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Alley Boy revisits his Alley Shakur: The Soul of a Runaway Slave mixtape and releases an official music video for "No Problems" featuring K. Smith. Download the project now from Datpiff http://www.datpiff.com/Alley-Boy-Alley-Shakur-The-Soul-Of-A-Runaway-Slave-mixtape.584216.html

As told to Jennifer Vineyard

 

I was listening to pretty much everything that came out. In those days, hip-hop was just New York City–based music. There were things coming out of secondary markets, but it wasn’t a lot. N.O.R.E. was hot, Noreaga, and Nas, and Mobb Deep. They had material out at that point that was really influential to the culture. I saw KRS-One perform, and he was my favorite artist. I forget what venue it was in but I remember, we couldn’t get in! When we finally did, it was worth it. I think the two best crews in music at the time were the Juice Crew from Queens and Boogie Down Productions out of the Bronx. When I went to see KRS-One, “The Bridge Is Over” was more aggressive. It was kind of like, Whoa! Hold up. The album was called Criminal Minded, and it had the grit, the hard edge, the energy that lives in the Bronx, that lives in all inner cities. That was the first time I had listened to a whole piece that was written that way and was New York City–based. I had already listened to N.W.A.’s music that gave us an imaginary tour of Compton—imaginary to me at that point, because I hadn’t been outside of New York City. There was a competition between KRS and MC Shan at that point, and that was a big deal. Whoever was into hip-hop culture was into that. KRS-One was my hero, hands down! There was a point in the song where he said, “Manhattan keeps on making it/ Brooklyn keeps on taking it/ Bronx keeps creating it/Queens keeps on faking it,” and I’m from Queens! Every time that part came on, I felt like I wasn’t supposed to like this. But I liked it so much! Every time he said that, I was like, Oh, no!”

 

 

I was lucky enough to meet Jam Master Jay in front of a nightclub in New York City, called Bentley’s. It was a club they actually used to broadcast from live inside, and I was just driving. I had just made it to the point where I had a nice vehicle, a Mercedes-Benz 400SE. I had a Nets jersey on, so he thought I was Kenny Anderson! He spoke to me, and then we went into the place with him, and he started to tell me what he wanted to do with his label, and I told him, “Me? I rap.” At that point, I hadn’t actually ever ­recorded a song professionally. I had rapped on the local mix, from a DJ in my neighborhood who lived two blocks away from me.

 

 

Two days later, I met him in Rosedale, and he gave me a cassette tape that had a beat that he had made on it, and I wrote to it and recorded a piece in his studio. So he was like, “Yo, it sounds good. But where’s the hook?” And I was like, “That part right there,” because there was a repetitive point in the song. I didn’t have any song structure. I didn’t know how to count bars. I knew a chorus was supposed to be on a song, so I put that area where it was repetitive, but there wasn’t a four-bar chorus, or an eight-bar chorus that would have things that you would remember. So he actually started to teach me how to write music. He gave me writing habits, because he would have me write the chorus three times before he picked one. It gave me the habit as a writer to up with more than one melody for the record. So on “P.I.M.P.,” you’ll hear the chorus area, and then you’ll hear an area that feels like a bridge on the record, but that’s out of the habit that I write two or three melodies on every song. It’s like what Jay would say to me, “That’s good, but if it is what we think it is, you need another one.”

 

Then I ended up going to work with Cory Rooney, who produced Jennifer Lopez’s albums. It was him and Markie from the Fat Boys. They were at the barbershop and I gave them my tape. He started playing it, and the phone rang and he got kind of distracted while the music was playing. And after he was done, Markie was like, “I think it’s cool.” I got all mad, all old school. I felt like they didn’t really hear it, they didn’t know what it was. “Give me my tape, man.” He heard it, though. I didn’t realize he could multitask. “You ain’t old school. Give me my tape. Let me get out of here.” And I left. And then he called in the middle of the night and was like, “Yo, want to go to Bearsville, to upstate New York?” There was a recording facility where the Trackmasters had created an area where they were producing all kinds of records. It was Tone, Poke from the Trackmasters, and all these producers, so it was heaven to me when I got there. I recorded 36 records in 18 days. It was like a camp that they created. There were no distractions, really. It was just music, just music, just music.

