Put your diamonds in the sky, new JAY-Z may be on the way. Memphis Bleek pulled up to Drink Champs and revealed that Hov has been at work in the…
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JAY-Z is on Dame Dash’s side in a recent legal matter. Dash was ordered to pay $823,000 in a judgment, and his failure to do so led to a court order to sell his remaining shares of Roc-A-Fella Records.
According to Radar Online, the sum owed is in connection to the 2016 film Dear Frank, which sees the money being paid to Josh Weber. Hov and Roc-a-Fella records third, Kareem “Biggs” Burke interjected, stating the company bylaws reveal the board of directors must approve a sale. The valiant effort may fall short as U.S. Magistrate Robert W. Lehrburger stated the shares can be seized.
On the business side, Hov and Biggs oppose the sale, so the Roc intellectual rights aren’t available via auction, which is exactly what will happen. Lehrburger addressed the two, stating, “They can participate in the auction and place the winning bid.”
“The question at the core of the instant dispute is whether the RAF By-Laws’ prohibition on transfer and sale of Dash’s one-third ownership interest in shares of RAF without the consent of RAF’s board of directors legally prevents sale of Dash’s interest in RAF to satisfy the Judgment,” Leherburger wrote. “The answer indisputably is no.”
Dash was fired as the director of Dear Frank as he was seen as unfit for the job. He then stated Weber ran off with the footage, stating it was his. He would then shop the film to BET under the name The List. Weber won the suit in 2022 but could not collect, leading to the shares going up for auction.
The post Dame Dash Roc-A-Fella Shares Headed to Auction Over Unpaid Judgment first appeared on The Source.
The post Dame Dash Roc-A-Fella Shares Headed to Auction Over Unpaid Judgment appeared first on The Source.
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It’s not over, but as of now, Jay-Z is winning his case of preventing Dame Dash to profit from his music. Tuesday morning, a New York federal judge sided with Roc-A-Fella Records label owner Jay-Z after convincing them that his first album, Reasonable Doubt, should not be sold as an NFT by Dame Dash. NFTs, or non-fungible tokens, are valuable digital assets that cannot be replicated or traded.
On June 18, the label sued its co-founder Dame Dash for allegedly attempting to sell virtual ownership of the “Reasonable Doubt” copyrights. Dash denied allegations, but according to the complaint, the investor platform SuperFarm made an announcement that read, “SuperFarm is proud to announce, in collaboration with Damon Dash, the auction of Damon‘s ownership of the copyright to Jay-Z’s first album Reasonable Doubt. This marks a new milestone in the history of NFT’s, entitling the new owner to future revenue generated by the unique asset.”
The complaint also stated the date to auction off the album as an NFT had been set for June 23-25, but SuperFarm called it off after the Roc-A-Fella label sent them a warning letter expressing their concerns about Dash’s pursuit of a sale. Even though Dash’s defense says he only attempted to sell his Roc-A-Fella stake, not the rights to Reasonable Doubt, the court still issued a temporary restraining order.
On the hearing held on Tuesday morning, U.S. District Court Judge John Cronan agreed with Roc-A-Fella, stating that the label owns the copyright to the album.
This court hearing only blocked the sale, not the case. The lawsuit will go on as Cronan scheduled the following hearing for next Thursday.
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Source: photo: WENN
While Damon Dash has moved on from the record business he clearly still feels a way about how Jay-Z went about things. He spilled more tea about their break up in a recent interview.
As spotted on HipHopDX the Cake A Holic paid a visit to REAL 92.3’s Big Boy’s Neighborhood show. Even though conversation was rooted in his signature approach to business and ownership the talk eventually came back to his origins with Roc-A-Fella Records. When asked about the infamous split he made it clear that Hov threw him under the bus.
“Personally, the way he did me was dirty,” Dame exclaimed. “The way he did Biggs was dirty. The way he did Roc-A-Fella was dirty.” The Harlem native also revealed that Hov purposely shook him in order to amplify his corporate profile. “We was like ‘damn!’ [it was] out of left [field]. And when I had the conversation, he was like, ‘Yo, I want to look like a boss. I can’t look like a boss around you.’ I thought that was dirty.”
