Apparently, some rube recently invested million of dollars in this Rap Genius website, which is basically a rip-off of OHHLA . A few months ago these characters had approached Oh Word founder Rafi Kam to do some coding work, and based on his experiences it’s fair to say that these guys are pretty clueless about hip-hop in general. When Rafi brought Dallas Penn with him to one of the meetings, the honchos insisted that he write-up an explanation for one of his rap songs, being that he was a black guy wearing Polo and Nikes and was therefore a rapper dude. (more…)
Here’s some rare footage of my favorite live ethering ever, as the Underboss dismantles Lords of the Underground‘s Mr. Funkee in classic BX tradition. Courtesy of brollinHH in the comments section of my original post.
So I was listening to some AM radio in the car for some reason (i.e. my ipod battery ran out) and caught the last part of a conversation with Adam Bradley, an Associate Professor of Literature at the University of Colorado who wrote a book called Book of Rhymes about the connection between rap and poetry. Hardly the most exciting premise, but after enduring the usual bullshit about the difference between rap and hip-hop he was actually posed a decent question by the interviewer, which resulted in this jewel being dropped:
Who is the contemporary Shakespeare of the rap world?
Adam Bradley: It’s a heavy mantle for anyone to bare, but I think the one who could probably do it the best would be Jay-Z – and I say that both for the longevity of his career but also the range of his subject matter. As he’s evolved as an individual his music has evolved to reflect that. So while he was rhyming on his first album about street life, about dealing drugs, about all kinds of nefarious activities, on his latest album he’s rhyming about being married to Beyonce, he’s rhyming about life as a mogul, as an entrepreneur. As a visionary in business as well as music. So that kind of breadth, that kind of development, I think is a sign of an artist who is willing to grow. Willing to grow even past his own popularity, past the time when people expect a particular thing of him – and yet he finds new ways of appealing to a new public, and that’s precisely what Shakespeare did if you look across his body of work. He never stayed the same. Whether it’s tragedies or histories or comedies, he’s always shifting and expanding.
Sure, I may not be the president of the Hova Stan Club but I have to admit that the Prof. has a pretty strong case. Don’t forget, William Shakespeare wasn’t highbrow in his day – he was penning the stage equivalents of Summer blockbusters, knocking out those hits. But it wasn’t until years after his death that he was declared to be “the greatest writer in the English language…Shakespeare was never revered in his lifetime, but he received his share of praise”. S. Carter may never make a song as great as ‘Halftime’, but – like it or not – history may just prove him to be the G.O.A.T. after all.
Sometimes there’s more to being a legendary rapper than classic records. You might have heard Silver Fox on one of the three 12” singles he released as part of the Fantasy Three, but his legacy runs a lot deeper than a mere mid-80’s footnote. Having established a reputation as formidable MC through battling at parties and clubs all over New York, this Grant Houses resident from Harlem would soon go on to mentor two of hip-hop’s greatest lyricists – LL Cool J and Kool G Rap. Considering that the lyrical techniques Fox passed onto Kool G Rap were adopted by everyone from Big Daddy Kane, Big L to Nas, it’s clear that his influence is still being felt to this day.
Robbie: How old were you when you started writing rhymes?
Silver Fox: I was an old head – I was 21 years-old. When I started, the only people older than me were Melle Mel and them. I had went to Alaska in ’75, when hip-hop had already started – but I wasn’t really into it then. I was into the Funk era – Brass Construction, BT Express. When I came back, I went back to the projects where I grew-up at. Then I see these guys out here with these turntables and this music and stuff, and they were swiping the electricity from the lamp posts. I was like, ‘Man, what are these guys doing?’ It was amazing to me. So I came out there and I listened to ‘em, then I went to the crib, wrote a rhyme down and I came down the next day like, ‘Yeah! I got it!’ And it was butt! I mean my rap was pure garbage! I made some ol’ Mickey Mouse rhyme – and I mean that literally! My brother snatched me off the stage like he was saving my life – like somebody was throwing a bomb at me or something. He grabbed me, ‘Nooooooo!’ He literally took me off of there. My brother Wes, he took me in the staircase and he’s like, ‘Man, I don’t know what you was doin’, man – but that’s not it! That was garbage.’ I was like, ‘Well, OK. How is it done then? What you think I should be doing?’ One of them type of numbers, right? So then he started bangin’ on the staircase, going, ‘Boom-bap! Ba-boom, boom-bap!’ And he started going, ‘The W-E the S-S-U and when I be on the mic I play it real cool/They call me Wessu, so I’m tellin’ the tale – the bad, bad brother that likes to throw down!’ I was like, ‘I’m the R-E double G-I-E…’ At first I was calling myself Reggie Reg, but then I found out that somebody else name was Reggie Reg. There was three of ‘em. So now I had to think of another thing. There was a thing for the Audi ‘Fox’, and it was the silver edition, and they called it the Silver Fox! I said, ‘Oh man! That is bad! I like that, man’. So now I was Silver Fox. Now I’m writing, I’m spending all my time writing and writing and memorizing. I got this crazy memory, man – things just stay up in my head, like books and stuff – so all these rhymes, I just started memorizing. (more…)
Why the name Unkut? Unkut is a metaphor symbolizing the style of Unkut a sexy blend of raw talent with words that are strictly intended for the mature and sexy “Unkut is what we are we don’t hold back nothing we giving you real life situation we not a gimmick” stated 1Will and Jermeko.
Hopefully these humps become bigger than Jesus and buy the unkut.com address from me for ‘A Millie’…or get hit by a bus. I’m good either way.
It’s only right that in memory of Ike we take a look at two cover versions of the Geto Boys classic that flipped his track from the Tough Guys soundtrack. The Marxmen can do no wrong, as they ‘snatch it back’ in fine form here, while the Ghetto Girlz deliver some chick rap ignorance that makes me want to dig out some BWP records for some reason.
M.O.P - ‘Nine & Two Clips’
Ghetto Girlz - ‘My Man’s Playing Tricks On Me’
Geto Boys ‘My Minds Playing Tricks On Me’ video: (more…)
Bad enough that some Brits decided to post a series 100% similar to the Oh Word original….but some dick-rider calling himself D:Bo decided to cut ‘n paste my “Rap World” and Jigmastas entries and pass them off as his own! What a “bloody wanker”.