Earl Sweatshirt Brings Out Tyler The Creator, Domo Genesis, Jasper Dolphin and Taco

Earl Sweatshirt’s solo tour stopped at Cervantes Masterpiece Ballroom Monday evening and the majority under aged crowd packed out the venue chanting for Odd Future’s arrival. As the start of the show time came and passed, rumors began milling around that the hold up was due to a surprise appearance by Odd Future’s front man Tyler, The Creator.

At about 10:30, Taco, the charismatic DJ, took the stage to hype up the already crazed crowd with Kendrick Lamar, Action Bronson and Drake. After several intense mosh pit sessions, Earl blazed the stage and performed every song from his discography. Domo Genesis, also in the building, joined him for “Knight” and “Wave Caps.” Early on in his set, Earl performed some of his darker and deeper records like “Sunday” and “Hive,” which were received incredibly despite the intensely energized crowd.

Tyler rushed the stage to perform his verses on “Sasquatch” and “Whoa” and together they were rock stars, showcasing such an authentic energy that was exhilarating for everyone in the audience. Tyler jumped on every surface possible, and Taco and Jasper Dolphin grabbed mics for the hilarious “Bitch Suck Dick.” Although Earl undeniably killed it, he was no match for Tyler’s comic dance moves consisting of a blend of twerking, two stepping and rock star staples.

Earl proclaimed, “this would really be the last song, because he only made like 20.” But of course, after the crew left the stage and an Odd Future chant manifested, Doms, Tyler, Earl, Jasper and Taco all returned for the grand finale featuring Tyler’s “Tamale.” Tyler urged the crowd to remain composed until the beat dropped and when that beat did in fact drop, it was pure mayhem in the best way possible.   

Trademark Da Skydiver Recalls Drawing Inspiration From Method Man's Tical 2

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Exclusive: Trademark Da Skydiver points to his growth on "Flamingo Barnes 2" and lessons learned while watching Curren$y's monthly mixtape run.

On November 19, 2013 Trademark Da Skydiver digitally released Flamingo Barnes 2: Mingo Royale. The New Orleans product spent extensive time as a member of Curren$y’s Jets collective, but by the fall of 2013, fellow Jets member Young Roddy was on a solo tour while Trademark found himself partnering with iHipHop distribution for an iTunes release of his latest product.

“It’s kind of like you have a blueprint for what you need to do in this game in order to be successful,” Trademark said of witnessing Spitta’s monthly mixtape run. “It happened right in front of our faces. It’s just taking that on top of your own knowledge, your own niche and creativity and just doing what you need to do in order to be successful.”

“The Super Villain” says he’s sure the Jets will reconnect when they’re done building up their individual brands to make music again. In the meantime, Trademark his handling his business. He’s signed Blizz to his own imprint, looking to tour and hoping to showcase his versatility behind the microphone now that he has an expanded platform.

Trademark Da Skydiver Says Flamingo Barnes Shows His Versatility

HipHopDX: Let’s start off with something familiar. On “Rite Nah,” you said, “On the come up, getting my funds up, bitch my time is now, right now…” Can you talk about that line and the general idea of “Flamingo Barnes?”

Trademark Da Skydiver: I’m always doing some come up shit. I believe everybody should be working towards whatever goal they trying to achieve. Do it now. You’ve been planning all your life, and too many people take too much time off planning and putting shit together when it just needs to be action. That’s what that line is about…just action. It’s time for action. Flamingo Barnes—just the project as a whole—is showing versatility. It’s showing I can do multiple things, and I can come from multiple angles. I have multiple ideas. It’s just me putting my ideas into reality.

DX: How much do Trademark and Flamingo Barnes go hand in hand? Or this is a new persona much more true to yourself?

Trademark Da Skydiver: Nah, it’s a persona that’s me now. Me being with the Jets for so long, we kept up a particular persona. We had a particular style that we created, and we was true to that. In everybody’s career there comes a time to try different things, trials and ideas that you’ve been sitting on that you weren’t able to try, because everything was such a group effort. You never wanna push the team aside for your own personal things, but it just comes a time to when it’s time to do that. It’s time to give it a shot and see what you can do on your own.

DX: With this new solo persona, where does that leave Trademark Da Skydiver in terms of Jet Life?

Trademark Da Skydiver: Everything is cool. Jet Life is fam, and it’ll always be fam. I’m there whenever needed, when it’s time for us to do Jets, we’ll do Jets. In the meantime, I’m just focused on Trademark and what I need to do. I have a label that I need to get off the ground. I’ve been having this label, sitting on it. So it’s time for me to just run my business.

DX: So are you representing other artists on this label?

Trademark Da Skydiver: Yeah, I have an artist featured on the project right now named Blizz. I have a song with him, the “Million $ Man” joint. He was on the Above The Clouds compilation, and he doing numbers, so everything’s good. He’s making noise right now with little or no promotion, ‘cause we were focused on the Flamingo Barnes joint. He’s promising. I gotta take care of my business. I have business out there that just lingering, and I can’t have that.

DX: Tracks on the album, “Doin’ Me” and “Best Believe” address haters and fake people. How much of this album was a reaction to real life situations?

Trademark Da Skydiver: Everything in art is a reaction to real life situations as it pertains to me. I mean, we all go through things in life, and we may touch on it immediately, or we may touch on it later on in life. Whenever the time is right. It wasn’t said to be guided to anybody directly. It wasn’t no shit like that. It was just me speaking on general situations. Everybody encounters haters, and everybody encounters people telling ‘em what they can and what they can’t do. I was pretty much just speaking on that, and everybody can relate to that. I’m more than sure everybody has dealt with that once or twice in they lifetime.

How Trademark Used Features To Boost His Brand As A Soloist

DX: You talked about your artist being featured, but you’ve also got some other major features, Smoke DZA, Spitta, but also a lot of new artists like Dizzy Wright, Bodega Bamz and Domo Genesis. How were those experiences?

Trademark Da Skydiver: It was dope. Shout out to everybody that participated in the project, because it was all love. It was kosher. I’ve been rockin’ with Domo, and we got a mutual homie through Smoke DZA and shit. That’s how I made that part with him. Ben T brought out the homie Dizzy Wright; he had a connection through him…through a label. It’s just about getting out and making that connection. Real recognize real.

