The Wu Tang Clan has been in existence since the early 90’s and the group has invaded the music industry in a way that no other group of Hip-Hopper has! So shout out to RZA, GZA, Method Man, Raekwon, Ghostface Killah, Inspectah Deck, U-God, Masta Killa, and the late, great Ol’ Dirty Bastard! Like real fans, we love the group too! But, the Wu has spawned their Killer Bees. These Bees are formally the affiliate Wu groups, but we would like to consider the fans of Wu as the true Killer Bees! They are the ones that hack message boards for Wu, heckle rappers at the shows for Wu and may even issue an eye jammie or two for Wu. These fans are truly fanatic and they get tattoos that you wouldn’t believe. Here are a few of the regular ones and the truly outrageous. Click here for more tatted up Wu Tang Killer Bees! Special shout out to official Wu Tang Killer Bee D The Dragon!

She was probably your favorite piece of eye candy in past Hip Hop/R&B music videos- special thanks to Lloyd Banks, Trey Songz, Kanye West. But now she’s done with just being a pretty girl, reaching for the boxing gloves and jabbing at your favorite rapper. Yes, you read right! At just 23-years-old, the former model vixen known as Angel Lola Luv now raps as an emcee under the alias Lola Monroe. Spitting her rhymes influenced from real life events Lola’s objective is to execute her hustle and flow while putting on for the capitol city and all the “everyday I’m hustling” females. Already two mixtapes deep, Lola proves she isn’t playing when she says this is her new found career. So get used to it. They say never trust a big butt and a smile, but Lola has something to say. She’s the next contender up to the mic, let’s give her a chance. With snazzy metaphors and her “boss b**ches” by her side, there’s nothing stopping this show. Let’s get ready to rumble… its Lola Monroe ya’ll. AllHipHop.com: Whom am I speaking with today? Is it Angel Lola Luv or is it Lola Monroe? Lola Monroe: I go by Lola Monroe. That’s my artist name right now and now I’m transitioning out of a model and into an artist. That’s the name I officially go as. AllHipHop.com: Since you’ve entered the hip-hop movement as being a rapper, who has it been treating you? Lola Monroe: Well it’s definitely a grind and you know, it takes a whole lot of hustle. But so far, I’ve seen a lot of progress and I feel a lot of progress. So it’s been going pretty good right now. AllHipHop.com: Did you experience any hardships along way? Being that you’re a model turned rapper? Lola Monroe: Yes definitely. The doubt. The whole “how did she go from modeling to rapping” and “can she really rap.” The perception they have of models that already have claimed they were rapping then, all of a sudden they never went through with that certain kind of effect. AllHipHop.com: What are some things you’ve learned in the music business that were different from the modeling business? Lola Monroe: There are different things that I learned were very different. The transition was very different. It seems like you have to put in a little bit more work with music that what you would have to do with modeling. People kind of dealt with me a different type of way because I was apart of the aspect of the music industry that they were in. So, I learned the differences in people’s character, and how they changed. Work wise, you just have to put in more work. AllHipHop.com: Well as your rapping is concerned, I see that you’re creating your niche with the “boss b**ch movement”. Tell us about that. Lola Monroe: “The boss b**ch movement” is a female empowerment movement. It basically represents the female’s that are grinding right now. It represents female empowerment. It’s hard for females these days. Not only in the industry, but day-to-day life. So, it’s basically a push showing female strength and how we got this regardless of the obstacles we were faced with. Whether the female has a nine to five, doing school, in the club dancing, or whatever it might be. It’s female empowerment.   AllHipHop.com: What would you say to people who may think you’re jacking Nick Minaj and her “Barbie movement”? Lola Monroe: I don’t do the Barbie thing… that’s her thing. I really don’t agree with it, that’s basic. It doesn’t make sense to me because first off, you’re basically saying I’m jacking somebody who has never been known to have their style all throughout their career. She’s never been set to have her own style. It’s always been set to say she’s jacking Lil’ Kim to Foxy [Brown} and now Lil’ Wayne. So how can I be jacking somebody or using somebody’s style if they never been known to have their own style. That part never made sense. That’s one. Another thing, it kind of comes from Wayne is in the foundation of my music and what I’ve listened to him for years and years. So you can hear his styles in my music. And you know, that’s her mentor and that’s somebody whom she’s under and so she’s known to sound like Wayne. That’s all they say about her now. I believe the similarities may have come from that but besides that, I have my own style, I have my own lane. She does what she does, ya feel me? AllHipHop.com: Other than Lil’ Wayne what other rappers have you gained inspiration from? Lola Monroe: A lot of artist played apart of my foundation because I grew up listening to a lot of different artist. From Jay-Z to 50 [Cent], to T.I. to [Young] Jeezy, The Notorious B.I.G. There’s a lot of different artist. There’s not like one particular artist that I listen to the whole time I was growing up. AllHipHop.com: You grew up in a Trinidadian/Ethiopian home. How can you it’s different from the African-American household? How would you say the difference made you unique?Lola Monroe: I was actually more exposed to more of the Ethiopian side of my family versus the Trinidadian side. The tradition was different. In foreign countries, those families in the household are way, way more traditional. I was close to my mother. I was on my own by time I was 16, but I still had an attachment to my mother. My mother is always extra warm hearted. She’s so kind and had so much heart. I have that in me. I think a lot of Ethiopians are like that. AllHipHop.com: You wrote poetry when you were younger, so you probably already had the skill of writing since then. Was this one of the things that sparked your fuel for wanting to be a rapper? Lola Monroe: Definitely. Music was always […]

