Kxng Crooked is the latest respected Hip-Hop lyricist to segue into driving dialogue in the music media. Recently, the Long Beach, California lyricist also known as Crooked I launched Crook’s Corner. Taking a concept from his hashtag of longstanding Hip-Hop discussions on social media with peers and fans, the MC has partnered with HipHopDX to host guests in conversations about Rap music and culture. Following a recent appearance by Tech N9ne, the C.O.B. O.G. welcomes his Slaughterhouse co-founder Royce 5’9 to the Corner. With the full episode arriving Saturday (June 1), a segment released previewing the discussion. “The most debated song, in my opinion, in Hip-Hop history, is ‘Renegade,'” Crooked I begins, referring to JAY-Z and Eminem’s 2001 Blueprint collaboration, embedded below. “That is a split down the middle: ‘JAY-Z had the best verse’ [versus] ‘Em’ washed JAY-Z on his own sh*t’ debate. That argument goes on forever.” Royce 5’9’s Most Powerful Song Of His Career Is A Call For Solidarity & Pride Crook’ points out that Royce 5’9 was originally on “Renegade,” before JAY-Z. That version of the Eminem-produced song is embedded below. “I was signed to Sony/Columbia [Records], and Marshall was executive producing my album. We were gonna do two songs that were gonna make the album.” The other song, “Rock City,” ended up on Royce’s debut LP of the same name, which eventually released independently in 2002. “Rock City” became a video single ahead of the album, even though both tracks had been recorded. “I just thought it was okay,” Royce recalls of “Renegade.” The track was made a few years removed from the pair’s Bad Meets Evil material in the late 1990s. “We had did so many songs together where we was just kind of rapping. I just thought it was okay, and it just one of them joints that was just kinda sitting.” Eminem called Royce some time later, expressing his desire to send the track to JAY-Z. “I’m such a fan of both. Jay is definitely one of those people that I definitely always wanted to see [Eminem] work with. So when he sent it to him, and he did it, that’s when it started sounding great to me,” Nickel Nine admits with a laugh. “I think what people are arguing is they’re arguing preference at that point. You’ve got two guys that do two different things, and they’re so good at what they do that they figured out a way to join the two worlds together. People who prefer JAY-Z’s content, what he talks about and the way that he approaches the beat, they’re always gonna say that he got the better verse—because they like his style of Rap better. But whether one is more lyrical than the other, like we said, it’s subjective.” Kxng Crooked Discusses The Times Hip-Hop Tried To Cancel Eminem & Defends Him At 2:50, Kxng Crooked asks Royce if he would like to “weigh in on that debate.” Nickel responds, “I don’t think it’s one of them kinda songs, man. I don’t think it’s one of those kinda songs ’cause it didn’t sound like they were trying to tear each other’s head off; they made a song. I mean, I prefer the way that Em’ attacked the beat a little bit better,” Royce admits. Crooked adds, “Yeah, his cadence was crazy on that.” Royce continues, “I’ve heard both of them go crazier, just on some super-lyrical sh*t.” Although 2018 saw the disbanding of Slaughterhouse, Royce, Kxng Crooked, and Joell Ortiz rapped together on the “Timberlan’d Up (Remix),” a free download supplement to Apollo Brown and Joell’s Mona Lisa album. Royce 5’9 Discusses His Relationship With J Dilla (Video) Notably, Royce 5’9 is currently producing a project from Kxng Crook’s proteges, Family Bvsiness (formerly Horseshoe Gang). Crooked confirmed the news during a recent and comprehensive sit-down with adam22 and the No Jumper Podcast. #BonusBeat: A playlist of JAY-Z and Eminem’s “Renegade” followed by the Royce 5’9 version:
Last year, Rap fans witnessed one of the most personal and ruthless lyrical exchanges in the mainstream. Pusha-T revived his beef with Drake on a large scale with “Infrared.” Within hours of the DAYTONA album-closer, Drake responded with “Duppy Freestyle.” That track mentioned Pusha’s then-fiancee (now his wife), Virginia Williams. That inclusion prompted Push’ to release “The Story Of Adidon,” a song that outed Drake as a “deadbeat dad,” prematurely revealed his multi-million Adidas deal, and verbally attacked his parents. As Drake would later tell Lebron James, the song crossed many lines. One of them was making light of producer Noah “40” Shebib’s life-threatening multiple sclerosis. Push’s lyrics suggested that the OVO leader may be perishing soon.