DX: This is the second installment to the series, are you already planning a part three?

Trademark Da Skydiver: We’ll see where it goes. Like I said, I’m always working on new things, and I always have ideas. If the timing is right, we’ll go ahead and put it out, and if not, we’ll try a new thing. It just never stops, because your brain is always working. We always coming out with new things. I think it’s just really about putting things out there and not really trying to hone in on one particular thing. Just show your range, and give people a wide variety of music to choose from.

DX: Are you thinking about venturing into any other styles or fusions of genres?

Trademark Da Skydiver: Not really. I wouldn’t even consider Flamingo Barnes to be any type of particular genre. It’s just what I created; it’s just what I was feeling at the time. A lot of people like to say it have a trap sound because of the particular types of beats. They don’t really know how to classify the beats. So whenever you hear something with an 808 in it and some snares, you just automatically call it trap music, which is crazy, ‘cause trap music is music about the trap. So I don’t understand how people can even compare it to trap music. But I listen to trap music. I listen to all different types of music, so it’s all good with me. Whatever people feel comfortable listening to it, whatever genre they need to put it in, that’s fine with me. I just call it the Flamingo Barnes genre.

DX: That’s what’s up. You seem to know a lot about production; have you ever dabbled in that or thought about going down that road?

Trademark Da Skydiver: Actually, maybe like a couple months ago, I probably took two or three weeks to try dip and dabble into it. And it’s not as easy as you think.

DX: Yeah, I definitely don’t think it’s easy.

Trademark Da Skydiver: It’s not easy, you be like, “Yo, I’m about to download this, make this beat and make what I hear in my head,” and it don’t work like that. It really made me appreciate people who go hard in production every day and actually create the foundation for me to lay down my work.

Trademark Points To Lessons Learned Working With Curren$y

DX: “No Sleep” was another big single for you featuring the Jet Life members. Can we expect another full joint project soon?

Trademark Da Skydiver: I mean everybody’s kinda doing they thing, trying to find they way and trying to put they self on the map. But when the timing is right, I’m more than sure of it. Definitely be on the lookout for that. But I just think that right now everybody’s trying to big themselves up and to make the Jet brand and the Jet Life family even more. We’ll see. I’m more than sure it’ll happen if it makes sense and the timing is right. We’ll just have to see what everybody’s doing. It’s so many moving parts and so many artists. So to kind of get everybody together on the same page and focus on that, we’ll see what’s good.

DX: How does it feel to have been a member of the Jets since Curren$y first did his monthly mixtape run up until to now, when the crew is seeing more success?

Trademark Da Skydiver: It’s a great feeling to be a part of that, to see it happen, to witness it. It’s tight. It’s kind of like you have a blueprint for what you need to do in this game in order to be successful. It happened right in front of our faces. It’s just taking that on top of your own knowledge, your own niche and creativity and just doing what you need to do in order to be successful. You firsthand seen the do’s and don’ts. You seen what work and what doesn’t work on a much bigger scale, on a level that you trying to be on. I think it’s great, and it’s a hell of a start.

DX: Were there any groundbreaking records for you or projects or studio sessions, where you were like, “This rapping thing is about to happen, or this music is really inspiring?”

Trademark Da Skydiver: I’m the type of individual where I like to keep my head down and stay working. I like to stay busy, and I don’t like to get ahead of myself, because everything I do, I feel like is the shit. That’s just how I feel, but at the end of the day, it’s not up to you. It’s up to the audience you’re trying to appeal to. It’s up to the fans to decide what’s hot and what’s not. I never get into the zone to where I’m like, “This is the shit that’s gonna win everybody over.” I stay away from that and just focus on what I do—what I’m good at—keep my head down, and just keep moving forward. I stay busy and stay working.

DX: In the “No Sleep” interview, you talked about missing a lot of opportunities growing up. Can you elaborate on that?

Trademark Da Skydiver: Well, growing up in New Orleans is tough no matter what part of New Orleans you’re from. I mean just anywhere growing up is tough as a youngin’. You kinda get caught up in shit that don’t matter. But you think it matter right there in that moment. I could have been rapping and pursuing my dreams, but I was caught up in doing other things. I wasn’t no d-boy, and I wasn’t on the block slingin’ bricks. But I was mischievous, and I was into other shit like pilling up cars…just take your whole car and would try to sell it type shit. That was many, many, many moons ago…a long time ago. I been off that for a minute, and ain’t no need for us to speak on that. I don’t even need to glorify that. But just growing up, you miss out on so many things because you think what you doing at the time is what you need to be doing. If I could just go back and work on my craft [at the ages of] 11, 12, 13, it would just been a different thing. But I don’t regret anything I went through in life, because it made me the man I am today. So I’m not even trippin’ off that. It’s all good.

How Trademark Was Influenced By His Cousin & Method Man’s “Tical 2”

DX: How did you get out of that and into rapping?

Trademark Da Skydiver: Just being a fan of it. Since like eight or nine-years-old. I had a cousin that was in the navy, ‘cause growing up in New Orleans—especially back then—all you’re exposed to was New Orleans music. Maybe outside of New Orleans music, I mean we knew about 8Ball and UGK. But all that was rockin’ in people’s cars was No Limit and Cash Money when everybody was still local and on they come up. My cousin put me on to Wu-Tang Clan early, as a youngin’. Just listening to that, getting older and peepin’ shit out, I was like, “Yo, let me try my hand at that.” Ever since the first song I wrote, I just knew this is what I’m supposed to be doing.

DX: It just felt right.

Trademark Da Skydiver: It just felt right. So I was just like, “Word. This what it is.”

DX: At what age did you start writing?

Trademark Da Skydiver: I would say around like 15.

DX: You talked about Wu-Tang, but did mostly New Orleans rappers really influence your sound?