Carson, CA rapper Jerome Rockett better known as Roccett to his fans, made headlines a few years ago when it was announced that he had signed to Atlanta superstar Young Jeezy’s CTE label. After spending several years on the label and the release of about 5 official mixtapes, Roccett had announced his departure from Young Jeezy’s label via a song released this past August called “Dear Jeezy, Dear Meech.” Roccett reached out to AllHipHop.com to give us the story behind his departure from CTE and his upcoming plans including his newly released Free Agent mixtape with DJ Drama. Can this young artist bounce back from this recent set-back? Or was this his missed opportunity? Time can only answer those questions but what can’t be questioned is Roccett’s determination to succeed despite having the odds against him. AllHipHop.com: A few years back you had signed to Young Jeezy’s CTE West label but we found out recently that you are no longer under his label as of recently. What is the story behind this? Roccett: I really felt like he wasn’t doing everything that he could to help further my career like I thought he would. I thought that after 3 or 4 years of being signed to him, that I would have accomplished more by now. I thought things would be different. No matter what label you are at, there is a formula of success and I felt he wasn’t taking the proper steps to make those of us on his label successful. I feel he could have done a lot more. I left, straight up. I’ve never been one to wait on another person. I don’t know how he feels about it but to be honest, I don’t really care. AllHipHop.com: You two haven’t had a conversation about this? Roccett: Before I left we had many conversations – so many that I can’t even count. We’ve had conversations but nothing was ever done. I had to make my own moves. AllHipHop.com: What was Young Jeezy telling you in these conversations? Roccett: He was telling me that he got me – to sit tight and we were gonna get it in. A year passed and then another year passed, then another and another. He kept telling me the same thing. For him to be dropping albums, a mixtape by U.S.D.A and an album by Blood Raw – I felt like there were a lot more people on the label that he could have dropped albums from. I felt like I was one of them. He didn’t do it so I busted a move. AllHipHop.com: When you left, did you call him? Roccett: I spoke to him. We were in Miami and I told him that I was going to do my own thing. He told me to hold on and give him a chance and that we would get in the studio once he got to L.A. I said ok, and he never hit me back. We never called each other after that. AllHipHop.com: So you just had your lawyers deal with the paperwork? Roccett: My paperwork was actually up. We were in the process of resigning. Roccett: “I’m Getting Money/Bang Dat” AllHipHop.com: So you two haven’t seen each other since? Roccett: I was in Atlanta and I saw all of the CTE dudes. They all came to me and said, “What’s up?” All of those dudes are my family – Slick Pulla, Blood Raw, 211. I saw Jeezy and he didn’t say anything and neither did I. I’m a grown man. I don’t have time to worry about how the next grown man feels. That’s a woman’s trait. Men don’t worry about what the next man is doing. You give somebody your best – the two peace fingers – and go your own way. I don’t know if he’s mad or if he isn’t mad and I don’t really care. AllHipHop.com: These artist-led labels are really risky business because artists themselves are struggling to keep themselves on top let alone trying to help someone else get on top. Didn’t that concern you at all when you signed your deal? Roccett: No because he put out Blood Raw. Whether the fans bought the music or loved it, that was up to them but Blood Raw came out. I didn’t need anything from Young Jeezy but just to come out. I felt like I could stand on my own two feet – I just needed to have my record come out. I just felt the formula was wrong. He dropped albums but didn’t have myself or any of the artists on them. Slick Pulla was on some but that’s it. When you sign artists, you would think that the label would plan on putting that artist out. Maybe that was his plan, maybe it wasn’t? You wake up one day and decide that you are tired of playing these games. Since I have left it looks like he might put my boy 211 out. Shout out to my boy 211 – do your thing over there. AllHipHop.com: So what’s next for you now that you are a free agent? Roccett: I just put out this mixtape with DJ Drama called The Free Agent. I wanted to give my fans and those that believe in me something to have. I feel it’s my best work to date. I didn’t have a lot of features on there because I just wanted to concentrate on myself. AllHipHop.com: Do you have a lot of music that you recorded while you were signed to CTE? Roccett: I did about 50 records over there, that’s not even counting the mixtapes that I had put out. I took everything that I did. If it’s mine – I’m taking it! Even if I had to leave it behind there are still ways to take it with you. Songs get leaked online and float everywhere (laughs). So even if you have to leave stuff behind you can leak it and nobody […]

Truth be told, Hip-Hop may not fully realize what it had in Ludacris until the rapper has retired. But, instead of waiting for that, AllHipHop decided to venture further in to the rapper’s style, focusing on his on stage skills and tactics.   The the Backstage Pass viewers are able to get behind the scenes and into the minds of the performer so all can see just how they rock the party.   AllHipHop’s Gina Torres sat down with Ludacris to get and in-depth look at his technique to successfully performing for crowds regardless of the show size.   See the video:   video platform video management video solutions free video player  

Known as one of the most influential artists to ever grace the mic, AZ takes a step back from music, and tries his hand at acting. “Envy” is his first leading role in a film outside of his cameo in “Belly.” The cast of the movie includes Ray-J, Lisa Raye, and Maia Campbell.  AllHipHip discussed the details of the film, but also deferred to the topic to music. AZ hustles, and prepares for the artform of music to return.   AllHipHop.com: So tell me how this “Envy” project came about?   AZ: Actually we shot the movie like 5 years ago. I was called to the set by the club owner, and when I got there they told me I had one of the leading roles…and I just ran with it.   AllHipHop.com: What’s the synopsis of the movie?   AZ: Well in the movie you got Ray-J (AJ in the movie) playing my little cousin following in my footsteps…I can curse and all that right? Just making sure…we recording?   AllHipHop.com: Yup!   AZ: Ok well I was a street dude doing all this b#######    [Both laughing)]   AZ: My little cousin was following me, and as I got tired, I wanted to pass the game to him and all the guys that was with me through the whole struggle, they felt like it was there time to come up so why should I be passing it to him. That’s when the movie goes a little crazy. But when you in the streets it breeds jealousy and envy…so you know it’s a good hood movie.   AllHipHop.com: How easy or hard was it for you transitioning into acting mode?   AZ: It wasn’t hard because playing the part I was playing was kind of me just being me….just turning it up a little bit more that’s all. It was an easy transition so I don’t consider that totally acting…but give me more parts that’s fine!   AllHipHop.com: How was it working with the cast?   AZ: It was new for me. This was my first movie even though I did a little snippet in Belly which was cool. Having a leading role was cool because everybody on the set was already doing it like Ray J, Lisa Raye, and Maia Campbell so it was a smooth transition.   AllHipHop.com: Recently Maia Campbell has been struggling with addiction…have you reached out to her?   AZ: Back then I had a direct line but its year’s later .I do wish the best of luck for her. At the end of the day I don’t wish bad on nobody like that, she was a talented person, pretty young lady.   AllHipHop.com: Is there a soundtrack for this movie?   AZ: I’m not executive producer; if I was it would be a soundtrack. Nobody came to me and said nothing and I don’t hear no music….but no soundtrack.   AllHipHop.com: So any Hollywood Stars for you in the future?   AZ: If it happens I’m with it! I’m with it!   AllHipHop.com: Let’s talk music….you released “Legendary” early June of this year…..tell me about that project.   AZ: That was just a mixtape, as you can see I didn’t promote, no videos…..it was just a mixtape I put out. The last album that I put out was “Undeniable” in 08. Right now I’m working on Do or Die 2. Just that fact that I see all the sequels get a lot of love. Like Cuban Links Part 2, The Blueprint 3, and Carter 4. So I said let me add my sequel on and see where it takes me.   AllHipHop.com: The majority of people I know, and people period have you on their Top 5 dead or alive. How does that make you feel?   AZ: Oh that’s real talk. I appreciate it. I mean with the game being so saturated with so many things going on and so many sounds, I appreciate it. I’m definitely gonna keep on delivering, but I been delivering, so I’m not gonna let nobody down.   AllHipHop.com: Coming from an era when music had a real message and wasn’t being made just to pacify the masses, how do you feel about the state of the game right now?   AZ: It needs a facelift. With the downloads it became more of a hustle. Its not even an art form anymore. I understand because at the end of the day, society don’t leave us too many things and its kind of the easy way out if you can’t shoot a ball, or catch a ball. Like with anything else music has its ups and downs, but I feel the art form is coming back; its mandatory.   AllHipHop.com: How long do you think it will be until it gets back that way?    (Both laughing)   AZ: I know its working its way back, that’s all I can say. It will take a while, a couple for years 3, 4 maybe. Everything is 360; it’s just the science of life , so I know its coming back because of that fact.   AllHipHop.com: Any advice for newcomers to this game on longevity?   AZ: Stay true to yourself, try not to follow the fads, and keep your sword sharp. Keep your head and the business on point, and you’re looking at longevity.   AllHipHop.com: What’s next for you?   AZ: Right now I’m working on the Doe or Die 2, getting the label off the ground, and I’m working with a few artists.  With this movie hopefully I get a few knocks at my door from Hollywood and turn it up! Its all a hustle, so I’m gonna keep moving and do what I do.

