Guru famously proclaimed “It’s mostly the voice” on a Gang Starr song of the same name. Like the late, great Keith Elam, Cypress Hill and Prophets Of Rage member B-Real has one of the most recognizable voices in music. The Los Angeles, California veteran raps with clarity and a nasal breathing pattern. Live, songs often sounds just like they do on albums, which is one reason why his groups have dominated the festival circuit for nearly 30 years. Even before Cypress showed their faces on early single covers or their 1991 eponymous artwork, B’s voice (along with Sen Dog’s) stood apart from the Rap pack. The MC/producer/entrepreneur and media host is the latest guest on The Joe Rogan Experience. In the last several days, the newly-inducted member of Hollywood’s Walk Of Fame gives an incredible two-hour interview about his passion for cannabis awareness, his teens in a street-gang, and how almost overnight, Cypress Hill became celebrities that had a hard time being in public places. Cypress Hill’s Entire Next Album Will Be Produced By Black Milk (Video) At 48:00, Joe Rogan asks B-Real when he developed his trademark vocal style. “Once we started working on our Cypress Hill demos,” B responds. “[DJ] Muggs came to me and said, ‘Ay man, you gotta do something different. Otherwise, you’re gonna [only] write for Sen [Dog].’ ‘Cause Sen had a good voice; his sh*t was locked-in. My voice, I was rapping in a voice similar to the one I talk in. Although the rhymes were good, it didn’t cut through on the style on the beats. It just sounded like some regular sh*t. So…I didn’t want to be someone’s writer; I wanted to write for myself. There was a guy we used to listen to, coming up, his name was Rammellzee.” The New York City graffiti writer, painter, MC, and sculptor gained profile through Wild Style and Style Wars. The latter film, a documentary, included the K-Rob collaboration “Beat Bop.” Rammellzee died in 2010. “He was this rapper who was very obscure, but he was an artist too—a graffiti artist [and also a professional artist in galleries]. What he’d do is he’d rap in a regular style, like his talking voice, ‘This is the brother they call the Ramm-ell.” He had a deep voice like that. And then he’d flip, right in the middle [of a verse], ‘Take it uptown to Cypress Hill with the shotgun.‘ We were always freaking out that he had two styles. So I tried throwing my voice in that sort of similar style. And it ended up sticking. I didn’t think anybody was gonna like it.” They did. B-Real recalls exactly when this transformation happened. “I think the first song that came about in that style was the song ‘Real Estate.’ That’s where I tried it the first time. They liked it, so then [‘How I Could Just Kill A Man’] came next, then ‘Hand On The Pump.’ It just became [my] flow after that.” Cypress Hill Is The 1st Latino Hip-Hop Group On The Hollywood Walk Of FameB-Real notes that the effort caused him strain on stage. “For the few years, I was trying to do the voice and I’d be getting over-hyped ’cause the crowd is hype, and I’d start yelling the verses instead of rapping them, like on the record. I’d throw my voice out. My voice would get scratchy; I’d start sounding like Busta Rhymes and sh*t. It took me five years to actually harness how to actually do the shows with this voice. I had to go to this Opera singer coach. Using former Opera singer and Hollywood veteran vocal coach Elisabeth Sabine, B-Real learned to project through his diaphragm, use circular breathing, and preserve his unmistakable voice. “I never went hoarse again after that. People often compliment me on sounding close to how the records are. I gotta give all props to her.” At 39:00, B-Real opens up about surviving some severe trauma in the streets of South Gate. Joe Rogan asks B-Real about his lung health, given all the years of heavy marijuana smoking. “I get physicals and stuff like that. Occasionally, I’ll have my lungs checked, and they’ll tell me they’re [in] great [condition].” The MC says that his fitness is to thank. “It’s a funny thing, ’cause in [approximately] 1987, I was 17, and I was gang-bangin’. I got shot. I got hit by a .22, and it—as hollow point [bullets] do, it broke into three pieces. One of them punctured my lung on my left side.” B-Real says that as a teen scared for his privacy, he did not divulge to doctors that he was an active pot smoker at the time of the shooting. “They said, ‘That’s good [you do not smoke], ’cause you’ll never smoke again. They punctured your lung.’ They thought I was gonna have to work off of one lung. But in the three days [of hospitalization at Lynwood’s Martin Luther King Hospital], they were able to get the blood out of the lung. I was able to get it back through the exercises they told me [to do] to get it back to its regular size. I’ve never had a problem since then, knock on wood.” Alchemist Tells B-Real About Just How Much His Time With Cypress Hill Shaped HimB-Real adds that the bullet fragments are still inside of his body. He reveals that the other two pieces are near his heart and spine. The one piece near his lung has moved. B-Real admits that he feels the lead on cold days. “I was livin’ crazy before I got into the music; the music saved my life.” Moments later, Dr. Greenthumb is very transparent about how street-gangs recruit. “Falling into the gangs, it’s easy. If you don’t have a good home-life, the guys on the street are your second family. They eventually become your first family. If you don’t have a father-figure at home, one of the guys in the gang becomes your mentor. He could become the guy you look up to as your father-figure. There’s that. Again, there’s not enough programs out there to keep people [engaged in] doing something different than falling into that. Sometimes it’s just a matter of you growing up in this neighborhood. If you have to walk down that street and they approach you and say, ‘Hey, you live in this ‘hood; you gotta be with us. If you don’t, we’re gonna make it hard for you.’ So there’s that peer pressure,” B-Real says. “Fortunately, I had friends that weren’t gang-bangers. They had talent for music, which was Muggs and Sen, and Sen’s brother Mello [Man Ace]. I did music as a hobby before I got into gangs, and they got me back into the music. ‘Cause they recognized something in me, and said, ‘Hey, we want you to come back where we got these opportunities over here. Come join us.” Elsewhere in the interview, B-Real admits that he was always carrying a handgun between 1989 and 1997, well into Cypress Hill’s stardom. At 43:45, B-Real is very blunt that one can never really leave a gang unless they are “jumped out.” However, he says that he changed his ways around 1988 when he was 18 years old. “I was too into it to be jumped-out like that. That wasn’t something I was gonna do. My boys that I ran with, they understood that I was trying to do something different. I made a choice to try the music and leave that sh*t alone, ’cause there’s no way you do both. If you do both, you see the results today with what’s happening with a lot of cats…when one bleeds into the other, it f*cks everything up.” Erick Sermon Discusses His New Vernia Album & Previews Music At 57:00, B-Real recalls Cypress Hill getting on. Philadelphia’s Joe “The Butcher” Nicolo was instrumental in getting the group signed to RuffHouse/Sony Records. Additionally, the MC says that EPMD helped spread some of Cypress’ biggest awareness, despite no formal affiliation. “When Sony put out our snippet tape, guys like EPMD [rallied for Cypress Hill]. They were one of our favorite groups in the world. They were Top 5 for Cypress Hill. It was Public Enemy, Beastie Boys, and EPMD. F*ck, they were the sh*t. Those were the guys that took our snippet tape, and they were showing our snippet tape to other rappers. Like, ‘Hey guys, look at these new f*ckin’ guys.’ Busta Rhymes told me this story: ‘Yo son, I heard your sh*t from EPMD way back in the day. They was playin’ it for Public Enemy, and I just happened to be in the room.’ Ice Cube, when we met him for the first time—and we had our ups and downs with him—but he’s one of my homies, he [said the same thing]. They were like our first street team, man. EPMD.” B-Real plugs Erick Sermon’s just-released album, Vernia. Later in the interview, B-Real reveals that his rapping style emerged out of writing poetry first. He says that he planned for a career in journalism and adapted those principles of non-fiction storytelling to songs like Cypress’ “Throw Your Set In The Air.” Elsewhere, he recalls House Of Pain’s Everlast “choking out” somebody in the Rainbow Room for continuously talking about him from a nearby table. The MC praises KRS-One as one of his leading influences. Redman Highlights Cypress Hill’s Green Thumb In Cultivating His Career (Video)Cypress Hill released Elephants On Acid last year with DJ Muggs back at the musical helm. The group has confirmed that Black Milk will produce their next LP.
Rap music and car culture have a long and colorful history together, especially as it pertains to lowriders. There are iconic images and videos involving Dr. Dre, Ice Cube, Snoop Dogg, Tupac, King T, Cypress Hill, MC Eiht, Mack 10, Kid Frost, Coolio, The Game, and others forever etched in the memory of Hip-Hop Heads. Even outside of the West Coast, these custom cars that often feature hydraulic suspension, small white-wall tires, and perfectly-polished wheels are in the consciousness of Rap culture. While lowriding predates many pillars of Hip-Hop, both forms of expression stem from hobbyists using available resources to make stylish statements about themselves, their neighborhoods, and pride for their people.
Exile has worked closely with and produced some critical voices in independent Hip-Hop. This list includes partnering with Blu on a series of releases beginning with 2007’s Below The Heavens, before widely introducing Fashawn two years later on Boy Meets World. Since then, the Los Angeles, California-based producer and DJ has worked on albums by Big Sean, Snoop Dogg & Wiz Khalifa, and Pharoahe Monch. This decade, in particular, Ex’ has shined a light on San Diego, California’s Rap talent. Choosey appeared on E&J, the album from Exile and Johaz’ Dag Savage duo, in addition his solo Left Field. However, now he is getting his look via this Friday’s (March 29) Black Beans. Exile handles the sonic half of the upcoming Dirty Science Records LP.
Choosey is laid-back and soulful in the LP’s first single. The video for “Low Low” celebrates the lowrider, but in a way that is much more Skee-Lo than N.W.A. Twenty-four years to the day after Eazy-E’s death, Choosey raps about the automobile he would have, if only he could afford it. This dream dates back to building models and watching those in his ‘hood show out. Featuring Exile’s Emanon partner Aloe Blacc on the song and in the visual, this Latin-tinged track is a love song to a car, a woman, and an authentic L.A. pastime. In the footage, Heads can see a ’53 Chevy convertible, a ’64 coupe, and a ’63 Impala drop-top that Aloe maneuvers in the closing sequence. Other cars, including a ’69 station-wagon, a ’59 with teardrop lights, a ’65 coupe, and a ’61 bubble-top make appearances too. Apart from the vignettes of classic Chevys, a modern Lincoln achieves a turn in three-wheel motion.
“My biggest influences have been people who spoke from the heart, and what’s most honest about me is my heritage,” Choosey says in a statement. “There’s a stigma that Black and Mexican cultures don’t get along, but I wanted to show the beauty in being a product of both.”
Exile’s beat is equally informed by those legendary Lowrider music compilations. This dreamy song is all about culture, aspiration, and style.
Rap music and car culture have a long and colorful history together, especially as it pertains to lowriders. There are iconic images and videos involving Dr. Dre, Ice Cube, Snoop Dogg, Tupac, King T, Cypress Hill, MC Eiht, Mack 10, Kid Frost, Coolio, The Game, and others forever etched in the memory of Hip-Hop Heads. Even outside of the West Coast, these custom cars that often feature hydraulic suspension, small white-wall tires, and perfectly-polished wheels are in the consciousness of Rap culture. While lowriding predates many pillars of Hip-Hop, both forms of expression stem from hobbyists using available resources to make stylish statements about themselves, their neighborhoods, and pride for their people.