“We thrive off of competitive nature. Rap purists and people who just love confrontation love to say, ‘Man, there’s no rules in this sh*t.’ But there are f*cking rules in this sh*t,” Drake exclaimed last year as a guest on The Shop. “I study Rap [competition] for a living. Now when you mention defenseless people who are sick in the hospital that passed away, that really sent me to a place that I just believed then—and believe now that there’s just a price that you have to pay for that. It’s over. Someone’s gonna f*ckin’ punch you in the f*ckin’ face. The sh*t’s done; the event’s over. I wanted to do other things; I didn’t want to further your reputation or your career by rapping back at you and having this exchange.”
Large Professor is an artist who has avoided controversy throughout most of his 30-year-career. Apart from a few jabs at his former Main Source band-mates on A Tribe Called Quest’s “Keep It Rollin’,” the Queens, New Yorker has kept things low-profile and peaceful. However, in speaking with Vlad TV, he details the original, unreleased version of Nas’ 2001 song “Ether.” The Extra P reveals that for the final version, Nas pulled back on some bars that may have crossed some very personal and tender lines.
“I was there when Swizz [Beatz] did the original ‘Ether.’ Swizz did the original [version]. That’s the one [Nas] originally rhymed over,” Large Professor says at 1:00. “It was faster, and it was just a lot more noisier.” However, the sonic energy to the song was reportedly not a fit with Nas’ album theme. “I know Nas was trying to get a point [across]. He had a real stillness. That what’s ill is that that Stillmatic–there be deeper meanings to this sh*t. ‘Cause he was very still. You could hear, like ‘One Mic’ his rhyme is still. Then he breaks [into the crescendo]. People, they’re just thinking it’s a name [that pays homage to Illmatic]. Nas is like that, where he’ll take a word and build on that sh*t, and act on it.” Large Professor produced “You’re da Man” and “Rewind” on the platinum-certified album released at the end of 2001.
Vlad asks if the Swizz Beatz version of “Ether” featured the same lyrics Nas used on the album version. “[There were] little variations. I’m sure you heard of the ‘Dame Dash/Plane crash’ and all that sh*t with the rhymes and sh*t? [He basically said], I’m sorry Aaliyah; I’m sorry it was you in the plane crash, it should’ve been Jay and Dame Dash.” Vlad admits that he was unaware of this history. Large Professor shrugs that he’s hesitant to discuss any further, given that Nas and JAY-Z made peace in 2005. “Nah, it was a bunch of ’em—I don’t even wanna, ’cause they went through that. It was good.” DJ Vlad asks again about the carryover from the first version of the song. “He took the crux of that first one he did with Swizz and did a lil’ re-edit with the Ron Browz [produced] joint.”
“Ether” released in early December, approximately two weeks before Stillmatic. Aaliyah had died in a plane crash in the Bahamas less than four months earlier. At the time of her death, the 22-year-old singer was dating Damon “Dame” Dash, Jay’s manager who also co-founded Roc-A-Fella Records with the rapper as well as Kareem “Biggs” Burke. Nas had worked with Aaliyah on 1999’s “You Won’t See Me Tonight.”
As the discussion continues, Large Professor offers some commentary to the 2001 back-and-forth. “I didn’t like that sh*t at all, the ‘Super Ugly,’” he says of Jay’s response to “Ether.” Comparing “Ether” to Jay’s Blueprint inclusion, Extra P says that “The Takeover” is superior. Notably, he points to Hip-Hop pillar in breakin’, suggesting that Kanye West’s production is better at moving bodies than Ron Browz’ slow and dramatic beat.
The mother of one of Nas’ children, Carmen Bryan, was also involved. Jay boasted having a romantic affair with her in the disses, and leaving condoms in the baby-seat. Large Professor, who first introduced Nas and Carmen, calls that situation “messy” after Vlad plays a clip from his 2017 interview with her.
Vlad then mentions the 2005 armistice between the two rappers who had worked together alongside Shaquille O’Neal in 1996 on the mixtape version of “No Love Lost.” “I loved it, because I know the origin,” says the MC/producer/DJ. “Like, we were all on that tour [as JAY-Z rapped about on ‘Takeover’]. We were all humble at that time. Jay was on his mischievous street sh*t. That was the thing that was good: when Jay came out and he was talking that criminal mischief sh*t, I had actually seen inklings of that sh*t while we were on tour. Like him and Irv [Gotti] and them would dip off and sh*t, and then they’d come back and they’d have bags [and other luxury items]. So all that ‘What you doin’ on Pico with Frederico‘ sh*t was actually happening.” He says that it reminded him of Nas, who he had mentored since the demo record days. “To see them come through, their f*ckin’ backgrounds are so similar. It’s almost the same f*ckin’ story. Dogs, somebody gonna have to figure this sh*t out, ’cause y’all working together is better than y’all workin’ apart.”