 

 

When I found myself approaching the actual release date of my record, How to Rob was something out of desperation. There was no plan B. The music absolutely had to work. So when Columbia Records didn’t quite understand what I was trying to do as an artist, I saw myself still moving steadily toward an album release date. The major record companies, sometimes they’ll have developed an outline of what is appropriate for an artist for a launch, and if you don’t have specifics, they just spend the money. So time goes by and you look at the budget, and you go, “Good Lord, we spent how much money?” You won’t believe how much money you spent when it’s been dragging along. “I spent how much money on car services? I could have took the train! What the fuck!” They were spending it in pieces, and you look back and you say, “Damn, they spent a whole lot of money, and there’s no momentum.” They ended up taking the song and putting it on a soundtrack, the In Too Deep movie soundtrack, because they wanted to put the hottest things they had at the time on it. And I still had to figure out what was next, for the actual album. Actually, me and Beyoncé had a song called “Thug Love” which I recorded in ’98, and that was the next single on schedule for me to actually shoot the video. It was on schedule right before I got shot, so we never actually created the visual.

 

 

Following Tupac and Biggie, it was almost taboo for you to mention an artist’s name on a record. So all the artists were still competing, but they was doing it subliminally, without actually saying the artist’s name. So when I came with the How to Rob record, it impacted. What How to Rob did was it put me in the culture. It wasn’t the kind of hit record that would change your financial position, but it was the kind of hit record that made everyone take note of me. They were like, “Whoa! Who is this new guy, and he’s saying everybody’s name! He don’t care about nothing!”

 

 

Hip-hop, everybody who’s doing it has been influenced by New York. Kids all over the world are inspired to be writers by hip-hop music culture grown here in New York. My whole first record is New York. If you ask an artist like Nas or Jay Z, why do people always say the first album is the best album, and they’ll give you an answer like, “Your whole life is your first record.” Your second record is after things start to become a little successful, finances and confidence level increasing so you become more attractive. The female energy shifts. It changes your attraction level. A woman can be born that attractive. A man has to become successful and be publicly noted, because stability is attractive. Then he can become her equal. A lot of stuff in music is not new. Before I showed up, there was DMX, and the energy surrounding his material was aggressive and darker. And following DMX’s success, they started singing records. They were selling a lot of records with music that had really soft content. Content-wise, it was very similar to what happens now when you get artists like Drake, because it’s still relationship-based content, but he does it in a real witty way. So when it cycles back, it will be time to go back to something that’s hard. Hip-hop has turned into a traditional genre of music. When I fell in love with it, it was a little more competitive, and more like a sport. You’d have a response to someone else’s hit record. It was a battle of how good an artist or a MC are you. They put a hit out, and you let that inspire you to find something special to put out in response. That’s what kept it alive at that point. I think nowadays, hip-hop is pop culture. It’s so broad that everything is a part of our culture.  

 

*This article appeared in the March 24, 2014 issue of New York Magazine.

 

Source: Vulture

 

 

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Sean Kingston fell victim to the repo man Wednesday night, March 26, in Hollywood, California. The singer's white Bentley was valet parked in front of the Mandarin Hotel when it was spotted by a tow truck driver on a mission.

Within minutes the car was being hauled off. Sean and his crew tried to argue that payments on the vehicle were current, but the repo crew wasn't having it.

Sean left the hotel without his ride. He was spotted later at a club in another ride.

Sean Kingston -- Loses His Bentley to the Repo Man

Sean Kingston - after Repo

Source: TMZ

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Virginia Artist, Zeek P has been putting on with his Virginia to Philly movement for some time and now he is back to steal the spotlight repping VA to PA. Shortly after his release from Prince William Detention Center the young prodigy is prepping his upcoming and third mixtape with DJ Drama "Surrender The Game" 

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The video for “Bown Down” was shot guerrilla style while Deniro Farrar enjoyed a strong showing at SXSW in Austin, TX just two weeks ago. The video cuts through clips of Deniro and Denzel in the back streets and alleyways of Austin to their energetic performances. Deniro performed eight shows over the course of three days at the Brisk Bodega stage, Pitchfork Party, House of Aura and more. Deniro commands full attention when he’s on stage, delivering powerful live performances by pouring all his energy in engaging the crowd.