There are so many things to ask Freeway and you can get all your questions tonight at 8pm EST!   There are so many things to ask him, we decided to give up an opportunity to interview him and pass the “roc” over to our loyal readers.   Freeway will be doing a live chat on AllHipHop.com to answer any and all questions about his life and times.   And, you know, there are a lot of things to talk about. Recently, he released a new song about Beanie Sigel and Shawn “Jay-Z” Carter. On top of it all, he has been traveling around the country as a member of Cash Money Records. Last, but not least, he’ll be in the studio with staples from the Detroit rap scene. Check it.   Streaming Video by Ustream.TV    

Each time his voice molds the wax, Tech N9ne shares his soul with the world.  He poetically transforms his mental sonnets into audible sixteens. Perhaps, it is his destiny, to lyrically manifest across every inch of the entire globe. In the relentless pursuit of achieving his dream, the already hitched MC, became a polygamist; he got married to his music. Unable to nourish the core requirements of these two demanding relationships, Tech’s marriage eventually withered. While in the midst of juggling these competing relationships, Tech was granted a glimpse into his future. It was cruel in its clarity. Possessed by his muse,  his prophetic pen summoned the end of his marriage. “This Ring” flaunts a tormentingly complex yet simplistic premonition: “What/Can a n**** do/When he makes ends/Add more to the time they spend/While he make ends/Everything else breaking/And the bond at the house/May end/And your wifey/ steady yelling/’bout quality time/And you think/With all the fame and fortune/S*** ought to be fine/But what happens/When the divorce papers/Just gotta be signed/And you lose half/And your children/Cause you gotta be N9NE…”The ink has dried on the divorce decree; but, he is still making music. Among other things, Tech N9ne discusses with AllHipHop.com: his perception of success versus sacrifice; his sobriety; and his thoughts on the commercial success female MCs.  AllHipHop.com:  I want to delve into your perception of success verses sacrifice. In respect to your profession and your personal life, what will it take for Aaron Yates and Tech N9ne to be fulfilled? Tech N9ne: For the whole world to know my story. If I’m walking through the mall, if b###### ain’t falling to the floor—Michael Jackson style— then that means, I ain’t doing my job 100%. That means I got more people to infect…It’s supposed to be like that everywhere I go. I ain’t supposed to be able to walk into a mall and shop without being stopped. I get stopped a lot, baby; don’t get me wrong. I’m spreading; but, not as much as I need to be. It needs to be to where I can’t go nowhere, to where I’m the Beatles… AllHipHop.com:  How much are you willing to sacrifice in the pursuit of success? Tech N9ne: I’ve sacrificed everything; my wife is gone because of this music. I don’t get to see my kids because of this music. I’m always on the road working for their future. That’s all I give a f*** about—that’s why I’m working. I love my kids, my family and my fans. That’s what keeps me going.  I got Hip-Hop in my bones, in my blood, in my soul—that’s what I work for. So, I lost what I was working for; but, God still gives me a glance…  I sacrificed everything—But the things that I can do with them—it’s not just all the s*** that I can do material-wise—I’m just saying that when we do kick it, we go all the way, it’s for them. It’s about them I do this for them; so, they can have whatever the f*** they want. Because daddy ain’t there to take them on the first day of school. Daddy ain’t there to go to their teacher conferences, mommy has to do it all. Daddy’s out here grinding for their future.  AllHipHop.com: Do you think that the money is capable of replacing the time that you’re not being  able to spend with them? Tech N9ne: F*** no, money can’t make up for none of that s***. Money, this is what money does, money buys you time. What I mean by that, money buys you time to plan for happiness. Because I got money, I already booked a  Caribbean cruise for us January 3rd and they can’t wait. I’m taking them to St. Thomas, St. Martin, all that, Bahamas, all that on the Royal Caribbean. Money buys you time to plan for happiness. If you don’t have money you can’t plan for nothing, you can just plan to be on your ass. I know that because I been there. The only thing that money does, it will never make up for the time that I missed. I didn’t miss the first steps of every motherf***er; because, I wasn’t always successful, gaddamit. I was a bum having these m############ kids. I saw the first steps and I heard the first words. From the school age and when they started growing up a little bit; I missed a lot of s***. I missed some birthdays, I’ve done blew that. Money will never make up for that time. But, money buys me time to plan for happiness with my children. It buys you time; that’s all it does. It doesn’t buy you the time that you missed. But, it buys you time to plan for happiness in the future.  AllHipHop.com:  Are you at peace with the things that you’ve sacrificed thus far in order to reach your ultimate goal of success?  Tech N9ne: No, I’m not; because, I’m still sacrificing. They need me; but, I’m still gone. Nah, I ain’t at peace, I ain’t at ease. I’m just on a constant grind. I know that if I stop that all they s*** stop. That beautiful school that I gotta pay for, the braces that they need for their teeth, you know what I’m sizzling, health care. All that s*** stops. I gotta keep going; this ain’t it. I ain’t living the life. I ain’t Jay-Z; but, I’m getting there.  AllHipHop.com: Sometimes a life in the limelight will lead folks to indulge in excess. Do you recall what compelled you to start experimenting with drugs? Tech N9ne: Yeah, I was running from life. Life was f***ed up. Ecstasy made me feel like I was on my own planet. I was sexing b****es all around me. I’m a Scorpion male; so, I’m girl crazy. When I was on Ecstasy I had women around me. I had six chicks in my bed, sleeping, a lot of the time, trying to recover from the night before… I was running from a life of […]

Trina, AllHipHop.com and Slip-N-Slide bring you the official video teaser from the street single and ladies anthem entitled “THAT’S MY ATTITUDE.” You’ve seen the images from the shoot and now there is more to peep. This is the first single released, as well as, video from her forthcoming album entitled Amazin which drops March 2010 in digital and physical outlets everywhere. Be sure to stay tuned to AllHipHop,com for the official and full version of “That’s My Attitude.” Make sure you visit www.slipnslideworld.com for your latest updates, news, music, and surprises from Trina. Trina has been in the rap game for 10 years and counting. Few woman in the game have been able to connect to women than Miami’s own Baddest Chick in The Game – Trina. With her lyrical and gritty flow, her man-eating vibe, and her undeniable style whenever Trina hits the scene. ENJOY! video platformvideo managementvideo solutionsfree video player Video images and pictures www.nlpgimages.com