Last year, Rap fans witnessed one of the most personal and ruthless lyrical exchanges in the mainstream. Pusha-T revived his beef with Drake on a large scale with “Infrared.” Within hours of the DAYTONA album-closer, Drake responded with “Duppy Freestyle.” That track mentioned Pusha’s then-fiancee (now his wife), Virginia Williams. That inclusion prompted Push’ to release “The Story Of Adidon,” a song that outed Drake as a “deadbeat dad,” prematurely revealed his multi-million Adidas deal, and verbally attacked his parents. As Drake would later tell Lebron James, the song crossed many lines. One of them was making light of producer Noah “40” Shebib’s life-threatening multiple sclerosis. Push’s lyrics suggested that the OVO leader may be perishing soon.
“We thrive off of competitive nature. Rap purists and people who just love confrontation love to say, ‘Man, there’s no rules in this sh*t.’ But there are f*cking rules in this sh*t,” Drake exclaimed last year as a guest on The Shop. “I study Rap [competition] for a living. Now when you mention defenseless people who are sick in the hospital that passed away, that really sent me to a place that I just believed then—and believe now that there’s just a price that you have to pay for that. It’s over. Someone’s gonna f*ckin’ punch you in the f*ckin’ face. The sh*t’s done; the event’s over. I wanted to do other things; I didn’t want to further your reputation or your career by rapping back at you and having this exchange.”
Large Professor is an artist who has avoided controversy throughout most of his 30-year-career. Apart from a few jabs at his former Main Source band-mates on A Tribe Called Quest’s “Keep It Rollin’,” the Queens, New Yorker has kept things low-profile and peaceful. However, in speaking with Vlad TV, he details the original, unreleased version of Nas’ 2001 song “Ether.” The Extra P reveals that for the final version, Nas pulled back on some bars that may have crossed some very personal and tender lines.
“I was there when Swizz [Beatz] did the original ‘Ether.’ Swizz did the original [version]. That’s the one [Nas] originally rhymed over,” Large Professor says at 1:00. “It was faster, and it was just a lot more noisier.” However, the sonic energy to the song was reportedly not a fit with Nas’ album theme. “I know Nas was trying to get a point [across]. He had a real stillness. That what’s ill is that that Stillmatic–there be deeper meanings to this sh*t. ‘Cause he was very still. You could hear, like ‘One Mic’ his rhyme is still. Then he breaks [into the crescendo]. People, they’re just thinking it’s a name [that pays homage to Illmatic]. Nas is like that, where he’ll take a word and build on that sh*t, and act on it.” Large Professor produced “You’re da Man” and “Rewind” on the platinum-certified album released at the end of 2001.
Vlad asks if the Swizz Beatz version of “Ether” featured the same lyrics Nas used on the album version. “[There were] little variations. I’m sure you heard of the ‘Dame Dash/Plane crash’ and all that sh*t with the rhymes and sh*t? [He basically said], I’m sorry Aaliyah; I’m sorry it was you in the plane crash, it should’ve been Jay and Dame Dash.” Vlad admits that he was unaware of this history. Large Professor shrugs that he’s hesitant to discuss any further, given that Nas and JAY-Z made peace in 2005. “Nah, it was a bunch of ’em—I don’t even wanna, ’cause they went through that. It was good.” DJ Vlad asks again about the carryover from the first version of the song. “He took the crux of that first one he did with Swizz and did a lil’ re-edit with the Ron Browz [produced] joint.”
“Ether” released in early December, approximately two weeks before Stillmatic. Aaliyah had died in a plane crash in the Bahamas less than four months earlier. At the time of her death, the 22-year-old singer was dating Damon “Dame” Dash, Jay’s manager who also co-founded Roc-A-Fella Records with the rapper as well as Kareem “Biggs” Burke. Nas had worked with Aaliyah on 1999’s “You Won’t See Me Tonight.”