He would later get into specifics about Jigga’s dump and pump move regarding Rocawear. He alleges that Carter devalued the brand by no longer promoting it but then sold it for millions after Dash exited. “It was dirty business, and that’s how I feel. Anytime you ask me. I’m not salty for life, but with him, yeah, I’m salty. It was wack, and look, there’s no more Roc-A-Fella. It’s just him! Where is Roc-A-Fella? It’s him, it’s Kanye and who else? Everyone works for them.”
You can see the interview in entirety below.
Photo: Tasos Katopodis/Getty Images for WE tv
Source: HipHopWired.com
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If Dame Dash sits down for an interview, you can bet he’s going to be asked about his infamous fallout with his former artist and business partner, JAY-Z.
Dash recently sat down with Big Boy TV and he didn’t hold his tongue about his disappointment in Hov. “Personally, the way he did me was dirty,” he said. “The way he did [third business partner] Biggs was dirty. The way he did Roc-A-Fella was dirty.”
The 48-year-old alleged that Jay wanted to run Roc-A-Fella records excluding the other co-founders, Biggs Burke and himself. L.A. Reid was the President of Def Jam at the time and Hov tried to negotiate a “dirty” deal as the Harlem native referenced it. “We was like ‘damn!’ [it was] out of left [field]. And when I had the conversation, he was like, ‘Yo, I want to look like a boss. I can’t look like a boss around you.’ I thought that was dirty.”
Dame Dash also brought up the time Jay devalued the Rocawear clothing line by publicly distancing himself from it, only to later sign a deal without Dash’s involvement. “It was dirty business, and that’s how I feel. Anytime you ask me. I’m not salty for life, but with him, yeah, I’m salty. It was wack, and look, there’s no more Roc-A-Fella. It’s just him! Where is Roc-A-Fella? It’s him, it’s Kanye and who else? Everyone works for them.”
The post Dame Dash Admits That He’s ‘Salty’ About JAY-Z Repeatedly Doing ‘Dirty’ Business appeared first on The Source.
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Twelve years ago, JAY-Z projected that he would “see about a billion” in a guest verse on Freeway’s “Roc-A-Fella Billionaires.” At the time, the head of Def Jam Records was speculating on the maturation of his real estate portfolio and other assets. In 2019, Forbes reports that the net worth of Shawn Carter is “conservatively” at $1 billion. By this count, JAY-Z becomes the first Hip-Hop artist to reach this milestone, in a longstanding race that involved Dr. Dre and Puff Daddy. Forbes‘ Zack O’Malley Greenburg accounts that Jay has amassed $500 million in pre-tax earnings over the last decade. The estimate also mentions Rocawear’s $204 million sale to Iconix in 2007, and points to significant stakes in Tidal, D’Ussé cognac, and Armand de Brignac champagne. JAY-Z Celebrates Nipsey Hussle With A Freestyle About Self-Empowerment (Video) In particular, the report accounts for more than $300 million in the “Ace Of Spades” bubbly, $70 million in value from a 2013 investment in Uber, and $100 million from D’Ussé, which has grown nearly 80% annually. In addition to eight and nine-figure draws from Roc Nation and Tidal, respectively, the report estimates that Hov’s music catalog is worth $75 million. Jay famously negotiated to own almost all of his master recordings and publishing in a solo Rap recording career that dates back nearly 25 years. Moreover, Jay has an eye for value. The creator of 2013’s “Picasso Baby” has an art collection that Forbes estimates at $70 million. That art is valued $20 million more than the real estate of Jay (and wife Beyoncé), which has properties in Manhattan, Bel Air, and Long Island’s East Hampton. This climb comes from Forbes‘ early 2018’s estimate of Jay’s net worth at $900 million. At the time, that was $75 million above friend and collaborator, Sean “Puff Daddy” Combs. Ever See JAY-Z, Busta Rhymes, Biz Markie & Jaz-O Freestyle On The Same Stage? (Video) In May of 2014, Dr. Dre (who has worked with JAY-Z) anointed himself “the first billionaire in Hip-Hop” following Apple’s acquisition of Beats. However, in 2015, Forbes’ Zack O’Malley Greenburg reported why that statement was not factual. Instead, they estimated Andre Young to be at approximately $700 million. Dre later expressed regret for the 2014 video, which singer/actor Tyrese posted online, igniting the news cycle. Two years ago this month, JAY-Z’s 4:44 admitted some of that investment ethos and admitted past money mismanagement. However, by this count, no one can knock the hustle of Shawn Carter.