Rap pioneer Chief Rocker Busy Bee is the focus of this week’s footage for days, since November is officially recognized as Hip-Hop History Month.   Busy Bee, born David Parker is famous for his 1982 battle with Kool Moe Dee at Harlem World in New York City.   His career was launched in the early 1970’s, alongside pioneers like Afrika Bambaataa, Grand Master Flash & The Furious 5, Grandmaster Caz, Grandwizard Theodore and his original DJ, DJ AJ.   Busy Bee is also a pioneer of Hip-Hop film, having appeared in one of the genre’s earliest movies, 1982’s flick Wild Style.   Busy Bee also recorded two Hip-Hop albums, in addition to dropping two of rap’s earliest 12 inch singles with “School Days” in 1980 and “Making Cash Money” in 1981.   Check out this footage of Busy Bee with host Champtown in 1991, where he reveals the origins of Hip-Hop. This clip was shot at the Impact convention in 1999. Busy Bee currently DJ’s and hosts parties in the United States and abroad. He recently finished an international tour with fellow rap pioneer KRS-One.   video platformvideo managementvideo solutionsfree video player

The first part of AllHipHop’s exclusive interview with Kool G Rap, the legendary lyricist told fans about his new album, his new business ventures and cocaine use in the Juice Crew.   In part two, journalist Gentle Jones delves deeper and talks to G-Rap about his near-deal with G-Unit, producing beats with Marley Marl and how he’s more reality rap than gangster rap.    Part III coming soon.   AllHipHop.com:  What happened with that G-Unit deal?   Kool G Rap:  50 had called me one time and expressed interest in working with me, but it never materialized into anything. I’m not sure if he was going through something in his own life other than being a mega super star. We did chop it up and we spoke a couple of times. The reason the press ran with it so hard was because he was talking about working with me on some of the radio shows he was doing. He did a radio show with Tim Westwood in London and when he mentioned my name everybody in the station you hear them in the background going “Woo Hoo!”      AllHipHop.com:  You’ve had a few different situations since Cold Chillin Records and I guess Rawkus after that.   Kool G Rap:  Rawkus was like the re-emergence of G Rap time frame, I appeared on a number of features at the time and was kinda resurfacing after a 3 or 4 year hiatus period.  It was like a brand new day again when I signed with Rawkus.     AllHipHop.com:  Why was there a hiatus at that time?   Kool G Rap:  It was Cold Chillin, it was finding the right situation again, putting myself in a position to create interest for another G Rap situation.      AllHipHop.com:  So in hindsight which of these labels has done the most for you?   Kool G Rap:  Cold Chillin’ created the G Rap legacy. That was a good time for Hip-Hop period, the time of Cold Chillin Records, Sleeping Bag Records. I mean Sleeping Bag wasn’t really in the same league with Cold Chillin’ because Cold Chillin became a name to be reckoned with. I mean it wasn’t on a Def Jam level, we was like the new kids on the block that was making a whole lot of noise and people had to pay attention, we made the world pay attention. Rawkus just tried to step in to maybe reinvent it, or resurface G Rap. They didn’t didn’t play as important role as Cold Chillin’.      AllHipHop.com:  Roxanne Shante was recently in the news, did you ever suspect that she might not have a PhD?   Kool G Rap:  I never really thought about it too much. I did kind of believe that she had some sort of degree, but I didn’t think that she had got a doctorate, because that’s what eight years of school? I figured maybe a bachelors or maybe even possibly a masters. I remember a time when Fly Ty said he was sending her to school.     “Marley Marl is incredible. Believe me; even with me bringing the records and telling him everything I wanted — because I already knew what I wanted to do — that doesn’t take nothing away from him.”   – Kool G Rap   AllHipHop.com:  They said she was only enrolled in college for 3 months.   Kool G Rap:  Wow, wow. I mean, I don’t know what she got out of that then. I don’t know what she would get out of going to school for three months, and then I don’t know what she would get from saying she got a doctor’s degree only to have it come to light in the end, years later, that she didn’t get a doctor’s degree. I don’t know what could have possibly come from any of that. But Shante is my home girl, I love her, she was down with my clique back then, and I have memories with her. She’s always considered family to me, when we see each other it’s all love.     AllHipHop.com:  You know one of these days they are going to be talking about you in these colleges.   Kool G Rap:  Kool G Rap is already mentioned in colleges. I was performing in Boston and this professor gave me all these signatures from all the students in his class that appreciate Kool G Rap and said he actually teaches about Kool G Rap in his music class in Buffalo, New York. It took me totally by surprise. He had this overwhelming respect and admiration for me.     AllHipHop.com:  I have seen some cats give you credit for pioneering gangster rap or street rap. Where do you feel that style came from?   Kool G Rap:  Some people did gangster rap, but some people did more what I like to refer to as reality rap. Ice Cube and them they did gangster s**t, said gangster s**t in some of they rhymes, but if you look at them as a total, as an artist Ice Cube was real positive in the s**t he was saying. He was like an activist. If you listen to Amerikkka’s Most Wanted, he’s like a pro Black activist pretty much. And Scarface did a lot of street s**t, but when he was with the Geto Boys they would also do s### like “City Under Siege” talking about how Reagan was in cahoots with Noreaga and all that s**t, so these dudes was dropping science, it wasn’t just “suck my d**k b***h, I’ll blow your f***king head off.” They had that element because that was the environment that they came from, but at the same time dudes was kicking real s### too. Some mental awareness s**t. You’ve got to look at an artist as a whole.      AllHipHop.com:  So the day you recorded “It’s a Demo” was the first time you met Marley Marl?   Kool G Rap:  Yes, Polo […]

“The two people that should be battling are Jay-Z and 50 Cent…I think it would be great for Hip-Hop.” -KRS-One You love to hear the story again and again about how KRS-One burst on the scene in the 80’s after being initially scorched by the Juice Crew’s leaders the late Mr. Magic and DJ Marley Marl. After that, he set it off on the crew with Boogie Down Productions in what would be one of the most storied battled ever. But fast forward to the present day. 50 Cent has been calling out Jay-Z in a number of songs and interviews in an attempted to lure his fellow Hip-Hop mogul into a lyrical championship bout. On Beanie Sigel’s “I Go Off,” 50 Cent says, “Yeah, you changed, man. You let the money change you, Jay. You used to be from Marcy, [Brooklyn] n***a. Now you a pass the Grey Poupon a** n***a. You don’t want the shooter? I’ll take him. [laughs] N*gga, feed the wolves or else the wolves feed off you. Eat your a** alive! I live by a combat’s creed. Strategy. Your move, n***a.” Jay-Z has yet to respond, but AllHipHop.com had to solicit the opinion of KRS-One, a man whose insights seem to know no bounds. So, the Blast Master comments on the beef, but also how it should go down, should Jay-Z and 50 lock in. Furthermore, KRS theorizes how it all could make dollars and sense for the two moguls. video platform video management video solutions free video player