As the discussion continues, Large Professor offers some commentary to the 2001 back-and-forth. “I didn’t like that sh*t at all, the ‘Super Ugly,’” he says of Jay’s response to “Ether.” Comparing “Ether” to Jay’s Blueprint inclusion, Extra P says that “The Takeover” is superior. Notably, he points to Hip-Hop pillar in breakin’, suggesting that Kanye West’s production is better at moving bodies than Ron Browz’ slow and dramatic beat.
The mother of one of Nas’ children, Carmen Bryan, was also involved. Jay boasted having a romantic affair with her in the disses, and leaving condoms in the baby-seat. Large Professor, who first introduced Nas and Carmen, calls that situation “messy” after Vlad plays a clip from his 2017 interview with her.
Vlad then mentions the 2005 armistice between the two rappers who had worked together alongside Shaquille O’Neal in 1996 on the mixtape version of “No Love Lost.” “I loved it, because I know the origin,” says the MC/producer/DJ. “Like, we were all on that tour [as JAY-Z rapped about on ‘Takeover’]. We were all humble at that time. Jay was on his mischievous street sh*t. That was the thing that was good: when Jay came out and he was talking that criminal mischief sh*t, I had actually seen inklings of that sh*t while we were on tour. Like him and Irv [Gotti] and them would dip off and sh*t, and then they’d come back and they’d have bags [and other luxury items]. So all that ‘What you doin’ on Pico with Frederico‘ sh*t was actually happening.” He says that it reminded him of Nas, who he had mentored since the demo record days. “To see them come through, their f*ckin’ backgrounds are so similar. It’s almost the same f*ckin’ story. Dogs, somebody gonna have to figure this sh*t out, ’cause y’all working together is better than y’all workin’ apart.”
Every year, The Library Of Congress selects 25 musical titles to add to its National Recording Registry. This act is meant to honor pieces of art for their cultural significance for future generations. A National Recording Preservation Board decides the annual inclusions. This week, JAY-Z’s The Blueprint album became the most modern addition to the archive. It also becomes Shawn Carter’s first work of art to receive this prestigious honor.
Jay’s sixth album released on September 11, 2001, the same day as the attacks on the United States. Arriving less than a year afterThe Dynasty: Roc La Familia, The Blueprint marks the strongest pivot in Jay’s career. An artist with ties to The Notorious B.I.G. and Tupac (in very different ways), to own the #1 spot squarely. One of the most poised contestants, Eminem, was a producer and lone guest MC on the album. The other contestant, Nas, was in Jay’s cross-hairs of high profile usurp, “The Takeover.” On The Blueprint, JAY-Zreinvented his sound with Kanye West, Just Blaze, and others during a series of sessions over just several days. The Roc-A-Fella Records co-founder found the ultimate five-year progression from debut Reasonable Doubt. With a D-boy’s confidence and an exec’s get-it-done mentality, he pivoted to his 2000s stand as a Rap magnate. Often criticized for his resistance to vulnerability, Jay let the songs cry on his behalf. As the Roc Boy was lunging for the top, he made some of his most relatable music. The writing on The Blueprint is ultra-specific, but the themes, sounds, and attitude of the double platinum campaign seemingly spoke to all. Jigga had transformed to Hov’, and when he put his legacy on the line for the belt.
“The Takeover” was Rock ‘Em Sock ‘Em Robots-meets-Monopoly, as JAY-Z, perceptively an artistic underdog to Nas, knocked the Queensbridge icon off of his block. Also addressing Mobb Deep’s Prodigy, Jay was naming names—unlike his ’90s tussles on wax. “U Don’t Know” was the ringside celebration after the fight. Once dismissed as a drug-dealer MC, Jay-Z used the cold Just Blaze sample chop as a chance to show his “Michael Corleone”-like transition from New York crimes to The New York Times. The title track would also prove significant. The cold exterior of Hov gave way to an MC unafraid to not only acknowledge pain in his childhood, but one who said thank you to his circle. That, and “Song Cry” were hyper-aware reactions to Jay’s often lack of intimacy in songs. Together, the Roc’s in-house hit-makers of ‘Ye, Just, and BINK! made an album that may as well have been produced by one set of ears. The prominence of Soul, intricate slices, and broad instrumentation made this man’s words sound like prophecy. “Renegade” placed Jay and Eminem back-to-back, with a song that put the comparisons in the backseat, and the lyrically-dense message in the front. The Blueprint cemented Jay’s pole position, and it showed how a great MC and a gripping story still needs patience and refinement. In the Hip-Hop landscape, The Blueprint is a skyscraper.