After multiple impressive live performances, VIBE Magazine claimed Deniro is one of the three artists to watch after SXSW with additional positive feedback coming from the likes of Global Grind to Rolling Stone. “Deniro is the rare rapper who's pretty much guaranteed to win people over with his live show,” said Noisey.

"We came through SXSW and killed every stage! Excited to be gearing up for my Rebirth EP coming in May,” said Deniro Farrar. “I have a lot of dope visuals like this I plan on dropping between now and then so stay tuned!"

Deniro’s debut EP Rebirth on VICE Records / Warner Bros Records, scheduled for May 20^th, comes after years of imposing, hard-hitting lyrics on a series of mixtapes and organic growth in creating his “Cult Rap” following. With his consistent lineup of mixtapes, The Patriarch, The Patriarch II, Kill Or Be Killed, Destiny Altered, Feel This and other projects, Deniro made his stamp on the hip hop world, having earned recognition from XXL Magazine as a “Freshmen Cover” nominee to Stereogum and Pitchfork.

Additionally, Deniro will be joining “The Old Danny Brown Tour” on the following dates:

Friday, April 11: Charlottesville, VA at The Jefferson Theater – click here for ticket info
Saturday, April 12:  Carboro, NC at Cat’s Cradle – click here for ticket info
Sunday, April 13: Columbus, Ohio at A&R Bar – click here for ticket info

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Yo Gotti was a guest on MTV RapFix Live on Wednesday, March 26. He chopped it up with Sway Calloway about his collaboration with 50 Cent, "Don't Worry 'Bout It."

"Actually the last time I was in New York, 50 reached out to me and we chopped it up on the phone," Gotti said. "The first time I talked to 50 I met him through Chris Lighty. Chris was like my first real manager I ever had. He took me to a 50 movie premiere. I bumped into to 50, I chopped it up with him. Keep in mind that I'm one of the biggest 50 fans too. I studied him. Business wise I think he's one of the smartest business people in the rap game. I had talked to him on the phone two or three times. He was giving me game about the game in general. To me that was big like if I had never done nothing with him. Just the fact that he reached out to me and was giving me game because he seen what I was doing. That related to talking about doing a record. That was nothing, I knocked that out easy."

"Don't Worry 'Bout It" is available now on iTunes https://itunes.apple.com/us/album/dont-worry-bout-it-feat.-yo/id836854520

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While on his Serial Killers European Tour with group members Xzibit and B-Real, West Coast spitter Demrick celebrates the recent release of his All The Wrong Things 2 Deluxe Edition on iTunes by teaming up with Modern Artists & On Point Films for a music video to fan favorite "That's Wassup". The video is presented by DJ Skee. Enjoy and make sure to support the mixtape on iTunes: https://itunes.apple.com/us/album/all-wrong-things-2-deluxe/id795437014

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Troy Ave keeps the new music coming by dropping visuals for his "O.G. Bobby Johnson" keymix. Video directed by Llama. Be on the lookout for BSB Volume 4 coming soon.

Follow Dope Boy Troy and the BSB team on Twitter:

@TroyAve
https://twitter.com/TroyAve

@Avon_blocksdale
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@KingSevin
https://twitter.com/KingSevin

@YoungLitoBSB
https://twitter.com/YoungLitoBSB

SiriusXM will broadcast 50 Cent's "Town Hall" special tonight at 8 pm Eastern. Expect an entertaining and informative show as the "My Like" hit maker answers questions from fans, speaks on his forthcoming Animal Ambition album and gives listeners a preview of the project. Here's the link.

In case you can't tune in tonight, don't worry. The show will be rebroadcast nine times beginning on April 1: Tues 4/1 12:00 pm ET; Wed 4/2 2:00 am ET; Wed 4/2 2:00 pm ET; Thurs 4/3 2:00 am ET; Thurs 4/3 2:00 pm ET; Fri 4/4 12:00 am ET; Fri 4/4 12:00 pm ET; Sat 4/5 12:00 am ET; Sat 4/5 6:00 pm ET.

