Thisis50 & Young Jack Thriller recently spoke with Bizzy Crook for an exclusive interview!
Bizzy talks about his new mixtape "84", Michael Jordan, growing up in Miami, his style of rap, Eminem being the reason he raps, his first rap, remembers a girl making him depressed & much more!
Follow @bizzycrook @jackthriller @thisis50
Birdman called into the SlowBucks SBOE Takeover on SHADE 45 to speak to DJ Whoo Kid. Another wild classic interview. Baby speaks on Drake, Lil Wayne, Nicki Minaj and Tyga. and is he signing Justin Bieber?
Follow @djwhookid on Twitter @justwhookid on Instagram and his website. To book DJ Whoo Kid email:djwhookidmp3@gmail.com.
Follow Me
 |
 |
 |
 |
 |
Video After The Jump
During some down time on the set of the movie Fast and Furious, Tyrese Gibson and his good friend Paul Walker decided to have some fun.
Watch Paul imitate Vin Diesel in this hilarious clip. "That's right... Diesel time, b*tches."
Rest in peace, Paul.
Follow Me
|
|
|
|
|
Video After The Jump
Chi Ali recently linked up with Jadakiss of The Lox to shoot an official music video for their collaboration entitled "G Check." Dres from Black Sheep and Mysonne from US Entertainment popped up for a cameo. Directed by Mike D'Angelo.
Check out the exclusive behind the scenes video below.
Follow Me
|
|
|
|
|
Words by Daniel Isenberg @StanIpcus for Nahright
Nowadays, you might catch DJ Whoo Kid rocking a party in Dubai surrounded by foreign models, or interviewing A-list rappers and celebrities on his Shade 45 radio show. But back in the late ’90s and 2000s, he was running around New York City, killing the mixtape game. Many people’s first introduction to Whoo Kid was through his work on the infamous string of G-Unit mixtapes that helped turn 50 Cent into a rap superstar. And before that, he was in the mix with fellow Queens tape monsters like DJ Clue and DJ Envy, chasing after exclusives, trying to make a name for himself, and stay one step ahead of the competition.
In Part 1 of our Mixtape Memories interview with DJ Whoo Kid, he takes us back to his first introduction to making mixtapes, and recalls the ins and outs of his hustle to get exclusive songs, and also how he would tell elaborate lies to Def Jam personnel to get free records. Plus, he goes into detail about the time Big Pun kidnapped him over the release of a diss record, his legendary mixtape collaborations with Stretch Armstrong and G-Unit, and how his craftiness creating 50 Cent duets with unreleased Biggie and 2Pac acapellas had both Puff Daddy and Suge Knight trying to hunt him down. Read below, and stay tuned for more crazy antics and stories in Part 2, coming soon. Sada pop!
Influences/First Mixtape Experiences
DJ Whoo Kid: “The first time I made a tape was at my boy’s house. I used to hang with these Haitians that looked like they were Puerto Rican, but they were actually Haitian. DJ Cash, well, he was known as Blinthon—everyone thought he was my cousin because we went to the same college—he had turntables. I couldn’t afford turntables back then. They were like $1,000 or some bullshit each. I used to just practice and fuck around. He had all the records. And for me, it was like a hobby. I would to go to his house and do blend tapes. At that time, the Ron G tapes were out, Kid Capri had a mixtape. I was in college, so I was like eighteen or nineteen. This is like ‘92.
“Then, this DJ named Dirty Harry came out, and he was a Queens DJ. And [I heard his tapes], and I was like, ‘Holy shit.’ Meanwhile, I was living next door to Clue. Clue and Envy both lived down the block, across from each other. So I was already influenced by what Clue was doing. But Clue was stealing music, and I didn’t have any connections at that time.
“I tried to emulate what Dirty Harry was doing, but Dirty Harry was doing like digital blending with his mixes, using like an early type of Pro Tools. He was ahead of his time. I was doing it the old school way, mixing like [Michael Jackson’s] ‘The Way You Make Me Feel’ with Rakim. I’d get an R&B acapella and mix it with a hip-hop joint that was new, like Das EFX or whatever. And blends were hot back then. If you did an ill blend, people would love it. But I still wasn’t a known DJ. I just did it because that’s what I wanted to hear. I just loved the mixes. Dirty Harry, Ron G, Kid Capri, I used to look up to those dudes.
“I made a cassette tape called The Afterparty. That was my first tape. Then professionally, when I started doing hip-hop mixtapes, I went heavy with The Afterparty [series]. I would come out with the exclusives [on my hip-hop tape], and then if I wanted a little extra money because I was hot, I would come out with a blend joint. But back then, all I had was blends.