Exile has worked closely with and produced some critical voices in independent Hip-Hop. This list includes partnering with Blu on a series of releases beginning with 2007’s Below The Heavens, before widely introducing Fashawn two years later on Boy Meets World. Since then, the Los Angeles, California-based producer and DJ has worked on albums by Big Sean, Snoop Dogg & Wiz Khalifa, and Pharoahe Monch. This decade, in particular, Ex’ has shined a light on San Diego, California’s Rap talent. Choosey appeared on E&J, the album from Exile and Johaz’ Dag Savage duo, in addition his solo Left Field. However, now he is getting his look via this Friday’s (March 29) Black Beans. Exile handles the sonic half of the upcoming Dirty Science Records LP.
Choosey is laid-back and soulful in the LP’s first single. The video for “Low Low” celebrates the lowrider, but in a way that is much more Skee-Lo than N.W.A. Twenty-four years to the day after Eazy-E’s death, Choosey raps about the automobile he would have, if only he could afford it. This dream dates back to building models and watching those in his ‘hood show out. Featuring Exile’s Emanon partner Aloe Blacc on the song and in the visual, this Latin-tinged track is a love song to a car, a woman, and an authentic L.A. pastime. In the footage, Heads can see a ’53 Chevy convertible, a ’64 coupe, and a ’63 Impala drop-top that Aloe maneuvers in the closing sequence. Other cars, including a ’69 station-wagon, a ’59 with teardrop lights, a ’65 coupe, and a ’61 bubble-top make appearances too. Apart from the vignettes of classic Chevys, a modern Lincoln achieves a turn in three-wheel motion.
“My biggest influences have been people who spoke from the heart, and what’s most honest about me is my heritage,” Choosey says in a statement. “There’s a stigma that Black and Mexican cultures don’t get along, but I wanted to show the beauty in being a product of both.”
“After reviewing all of the facts and circumstances of the case, including Mr. Smollett’s volunteer service in the community and agreement to forfeit his bond to the city of Chicago, we believe this outcome is a just disposition and appropriate resolution to this case,” the Cook County State’s Attorney’s Office said in a statement. According to The New York Times, the official report did not shed light on possible new evidence or information.
A member of the 36-year-old actor’s legal team, Anne Kavanagh, told the press, “Today, all criminal charges against Jussie Smollett were dropped and his record has been wiped clean of the filing of this tragic complaint against him. Jussie was attacked by two people he was unable to identify on January 29. He was a victim who was vilified and made to appear as a perpetrator as a result of false and inappropriate remarks made to the public causing an inappropriate rush to judgment. Jussie is relieved to have this situation behind him and is very much looking forward to getting back to focusing on his family, friends, and career.”
Smollett has not yet spoken to media in this developing story.
“After reviewing all of the facts and circumstances of the case, including Mr. Smollett’s volunteer service in the community and agreement to forfeit his bond to the city of Chicago, we believe this outcome is a just disposition and appropriate resolution to this case,” the Cook County State’s Attorney’s Office said in a statement. According to The New York Times, the official report did not shed light on possible new evidence or information.
A member of the 36-year-old actor’s legal team, Anne Kavanagh, told the press, “Today, all criminal charges against Jussie Smollett were dropped and his record has been wiped clean of the filing of this tragic complaint against him. Jussie was attacked by two people he was unable to identify on January 29. He was a victim who was vilified and made to appear as a perpetrator as a result of false and inappropriate remarks made to the public causing an inappropriate rush to judgment. Jussie is relieved to have this situation behind him and is very much looking forward to getting back to focusing on his family, friends, and career.”
Smollett has not yet spoken to media in this developing story.
Jordan Peele’s second directorial feature film opened this past weekend. Following 2017’s Get Out (which earned the 40-year-old his first Oscar for original screenplay), Us has already shattered commercial projections and set new records in the Horror genre.
According to a Variety report amid the weekend, Us achieved more than $70 million of box office in the United States. The feat surpasses last year’s A Quiet Place for the best opening weekend for an original Horror film. Notably, the work also breaks a record held by Seth MacFarlane’s 2012 movie Ted, for strongest opening by an R-rated feature. In addition to the domestic $70MM, Us raked in nearly $17 million across 47 foreign countries and territories.
Perhaps more impressive than ticket sales, Peele’s second film is one of significant profitability. Variety notes that Us was made with a $20 million budget, including marketing and distribution. It also features a respected cast including Oscar-winning Lupita Nyong’o (12 Years A Slave), Winston Duke (Black Panther), and Emmy-winning Elisabeth Moss (The Handmaid’s Tale). The picture follows Get Out, which boasted a production budget of less than $5 million, before earning more than $255 million at theaters globally.
Competing with the NCAA basketball tournament, Us was projected to open at $38-to-45 million. Get Out debuted with $33 million two years ago.
Between GetOut and Us, Jordan Peele co-produced Spike Lee’s “Best Picture” nomination, BlacKkKlansmen.
Jordan Peele’s second directorial feature film opened this past weekend. Following 2017’s Get Out (which earned the 40-year-old his first Oscar for original screenplay), Us has already shattered commercial projections and set new records in the Horror genre.
According to a Variety report amid the weekend, Us achieved more than $70 million of box office in the United States. The feat surpasses last year’s A Quiet Place for the best opening weekend for an original Horror film. Notably, the work also breaks a record held by Seth MacFarlane’s 2012 movie Ted, for strongest opening by an R-rated feature. In addition to the domestic $70MM, Us raked in nearly $17 million across 47 foreign countries and territories.
Perhaps more impressive than ticket sales, Peele’s second film is one of significant profitability. Variety notes that Us was made with a $20 million budget, including marketing and distribution. It also features a respected cast including Oscar-winning Lupita Nyong’o (12 Years A Slave), Winston Duke (Black Panther), and Emmy-winning Elisabeth Moss (The Handmaid’s Tale). The picture follows Get Out, which boasted a production budget of less than $5 million, before earning more than $255 million at theaters globally.