Source: AmbrosiaForHeads.com
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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:
Source: AmbrosiaForHeads.com
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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.”
Akinyele Suggests An Unkept Promise Planted The Seeds For The Nas & JAY-Z Beef (Audio)
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.
“Ether” Producer Ron Browz Attempted To Offer The Beat To JAY-Z Before Nas (Video)
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.”
Nas Auditioned For A Lead In Paid In Full According To Dame Dash (Video)
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.
The Woman At The Center Of The Jay Z & Nas Beef Speaks Up & Tells Truths (Video)
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.”
Large Professor is currently working on music with his co-founders in Main Source, K-Cut and Sir Scratch. They have not released an album together since 1991’s Breaking Atoms. That Wild Pitch Records album includes the first appearance of Nas on wax.
Large Professor Speaks About His Lost Tapes With Nas (Video)
#BonusBeat: Nas’ album version of “Ether”:
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.”
Akinyele Suggests An Unkept Promise Planted The Seeds For The Nas & JAY-Z Beef (Audio)
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.
“Ether” Producer Ron Browz Attempted To Offer The Beat To JAY-Z Before Nas (Video)
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.”
Nas Auditioned For A Lead In Paid In Full According To Dame Dash (Video)
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.
The Woman At The Center Of The Jay Z & Nas Beef Speaks Up & Tells Truths (Video)
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.”
Large Professor is currently working on music with his co-founders in Main Source, K-Cut and Sir Scratch. They have not released an album together since 1991’s Breaking Atoms. That Wild Pitch Records album includes the first appearance of Nas on wax.
Large Professor Speaks About His Lost Tapes With Nas (Video)
#BonusBeat: Nas’ album version of “Ether”:
Source: AmbrosiaForHeads.com
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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 after The 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-Z reinvented 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.
Blueprint: How 1 Kanye West Beat Tape Changed Roc-A-Fella Records Forever (Audio)
“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.
A Mini-Documentary Shows How JAY-Z’s Blueprint Laid The Plans For A New Era In Hip-Hop
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.
In the last four years, Hip-Hop continues to occupy real estate on the registry. Run-D.M.C.’s Raising Hell, N.W.A.’s Straight Outta Compton, and Lauryn Hill’s The Miseducation Of Lauryn Hill have all been selected.
How JAY-Z’s New Album Is The Blueprint For Grown Man Rap (Video)
As the members of De La Soul have been negotiating the revenue tied to their first six albums, they have been discussing 3 Feet High And Rising‘s inclusion, which dates back to 2010. Grandmaster Flash & The Furious Five’s “The Message” became the first Rap recorded added, in 2002.
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 after The 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-Z reinvented 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.
Blueprint: How 1 Kanye West Beat Tape Changed Roc-A-Fella Records Forever (Audio)
“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.
A Mini-Documentary Shows How JAY-Z’s Blueprint Laid The Plans For A New Era In Hip-Hop
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.
In the last four years, Hip-Hop continues to occupy real estate on the registry. Run-D.M.C.’s Raising Hell, N.W.A.’s Straight Outta Compton, and Lauryn Hill’s The Miseducation Of Lauryn Hill have all been selected.
How JAY-Z’s New Album Is The Blueprint For Grown Man Rap (Video)
As the members of De La Soul have been negotiating the revenue tied to their first six albums, they have been discussing 3 Feet High And Rising‘s inclusion, which dates back to 2010. Grandmaster Flash & The Furious Five’s “The Message” became the first Rap recorded added, in 2002.