Trademark Da Skydiver: During the time it was more of a New York influence, because at a point in time, that was all I was listening to. I mean, you can’t escape the sound of your city, because it’s everywhere you go. I’m not saying I was trying to escape it, but kind of a mixture of everything that I was on the time. It was really when Method Man dropped that Tical 2: Judgment Day. That shit really inspired me to pick up the pencil, try to write something and put something together. That was the particular project that did it for me.

DX: That’s dope that you remember that. Getting back to Flamingo Barnes, is there a Flamingo Barnestour in your future?

Trademark Da Skydiver: Yeah for sure. We trying to put it together at the beginning of this year. We trying to get out around like March and we’ll see what’s good. We’re trying to hit every city and Canada too. Everything is in the works right now, so I’m definitely looking forward to that.

DX: Issue #1 was your debut mixtape, and since then you’ve released music under several guises. Do you still connect with your Super Villain and Trademark Da Skydiver music?

Trademark Da Skydiver: Yeah, for sure. It’s a part of me. It’s not gonna ever leave, but you also have to make room for new things to blossom. You kinda have to just mix it all up, take the best parts from everything and put that together with the new sound you’re trying to do. You put it out there and see what it does. That’s what I like to do, personally.

DX: In the Rap world, where most claim kings, why use the alias “The Super Villian?”

Trademark Da Skydiver: Just because of my persona, the way I come off and my past as well. That’s just the way that I feel. It’s kinda like a “me against the world” type feeling. You just go through so much—people telling you what you can and can’t do—and they want you to do this and that. But you wind up doing what you wanna do. So it kind of makes you feel like the villain out of everybody who’s trying to get you to do one thing, and you doing another thing. It’s just that rebellious spirit that’s in everybody…just letting it come out, and let people know I don’t really care about how you feel about this or that. I’m gonna do me and that’s that.

Interview With Thaddeus Dixon

I sat down with the LA based musician and producer, Thaddeus Dixon, to discuss “Violations,” the new track he produced for Talib Kweli’s new album and to get some insight on his merge from being a touring drummer to now also a breakout producer. At age 29, Dixon is no new artist to the industry, but 2013 was certainly his re-introduction to the music world as a producer on the rise and not just the man behind the drums.

Let’s begin with the most recent, “Violations,” the track you produced for Talib Kweli, which also has the legendary Raekwon featured on it. How did you get connected with Talib? And was this your first collab with him and Raekwon?

I started working with Talib playing drums on tour with him. A friend of mine from Detroit, who’s also a producer. I think Talib’s drummer couldn’t make it so he called him and he couldn’t make it and that’s my homie so he called me like “yo Talib Kweli needs a drummer for these dates.” So that’s how we started working together. But you know I was getting my production game up, trying to get placements and stuff like that. So over about a year, I was sending him records whenever I had something that I thought would fit him. He hit me up and was like “yo, I’m writing to one of your records.” And I was like ‘oh that’s dope, go ahead.’ And then he hit me back like “yeah Raekwon’s gonna be on it.” He sent me the record back once they finished it. I loved it, I didn’t even know he was working on the album or nothing like that.

That’s dope that Talib just casually called you to let you know not only was he using your record, but Rae was featured on it. Can you talk about the creative process. How did violations, the production come about?

I heard some stuff and that inspired me to create this track. It was like the perfect sound, perfect everything came together all at once. Everything was just perfect, I had all the ingredients to make this record. I sent this record out to a lot of different artists.

That’s actually my next question, who else did you shop the record to or was it originally made for Talib?

Yeah, I shopped it to a lot of R&B artists and rap artists. That was one of my best records that I produced. Even if it wasn’t an artist necessarily that I felt it was particularly for, I still sent it to them. But Talib picked it up, so it’s his now and Raekwon jumping on it was out of the blue. I did the track in Los Angeles, I did it about a year ago and they recorded the vocals in New York. And they sent it back to me and I put my voice and I put some stuff on it, changed a couple things and I sent the files back to them in New York so they could mix it and that’s how it came about.

So you knew even before Talib picked this up that this was a hit record, you knew this was something great?

I did, I knew it was just a matter of time. I mean it’s a gamble, you can think it’s so great. But I mean I knew it was that great, because some people would write on it, some people it just wasn’t for, but from a lot of people and out of all the records I sent to people, I got good feedback and positive vibes on that record. I did know it was a dope ass record and whoever get it, get it and it was gonna be a dope ass record for them. It was that type of beat, it wasn’t just like an okay beat where it had to be dope ass lyrics or vocals to make it next level. The beat was dope on its own.

How was it to not only produce for two legends in hip hop but to see the incredible feedback that the record received? Not just from peers and colleagues who heard it before Talib released the album, but that was the single, I saw it on every major site with your name on it.

It felt really good, it was validation. It validated me as a producer and introduced me. I’m a new producer. I been playing drums for a long time with different artists from Ne-Yo, to Sean Kingston, to Bone Thugs-N-Harmony, to Talib, for a whole bunch of motherfuckas. But the touring world is different from the producing world. It validated me as a producer and It let me know as well as others know that this n***gas dope. I mean I had a relationship with Talib but it wasn’t to the point where we me and him were cousins or brothers and he was gonna automatically put me on and make sure my beat was on his album. I had to earn it.

Not only did you prove yourself to Talib but you proved yourself as a dope producer on the rise. Your musical background, you talked about a lot already but it’s really evident on “Violations.” I know you play the drums do you play any other instruments?

I play keys as a producer but not as a touring musician.

Kind of in that same idea, you've also toured as a musician, are you stepping away from being a performance musician to focus on production or are still in both lanes?

I’m in both lanes. You know you only got so many hours in the day. I been calling myself a producer for awhile because I can produce and I do produce. But you have to dedicate time to that and it’s a craft and you have to develop that craft. Like dancing, you have to go to class to practice your shit, just because you know how to dance doesn’t mean you’re a dancer. So I said if I wanted to be taken seriously, and seriously submit records, then I have to put a little more time into this. I don’t think it took away from me playing drums or touring, my focus went to production while I wasn’t touring. Because it’s hard to tour and produce. It was hard to do both, I’m not shying away from playing drums, I just have been a little more focused on production. Like in February I’ll probably be going back out on tour. So it’s just a give and take relationship. I go out on the road to play drums, when I come back I’m producing.