“I made three hundred [copies of my first tape] and put them out on Jamaica Avenue, and was running around like I was famous. I used to have [DJ Clue’s] dubbing machine, but [he] was so famous that he never knew. The dubbing machines were like $3,000 at that time. So I would have his dubbing machine, and copy all my tapes, and give it back to him before he knew about it.
“You’d put in one master, and [the dubbing machine] would copy like three other tapes [at once]. It was painstaking. You’d have to sit there [dubbing them yourself over and over]. But I had to. When he would leave his parent’s house, [I’d go borrow the machine]. We were all on the same block. I went to Queensborough [Community] College with him, and then he quit and took up DJing professionally. I stayed a little longer before I quit. I definitely got influenced by him. He had the Nissan Sentra, the box one, then went to like a BMW 320i or some shit. I was like, ‘This motherfucker got a Beemer, son! Fuck that shit, nigga! I’m gonna start doing tapes!’
“People hated Clue because he probably was in the right place at the right time, but he knew how to maneuver to get the exclusives. Stealing exclusives was big. The day I really knew I wanted to be a DJ is when Biggie was on Hot 97 talking about, ‘I want to kill DJ Clue for leaking ‘One More Chance.’ It’s unfinished. It’s one verse.’ But to a DJ, one verse is enough. You’re gonna buy the CD, but we got the record [before it came out in stores]. This is the record. So it was the adrenaline rush of an artist looking for you, and you know you ain’t supposed to put this out. And the fans, they went crazy, like, ‘Oh shit, a new Clue tape’s coming out with more [exclusives].’”
Getting Exclusives
“After I did the blends for a good year and change, I linked up with Clue’s camp. And Envy, who was like his underboss DJ, he introduced me to how to get exclusives. So I would get in their whip, and go through to all the labels with them. Back then, Justo (RIP), he was at Sony I think. We would go there and meet the A&Rs, and they’d give us DATs. Some A&Rs would give us unfinished stuff. But the number one places where we used to get the music from was the rap magazines. They had to rate the albums, so [the labels] had to send them [advanced copies]. And these guys that are rating the albums are making like $5 an hour, or they’re interns. So we’d show up with $300 or $400, like, ‘Give us all the albums you got here,’ and they’d give you all of them. That’s why labels started ink-marking the [audio], putting a drop, or saying, ‘Property of Interscope’ or whatever. So then the people who would rate them, that drop would be on their copy, and [the labels] could figure out who gave [the music to the mixtape DJs]. But for us, it was strictly some hustle shit.
“Another way we would get songs was from mixers. They don’t get paid either, and they’re there mixing the shit until six, seven in the morning. They have all those recording DATs on the wall, and there’s one DAT that records the whole session. So there would be different versions. That’s why we had Biggie rapping Lil’ Kim’s verses on ‘Queen Bitch,’ talking about sucking dick and all this shit. So we’d save those for a month where we had no exclusives. Like, we know [it’s him doing a reference track for Lil’ Kim], but it sounds fucked up. [Laughs.] I still have a lot of those kind of songs.
“[The labels] didn’t understand it. We didn’t even understand it. We just saw it as a way to make money. [If I have a Biggie exclusive], I’m outta here! But I used to look at DJ Clue like, ‘You’re putting out all this new shit. You’re down with Jay Z and all these guys.’ It was too competitive. Every time I’d go to the store [trying to sell them my tapes, they’d be like], ‘Oh, we got Clue, we don’t need your shit.’”
To read the full interview head over to Nahright.
Follow Me
|
|
|
|
|
Video After The Jump
Lil Durk keeps the music coming as he releases the official video for "52 Bars Part 3." The clip was shot by Rio Productions.
Follow Lil Durk on Twitter:
Masspike Miles drops off the third installment of his Skyy Miles mixtape series. The 12-track project features Fred The Godson, Brykln Breed, J'Rell and more.
Video After The Jump
Chris Webby gathers a bevy of sexy women and some of his favorite sticky icky to get "Down Right" in his latest music video.
The track is off of his Homegrown EP, which is available now on iTunes https://itunes.apple.com/us/album/homegrown/id733065710.
T-Pain proclaims "the Auto-Tune King is back" on his new remix to Future's record, "Shit." Produced by Mike Will Made It.
Follow Teddy P online.
Thisis50 & Ashlee Ray recently spoke with Young Chris for an exclusive interview!
Young Chris speaks on the Vital Signs EP, label situation, Jay-Z always being there for him with advice, doesn't agree with the Meek Mill/ Cassidy beef, the "control" verse from Kendrick Lamar & much more!
Follow @youngchris @Ashlee_Ray @thisis50
Follow Me
|
|
|
|
|
Video After The Jump
WASHINGTON (Associated Press) — In the hours before President Barack Obama arrived at a Johannesburg soccer stadium to honor Nelson Mandela, the White House staff was in the dark on critical details.