“There was a time when we raged against the machine and rebelled against the status quo. Now, you see a lot of those cats ended up becoming the status quo. I guess the guys at Def Jam ended up becoming the guys they rallied against.”-Chuck DStill fighting the power. Always.  Chuck D. It is not everyday that you have the opportunity of sitting down with an anomaly in your field; the inspiration which inspired your inspiration. The only way I could describe the sheer magnitude of this conversation would be to compare it with a sports journalist sitting down with Bill Russell to talk basketball or Jim Brown to talk football. Lovers and loyalist of Hip-Hop and all that it embodies would agree with me that I am not reaching with these comparisons. We’re talking about Chuck D. here.   Chuck D was Hip-Hop when being Hip-Hop meant that you battled against the machine and took no prisoners. Everything about Rap music was cutting edge and in your face. The heart and the value of the craft were front and center. There is so much depth and history to the music that when a new artist hits the scene, you can smell the lack of history for the craft in how they present their product. So if you were born after 1992, you are not of legal age to buy cigarettes and you shouldn’t be able to pick up a microphone without having a handle on the history of Rap music.   Now that I got that out of the way, Chuck D, wow, if I gave you a rundown on what this man means to the game, I’d have to dedicate a week to him. You hear artists rhyme about how people should pay homage to them. Their first mistake is that they are requesting for it to be paid. Chuck D would rather that you pay attention. And in our conversation, I paid in full (shout outs to Eric B. and friends, can’t forget Rakim). We talked about his groundbreaking partnership with Sellaband.com, we talked about what he hope would be a potential partnership with Allhiphop.com, how he feels about Def Jam, Kanye West, Gucci Mane (yes, we quoted him on it first), and the man that back in the mid to late 80’s was skipping school and making moves in East Trenton.     AllHipHop.com: We’ve just received news that you have raised $50,000 in two weeks through your partnership with Sellaband.com towards your next studio album. For those that don’t know about this groundbreaking accomplishment, talk about the partnership and what was it like for you knowing that 1/5 of your goal has been reached so quickly?   Chuck D: I had met the owner of Sellaband 3 years ago at the World’s Biggest Music Conference. This was a method that has worked in Europe and Asia; markets that have made fans into believers of the system. I believe in this system. And what we have done is just baby-steps to stockholders or sponsorships. Being the North American representative of the model, we thought that it was wise to say, “Why not use Public Enemy?” But the difference is that there are high end stakes on Public Enemy’s part. We are totally free, and we know that we have four studio’s and producers around us, so we can always make our records in-house. How we’ll do this through Sellaband is by working on each song a collaborative effort. We’ll ask our fan base, “What would they like to see?” We’ll take their ideas into consideration. And these fans will also have the incentive of being involved in the revenue stream. This is looking at the Music Industry model, almost backwards. In this system, you find your fans first. In the past, Record Companies were the banking systems to finance the product.   And about the money, the $50,000 doesn’t come to us directly; it goes into the system to fund the entire process. We wouldn’t have made this record if it wasn’t for the innovative approach. 1/3 of the revenue will be shared by a pool of believers. Think of it this way, people usually invest 10 to 20 dollars on an album, believing in the artist, but just buying the album blindly. Now, they could at least feel like their input mattered in the finished product that they’ll receive.  “These artists need to leave Jay-Z alone, he is No. 1. He has all the components. A guy like Jay-Z, I give him Rookie of the Year in 2009. Over the next 10 years, Jay-Z will take Rap music to a place that we could only imagine.”-Chuck D AllHipHop.com: Let’s talk about www.HipHopGods.com. I hear that it will be a Hall-of-Fame of some sorts?   Chuck D: Hip-Hop Gods shares an influence from you guys at AllHipHop, OK Player, and Classic Rock radio. It is also influenced by the 1970’s and how radio was able to place Classic Rock, first and foremost. This has always been an idea to work on. The focus is building an online community based on Classic Hip-Hop artists. There is a 15 year eligibility (the eligibility is half of 30 years in which Hip-Hop has been in existence) as far as artists and contributors to the artform to be selected. It is a closed community of interconnectivity that fans can join in and enjoy. Hopefully we can fit in and become a vehicle that could work together with AllHipHop.com and vise versa. And also be parallel to what OK Player does. I am very excited about it, because there are classic artist still out there recording and doing videos and performing just as often as new artists. These artists are recording there records all over again, performing their records all over again. There just wasn’t a house that was solely concentrated on them, until now. AllHipHop.com:  I am a gamer. And I couldn’t help but notice that ‘Bring the Noise’ was […]

Veteran Producer DJ Pooh known to fans worldwide as Red in the movie Friday, has been a force in the Hip-Hop world for nearly three decades now. Breaking in as a DJ for the groundbreaking legendary West Coast DJ crew known as Uncle Jamm’s Army, DJ Pooh made his mark as a producer for the likes of LL Cool J, Ice Cube, King Tee, 2Pac, Snoop Dogg and many more. Not one to stop there, DJ Pooh made his way in to film-making and screen-writing along with his long time friend Ice Cube as they co-wrote the cult-smash movie Friday. Ice Cube and DJ Pooh had a falling out after that movie as was evident in the song “Whoop Whoop” by Kam which appeared on DJ Pooh’s own album, Bad Newz Travels Fast. DJ Pooh continued with his film career by writing and directing the movie 3 Strikes and teaming with his mentor Dr. Dre for The Wash. However, it didn’t stop there for him as he once again found a new lane to be creative by making his way in to the video game world by helping to create the Grand Theft Auto San Andreas game. Although DJ Pooh admits to not doing many interviews, he chose AllHipHop.com to tell his unique story from his beginnings to the projects that he’s working on now. Be inspired to find new ways to be creative by reading this special interview.        AllHipHop.com: Your West Coast Hip-Hop roots go pretty deep. Why don’t you let us know just how far back you really go? DJ Pooh: It started back in the day with me just being Pooh – I was a little chubby kid. I am 6’3” and slim now but I was a chubby little kid and because of that, my family called me that name. When I became interested in DJ’ing, I just kept the same name. I guess I wasn’t thinking about one day being a grown man named Pooh (laughs). I started doing gigs with Uncle Jamms Army which was really the first source of a lot of urban music on the West Coast. AllHipHop.com: A lot of people don’t know the history of Uncle Jamms Army and the roots it has on the West Coast. You guys used to pack the Sports Arena with 10,000 people with no headline act but your own. DJ Pooh: I went down to a record store that Rodger Clayton a.k.a. Uncle Jamm had called The DJ Booth – it was the headquarters for the crew on 54th & Crenshaw in the hood. I went over there and gave him a little audition to show him what I had. We became friends and he gave me an opportunity to get on the stage in front 10,000 people along side DJ Bobcat, The Egyptian Lover, and the rest of the crew. Being in front of all those people inspired me to get deeper in to the music business beyond the dance promotion parties. Uncle Jamm started booking acts like Run-DMC to play at the Sports Arena when they only had that single, “It’s Like That.” Nobody had discovered “Sucker MC’s” on the B-Side yet. Run-DMC hadn’t played to a crowd of 10,000 people yet and they were nervous about going on stage. Uncle Jamm had a huge following regardless of whether they had a headlining act or not and I thought that was pretty impressive. AllHipHop.com: Do you have a moment that stands out for you while DJ’ing for Uncle Jamms Army? DJ Pooh: One that has always stood out in my mind was a show that we did with LL Cool J, The Real Roxanne and Kurtis Blow. In between the acts we would DJ and I was on the turn-tables when a massive f***in’ fight broke out and it was complete chaos! I just kept spinning until Rodger stopped me and announced to the crowd that we were going to stop playing until things calm down. I was sitting behind the turn-tables watching 7,000 people in a super panic running left and right – guys were getting stomped and it was real crazy. That stands out in my mind because that’s what put a damper on the whole Uncle Jamms Army thing because people were afraid to come out and party – we had the terrible gang scenario that was growing in L.A.  AllHipHop.com: Legendary DJ’s from that era like you, DJ Bobcat and Dr. Dre were able to make that transition from being DJ’s to Music Producers. How were you able to make that jump? DJ Pooh: I have to credit Dr. Dre for that. Back in the days when I was spinning with Uncle Jamm with Bobcat, on the otherwise of town there was another promotional group called The Wreckin’ Cru which Dr. Dre was a part of with Lonzo. It was a competitive thing back and forth. If we both had a party on the same weekend, we were all putting up posters and snatching each other’s down. Then Dr. Dre and I had met each other through a person that had record store booth inside of the Roadium Swapmeet. Dr. Dre was always there at the time making mixtapes. Through that he had begun to do his own productions and had gotten familiar with drum machines and other equipment outside of the turn-tables. He showed me the ropes on all of that and I had gotten bitten by the bug. I then had the opportunity to show some of my work to Russell Simmons out in New York. I went to Def Jam with a cassette tape of all the tracks that I had put together. I even went out there with the drum machine that Dr. Dre was using. So I went to New York and had a meeting and they listened to my tracks and they liked it. DJ Bobcat was out there already with his production partner Dwayne and they were already working […]