That’s amazing to really be active and successful in two careers in the same industry but still two totally different careers. So you explained you always produced, but you needed the time to really perfect your craft. How did you first get into production or say okay now I’m gonna focus on this?

I was a musician first. I didn’t wake up and be like “Oh, I wanna make beats and let me get this and this so I can make beats.” I been in music all my life so I was always a musician. The end of high school going into to college is when I really started trying to get into production, recording and producing and making beats. Actually my first placement was with an Indie/major label but it was as I was a freshmen in college for Patrice Wilson who is a gospel singer, and it was written b J Moss.

That was the first foot in the door. Who were some major influences growing up to get into production?

I would say definitely Kanye West, Just Blaze, Timbaland, Dark Child, Teddy Riley, Dallas Austin, Mario Winans.

Dope, that’s a great list. But “Violations” was a huge breakout record for you, what are other standout either records, moments or studio sessions that changed the game for you?

The beginning of this year I was on tour with Cody Simpson on the Justin Beiber tour and that ended at the end of March. I co-wrote a record on Ariana Grande’s album, I produced Teedra Moses’ new single. 2013 was my introductory year into people knowing that I produce, but I feel like 2014 is the time for me to really make my mark. This is the year where I make my name a little bit more known and get more placements. I got a record coming out with Teedra Moses and Rick Ross coming out next year. I’m excited about that because it’s Rick Ross, he rapping on my beat. I made that beat and he rapping on that. Its not no remix or no friend of a friend, they sent me his raw vocals to mix it and do everything on my beat.

I think nowadays producers are receiving more recognition for their talent & hard work, have you noticed that shift in the industry?

Yeah, producers are getting shine. Producers are really the one who’s delivering the record, the artist is the face. The artist is the representation of the record. That’s just like with any company, you have the CEOs and the workers, but when it comes time to be on television, you have a spokesperson. Tiger Woods is the face on Nike Golf, but there are other people behind it who make the engine run. Producers are becoming more popular. You have producers like Swizz Beats and Timbaland and few other producers, who are artists within their own light. You see them and hear their voices on the record. It gives producers the shine, which is definitely a good thing.

I agree, producers work so hard and I’m glad people are starting to recognize them. But last question, who are some artists you wanna produce for in the future?

I’m not biased, there’s so many artists that I enjoy musically. There are hundreds of artists from the popular ones to those less popular that I would love to work with. But right now, I really don’t give a fuck who I work with, I just wanna make good music. Because the music will bring the recognition, I just want people to like it. If you’re open to working with me, we gonna make something dope.

Give a shoutout.

I just wanna shoutout everybody who supports me and believes in me and I wanna give a shoutout to “Come Home With Me” for having interest enough in me and my music to do this interview and who I believe sees the vision thoroughly and one day “Come Home With Me” is gonna have one of the first interviews of me. You got dibbs.

2014 is going to be an exciting year for Thaddeus Dixon. Check out his YouTube and Soundcloud page to keep up with this talented producer and musician. Also we've got the official "Violations" stream below.

Wu Year's Eve: Method Man, Ghostface Killah & Raekwon

At exactly midnight, Wu-Tang Clan members Method Man, Ghostface Killah, Raekwon and affiliate Street Life blazed the stage to wish everyone at Cervantes Masterpiece Ballroom a very happy Wu Years. Despite all the members being over 40 as Method Man emphasized, they were vibrant and rocked the venue for almost two hours.

Method Man is categorized as being the greatest hip hop performer in history, among Redman and Busta Rhymes and he proved why last night. Crowd surfing, joining the mosh pit, spitting his verses on top of stereos, performing actually really dope old school dance moves and possessing a stage presence that was so natural and charming, he shined bright and his brothers Ghostface and Rae who are much more reserved, were happy to support him as a true team does. Although very sweetly and boy band like, the members including Street Life did a two-step in unison as soon as “Reunited” came on.

Their DJ, Allah Mathematics, in classic hip hop form, did a whole DJ set dedicated to the late and great Jam Master Jay who was Run-D.M.C.’s DJ as well as one of the most respected DJ’s in history. Scratching records with his nose, with his hands behind his back and doing other incredible tricks while simultaneously creating a dope beat, the whole set reminded me of the scene in Juice during the DJ competition, back when DJing was an art form and a founding principle in hip hop.

Wu-Tang was so gracious of the sold out crowd that number one they chose to spend their New Years with Wu and also that they chose to spend the first day of marijuana being officially legal in Colorado. Because of the special occasion, Method Man introduced a new concept: the DJ would play any random song from the Wu-Tang repertoire and based on the crowd’s reaction, they would decide whether to perform that track or not. Of course, “C.R.E.A.M.” and “Wu-Tang Clan Ain’t Nothing Ta F’ Wit’” got unanimous cheer.

Highlights of the evening were the Ol’ Dirty Bastard tribute, “dedicated to our brother and yours” as Meth articulated and Ghostface sought an audience member who could spit ODB’s verse in “Protect Ya Neck.” Countless people hopped on the stage only to second guess themselves and be dismissed, before finally, after about five people in, a completely wasted older man demolished the verse and the rest of the clan could perform the classic.

The sound at times was distorted and they kept having to ask for the mics to be turned up, but nonetheless the show was incredible. To say the venue was turned up would be an understatement. Legendary hip hop performers, New Year’s Eve, belligerently wasted hip hop heads and an abundance of weed had Cervantes on another level. In a music era where hip hop groups are lacking, it was nostalgic to see Wu-Tang Clan twenty years later still bonded and still doing performances. The aspect of family between them was crystal clear as their transitions were seamless and whether it was a quick mic swap or taking on the role as the hype man/ad-libber during someone else’s verse, they supported each other every step of the way. Wu Year’s Eve was the perfect way to bring in 2014, providing hip hop history while preparing us for a whole new year of music.