Where would the president and first lady Michelle Obama sit? When was Obama supposed to speak? Who else would be on stage during the speech?
The result was an array of confusion and security risks that typically would not be tolerated by the Secret Service in the United States. The situation showed just how the Secret Service often is at the mercy of foreign governments to make arrangements when the president is overseas.
There were metal detectors and X-ray machines at the stadium, but they were not used on the initial crowds streaming in for the ceremony, according to Associated Press reporters on scene.
Many people walked through with little or no screening. Inside the stadium there were few signs of the heavy security that routinely would accompany an event with Obama and other world leaders.
The VIP section was where Obama and dozens of other dignitaries sat, including former Presidents George W. Bush and Bill Clinton. This area was protected by a short pane of protective glass that covered only those in the first row of seats. Obama and his wife were several rows back.
Large crowds were allowed to gather in front of where Obama sat, with no visible security nearby.
When Obama made his way to the stage to deliver his speech, a South African sign-language interpreter stood an arm's length away. This man later described himself as schizophrenic with violent tendencies, and he reportedly was accused of murder 10 years ago, according to the national eNCA TV news station in South Africa.
Secret Service officials say the South African government was responsible for the decision to place interpreter Thamsanqa Jantjie just inches from some of the most powerful people in the world during a four-hour memorial service.
"Program items such as stage participants or sign-language interpreters were the responsibility of the host organizing committee," said Secret Service spokesman Edwin Donovan. "For the purposes of this memorial service, this would include vetting them for criminal history and other appropriate records checks."
Brian Dube, a spokesman for South Africa's Ministry of State Security, declined to answer questions Saturday about what security measures were in place at the soccer stadium and what sort of background checks and screening were performed on Jantjie. Dube said those issues are part of the investigation into the hiring and use of the interpreter.
Donovan said prearranged security procedures were in place Tuesday and agents were "in close proximity," a standard security practice wherever the president is. He declined to discuss specific security details of Obama's trip to South Africa.
The Secret Service is charged with keeping the president, vice president and their families safe. Presidential trips, whether across the country or around the world, are meticulously planned with every imaginable detail within the agency's control managed and scheduled.
But once the president leaves the United States, the Secret Service isn't always entirely in control.
Joe Hagin, a former deputy White House chief of staff for Bush, said that to some degree the Secret Service is at the mercy of a host government.
Joe Hagin (left) and former President George Bush
"There's a lot of diplomacy involved in one of these trips," said Hagin, now a partner at Command Consulting Group in Washington. "The White House is very demanding. But there's a fine line in what you can demand and what you can't."
Hagin said some security issues are simply nonnegotiable, including allowing the president to ride in any vehicle that hasn't been flown in by the Secret Service. The Secret Service also won't allow the president to leave his security detail.
"You manage the risks. You can never fully mitigate them," Hagin said.
It was apparent from Obama's arrival in South Africa that security was not up to Secret Service standards.
Roads typically are shut down for the president's motorcade. But the highway between the military base where Air Force One landed and the suburban Johannesburg hotel where he spent time before the memorial service was filled with morning rush hour traffic, forcing the motorcade at times to slow to a crawl.
If Secret Service officials aren't satisfied with security protocols for a foreign trip, the agency can and has advised against going, said Joseph LaSorsa, a retired Secret Service agent.
Hagin said that was the case when President Ronald Reagan wanted to travel to Egypt for the funeral of Anwar Sadat, who was assassinated in Cairo in 1981.
"Reagan wanted to go and the Secret Service said no," said Hagin, who also worked in the White House under Reagan.
When Pope John Paul II died in Rome in 2005, Hagin said, the decision to have Bush travel to the Vatican was "an easy one."
LaSorsa, who is now a security consultant, said if anyone is to blame for allowing Jantjie on stage, it is the South African government staff member who selected him.
"I don't really see this as a Secret Service issue. It just highlights the risk of international travel," Hagin said.
Mandela funeral poses security concerns
Fake Interpreter Reportedly Faced Murder Charge
Follow Me
|
|
|
|
|
Here's a classic from Brooklyn, New York emcee Maino.
Off of the 2006 "SMACK, The Album Vol. 1, CD/DVD" Cop it from Amazon http://www.amazon.com/SMACK-The-Album-Vol-DVD/dp/B000CQO184
Follow Me
|
|
|
|
|
Video After The Jump
Don't Flop releases another battle from their 5th Birthday event held at Leeds University Union, Lifton Place. Emcee Dizaster goes up against Unanymous.
Check out the contest and let us know who you think takes the crown.