Competing with the NCAA basketball tournament, Us was projected to open at $38-to-45 million. Get Out debuted with $33 million two years ago.
Less than a month ago, Hip-Hop Heads learned that Mac Miller and Madlib had recorded an album together before the former’s death last September. Fans got a taste of that chemistry on Freddie Gibbs & Madlib’s Pinata album’s title track. However, a body of work reportedly called MacLib not only exists, it sometimes sneaks into public consumption.
Shortly after Mac’s passing, Madlib’s manager and business partner, Eothen “Egon” Alapatt confirmed that the two artists had “started to work on a project together” in an Instagram tribute. Egon added, “[Mac Miller’s] rapping on Madlib’s beats were better than many others who had tried to tackle the same tracks before him. When Madlib would play a song at a festival somewhere, I would send a text, and we would talk about making some music, having fun.”
One of Miller’s collaborators, Thelonious Martin, toldDJ Booth‘s Donna-Claire Chesman that he heard both artists glow over their collabs. “When we was working on ‘Guidelines,’ [Mac Miller] was always excited about all these other songs. He had this Madlib album, called Maclib. I opened for Madlib in Chicago last summer, at [the] Pitchfork [Festival]. So I’m opening for Madlib, and about 15, 20 minutes left in my set, Madlib pulls up. Pete Rock walks up as well. So I’m trying to focus and DJ, and Madlib gets on and 15 minutes into his set he just randomly plays a Mac Miller joint. And I turn to him, I’m like, ‘There’s more of these, right?’ He’s said, ‘Oh, yeah, there’s a whole album. Maclib’” What! What! He just kept moving on with his DJ set. If Madlib decides to bless the world with that project, he should.”
Like the Chicago, Illinois producer’s account of Pitchfork Fest’, Madlib did it again this past weekend. According to Okay Player, Madlib broke out a collaboration with Miller and Thundercat at San Diego, California’s The Music Box. Twitter user JoeKay captured the moment on video, and shared it on social media:
At the top of the video, viewers can hear Miller rapping. Meanwhile, Madlib stands behind his equipment, including a mixer and turntables. In another clip in the same video, viewers can catch some unreleased Madlib and Freddie Gibbs.
That pair has released two singles from their upcoming sophomore set, Bandana: this month’s title track and February’s “Flat Tummy Tea.”
Less than a month ago, Hip-Hop Heads learned that Mac Miller and Madlib had recorded an album together before the former’s death last September. Fans got a taste of that chemistry on Freddie Gibbs & Madlib’s Pinata album’s title track. However, a body of work reportedly called MacLib not only exists, it sometimes sneaks into public consumption.
Shortly after Mac’s passing, Madlib’s manager and business partner, Eothen “Egon” Alapatt confirmed that the two artists had “started to work on a project together” in an Instagram tribute. Egon added, “[Mac Miller’s] rapping on Madlib’s beats were better than many others who had tried to tackle the same tracks before him. When Madlib would play a song at a festival somewhere, I would send a text, and we would talk about making some music, having fun.”
One of Miller’s collaborators, Thelonious Martin, toldDJ Booth‘s Donna-Claire Chesman that he heard both artists glow over their collabs. “When we was working on ‘Guidelines,’ [Mac Miller] was always excited about all these other songs. He had this Madlib album, called Maclib. I opened for Madlib in Chicago last summer, at [the] Pitchfork [Festival]. So I’m opening for Madlib, and about 15, 20 minutes left in my set, Madlib pulls up. Pete Rock walks up as well. So I’m trying to focus and DJ, and Madlib gets on and 15 minutes into his set he just randomly plays a Mac Miller joint. And I turn to him, I’m like, ‘There’s more of these, right?’ He’s said, ‘Oh, yeah, there’s a whole album. Maclib’” What! What! He just kept moving on with his DJ set. If Madlib decides to bless the world with that project, he should.”
Like the Chicago, Illinois producer’s account of Pitchfork Fest’, Madlib did it again this past weekend. According to Okay Player, Madlib broke out a collaboration with Miller and Thundercat at San Diego, California’s The Music Box. Twitter user JoeKay captured the moment on video, and shared it on social media:
At the top of the video, viewers can hear Miller rapping. Meanwhile, Madlib stands behind his equipment, including a mixer and turntables. In another clip in the same video, viewers can catch some unreleased Madlib and Freddie Gibbs.
Today (March 15), Drink Champs released its episode with Xzibit. Notably, another Southern California-based lyricist also guested on the show. Kxng Crooked (akaCrooked I) joined N.O.R.E. and DJ EFN’s round-table alongside Mr. X-To-The-Z. In a two-hour discussion, the show played host to some of Crook’s most revealing thoughts surrounding the 2018 disbanding of Slaughterhouse.
Just under one year ago, the Long Beach, California MCmade an announcement that shocked some fans. “I’ve been sober for two years. Let me tell you a secret: sober Crook likes to rap. [Slaughterhouse] ain’t rapping [together] no more and that’s fine. It was fun while it lasted,” Crooked I told fans in a video published last April. He also addressed the group’s third album, which had been in the works for years. “Glass House, I have no clue. All I can tell you [is] it exists. If it comes out, I’ll retweet it. Other than that, it’s all love. Everybody who supported me in Slaughterhouse, thank you.”
Kxng Crooked joins the Xzibit conversation at the 1:03:00 mark. At 1:11:00, Crooked I is asked about Joe Budden’s impact on the group disbanding. The guest begins addressing Budden’s late 2017 remarks that eventually led to a high-profile beef with Eminem. “I just felt like [Joe Budden’s] approach was wrong. If you don’t like something, ‘It’s not for me,’ [or] ‘Yo, I don’t like it,’ [or], [Eminem’s] the homie, [but] this ain’t for me.’ But when you say something is ‘trash,’ you sh*t on Paul Rosenberg’s rollout, you’re taking it a little further.”