Regional Hip Hop Is On Its Way Out

Rap reflected its location in the 90s and early 2000s. The sound of New York had a distinct style as did the South and the West Coast. New York had the boom bap beat and the grimy yet lyrical wordplay, where the South made trap and crunk music popular with the 808s and party content, and Cali flourished with Gangsta Rap and its laid back, melodic flow.  Even outside of the three major Mecca’s of hip hop, smaller locations sprouted such as Detroit and Houston representing a different but defined sound that was confined to the area. Hip hop was nowhere near predictable, but chances are you could identify a rapper’s origins by his flow, content and beat selection.

Nowadays, when emcees are just a soundcloud away and producers can tweet any artist their beat, the regional lines in hip hop are getting very blurry. A$AP Rocky was found at first innovative for his clearly Houston influenced sound and flow and then somewhat scrutinized for being a New York native and not representing any of the characteristics of NY hip hop. Big K.R.I.T. stands as one of the most lyrical rappers in the game and despite hailing from Mississippi, his music is deep and thoughtful, completely opposite from the typical crunk music that the south became famous for. Detroit, known for its aggressive and even filthy sound, G.O.O.D. Music’s Big Sean has been the front runner from the city for some time now while making music that is playful and catchy. And there's Freddie Gibbs, one of the most respected gangsta rappers out right now with roots in Gary, Indianna.

Although some artists are insistent on bringing back the sounds of the city, as A$AP Nast most recently showcased with his single “Trillmatic” featuring Method Man, the regional distinctions in hip hop are on their way out. There are no characteristics of New York sound right now and the same goes for the other regions as well. Producers are sending their beats all over the country and artists are having the freedom to not only be inspired by hip hop everywhere but it has expanded the rap genre immensely. More sub-genres are being created which is much more defined by lyrical content and flow than location. Some of the most popular turn up rappers (which is similar to crunk music) are from NY, real talk and the gangsta rap genres also include artists from all over and in 2013 there has been a huge rise in emcees crossing into other genres completely.

The boom bap style of production will always be iconic as will the rise of gansta rap and trap music, yet as hip hop is continuing to evolve, it’s exciting to see artists break out of the boxes that confined their sound to their location. I’m glad that artistry and inspiration is being prioritized. There has been a lot of backlash surrounding the New York hip hop scene this year and it’s important to welcome new styles and sounds as the music continues to grow. Although I love a good retro flow, allow artists to be who they are, which is not necessarily defined by where they come from.

Unreleased Material From Chance The Rapper

Chicago native, Chance The Rapper, has owned 2013 with his critically acclaimed mixtape Acid Rap, following with The Social Experiment Tour, which sold out in almost every city and then on to collaborate with pop sensation Justin Beiber on the hit record “Confident.” 10 Day, Chance’s first official mixtape, served as the introduction to this young emcee and Acid Rap solidified his place as an artist to be reckoned with.

On December 10, two unreleased mixtapes from Chance’s early music days surfaced via Facebook: Good Enough and Back To School Pack. The mixtapes were collaborations with his friend and music partner Justin (J-emcee) who formed the duo Instrumentality in high school. Although the original dates of these tapes are unknown, the material is somewhere between 3-5 years old as Datpiff first discovered.

It is absolutely remarkable listening to these two projects and hearing the already developed sound that we all thought was established with Acid Rap. The first track on Good Enough, which is also the title track, begins with the profound question: Who do you call when your dreams don’t call back? Chance then tells the story of his first interaction with the music industry and submitting music to Roc-A-Fella producer J Brown. Chance was told he wasn’t “good enough.” He then follows with the triumphant response, “we revolt against that thought, this is the product of a revolution.” The song picks up and becomes inspirational for everybody with a dream and who were ever told they weren’t good enough. Chance urges everybody that “you aren’t just good enough, you are simply amazing.”

The following track, Chance spits over the Coldplay “In My Place” sample and explains who he is as an artist: “I swear I’m Hercules, mixed with a little Freddie Mercury, mixed with Kanye and a little MJ.” He goes on to explain that he is exactly who he’s always been, which apparently was an incredibly talented musician who pushed boundaries in hip hop from the beginning.

The next track, “Something Bout Us,” offers something totally different sonically as Chance raps about being intrigued by a woman despite poor timing. This track, easy to digest and bump, further proves how remarkably diverse Chance is musically. Other standouts of the tape are Chance’s rendition of “Hometown (Cali)” featuring the sample originally made popular by Adele on her debut album and “NvrSayNvr” which explains the darkness and depth of the project and provides some insight on his journey in finding himself as an innovative artist in the industry.

Back To School Pack is not as strong as Good Enough, but with only five songs, it’s still a great body of work and definitely worth listening to. Stepping away from the introverted music that appeared on Good Enough, Chance dives into progressive rap and provides an incredibly conscious track with “Dear Chicago Summer.” He spits, “maybe I need a geography class or something, but when did Chicago become a part of East Compton and when did the Windy City become we’ll blow you all away? And when did throwing hands become the hoish move to play?” Chance expresses his frustration with the growing violence in his hometown, but in a calm manner spitting facts that are daunting and provocative.

Both of these unreleased mixtapes are gems and offer a bit of history of who Chance The Rapper was prior to 10 Day and Acid Rap. At only twenty years old, Chance stands as one of the top emcees in the game and these tapes make it clear that he has been developing his artistry for years now. Incorporating melodic rhymes, singing choruses, and innovative sound, these elements that were made popular on Acid Rap were always part of his repertoire. We sometimes forget that musicians have a whole come up catalog that is often overlooked by the breakout mixtape or single that changed their status in the industry. I’m glad we were able to receive this old material and get a glimpse of early Chance days, which only makes me excited for what’s to come from this talented emcee. With Good Enough and Back To School Pack being basically forgotten and Acid Rap being the debut, I can’t even imagine what innovative and creative music Chance The Rapper has in store for 2014.

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Who Are The Conscious Rappers of 2013?

I came across this fascinating video by Killer Mike, that eloquently described the concept of Reaganomics and the effect the era had on the black community. Using cartoon visuals and actual Reagan footage, it simplifies this piece of history in ways that I've never seen before. It's completely accessible and easy to grasp while being portrayed in an artistic and revolutionary way. I was exposed to this video last night and it got me thinking. Hip hop's pioneers and early emcees were certainly some of the most political artists to date, with groups like Public Enemy and Dead Prez bringing light to revolutionary concepts. And rappers like KRS-One, Mos Def and Talib Kweli all took stands in their music reacting to the systemic racism infused in every institution of this country.

