If we can get back together and make it right its cool, its whatever, but I been grinding and putting the Skull Gang movement together, but like I tell people the Skull Gang is never ever like a substitute. It’s Dipset all day, that’s in my blood, that’s in my veins I am that. The Skull Gang movement is just like the mob. I grew up into an entity myself just like when Cam was under Mase. Everybody’s got to grow into an entity themselves and just like Cam had Diplomats and Mase had Harlem World, now it’s time for me to extend my arm out so these are just a few of the people that I extended my arm out to that I felt were talented and had a lot of love for. We put out the Skull Gang Volume One and got a great response. AllHipHop.com: Outside of the group aspect, what else have you been doing? Juelz: In the meantime the in between time me and Weezy had did the I Can’t Feel My Face s**t and all that. A lot of s**t got leaked out and we was supposed to do the album, but that never happened due to a lot of politics and bulls**t, but like I tell people we got a whole bunch of records still recorded we actually just did another record recently that I’m probably going to use for album that’s just retarded. I’m just gearing up I’m trying to stay relevant by throwing verses out there and throwing things out there, but I definitely was just gearing up for the master plan and the next time I was going to drop an album which I am now, Born to Lose Built to Win. I was just prepping and soaking everything up figuring things out so my next move is my best move. The Back To The Crib record that’s going to be on my album, me and Chris Brown that’s just stupid. It’s produced by Polo the Don. I reached out to my n***a Chris because I just felt like it was time for us to make that magic again. We had a big success with the “Run It” record when he reached out to me when he first came in the game, so you know I had a record that I definitely heard him on so I said f**k all the bulls**t that other n***as may think about whatever’s going on that ain’t got nothing to do with us and I think he’s the perfect one for the record. He’s more than talented and the little n***a has swag. I f**k with the young boy so I reached out and made it happen. I’m just gearing up I’m probably in second gear on these n***as right now and I might even still be switching from first to second; I ain’t even get near fifth yet. I got a great relationship with Def Jam; they’re supporting the project right now. I still feel like labels, I wouldn’t even say just Def Jam, all the labels they forgetting how this shifts and this works. You got to go back to them old days when you sacrifice what you got for what you believe in, but despite all that I’m here. I’m here, they love me, and they miss me out there. Everybody wants to know when the Reagan Era is coming out, the mixtape, when the Born To Lose is. I’m here, I’m right here and they ain’t going to be able to get rid of me. They’re going to have too much of me I should say, no h###. AllHipHop.com: What was it like not being album to put out an album for such an extended time period? Juelz: It wasn’t that I couldn’t put music out. I couldn’t put studio music out for about two years almost three years out of it. Then the last year I was putting music out I was still doing the underground mixtapes so that’s why I even managed to stay relevant to this day I always spit on verses. Me and Weezy dropped I Cant Feel My Face; I was always doing a lot of different s**t in the mean time between time, the only thing I didn’t […]

The Game approaches the runway again and the Compton rapper is certainly ready for lift off with his new album, The R.E.D. Album. Game, always a contentious person, explains a few recent happenings in his life, namely a drunken freestyle, Detox and the 411 on his new album. AllHipHop.com: What was behind that drunken freestyle? You mentioned Wayne, Jim Jones, Gucci Mane and Suge Knight. Were these intentional mentions? The Game: Number, 1 I was in the club. Number 2, you noticed the lights was on and we all know when the lights come on in the club, what time is it? It’s closing time. I was intoxicated, man, well over the drinking limit and I was just doing a freestyle for the people. People always try to act like California cats can’t freestyle and I am one of them cats that’s the exception to that rule. I get it in. AllHipHop.com: So none of it was personal?Game: As far as the Lil Wayne stuff and Gucci and Jim Jones. I am from Compton, California. We all know where gang bangin’ started, especially the crips and the bloods. I am a blood. I am a world renowned blood, I’m from West side, Cider Block Piru. Before me it was DJ Quik and Mack 10, but nobody took it as far as I took it. I been around the world with it. I got white kids in Wisconsin rocking Cincinnati Reds hats and wearing rags. Not that they’re gang banging, but I’m saying it turned into a trend. I wasn’t calling them fake bloods or anything. But just in case it got taken out of context, I talked to Baby and I hollered at Lil Wayne just to make sure they didn’t take it the wrong way and they didn’t. I reached out to Jones, and then Gucci is locked up, but that’s like one of my brothers in Hip-Hop, so they know what’s up. AllHipHop.com: What about the Suge Knight reference? Game: I always been at odds with Suge, because Suge was the first dude I took my demo to and at that time he had Crooked I and Eastwood doing the Death Row thing. And