MCs:
http://www.twitter.com/MrDizaster
http://www.twitter.com/UnanymousMate
Filmed By:
http://www.twitter.com/BodyBagnall
http://www.twitter.com/TheoRennie
http://www.twitter.com/BenWMarsh
http://www.twitter.com/BrokenAntenna
http://www.twitter.com/JangeezK_LTD
Edited By:
http://www.twitter.com/Cruger7
Event Branding By:
http://www.twitter.com/Samgrafix
Sponsored By:
http://www.iamLGS.com/
http://www.rhymesquare.co.uk/
Animation By:
http://www.twitter.com/GusBalderdash
Links:
http://www.dontflop.com
http://www.twitter.com/DontFlop
http://www.facebook.com/DontFlop
Follow Me
|
|
|
|
|
Video After The Jump
Stat Quo and Bobby Creekwater, together known os FUPM, are back on the scene with a brand new music video for their song "New School, Old School."
- FUPM -
Follow FUPM on Twitter: http://twitter.com/FUPMforever
Follow BOBBY CREEKWATER on Twitter: http://twitter.com/bobbycreekwater
Follow STAT QUO on Twitter: http://twitter.com/Statquo
ILL Muzick
Straight Jackin
Feat K Gutta & 2 Real (Video)
@IAmILLMuzick, @WhoIsILLMuzick
Ill Muzick is a artist born n' raised in Milwaukee. Making big moves so make sure to keep up with the Movement.
www.IAmILL-Muzick.com
@IAmILLMuzick, @WhoIsILLMuzick, Facebook.com/MusicOverdoseRecords or search ILL Muzick, Youtube channel- ILL Muzick
Get your next project distributed at @Raphenom.
Boston emcee Gilli Conway takes what's hes learned from the streets and spits that raw, uncut shit fans want to hear. His latest music video for "The Rightful King" features appearance from Queens, New York's Mike Delorean and Young Aura.
This is off of Gilli's mixtape, Conway of Life, available now for free download from Datpiff http://www.datpiff.com/Gilli-Conway-Conway-Of-Life-Lp-mixtape.533168.html
Peep game up top
Beyonce could have the biggest financial windfall of her career in 2014. With the release of her new album today the singer has put herself in a position of power. Check out what Forbes had to say about B's financial prospects for next year.
She’s already played 97 shows on her Mrs. Carter World Tour this year–and, in combination with the buzz for her new album, that could catapult her to the most lucrative year of her already storied career. FORBES calculates earnings on the half-year, meaning that the scoring period for 2014 will run from June 2013 to June 2014.
Beyoncé is already scheduled for 83 shows during that span, and that’s not counting additional bookings that could fill up April and May. She’s currently grossing over $2 million per city, according to Pollstar. Factoring in merchandise sales at her sold-out shows, that means she’s likely taking home somewhere around $1 million per night–if not more–before paying out agents, managers and Uncle Sam.
Those sorts of touring numbers alone should be enough to equal Beyoncé’s best years to date, her twin peaks of $87 million in both 2009 and 2010. Factor in endorsements with Pepsi and H&M, in addition to her other ventures and record sales, and she should easily double the $53 million she made this year. She’ll also challenge for music’s earnings crown, which went to Madonna at $125 million for 2013.
As for the new album, it’s too early for sales numbers. But there’s at least one indicator that points to success: in 12 hours, Beyoncé has already garnered half as many reviews on iTunes as Katy Perry’s PRISM and one-third as many as Lady Gaga’s ARTPOP. Both albums sold about a quarter of a million copies in their opening weeks.
Furthermore, Beyoncé’s strategy of selling her album as a whole for the first week–rather than allowing fans to buy songs a la carte–could prove incredibly valuable. Before the digital revolution in music, that was the status quo, and it led to platinum opening weeks for scores of artists who’d now be lucky to sell a third of that over the life of an entire album.
Follow Me
|
|
|
|
|
Video After The Jump
Eminem is preparing to release the highly anticipated music video for his song "The Monster" featuring Rihanna.
Today he unveils the trailer for the clip. This is off of Eminem's new album, The Marshall Mathers LP 2, which is available now on iTunes https://itunes.apple.com/us/album/marshall-mathers-lp2-deluxe/id731756766.
Follow Me
|
|
|
|
|
Executive Producers: Omen/ Orenzo Jones/ Remi Williams/ Matasa Williams Co-EPs: SOI| Robert "Davbeat"Davoren/J."Tha Jerm" Gonzalez"/Doe Pesci Art Direction & Design: Cornelle Pearson Photography: Cornelle Pearson| Special Thanks: DJ Enuff; Ken Linder Jr.; Mr. Reazon (Additional Keys) & SOI Team; The Fourthcoming Team; Twinlife; Soul Lei; Essence Stewart; Staple Pigeon Clothing.
}