There was a time when hip hop and politics went hand and hand. Rappers spoke knowledge and articulated problems in the streets giving plight to issues in black communities that the media either completely ignored or countered on a regular basis. Nowadays you've got to have a magnifying glass when examining the lyrics of emcees in hopes that a double entendre is slipped in that actually stands up for the people. So I got to thinking, who are the conscious rappers right now?

The first that comes to mind is the Peruvian born American rapper, Immortal Technique, who's lyrics never stray from controversial issues in global politics. His lyrics serve as his commentary on war, institutional racism, classism, poverty, government, sexism, and religion. Immortal Technique utilizes his music as a platform of social activism. Although he's clearly brilliant, his music is purely factual, leaving very little room for art and flow.

El-P, inspired by techniques Public Enemy coined, he also went on to collaborate with Killer Mike and provide conscious, profound hip hop that was aggressive and complicated.

Brother Ali is not new to the game, but recently he's become radical with his music. One of his most popular songs, "Uncle Sam Goddamn," introduces the track with powerful words "welcome to the United States, land of the thief, home of the slave, Grand Imperial guard where the dollar is sacred and proud."

Common is an interesting cat. When he's not in Gap commercials or corny movies, his music is political, most notably on his album Be with tracks like "Testify" and "Real People." He spits, "I wonder is the spirits of Bob Marley and Haile Selassie, Watch me as the cops be tryna and pop and lock me."

Nas has made provocative music since his debut and his most recent album, Life Is Good, includes his usual balance of lyrical superiority and political story-telling, particularly on "Accident Murders." Although with tracks in his discography like "N.Y. State of Mind," "If I Ruled The World," "I Can," "Black Republican" and "Revolutionary Warfare," Nas is without a doubt one of the leading and consistently conscious rappers in hip hop.

Lupe Fiasco has been extremely vocal both in and outside of his music on his political philosophies. Perhaps it all began when he first remixed Kanye West's "Diamonds in Sierra Leone" into his track "Conflict Diamonds" which highlighted the atrocities of the diamond business.

When Kanye West first emerged as a solo artist, his debut album, The College Dropout, hosted the hip hop classic "All Falls Down," which discusses the materialism of the american culture and how the government uses that concept to control and continue to keep people of color down. Kanye has ventured into other topics throughout his career until recently. Yeezus restored some of his conscious ideals but he portrayed them in a much more radical way. "New Slaves" returns to the concept Ye explores in "All Falls Down" but in an angrier and evolved stance nine years later. In a few tracks later, Kanye samples Nina Simone's "Blood On The Leaves," which is the famous poem turned song, originally by Billie Holiday, revealing the truth about lynchings in the South. Throughout the album, he is constantly incorporating political lines, most brilliantly with his term "Chi-raq," which expresses the unbelievable mass murders plaguing the black community in Chicago, comparable to the genocide in Iraq.

When Freddie Gibbs first broke into the scene, he was reminiscent of 2Pac, born and raised in one of the toughest neighborhoods in America and utilizing his music to express his anger with the government and this country. Representing "the low class" as he articulates on "Serve or Get Served," Gibbs made revolutionary music and today, he continues to comment and take stands on issues of racism in this country.

J. Cole explores consciousness on the surface with tracks like "Truly Yours" and "Crooked Smile." But recently, he's taken more a of political stance with his music videos. The "Crooked Smile" video depicts the story of 7 year old Aiyanna Stanley-Jones who was killed back in 2010 during a police raid in her home.

Jay Z has dabbled into social commentary briefly in the past year, dealing with his own aggravation with the government during his trip to Cuba. "Open Letter" was his response record and later that year he dropped "Somewhere In America" on Magna Carta...Holy Grail and it offered a more revolutionary Hov than we've ever experienced.

Ab-Soul, one of the most prolific emcees of T.D.E., released Control System, and his sophomore album featured "Terrorist Threats" with the hook "Wish I could see out of Selassie' eye, maybe my sovereignty would still be mine, if all the gangs in the world unified, we'd stand a chance against the military tonight."

Dizzy Wright blazed the 2013 XXL's Freshmen Class due to the people's choice vote. Although he's still pretty underground, this 22 year old spits political truth. "That's why I'm in my Trayvon hoodie with a smile, And I'm here to let the world know...Ayo fuck the media they twisting turning the truth."

When reflecting on conscious rap, we most often allude to older emcees as hip hop decades ago was much more concentrated with political philosophies and provided the platform for artists to speak out against racism, poverty and other social issues that were plaguing the black communities in this country. As I examine more contemporary music, there are some artists who are releasing tracks that are inspired by their political beliefs, but it is nowhere comparable to the groups and emcees who prided their artistic identity on battling the racist institutions that were founded on and maintain in keeping black people down.

Have we really made that much progress? Or has hip hop become more of an every man for themselves complex due to the fact that monetary success is achievable? Despite the ideal that current white politicians like to assert, that we live in an era of "colorblindness," we all know that is utterly untrue. And we still need artists to use their voice for social change and to combat the media and government through art. Hip hop was founded as the voice of the people, expressing the daily struggles of African Americans and other minorities. As fans we need to welcome and celebrate the brave artists who put their mainstream careers on the line to express anger and political issues that wouldn't see public light otherwise. We salute you.

Robert Glasper Experiment Presents Black Radio 2

During a time when positive, soulful music was lacking, Robert Glasper released Black Radio 2, the second installment to the Black Radio series, which collaborated with an all-star cast of some of the greatest rappers and R&B singers to grace the mic. The follow up rounded up an equal amount of talent featuring Jill Scott, Common, Anthony Hamilton, Norah Jones, Bilal, Snoop Dogg, Faith Evans, Brandy, Lupe Fiasco and Macy Gray.

The album begins with perhaps the most beautiful mic check I’ve ever heard, similarly to the original Black Radio. Fusing “Baby Tonight” with introducing the beautiful vocals of the artists on the album, the first track is a prologue of what’s to come. 