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Smoke DZA links up with The Diplomats boss Cam'Ron for a new song entitled "Ghost of Dipset." This is off of DZA's forthcoming album, Dream.ZONE.Achieve, which will be released on April 1.

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DJ Cassidy is preparing to release his debut album, Paradise Royale, later this year via Columbia Records. The project will feature Robin Thicke, R. Kelly, Jessie J, Kelly Rowland, Chic, Earth, Wind & Fire, Kool & the Gang, Cee-Lo Green, Usher, Mary J. Blige, Ne-Yo, John Legend and Estelle.

Today we get our first listen to "Make The World Go Round" featuring Kels.

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Pharrell Williams continues to add to his business portfolio. The super producer/rapper will be designing a line for Adidas Originals

.@adidas are pleased to announce a partnership w/ @pharrell. The 1st #adidasOriginals x Pharrell gear drops in summer pic.twitter.com/SN5G0jqmRG

— adidas Originals (@adidasoriginals) March 27, 2014

adidas announced today a long term partnership with musical super star Pharrell Williams. The first adidas Originals x Pharrell Williams products will debut in the Summer of 2014.

This is also the first time adidas has partnered with a designer who owns their own textile company. adidas will collaborate with Williams' Bionic Yarn coming from The Vortex Project; an initiative with Parley for the Oceans to turn plastic debris from the oceans into yarn and fabric. Bionic Yarn will be used in some of Pharrell's upcoming adidas Originals products.

"Working with an iconic brand like adidas is such an incredible opportunity. From the classic track suit, to growing up in Virginia wearing Stan Smiths, adidas has been a staple in my life. Their pieces are timeless. This is an exciting partnership for both me and for Bionic Yarn." Pharrell Williams

adidas welcomes Pharrell into its family and is looking forward to a long lasting relationship with this extraordinary artist.

"I am truly thrilled to work with Pharrell. He is a pop-culture icon that never fails to inspire, not just through his musical talent and craft, but through his many other interests. He is the perfect fit for the multi-faceted company that is adidas." Dirk Schoenberger, Global Creative Director, adidas Sport Style Division

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Radio legend Troi Torain (STAR) always delivers hard-hitting objective truth. As a culture critic he is vicious, as a businessman he is relentless, as a luminary he is un-matched.

Considered a radio pioneer by many, STAR has set precedents on the urban landscape and was recently inducted into News One's "Top 20 Black Radio Jockeys Of All Time."

STAR & BUC WILD made the national stage on MTV (1999) but it was their radio show on New York's Hot 97 and Power 105 (2000 - 2006) that secured their place in Hip-Hop history.

Torain's resume includes The Source magazine, MTV Networks, Hot 97, Power 104.1, Power 105.1, Pulse 87, Hip-Hop Weekly magazine, Vladtv, Thisis50, 100.3 The Beat, shot97.com and VH1 (The Gossip Game).

This clip is from STAR's LIVE show (12noon -- 2pm) on http://shot97.com.

Media relations — thehater1964@yahoo.com

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In 2003, Reebok International inked a deal with 50 Cent to create a signature G-Unit sneaker. The partnership was a success for both parties.

50 recently spoke with Revolt TV to reflect on the deal.

"Some of the deals look alike because you see more than one person doing a deal, it seems similar," 50 said. "But the structure of the actual deal is more profitable for one guy than it is for the other guy. They'll talk about RBK deal. That really was a response to losing the bidding war for LeBron James. In reality, the G-Unit shoe outsold the Shawn Carter shoe six to one. I made over 80 million dollars during the RBK time period. If I’m lying. I’m flying. You know how they say men lie women lie numbers don’t.”

To watch the full interview head over to Revolt TV

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R&B singer TeeFLii is back with a new banger that is bound to get the clubs jumping. "24 Hours" was produced by DJ Mustard and features Atlanta rapper 2 Chainz. Give it a listen up top. Be on the lookout for TeeFlii's forthcoming debut album, Starr, due out later this year.