Jay’s specificity, his sound, and his confidence gave way to 50 Cent, Cam’ron, T.I., Young Jeezy, The Game, Rick Ross, and a host of other dominant 2000s voices. Notably, Jay followed with two additional volumes of The Blueprint. However, few can argue that nothing compares to the double-platinum, chart-topping debut article.
Joining Jay’s album is Curtis Mayfield’s Superfly soundtrack album, Nina Simone’s Civil Rights outcry “Mississippi Goddamn,” Earth, Wind & Fire’s “September,” Cab Calloway’s “Minnie The Moocher” (which he performs in Blues Brothers), Neil Diamond’s “Sweet Caroline,” Sam & Dave’s “Soul Man,” Richie Valens’ “La Bamba,” and others.
Every year, The Library Of Congress selects 25 musical titles to add to its National Recording Registry. This act is meant to honor pieces of art for their cultural significance for future generations. A National Recording Preservation Board decides the annual inclusions. This week, JAY-Z’s The Blueprint album became the most modern addition to the archive. It also becomes Shawn Carter’s first work of art to receive this prestigious honor.
Jay’s sixth album released on September 11, 2001, the same day as the attacks on the United States. Arriving less than a year afterThe Dynasty: Roc La Familia, The Blueprint marks the strongest pivot in Jay’s career. An artist with ties to The Notorious B.I.G. and Tupac (in very different ways), to own the #1 spot squarely. One of the most poised contestants, Eminem, was a producer and lone guest MC on the album. The other contestant, Nas, was in Jay’s cross-hairs of high profile usurp, “The Takeover.” On The Blueprint, JAY-Zreinvented his sound with Kanye West, Just Blaze, and others during a series of sessions over just several days. The Roc-A-Fella Records co-founder found the ultimate five-year progression from debut Reasonable Doubt. With a D-boy’s confidence and an exec’s get-it-done mentality, he pivoted to his 2000s stand as a Rap magnate. Often criticized for his resistance to vulnerability, Jay let the songs cry on his behalf. As the Roc Boy was lunging for the top, he made some of his most relatable music. The writing on The Blueprint is ultra-specific, but the themes, sounds, and attitude of the double platinum campaign seemingly spoke to all. Jigga had transformed to Hov’, and when he put his legacy on the line for the belt.
“The Takeover” was Rock ‘Em Sock ‘Em Robots-meets-Monopoly, as JAY-Z, perceptively an artistic underdog to Nas, knocked the Queensbridge icon off of his block. Also addressing Mobb Deep’s Prodigy, Jay was naming names—unlike his ’90s tussles on wax. “U Don’t Know” was the ringside celebration after the fight. Once dismissed as a drug-dealer MC, Jay-Z used the cold Just Blaze sample chop as a chance to show his “Michael Corleone”-like transition from New York crimes to The New York Times. The title track would also prove significant. The cold exterior of Hov gave way to an MC unafraid to not only acknowledge pain in his childhood, but one who said thank you to his circle. That, and “Song Cry” were hyper-aware reactions to Jay’s often lack of intimacy in songs. Together, the Roc’s in-house hit-makers of ‘Ye, Just, and BINK! made an album that may as well have been produced by one set of ears. The prominence of Soul, intricate slices, and broad instrumentation made this man’s words sound like prophecy. “Renegade” placed Jay and Eminem back-to-back, with a song that put the comparisons in the backseat, and the lyrically-dense message in the front. The Blueprint cemented Jay’s pole position, and it showed how a great MC and a gripping story still needs patience and refinement. In the Hip-Hop landscape, The Blueprint is a skyscraper.
Jay’s specificity, his sound, and his confidence gave way to 50 Cent, Cam’ron, T.I., Young Jeezy, The Game, Rick Ross, and a host of other dominant 2000s voices. Notably, Jay followed with two additional volumes of The Blueprint. However, few can argue that nothing compares to the double-platinum, chart-topping debut article.
Joining Jay’s album is Curtis Mayfield’s Superfly soundtrack album, Nina Simone’s Civil Rights outcry “Mississippi Goddamn,” Earth, Wind & Fire’s “September,” Cab Calloway’s “Minnie The Moocher” (which he performs in Blues Brothers), Neil Diamond’s “Sweet Caroline,” Sam & Dave’s “Soul Man,” Richie Valens’ “La Bamba,” and others.