Robert Glasper Experiment, as he calls the collaboration, brilliantly blends Jazz, Hip Hop, R&B, and soul genres into one innovative project including a wide range of content, most articulately on “I Stand Alone” with his take on the lack of originality in music right now:

The irresistible appeal of black individuality…. Where has all of that gone? The very people who blazed our path to self expression, and pioneered a resolutely distinct and individual voice, have too often succumb to mind numbing saneness and been seduced to simply repeating what we hear, what somebody else said or thought and not digging deep to learn what we think or what we feel or what we believe. Now it is true that the genius of African culture is surely its repetition. But the key to such repetition is that new elements were added each go round, every round goes higher and higher. Something fresh popped off the page or jumped from a rhythm that had been recycled through the imagination of a writer or musician. Each new installation bore the imprint of our unquenchable thirst to say something of our own, in our own way, in our voice as best we could. The trends of the times be damned. Thank God we’ve still got musicians and thinkers whose obsession with excellence and whose hunger for greatness remind us that we should all be unsatisfied with mimicking the popular rather than mining the fertile veins of creativity that God placed deep inside each of us.

Many of the artists who collaborated on the original Black Radio returned for part 2 and are clearly taking an active stance in producing music that is thoughtful and imaginative, filling the void that Glasper asserts is missing in the industry.  There is nothing mimicked on this album, each track is unique and tells a different story of love, God, and loneliness.

“Yet To Find” features the incredible vocals of Anthony Hamilton and explores a past relationship and the frustrations of having love inside of you but yet to find the right person to give it to. Norah Jones appears on “Let It Ride” and with a sultry sound, she expresses the risk of deep, consuming love. Malcolm Jamal Warner speaks to the youth in the uplifting “Jesus Children.” Luke James sings the chorus on “Persevere” while Snoop Dogg and Lupe Fiasco spit verses on the idea of determination and that despite the hardships of the world you’ve got to push through.

Black Radio 2 is the perfect follow up to complete an exceptional body of work. Jazz production, outstanding vocals, meaningful rap and relatable content set this project far apart from other albums and explore a blended genre that has the potential to speak to multiple generations and backgrounds. Jazz meets hip hop on Robert Glasper’s Experiment and its creation is music that fills the soul in every way.

Purchase Black Radio 2

Magna Carta World Tour

The Pepsi Center in Denver, CO hosted the Magna Carta World Tour Monday night and Jay Z brought out the most diverse audience I’ve ever seen. Families, couples, and groups of friends filled up 18,000 seats eager to witness a legend in what may be his last major world tour. Reasonable Doubt blasted prior to the start of the concert and even with the lights on people were energized with excitement.

9pm struck and the entire venue went black as Hov bursted out to “U Don’t Know” off his double platinum album The Blueprint. For about forty-five minutes, Jay went through hit after hit showcasing material throughout his entire career while also highlighting his new singles from Magna Carta…Holy Grail. Encouraging the audience to sing along to “Holy Grail,” “On To The Next One,” “Crown,” “FuckWithMeYouKnowIGotIt,” “99 Problems” and his verse on “Pound Cake,” he killed each track and his energy was incredible.

                                       

There was a moment when the screens that had been projecting Hov went black and a spotlight dimly lit him as he shouted out his day one fans and said, “how many people in here got that Reasonable Doubt album? This one’s for you…” Jay then dove into “Dead Presidents II” and it was one of the greatest musical moments of my life. For those who have loved Jay Z, Reasonable Doubt is such an iconic body of work and I never imagined I would be able to experience that live. Not only was the performance of that song moving, but it solidified his greatness in 1996 and today, with the fact that the material is still relevant 17 years later.

Jay Z exited the stage leaving the legendary Timbaland a.k.a. Timbo The King to hype up the crowd with his most popular and hottest beats of his career. Paying homage to Aaliyah, Justin Timberlake, Missy Elliot and Drake, Timbaland also shared some of his new material from his upcoming album titled Textbook Timbo.

Hov emerged back on stage performing my favorite track from his new album “Somewhere in America.” His unbelievable discography of hits continued as he transitioned into “Big Pimpin’,” “Ni**as in Paris,” “Jigga Who Jigga What,” and his verse from “Clique.” During his performance of “Dirt Off My Shoulders,” Jay gave an inspirational and heartfelt speech urging us that we all are geniuses and we all can achieve success in whatever we dream of. His single with Rihanna “Run This Town” appeared to close the concert.

Even after an hour and a half set, people refused to leave and began chanting “HOV!” in hopes of bringing Jay back out for one last song. After a solid ten minutes of waiting, he blazed the stage one more time with none other than “Encore.” Following with “Izzo” and “Hard Knock Life,” Jay then requested the lights be turned on as he acknowledged standouts from the audience. Showing love to fans who knew all the words, beautiful women, and the crafty audience member’s with signs, he also invited a boy with a Reasonable Doubt tee to come on stage and shake his hand. He shined the spotlight on a man who had hilarious dance moves and very sweetly brought all the attention to a woman who had Jay Z’s face tatted on her arm. She shed a tear as he thanked her for her dedication. It was such a humble moment as he stood in front of tens of thousands of people as one of the most successful rappers to date and genuinely thanked every member of the audience for their support and constant inspiration, which allows him to continue to create music and share his art with the world.

Jay Z ended with “Forever Young” and after almost three hours of performing, there was not a soul in the Pepsi Center who left feeling unsatisfied. Hov put on one hell of show and I am so honored to finally experience his brilliance live. As today is Dec. 4, I want to wish a huge birthday shoutout to this legend and his decades of commitment to hip hop.

Action Bronson Runs New York

New York has been the Mecca of hip hop since its foundation, producing some of the most iconic rappers to date. Kool G Rap, Run-D.M.C., The Notorious B.I.G., Nas, Jay Z, Dipset, all New York natives and all held the crown at one point in time. Well, New York has a new king and his name is Action Bronson.