The guest continues, “And then I know the backstory; I know that there were some issues that [Joe Budden] felt against the label. You’re not giving [Eminem] a fair critique now, ’cause now you’ve got malice behind what you’re saying; it’s personal. My whole thing was like, just keep it a buck.”
Last year began with Eminem making a “Chloraseptic (Remix)” including new lyrics that many—including D12’s Bizarre—believed were in response to Joe Budden’s words. By last August’s sneak-attack album, Kamikaze, Eminem left nothing to suspicion. Less than a week after the release, Em showcased the “Fall” video, containing the bars, “Somebody tell Budden before I snap, he better fasten it or have his body bag get zipped / The closest thing he’s had to hits is smackin’ b*tches.”
In response to the album, Joe Budden released a fiery episode of his podcast. In addition to unpacking a history of tensions between he and Marshall surrounding the marketing, assistance, and creative input of Slaughterhouse, the retired MC alleged that he’d been a better rapper and than Eminem for the last decade. The host yelled his points throughout the episode, stating that he’d be willing to respond to Em’ in a song, if his opponent gave him something worth responding to.
Back on the new Drink Champs, Kxng Crooked points to that September podcast as evidence that these feelings had been seeded for some time. “Eventually, it came out with, ‘I felt like I was better than Em’ for [the last] 10 years,’ [and more].” Crooked asserts that Joe’s anger towards Em’ and label head Paul Rosenberg was not used in context for his scathing Revival criticism.
At 1:14:00, N.O.R.E. says that he possibly questions the merits of Budden’s argument regarding Rap superiority over the last decade. In response, Crooked I says, “Every MC is supposed to feel like they’re the best, so I’ll give [him] that. Now that you’ve said that, I think you’ve got to back it up with more than just a statement. ‘Cause Em’ came at you, where you at, Joe? You said that you was better than him for the past 10 years. He gave you a few bars. You gotta back it up now; you just said this. If you don’t back it up, I don’t think even you believe [it is true].” Xzibit, who has worked extensively with Eminem adds, “You can’t just say [you are not responding because of] retirement. All bets are off.”
Crooked I continues, questioning Joe Budden’s appreciation and loyalty to Eminem and Shady. “I feel like Joe forgot [about the helping hand] when he was saying what he was saying. I don’t forget solid sh*t; that’s just not how I’m cut.” He suggests that earlier, Budden needed help that Eminem and Shady provided. To further illustrate, Crook’ recalls an early 2000s meeting with Suge Knight and N.O.R.E. in a Manhattan recording studio. He says that he forever remembers Noreaga’s help in a time when the Death Row co-founder and star artist wanted to make sure they were safe on the East Coast. “I never forget solid sh*t. So I would think as long as Em’ and Paul didn’t cross him in some type of way, I would think [Joe Budden] would have enough respect to be like, ‘Yo, I ain’t gon’ step on the gas on this one.’”
At 1:18:00, Kxng Crooked reveals how Joe’s 2017 words ultimately botched plans for Glass House. “It definitely affected Slaughterhouse. Because me and Royce [5’9] was working behind the scenes, trying to get the [Glass House] album out to the people. [The ‘Untouchable] critique] was like a grenade; he took the pin out and tossed that b*tch,” says the guest with a chuckle.
Addressing Joe’s podcast points from last September, Kxng Crooked also defends Eminem’s input. Budden was critical of Eminem not giving the group the proper push, compared to 50 Cent, D12, and earlier Shady successes. “I believe we came in at a time on Shady where Em’ didn’t have to do so much sh*t. He was used to having one formula to make things rock. But that formula was changing with the times,” explains Crook. Last year, Joe was also critical of Eminem’s production, beat choices, and creative input on a group that had released one album before signing with Shady. In an interview with Sway Calloway produced by Shady, Eminem responded to those charges.
Crooked I seemingly agrees with Marshall. “So what Em’ did, he said, ‘Okay, that first round [with welcome to: OUR HOUSE], that’s on me. Y’all go back in and make another album, and I’ma just let y’all rock. Whatever y’all wanna do, handle it the way y’all want to handle it. Roll it out how you want to roll it out, just do you.’ We all agreed and went back into the lab.” It is here that the C.O.B. founder says he is most frustrated. “That’s my problem [with what happened]: if you agree to go back and record another album and give it another shot, why is we still talking about [welcome to: OUR HOUSE]?” Kxng Crooked seemingly suggests that Budden remained displeased with the group album, instead of seizing the opportunity surrounding a follow-up album. Moreover, the California veteran says he relocated to New York City for six weeks to work on that unreleased LP. “Then the team broke up.”
N.O.R.E. asks if the guest considered the group of four solo MCs “a brotherhood.” Kxng Crooked responds, “I thought it was. Then, at times, I say, ‘I don’t think it was.’” Moments later he says, “I’m just cut different; I got three Slaughterhouse tattoos. When it was goin’ down, if anybody was in trouble, I was there with ’em. It was just a different scenario.” N.O.R.E. and Crooked I bring up Joe Budden’s late 2000s beef with Wu-Tang Clan. Kxng Crooked admits that fallout from that short-lived beef involving a physical 2009 altercation with Raekwon, cost him relationships with his circle.
At 85:30, N.O.R.E. says that after witnessing the 2018 breakup of Slaughterhouse he has faith for a reunion. Royce, Crooked, and Joell worked together on the remix to “Timberlan’d Up” late last year. “I don’t think it’s over,” says the Capone-N-Noreaga co-founder. Quickly, Crook’ puts those notions to bed. “It’s a wrap on that one.”