**THIS CHAT IS OVER!***The Freeway chat will return next MondayA week ago, AllHipHop.com hosted Freeway’s weekly chat and learned quite a bit about the rapper.  We learned that he has no beef with Joe Budden. We learned his views on Jay-Z vs Beans. We also learned that Freeway is consistently working on new music.  This week, the chat continues and you get to chop it up with Freeway and ask the Philly Freezer anything you want to.  We will say this, Free is going to take the time to talk about a few matters that are important to him. Tonight fans can expect Freeway to talk about his latest conversations with Beans, the “fake” album being put out by another label and what he and NORE have in common. Even AllHipHop wants to know what that’s all about.  Lastly, Freeway will discuss the Haji in Saudi Arabia, a trip hea leaves for later this week. Also, click here to read Freeway’s recent interview with AHH. Streaming Video by Ustream.TV

Just as his Toussaint L’ouverture lead the Haitian Revolution, Wyclef Jean has returned to his Hip-Hop roots with his latest EP From The Hut, From The Projects, To The Mansion to spark a musical revolution. Despite never really having left the public eye, the pioneering musician felt it was necessary to return to rhyming under an alias to reflect his current revolutionary mindframe. Introducing Toussaint St. Jean, but this does not mark an exit for Wyclef Jean, but rather a new chapter in his already fascinating story. “Revolution is in my bloodline,” he says, before explaining how Toussaint was one of the key figures in the Revolution for Haiti. “So with the tone of the message that I would be giving when I rapped, the name automatically came to me,” he elaborates. “The EP goes back to the essence. It was important to go back to the basics and the fundamentals, because sometimes you get so big that people forget where you come from,” he adds. “I wanted people to understand that I have not forgotten Hip-Hop. I’ve not forgotten lyrics; that is very important in what I do.”  From The Hut, To The Projects, To The Mansion not only documents Wyclef’s personal success story, but also reflects his musical journey and progression. The project stands out for a number of reasons, but perhaps most notably for the intriguing choice of featured artists, including 80’s pop singer Cindi Lauper, Lil Kim and Eve. Explaining his unconventional choice of vocalist for Slumdog Millionaire, he jokes “I wanted that Cindi Lauper swag, so why not just get Cindi Lauper?” He also points out that many female vocalists today have been heavily influenced by the singer.  Perhaps most striking of all, however, is Eve’s performance on Suicide Love, which is reminiscent of her earlier, more agressive rhyming style. “Everyone is like ‘yo Eve sounds so sharp on that record and she hasn’t been out in a minute, why does she sound so sharp?’ But I think, what happened is you always have to remember that as a producer I’m always going to try to focus and bring the best out of an artist,” Wyclef explains. “The cool thing with Eve was, when she was doing the vocals she was with Salaam Remi and Salaam is one of my mentors (he did the Fugees).” He then adds, “She was able to pull out the passion naturally because she’s still one of the best, period.”  Suicide Love provides a long-awaited answer to Wyclef and Eve’s critics, who insist that both artists may have traded in their grittiness and relevancy for mainstream success. As he honestly admits in The Streets Pronounce Me Dead, “Last time, [they] felt me was when I rhymed with Big Pun.” Frankly his concern is greater than just Hip-Hop these days with his music catering to people from all corners of the globe, although as he proves with the EP he is still a “warrior,” he just chooses a variety of outlets to vocalize his struggle now.   “At the end of the day, as long as you have overcame something (and be clear, it’s not about if you’re from the ghetto or from the suburbs or from the hut), if you feel that you have accomplished that thing when people counted you out and you rose to the occasion, you are a warrior,” he stresses. After all, it is much more lucrative to produce and pen hits for some of the biggest names in the music world and by doing so, Wyclef has ensured that his music and messages will reach a more diverse, global audience. He explains that while his EP represented Hip-Hip, his forthcoming album “is going to represent the world.”  Due in Spring 2010, his eponymous album Wyclef Jean marks the precursor to a true musical revolution. He jokes that following his return to Hip-Hop, with the album he “is bringing that stadium music.” Although most artists tend to go the self-entitled route for debuts, Wyclef felt that despite his extensive career, the project marks the first true introduction to himself. “This is the first album in my whole entire career where the first seven songs are only going to be Wyclef. [It’s] an insight into just me, because it’s time for you all to know who I am,” he explains.   “The album is Wyclef Jean the complete artist,” he declares proudly. “When you come to the show, it’s the man playing seven instruments; the man sings, the man rhymes, the man dances and the girls throw their things on stage,” he jokes. “The guys go crazy, they pick up chairs and want to throw them in the air and that’s all going to be on one album!” He then explains that the album attempts to recreate the atmosphere at his concerts. “The first seven records you’re going to hear are very personal, like when you come to my show the first thing I do is I get my guitar and talk to you for like 30 minutes.We talk. We converse. Then after that I pick up the microphone and then the party starts.”  “When you put on that Wyclef album, it’s going to be a sing-along album from beginning to end. I’m going to make sure that you sing every song and the album is all stories. Every song is a story.” Hoping his album will inspire others to tap into their own creativity, he explains, “I’m going to close [the album] with me going crazy on guitar on a joint called Guitar Hero. So, all of my little aspiring guitar players, make sure you get your guitar and learn that song.”   Wyclef Jean promises to transgress musical boundaries like never before. The lead single from the project will be Hold On, an optimistic collaboration with Dancehall singer Mavado. “I wanted to set the tone of the album in a sense of letting people know where my mind set is at,” he clarifies. “With everything […]