ever since Pac and Snoop and Dre was all on Death Row, I felt that’s where I needed to be, because that’s where my role models were. Those were the n***as I looked up to growing up outside of Eazy-E. I was always bitter and mad at Suge for not signing me to Death Row, which was probably a blessing in disguise because I ended up signing with Dr. Dre. The Game raps at a recent celebration for Snoop Dogg. (Click here for the full videos and picture) AllHipHop.com: So you apologized to everyone, Baby and Wayne? Game: I don’t apologize for s**t, all I did was a freestyle. If anybody takes it to the heart like they gotta do something about it, then just do that. Because I’m not hiding behind no trash cans for nobody. But it was just a freestyle, not to be taken personal. Everyone has been asking me about it, but I feel like you are going to set the record straight.AllHipHop.com: So where do you stand with 50? You didn’t diss him in the freestyle.Game: Damn, did I say something about everyone but 50? F**k. I am almost done with 50 Cent shots, I mean at this point, he is shooting himself. I mean for a guy to sell 10 million records his first time out and then to come back out and do 160,000 in the first week three albums later is a catastrophe. I really feel for him at this point. If he needs my help, then I will help him out and say his name a couple more times to help him float. I really feel bad about his first week, and I just want him to feel better about himself. Tell 50, there’s always the next album.AllHipHop.com: You’ve got a lot of fish to fry, 2010 is looking to be a big year for you. A lot of people are anticipating the R.E.D. Album. Game: I don’t want to give yall a bunch of bulls**t and lead yall to hear all this garbage s**t that’s going around, not to say anybody’s name. A lot of people are hating on the little Jerk movement going around. I equate that to me liking Kris Kross and Another Bad Creation when I was young. And Drake is a breath of fresh air for everybody, he’s cool, clean and he aint got no drama or beef. The chicks love him, the n***as support him and I encourage everyone who buys my album to buy his. But yo, the R.E.D. album? Nothing short of incredible. I never felt this good. And I’m not saying that because it’s my album. I’m not saying it because it’s my album and I have to promote it. If nobody don’t wanna buy my s**t, just leave it in the stores. I’m solidified in Hip-Hop. I aint got nothing else to prove, I beat the sophomore jinx, I’m on my fourth album. I felt like all my albums were classics in their own right. My favorite was The Doctors Advocate. But this R.E.D. album, it aint nothing to play with man. AllHipHop.com: So you are reunited with Dre and I heard you are working with Pharrell on this album as well. Game: Been in with Dre, and I been in the studio the last two weeks with Pharrell. I never had no idea that me and Pharrell would bond and click this well musically in the studio. That dude is amazing, I got whole ‘nother respect for him. He is now my favorite producer in the world and also a friend of mine. R.E.D. album, classic. AllHipHop.com: Are you excited to be working with DJ Premier on the R.E.D. Album? Isn’t this your first collaboration with him? Game: Man, I am going to do […]

.Click here to see pictures from the evening. Hollywood’s Vanguard nightclub was filled with anything but Malice in Wonderland Tuesday night, as one nation under a groove came to celebrate with the Big Boss Dogg on the day of his 10th solo studio release Malice in Wonderland. Over the past eight weeks Snoop Dogg has given fans an all access pass into the hustle behind the upcoming release and last night he threw the party of all parties to celebrate his coast bridging the old west/new west divide as he gathered all his friends together for a gangsta boogie. The paparazzi filled red carpet looked like Grammy weekend as producers, actors, rappers and personalities from across the board filled the packed house.   Freeway Ricky Ross, Strong Arm Steady, the Hustle Boys, Damani, Ray J,B-Real, Jon-B, DJ Paul (36 Mafia), and Bad Lucc were some of the faces in the crowd that witnessed the superstardom of a west coast don – Snoop Dogg. With Travis Barker on the drums,  longtime producer Soopafly on keyboard,  Terrace Martin on sax the live band and Uncle Snoop took the crowd on a musical journey. He took it back to where it all began with is OG DPG family, opening the set with Kurupt Young Gotti, they proved it ain’t no fun if the homies cant have none as they brought out familiar faces like Butch Cassidy, Kokane, and Warren G.   But when somebody said, “DJ Quik is in the mothaf**kin house,” the crowd erupted as he broke into tonight is the night. The next stop on the journey was “Beautiful” as Pharrell joined the Dogg Father to perform their mega hits, including “Drop It Like Its Hot.”  The ever-allusive Game, himself came out to support Uncle Snoop and performed his song “Westside” and delivered a sickening freestyle over the live bands rock/funk accompaniment.   Then the newbie’s were up at bat as Problem, Nipsey Hussle and Snoop performed a song from the Malice album titled “Upside Down.”  But the night definitely belonged to Snoop as he thanked his family and friends with his Boss Lady by his side to usher in a new rise to the movement on the West.   Here is an AllHipHop.com video of the red carpet and all the well wishers. video platform video management video solutions free video player