At 1:03:00 Rory enters and joins. N.O.R.E. asks the new guest if there will be a Slaughterhouse again. “This is an ambush; I want to get this on record,” responds The Joe Budden Podcast co-host who previously worked at Def Jam and Sony Records. “I saw Crook’ outside; Crook’ is love all day. This is a total ambush; I just want to make that clear…Slaughterhouse is none of my business. Why would y’all ask me about Slaughterhouse?” He charges that Crooked I and Joe Budden’s relationship is an isolated situation. “I can’t objectively talk about Slaughterhouse. One of their members is family to me. That’s their business.”
Ten minutes later, at 1:13:00, Kxng Crooked brings up that the loyal fans will always ask about the group that nearly lasted a decade. “People want to know, that’s how strong the Slaughterhouse brand was.” “Not was, is,” corrects Rory. Moments later, the MC born Dominick Wickliffe reflects on his group. “I don’t know why it’s gone; I know the Em’ sh*t played a big part in it…” In the next breath, Crook’ affirms his loyalty to Eminem, who he worked with nearly a decade before Slaughterhouse.
At 1:55:00 N.O.R.E. asks Rory if he thinks Joe went too far with his Eminem criticism. “I think a lot of the things that Joe [was quoted as saying] were made up, if you go back and look at what he [actually] said on Everyday Struggle. I think it got blown out of proportion. I think a lot of sh*t went to [headlines].” He adds, “Just knowing Joe personally, and how much he loves Em’, and respects him, sh*t got blown outta proportion, dog.”
As Rory speaks, Xzibit shoots Crooked I a look. The LBC native interrupts, “He used the word ‘trash,’ and I think that was—” Rory interrupts, asking about the context of the word. Kxng Crooked states that it was in reference to “Untouchable.” “[Joe Budden] said, ‘It’s trash, throw it in the rice,’ or some sh*t. You know what Joe be sayin’. But yeah, I mean, that’s going too far.”
In response Rory aligns with his podcast co-host’s opinion. “I don’t think he was buggin’” Kxng Crooked interjects, “Well, I think he was. I know you don’t want to have that conversation, yeah, but my whole thing is, like I was sayin’, dog, if you got a lil’ issue with somebody, pass on the critique of their album and their singles. Because, how can you be fair? How can you come from a place where you’re just listening to it [while] setting your personal feelings to the side? I don’t think so.”
Crooked I continues, “See, me and Royce, we were very hands-on with Slaughterhouse. From the beginning to end…we really went in the trenches for Slaughterhouse. You get me? So when you go in the trenches like that, if you got a communication line with your brothers, then you talk to your brothers. ‘Yo, this is what I’m about to do. Is this gonna harm anything that you guys are doing to try and get Glass House out right now? ‘Cause I don’t like my time to be wasted. If I’m flying from Cali’ to New York, sittin’ in them offices, fighting for this Glass House sh*t, on my own time, let me know if you’re gonna throw a grenade at [somebody]. Just let me know, and I won’t get on that plane. You feel me?”
As Kxng Crooked finishes his sentence, Rory gets up and exits the room without a goodbye. With a belly-laugh, Kxng Crooked claims, “It got awkward.” Seconds later, the episode ends.
Earlier in the Drink Champs episode, Crooked I makes a powerful point about his former boss, Suge Knight. The once feared record exec, who is currently serving a 28-year prison sentence for the killing of Terry Carter, made the MC his flagship artist between late 1999 and the mid-2000s. Despite that tenure, Crooked I never released his Say Hi To The Bad Guy debut solo album while signed to the legendary label. Like Kurupt and Michel’le, he was also offered an executive position by the Compton, California native.
At 1:53:00, Kxng Crooked says, “He wanted to give me an exec job, at one point. I know Kurupt had a job.” N.O.R.E. suggests that Dame Dash bit from Knight when he appointed Cam’ron to be Roc-A-Fella Records’ president. “Suge is like this: ‘I’m gonna go meet with Lyor [Cohen], and I want you to learn the game and get your business IQ up, so I’m gonna take you with me. So you can just soak up game.’ That’s how Suge was. He wanted to do retirement funds for artists, he wanted to do [healthcare for artists]. But every time he tried to do something on that level, he got resistance from the powers that be. And sometimes that resistance comes in the form of the Feds knocking at your door.”
In 1996, the FBI reportedly investigated the label founded by Knight and Dr. Dre. The L.A. Times reported the probe the same month that label star Tupac Shakur was fatally wounded in Las Vegas, Nevada. Knight, who was with Pac during that incident and also hit with gunfire, was eventually sentenced to prison for violating probation that night. After Knight was released, in the early 2000s, the FBI raided Death Row’s Beverly Hills offices, and various properties, including Crooked I’s home.
Today (March 15), Drink Champs released its episode with Xzibit. Notably, another Southern California-based lyricist also guested on the show. Kxng Crooked (akaCrooked I) joined N.O.R.E. and DJ EFN’s round-table alongside Mr. X-To-The-Z. In a two-hour discussion, the show played host to some of Crook’s most revealing thoughts surrounding the 2018 disbanding of Slaughterhouse.
Just under one year ago, the Long Beach, California MCmade an announcement that shocked some fans. “I’ve been sober for two years. Let me tell you a secret: sober Crook likes to rap. [Slaughterhouse] ain’t rapping [together] no more and that’s fine. It was fun while it lasted,” Crooked I told fans in a video published last April. He also addressed the group’s third album, which had been in the works for years. “Glass House, I have no clue. All I can tell you [is] it exists. If it comes out, I’ll retweet it. Other than that, it’s all love. Everybody who supported me in Slaughterhouse, thank you.”