The Kool Genius of Rap forged a new rap language which was born in the park jams of NYC during Hip-Hop’s infancy.A true music legend of the highest caliber, Kool G Rap made his mark as the most eloquent lyricist of the world renowned Juice Crew, one of Hip-Hop’s earliest and most influential super-groups. Though his rap acumen is well known, some may be surprised that even as a teenager G Rap was an avid crate digger, bringing in scores of samples for Marley Marl to arrange for his debut record Road to the Riches, now enjoying its 20th anniversary. From being steeped in the streets of Queens Bridge to mastering the craft of an emcee, Kool G Rap saw the evolution of Hip-Hop as its history unfolded and remains relevant with new styles throughout each subsequent generation as he continues to build his timeless catalog.   This begins an unprecedented 3-part interview with Kool G Rap, his life, his times and all things past and present.  Gentle Jones:  What’s the word on the new album?  Kool G Rap:  I’m still working on Offer You Can’t Refuse. I’m kinda playing Dr. Dre and taking my time, so that everything is right. I got a Just Blaze track on there, I got tracks from Domingo. I’m definitely sitting on some heat, and I’m not finished.   Gentle Jones:  So what else have you got cooking?  Kool G Rap:  Let me tell you the big secret, right now I am in the beginning stages of putting a gator shoe line, called Giancanna Gators.   Gentle Jones:  You are gonna be killing them in church.   Kool G Rap:  (Laughs) I’m a big fan of Maury’s, they’ve been around since possibly the late 60’s. I started rocking Maury Gator hard bottom shoes and then they start coming out with the sneaker versions and they look hot. Some of them are maybe leather and gator, sometimes all gator, maybe lizard, ostrich. A combination of precious skins. That’s all I wear. I want to do the s### that I like. I got somebody doing designs for the ladies line and I’ve already picked out 3 or 4 of the ladies shoes. We get everything built original from the sole through the whole make up of the shoe. This is not gonna be like somebody’s shoes and we attach our name on it. We have to do a molding for the sole, for the upper part of the shoe, the whole shoe basically.  “I know there was drug usage. Mostly anybody was using drugs. Cocaine wasn’t nothing to be ashamed of at that time. That was out in the open, in the public, in the club, in the VIP section…”-Kool G Rap  AllHipHop.com: DJ Roc Raida recently passed, did you two work together?   Kool G Rap: DJ Roc Raida, that was my man, he used to DJ for me at my shows after me and Polo split up. I hadn’t spoken to him in years and then we touched base last year for the first time, we were talking about starting to do things again. I heard he needed back surgery or something like that. I thought we was out of the woods as far as life and death were concerned. We established a real close relationship. It was the 4,5,6 era. It was my first time going solo without DJ Polo, it was like a brand new day for me, I was stepping out on my own. It was a good time for me. Roc Raida became a part of that because I needed a DJ and I was cool with a couple people in the X-Men. I had Dr. Butcher, he was like a monster on the wheels and he recommended to me that I should do some shows with Roc Raida. He popped a tape in my VCR of one of the DMC Championships and Roc Raida’s set, when I seen this kid, I never seen no DJ do what Roc did, I was completely blown the f*ck away. He was amazing. And I remember cats like Peter Parker, DJ Cashmoney, Jazzy Jeff and them. But I never seen nobody quite do the sh*t I seen Roc Raida do, like putting the f*cking mixer on his back and cutting back and forth. He would get loose on the stage. Like we would have a segment when we would just put the spotlight on him, I would stand back and watch and be just as entertained as the crowd. He never ceased to amaze me, his talent and skills with those turntables.   AllHipHop.com: He was certainly ahead of his time, it’s fitting that you worked together since your style was always futuristic since the beginning.   Kool G Rap: Thank you. It means a lot for you to recognize that. A lot of people did say I was ahead of my time, especially back then. The times have finally caught up now. For me to be coming out ‘88, ‘89 and flowing the way I was flowing, and playing with the words, just showing the wordplay and metaphors. I definitely was ahead of my time.  “It’s a hell of a job being a rapper, being a lyricist. Its way hell of a harder job than a regular songwriter. Rock songs are 12 lines…Hip-Hop you have to write three verses of different words, and to be a credible lyricist…”-Kool G Rap AllHipHop.com: Hip-Hop has expanded the possibilities a songwriter can explore, you’ve always taken advantage of that.   Kool G Rap: It’s a hell of a job being a rapper, being a lyricist. Its way hell of a harder job than a regular songwriter. Rock songs, or songs in general, it may be 12 lines and maybe they repeat it twice and they have some choruses and maybe a couple of bridges and that’s a complete record. Whereas Hip-Hop you have to write three verses of different words, and to be a credible lyricist […]

“We need a Hip-Hop House of Representatives,” Raekwon said backstage as he prepared to hit the stage with the other panelists. “If we are going to mold and shape this industry and what it is and what hip-hop has done to us, we have to have brothers such as my brother right here, Mike, myself. We love Hip-Hop before anything, but knowledge is so important. These kids is confused and we are care about them…I feel like it‘s my duty to be that voice on all levels. ” Last month, AllHipHop.com hosted the 6th Annual Social Lounge panel discussion in Newark, New Jersey at the NJPAC Center. The evening featured top rappers like Raekwon the Chef, Mike Bigga and Immortal Technique alongside activists Rosa Clemente and Ras Baraka, who debated a number of issues. Hundreds of students, teachers and community leaders gathered to hear the panelists engage in a lively discussion during the evening, which was hosted by AllHipHop.com’s co-CEO, Chuck “Jigsaw” Creekmur.  Below are clips from Rae, Mike and the event. video platformvideo managementvideo solutionsfree video player Hip-Hop was just one of the topics, as each panelist was well versed on current events that effect the country, including wars the wars in Iraq and Afghanistan, in addition to the issue of health care debate that is currently raging in North America. “He [Barack Obama] has allowed y’all to believe that they [Democrats] could cure your health care problems,” Mike Bigga stated. “What I am tired of seeing is us cutting a break, because he’s our color.” While Rosa Clemente agreed with Mike Bigga on some aspects about health care in the U.S., she disagreed with him on the people’s expectations from the first African-American president. “Health care is not privilege, it’s a human right,” former Presidential VP nominee Rosa Clemente [Green Party] said. “These lies are leading to over 60,000 Americans dying from lack health insurance every year. Even the swine flu vaccination is discriminatory. Less black and Latino kids are getting it because the swine flu H1N1 is not getting to Urban communities. I don’t think he [Barack Obama} made all those promises. I think people think that once he got into office he said ‘reparations, Puerto Rico’s gonna be free.’ To me he was the most honest democratic that ever happened.” video platformvideo managementvideo solutionsfree video player The 6th Annual Social Lounge featured a headlining performance by Blitz The Ambassador, who treated the audience with a variety of musical styles, backed by an 8-piece band. video platformvideo managementvideo solutionsfree video player