Making his debut in 2011 and dropping his widely acclaimed mixtape Blue Chips with Party Supplies’ in 2012, the underground hip hop scene embraced this Queens bred emcee with open arms. Despite the lack of features on Blue Chips, his cultured lyricism and incomparable flow earned him the respect from fellow rappers in the industry and Bronson went on to be featured on Chance the Rapper, A$AP Rocky’s, Mac Miller’s and Smoke DZA’s projects.

My first glimpse of Action Bronson was in 2012 when he shut down the Brooklyn Bowl in Williamsburg and I still remember him being larger than life, literally and figuratively, jumping into the audience, dapping up his fans, playing an entire bowling game while simultaneously never missing a rhyme. From the beginning, Bronson represented the people. I became addicted to his authenticity, and seeing him on two other tours, I began to fully realize his greatness. Rap started as the soundtrack of the streets and Action Bronson exudes that true essence of hip hop.

Atlantic Records and Vice Records snatched him up and although he has yet to release a studio album, he has released a major label EP with Harry Fraud called Saab Stories. November 1, Bronson dropped Blue Chips 2, the second installment to the Blue Chips series. Party Supplies’ humor is a perfect mix with Bronson’s already comical flow and the tape features the voice recording from Allen Iverson’s epic “Practice Rant,” as well as samples from “Tequila” by The Champs and Tracy Chapman’s “Give Me A Reason To Be here” solidifying its spot as one of the greatest projects of 2013. Straight spitting, lengthy verses and lot’s of solo tracks, Blue Chips 2 incorporates the perfect balance of old school technique with contemporary content and flow.

Aside from producing high quality material for two years now, he has pretty much been on tour non-stop. Accompanied by A$AP Ferg, Mayhem Lauren, Joey Bada$$, Big K.R.I.T., Trash Talk and Danny Brown, his live performances are outstanding. Action Bronson brings his undeniable New York flavor wherever he goes and shuts down each venue he steps foot in.

Recently, there has been much dismay over a supposed decline in New York hip hop. With rappers either being more influential in fashion or simply relying on dope producers to keep them relevant, the throne in NY has been wide open and Action Bronson swooped in for the crown. Demanding respect and standing as one of the most lyrical rappers in the game right now, Bronson is undoubtedly here to stay. Looking like the body guard, influenced in flow by Ghostface Killah, spitting content representing both his Queens roots, Albanian heritage and of course love for food, Bronson is killing every track he touches and holding New York hip hop on his shoulders. So next time someone says NY hip hop is dead, point them in the direction of Action Bronson, cuz he runs that shit.

Download Blue Chips 2

A History Of Rappers Who Experiment With Singing

Drake, imma let you finish, but Lauryn Hill had one of the greatest singing and rapping careers of all time…           

We often associate Drake with pioneering the blend of singing and rapping in records, but in fact, emcees have been sharing their vocals for decades. There is a whole history of rappers experimenting with singing, setting the foundation for the rise in R&B fused hip hop songs that have become so popular. Without these rappers paving the way, there would be no 808s and Heartbreaks nor Drake’s sound that has opened up questions about masculinity in hip hop.

Bone Thugs-n-Harmony owned the 90’s and made an entire career based on the blend of rapping and singing, especially on their second album E. 1999 Eternal with the #1 single “Tha Crossroads.”

In 1997, The Notorious B.I.G. released his second studio album Life After Death, which featured the entire singing record “Playa Hater.”

The Miseducation of Lauryn Hill in 1998 pushed the boundaries of what an emcee was capable of with her soulful lyricism and beautiful vocals on “Ex-Factor,” “I Used To Love Him,” and “Everything Is Everything."

Also in 1998, Black Star, the hip hop duo released their one joint album Mos Def & Talib Kweli Are Black Star featuring the vocals of Mos Def on “Definition.”

Outkast can be given credit for pioneering the Southern hip hop sound which included their fusion of rapping, poetry and soul records. Particularly Andre 3000 utilized singing on his joint solo project The Love Below. But long before then, the duo were testing the rapping culture with singing tracks such as “Rosa Parks” and “Ms. Jackson.”

Ja Rule was certainly one of the original artists who identified as a rapper and singer providing hit singles from 1999-2004.  Collaborating with R&B singers on many of his popular records, Ja sang with them on “Between Me And You,” “Put It On Me,” “Always On Time” and the remix to Jennifer Lopez’s “I’m Real.”

Lisa “Left Eye” Lopez was the emcee of the female pop group TLC and their sound crossed multiple genres including R&B and Hip Hop.

Along with groundbreaking music videos, Missy Elliot is also known for records that incorporate hip hop, pop and R&B sounds. She used her voice as a diverse instrument particularly on “Hot Boyz” and “One Minute Man.”

Pharrell has never been confined by labels and that includes his career as rapper/singer. His debut album In My Mind featured his beautiful vocals, unique lyricism and brilliant production.

50 Cent experimented with singing on many of his hooks, most famously on “Just A Little Bit” and “Many Men” on his debut album Get Rich Or Die Tryin’ in 2005.

Although Lil Wayne’s singing ability is questionable, he has nonetheless ventured into singing on records. Some of his most successful use of vocals were his singles “Pussy Money Weed,” “Single,” and “How To Love.”

Kid Cudi mentored by Kanye West, helped Ye with 808s & Heartbreaks which opened up a whole new genre of hip hop. The auto-tuned singing is the same technique Drake utilizes on the majority of his records and allowed for vulnerability in hip hop. Cudi then went on to drop his debut album Man On The Moon, which fused singing and rapping in similar ways. His entire career has been based on this fusion and Kid Cudi sings on every album and almost every song he puts out.

All these artists opened up a sub-genre that Drake has popularized with his second and third album Take Care and Nothing Was The Same. It is important to recognize that Drake was in no way the first to blend the two genres and it is important to pay homage to these rappers who dove into singing and simultaneously challenged the norms of hip hop. Today Drake continues to push that boundary showcasing his vocals, but also expressing sensitivity, loneliness, and susceptibility, which were topics that were taboo in hip hop.  The only reason Drizzy has been able to be received in the hip hop world is because these artists set the foundation. Now it’s Drake’s turn to see how far he can take it, striving for more blend, and shedding a different and more realistic light on masculinity in hip hop.