Kxng Crooked joins the Xzibit conversation at the 1:03:00 mark. At 1:11:00, Crooked I is asked about Joe Budden’s impact on the group disbanding. The guest begins addressing Budden’s late 2017 remarks that eventually led to a high-profile beef with Eminem. “I just felt like [Joe Budden’s] approach was wrong. If you don’t like something, ‘It’s not for me,’ [or] ‘Yo, I don’t like it,’ [or], [Eminem’s] the homie, [but] this ain’t for me.’ But when you say something is ‘trash,’ you sh*t on Paul Rosenberg’s rollout, you’re taking it a little further.”
The guest continues, “And then I know the backstory; I know that there were some issues that [Joe Budden] felt against the label. You’re not giving [Eminem] a fair critique now, ’cause now you’ve got malice behind what you’re saying; it’s personal. My whole thing was like, just keep it a buck.”
Last year began with Eminem making a “Chloraseptic (Remix)” including new lyrics that many—including D12’s Bizarre—believed were in response to Joe Budden’s words. By last August’s sneak-attack album, Kamikaze, Eminem left nothing to suspicion. Less than a week after the release, Em showcased the “Fall” video, containing the bars, “Somebody tell Budden before I snap, he better fasten it or have his body bag get zipped / The closest thing he’s had to hits is smackin’ b*tches.”
In response to the album, Joe Budden released a fiery episode of his podcast. In addition to unpacking a history of tensions between he and Marshall surrounding the marketing, assistance, and creative input of Slaughterhouse, the retired MC alleged that he’d been a better rapper and than Eminem for the last decade. The host yelled his points throughout the episode, stating that he’d be willing to respond to Em’ in a song, if his opponent gave him something worth responding to.
Back on the new Drink Champs, Kxng Crooked points to that September podcast as evidence that these feelings had been seeded for some time. “Eventually, it came out with, ‘I felt like I was better than Em’ for [the last] 10 years,’ [and more].” Crooked asserts that Joe’s anger towards Em’ and label head Paul Rosenberg was not used in context for his scathing Revival criticism.
At 1:14:00, N.O.R.E. says that he possibly questions the merits of Budden’s argument regarding Rap superiority over the last decade. In response, Crooked I says, “Every MC is supposed to feel like they’re the best, so I’ll give [him] that. Now that you’ve said that, I think you’ve got to back it up with more than just a statement. ‘Cause Em’ came at you, where you at, Joe? You said that you was better than him for the past 10 years. He gave you a few bars. You gotta back it up now; you just said this. If you don’t back it up, I don’t think even you believe [it is true].” Xzibit, who has worked extensively with Eminem adds, “You can’t just say [you are not responding because of] retirement. All bets are off.”
Crooked I continues, questioning Joe Budden’s appreciation and loyalty to Eminem and Shady. “I feel like Joe forgot [about the helping hand] when he was saying what he was saying. I don’t forget solid sh*t; that’s just not how I’m cut.” He suggests that earlier, Budden needed help that Eminem and Shady provided. To further illustrate, Crook’ recalls an early 2000s meeting with Suge Knight and N.O.R.E. in a Manhattan recording studio. He says that he forever remembers Noreaga’s help in a time when the Death Row co-founder and star artist wanted to make sure they were safe on the East Coast. “I never forget solid sh*t. So I would think as long as Em’ and Paul didn’t cross him in some type of way, I would think [Joe Budden] would have enough respect to be like, ‘Yo, I ain’t gon’ step on the gas on this one.’”
At 1:18:00, Kxng Crooked reveals how Joe’s 2017 words ultimately botched plans for Glass House. “It definitely affected Slaughterhouse. Because me and Royce [5’9] was working behind the scenes, trying to get the [Glass House] album out to the people. [The ‘Untouchable] critique] was like a grenade; he took the pin out and tossed that b*tch,” says the guest with a chuckle.
Addressing Joe’s podcast points from last September, Kxng Crooked also defends Eminem’s input. Budden was critical of Eminem not giving the group the proper push, compared to 50 Cent, D12, and earlier Shady successes. “I believe we came in at a time on Shady where Em’ didn’t have to do so much sh*t. He was used to having one formula to make things rock. But that formula was changing with the times,” explains Crook. Last year, Joe was also critical of Eminem’s production, beat choices, and creative input on a group that had released one album before signing with Shady. In an interview with Sway Calloway produced by Shady, Eminem responded to those charges.
Crooked I seemingly agrees with Marshall. “So what Em’ did, he said, ‘Okay, that first round [with welcome to: OUR HOUSE], that’s on me. Y’all go back in and make another album, and I’ma just let y’all rock. Whatever y’all wanna do, handle it the way y’all want to handle it. Roll it out how you want to roll it out, just do you.’ We all agreed and went back into the lab.” It is here that the C.O.B. founder says he is most frustrated. “That’s my problem [with what happened]: if you agree to go back and record another album and give it another shot, why is we still talking about [welcome to: OUR HOUSE]?” Kxng Crooked seemingly suggests that Budden remained displeased with the group album, instead of seizing the opportunity surrounding a follow-up album. Moreover, the California veteran says he relocated to New York City for six weeks to work on that unreleased LP. “Then the team broke up.”
N.O.R.E. asks if the guest considered the group of four solo MCs “a brotherhood.” Kxng Crooked responds, “I thought it was. Then, at times, I say, ‘I don’t think it was.’” Moments later he says, “I’m just cut different; I got three Slaughterhouse tattoos. When it was goin’ down, if anybody was in trouble, I was there with ’em. It was just a different scenario.” N.O.R.E. and Crooked I bring up Joe Budden’s late 2000s beef with Wu-Tang Clan. Kxng Crooked admits that fallout from that short-lived beef involving a physical 2009 altercation with Raekwon, cost him relationships with his circle.