This week’s Footage Fa Dayz features Chicago’s pioneering Hip-Hop group Crucial Conflict from the South By Southwest music convention in 1996.   The clip was taken just days before they dropped their major label debut, The Final Tic on Pallas Records, in 1996, although their first EP Crucial Timez, was released independently in 1992.   Pallas Records was run by Hip-Hop pioneer Fab 5 Freddy, who helped over see the release of “Hay,” which moved a half-million copies upon its release as single.   Crucial Conflict’s best known hit was the single “Hay,” which was one of the first “Crunk” songs to cross over and achieve mainstream success in 1996.   The group, which consists of Wildstyle, Coldhard, Kilo, and Never even had their own dance, “The Giddy-Up.”   “We sent out tape off old school style to a lot of companies,” group member Wildstyle told Champtown in 1996. “Put a little press kit together with three songs on it. We sent it out to different record companies. About seven majors. In about three weeks we got a response from the record label. Came down to Chicago and we showcased. We had a couple of majors, but we wound up rolling with Fab and them, cause at the time it was a good decision. That’s how we got hooked up with Fab. He came down after he heard the music.”   Because the term “Crunk” had not been introduced into the lexicon of Hip-Hop to describe a style of music, Crucial Conflict labeled their genre as “Rodeo” rap, a mixture of rap and rodeo.   Crucial Conflict released a follow up to The Final Tic, titled Good Side, Bad Side, which produced “Scummy,” which was a minor hit for the group.   These days the group is laying low, although group member Wildstyle is preparing to release a new album titled That Was Then, This Is Now and has recorded a track with fellow Chi-town artist Lupe Fiasco. video platformvideo managementvideo solutionsfree video player

There are so many things to ask Freeway and you can get all your questions tonight at 8pm EST!   There are so many things to ask him, we decided to give up an opportunity to interview him and pass the “roc” over to our loyal readers.   Freeway will be doing a live chat on AllHipHop.com to answer any and all questions about his life and times.   And, you know, there are a lot of things to talk about. Recently, his good friend Beanie Sigel started to express his discontent about his “brother” Shawn “Jay-Z” Carter. On top of it all, Joe Budden reportedly said “rap circles around Freeway,” which has already started fanning some fires. Most importantly, Free way has been consistently churning out good music as a member of the Roc-A-Fella Family and now as a member of Cash Money Records.   Streaming Video by Ustream.TV    

 “What it is one time, Pac D##!” Hailing from the West Coast, Pac D## consists of brothers Like, Mibbs and longtime friend BeYoung. The trio are putting their stamp on the West Coast sound with songs like the anthem, The Mayor and Pac D##. In 2006, Pac D## released Sealed for Freshness: The Blend Tape and their latest, released earlier this year, Church League Champions, generated an enormous buzz through out the LA scene forcing Hip Hop to take notice. Legendary acts ranging from Legendary Roots Drummer Questlove, Hometown Hero Snoop Dogg to even Millionaire Mogul Diddy couldn’t deny the “Pac”, and their hustle managed to gain attention from the major record label, Universal Records and the trio is prepping to change the tide of the industry with their debut release, Grown Kid Syndrome in the first quarter of 2010.       AllHipHop sat down with the hilarious trio to discuss internet rap, CA Hip Hop, their album and what to expect from them in the near future.  AllHipHop.com: Break down your new album Grown Kids Syndrome. What’s the new record gonna reflect?  Like: The Grown Kids Syndrome reflects a lot of honesty coming from a place as three young men in their mid-20’s who didn’t graduate college, who didn’t pursue their parent’s dreams, who didn’t live in college dorms but junky apartments, it speaks to all the people that have no plans basically to show them that the idea that syndrome comes in, we have friends in our mid 30’s, we have friends who are complete dead beats in their life, it’s still a syndrome because they still eat their parent’s food at the house. They still don’t have a job, that’s grown kid’s syndrome. We know all about that.   AllHipHop.com: Tell me a little bit about some of the tracks on the record.  Mibbs: We have a couple of joints on Grown Kids Syndrome, actually it’s not even done with the recording process. We are about 70% done. The Mayor record is on Grown Kids Syndrome. We have a joint on Grown Kids in which we are talking where my brother just explained people get pink slips, we got a song on there called Chaos where it describes the recipe for chaos, anything or any type of situation where it can become chaotic. Like Like talk’s about how I just had a girlfriend I broke up with and I accidently sleep with her friend so stuff like that. [Laughs] She gets me drunk and we sleep together. Yeah, that’s what it’s about, like, those are a couple of the tracks that we have on the album.      AllHipHop.com: Take us through your creative process of making music, what do you think about?  BeYoung: In the creative process, we try not to put any pressure on it, we gotta let it come, as normally and free flowing as we can, we don’t try to make it into “Oh, I gotta do this, oh, I gotta do that.” We just like to play off of the emotions and feelings that we get from the track we’re doing and we just channel it.    AllHipHop.com: Let’s talk about the idea of internet rap, Pac D## has used the computer as a major marketing tool for artists with no deals, you’ve been able to create such a buzz with the computer, how did you use the computer to your advantage?  BeYoung: We didn’t have any restrictions. I mean at the time, as we were saying, our paychecks worked to shoot our own videos, we would’ve taken those paychecks and going straight to shooting videos, and putting them on the internet, going to the studio, taking pictures, just making sure the quality of our image match the quality of the music so that we can put it on the internet so that we can broadcast it to the world.       AllHipHop.com: What about the transition from net mc to budding label stars? How different/hard is it?  Like: It’s not difficult, we don’t look at difficulty. Everything is just done naturally and it’ll take it’s natural course. We don’t consider ourselves internet stars, or label stars or any of that. We just do what we do and let it flow naturally.   AllHipHop.com: If you hadn’t chosen to have gone down the path of making music, what would you be doing with your lives right now?  Like: I don’t know, somewhere making money or trying to. [Laughs] We’re doing that no plan, plan. I would be at my parents house, with my Dad, eating his food, stealing my Mom’s car keys driving somewhere.   AllHipHop.com: What, if anything, has changed and/or evolved in your music – your sound?  Mibbs: Life happens, I mean just things that happen in your life, just changes you as a person and as rappers, we were rappers from day one, like, we been knowing how to rap, so like, we understand how to adapt to the times and how to adapt to the changes and just get better as a rapper every time, every day and things that happen to you, just brings more honesty into our music. It becomes, like the person that we are, who we are, it comes out of our raps.    AllHipHop.com: What, if anything has changed about your approach to the industry, your lifestyle(s) from 2006 when the three of you as Pac D## began to take offs and your release of the Sealed For Freshness Blendtape, to 2009; the recent release of your mixtape Church League Champions and your upcoming debut, Grown Kids Syndrome?  Life: Whooo! Yeah, there is a change of lifestyle a little, we don’t work at jobs anymore, we are under a constant pressure, not in a bad way, but to perform at every opportunity, I don’t know, just opportunities, more opportunities come our way, at our door steps and we take advantage of it. It’s no rush but this is what we signed up to do and we like it, we enjoy it.    AllHipHop.com: The legend […]