Source: AmbrosiaForHeads.com
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Although “Ante Up,” may not M.O.P.’s highest-charting single, the street anthem is a cornerstone of Billy Danze and Lil Fame’s catalog. Released in late 2000, the Loud Records single produced by D/R Period was emblematic of the menacing music that the Brownsville, Brooklyn Rap duo had been making since 1994’s To The Death. At a time when so many artists were bragging about jewels, medallions, and flossing the “iced out” lifestyle, the Mash Out Posse reminded the high-posters that stick-up kids are forever out to tax. As the Warriorz single delivered M.O.P. to radio, music videos, and crossover markets, a remix enhanced the song. Busta Rhymes, Remy Ma, and longtime group affiliate Teflon appeared on the second offering, complete with a video (embedded below). However, in a new conversation with Doggie Diamonds’ The No Filter Podcast, Bill Danze reveals that another legendary lineup was originally intended. Billy Danze Takes A Classic Rick James Sample & Hammers It At 2:00, the show host asks Billy Danze how a young Remy Ma landed on the remix. “Remy forced her way on the record,” says the veteran who just released his solo project, 6 Pack. “What I mean by that is, she just did such a good verse. We didn’t have her in mind.” In the next few years after the breakthrough appearance, Remy Ma (who was still known as “Remy Martin”) would officially sign with SRC Records, Steve Rifkind’s imprint after Loud. Bill continues, “Really, [JAY-Z] was supposed to get on the song. Prodigy had did a [verse] for the song. I didn’t want to use Prodigy’s verse because he was actually talking about Jay. Remember, they had a lil’ beef then. So I hit Jay and was like, ‘Yo, nevermind. Don’t worry about the verse; we’re closing the song now.'” Bill continues that Jay likely knew that the Mobb Deep MC was going to be on the record. “He knew that was gonna happen. But I couldn’t allow that—even if it was the other way around. If Jay was on the record dissing Prodigy, I would’ve took Jay off the record. Nahmean? You don’t bring your beefs or lil’ war into my house; I don’t do that.” Just Blaze Says He’s Given M.O.P. All The Beats Intended For Their Roc-A-Fella Album At the time, Prodigy’s beef with Jay was just bubbling to the surface. According to a 2017 Complex feature, tensions started in 1998 when JAY-Z rapped, “It’s like New York’s been soft ever since Snoop came through and crushed the building,” on “Money, Cash, H*es.” In 1995, Capone-N-Noreaga, Tragedy Khadafi, and Mobb Deep has responded to Tha Dogg Pound and Snoop Dogg’s “New York, New York” with “L.A., L.A.” “Jay was nowhere to be found when that drama popped off between Mobb Deep, Dogg Pound, [Tupac], and Biggie,” Prodigy would later tell The Source, as quoted in his My Infamous Life memoir. “That was our little personal beef, not a coastal war… so JAY-Z is a b*tch-ass ni**a for making that quote in his lyrics.” Jay eventually landed in Tupac’s scope of enemies, although he has worked with Snoop and Tha Dogg Pound. Smif-N-Wessun Detail The Making Of The Album Where They Truly Gave Their All (Video) Less than a year after “Ante Up,” those tensions and alleged subliminal disses came to the surface on Jay’s “The Takeover” and Mobb’s “Crawlin’.” In a 2017 interview with Rap Radar Podcast, JAY-Z revealed that he and Prodigy made peace before his former counterpart’s passing. In 2000, Prodigy and M.O.P. were Loud label-mates. After Warriorz, Billy and Fame signed with JAY-Z’s Roc-A-Fella Records. Although the pair appeared on Jay’s “U Don’t Know (Remix),” they did not complete an album. Just Blaze recently revealed that he gave Lil Fame a drive of the beats set aside for that early 2000s project. Just also revealed in 2017 that Prodigy was the first MC to rap on “U Don’t Know.” In 1998, M.O.P., Jay, and Teflon collaborated on First Family 4 Life video single, “4 Alarm Blaze.” In 2014, M.O.P. and Mobb Deep teamed for “Street Certified.” N.O.R.E. & Havoc Have An Intense Conversation About The C-N-N/Mobb Deep Beef (Video) New music from Billy Danze is currently on Ambrosia For Heads‘ official playlist. 6 Pack features Fame and Teflon. #BonusBeat: M.O.P.’s “Ante Up (Remix)” video, featuring Busta Rhymes, Remy Ma, and Teflon:
Source: AmbrosiaForHeads.com
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