At 85:30, N.O.R.E. says that after witnessing the 2018 breakup of Slaughterhouse he has faith for a reunion. Royce, Crooked, and Joell worked together on the remix to “Timberlan’d Up” late last year. “I don’t think it’s over,” says the Capone-N-Noreaga co-founder. Quickly, Crook’ puts those notions to bed. “It’s a wrap on that one.”
At 1:03:00 Rory enters and joins. N.O.R.E. asks the new guest if there will be a Slaughterhouse again. “This is an ambush; I want to get this on record,” responds The Joe Budden Podcast co-host who previously worked at Def Jam and Sony Records. “I saw Crook’ outside; Crook’ is love all day. This is a total ambush; I just want to make that clear…Slaughterhouse is none of my business. Why would y’all ask me about Slaughterhouse?” He charges that Crooked I and Joe Budden’s relationship is an isolated situation. “I can’t objectively talk about Slaughterhouse. One of their members is family to me. That’s their business.”
Ten minutes later, at 1:13:00, Kxng Crooked brings up that the loyal fans will always ask about the group that nearly lasted a decade. “People want to know, that’s how strong the Slaughterhouse brand was.” “Not was, is,” corrects Rory. Moments later, the MC born Dominick Wickliffe reflects on his group. “I don’t know why it’s gone; I know the Em’ sh*t played a big part in it…” In the next breath, Crook’ affirms his loyalty to Eminem, who he worked with nearly a decade before Slaughterhouse.
At 1:55:00 N.O.R.E. asks Rory if he thinks Joe went too far with his Eminem criticism. “I think a lot of the things that Joe [was quoted as saying] were made up, if you go back and look at what he [actually] said on Everyday Struggle. I think it got blown out of proportion. I think a lot of sh*t went to [headlines].” He adds, “Just knowing Joe personally, and how much he loves Em’, and respects him, sh*t got blown outta proportion, dog.”
As Rory speaks, Xzibit shoots Crooked I a look. The LBC native interrupts, “He used the word ‘trash,’ and I think that was—” Rory interrupts, asking about the context of the word. Kxng Crooked states that it was in reference to “Untouchable.” “[Joe Budden] said, ‘It’s trash, throw it in the rice,’ or some sh*t. You know what Joe be sayin’. But yeah, I mean, that’s going too far.”
In response Rory aligns with his podcast co-host’s opinion. “I don’t think he was buggin’” Kxng Crooked interjects, “Well, I think he was. I know you don’t want to have that conversation, yeah, but my whole thing is, like I was sayin’, dog, if you got a lil’ issue with somebody, pass on the critique of their album and their singles. Because, how can you be fair? How can you come from a place where you’re just listening to it [while] setting your personal feelings to the side? I don’t think so.”
Crooked I continues, “See, me and Royce, we were very hands-on with Slaughterhouse. From the beginning to end…we really went in the trenches for Slaughterhouse. You get me? So when you go in the trenches like that, if you got a communication line with your brothers, then you talk to your brothers. ‘Yo, this is what I’m about to do. Is this gonna harm anything that you guys are doing to try and get Glass House out right now? ‘Cause I don’t like my time to be wasted. If I’m flying from Cali’ to New York, sittin’ in them offices, fighting for this Glass House sh*t, on my own time, let me know if you’re gonna throw a grenade at [somebody]. Just let me know, and I won’t get on that plane. You feel me?”
As Kxng Crooked finishes his sentence, Rory gets up and exits the room without a goodbye. With a belly-laugh, Kxng Crooked claims, “It got awkward.” Seconds later, the episode ends.
Earlier in the Drink Champs episode, Crooked I makes a powerful point about his former boss, Suge Knight. The once feared record exec, who is currently serving a 28-year prison sentence for the killing of Terry Carter, made the MC his flagship artist between late 1999 and the mid-2000s. Despite that tenure, Crooked I never released his Say Hi To The Bad Guy debut solo album while signed to the legendary label. Like Kurupt and Michel’le, he was also offered an executive position by the Compton, California native.
At 1:53:00, Kxng Crooked says, “He wanted to give me an exec job, at one point. I know Kurupt had a job.” N.O.R.E. suggests that Dame Dash bit from Knight when he appointed Cam’ron to be Roc-A-Fella Records’ president. “Suge is like this: ‘I’m gonna go meet with Lyor [Cohen], and I want you to learn the game and get your business IQ up, so I’m gonna take you with me. So you can just soak up game.’ That’s how Suge was. He wanted to do retirement funds for artists, he wanted to do [healthcare for artists]. But every time he tried to do something on that level, he got resistance from the powers that be. And sometimes that resistance comes in the form of the Feds knocking at your door.”
In 1996, the FBI reportedly investigated the label founded by Knight and Dr. Dre. The L.A. Times reported the probe the same month that label star Tupac Shakur was fatally wounded in Las Vegas, Nevada. Knight, who was with Pac during that incident and also hit with gunfire, was eventually sentenced to prison for violating probation that night. After Knight was released, in the early 2000s, the FBI raided Death Row’s Beverly Hills offices, and various properties, including Crooked I’s home.
Sunday night (March 10), Dave Chappelle and R&B singer Daniel Caesar made guest appearances on John Mayer’s Instagram Live show Current Mood. The encounter between the comedian and the “Get You” singer, however, was fumbling and awkward. The moment Mayer introduces Daniel Caesar for a performance, Chappelle interjects and comments, “very gay.” “What?” Mayer reacts after processing what Chappelle said. Chappelle continued, “Huh? Oh, I’m sorry, did I say that out loud? I’m just kidding.” Dave Chappelle Wins Best Comedy Album Grammy For 2nd Straight Year After reading the room, which had scattered laughter, Chappelle counters with more humor. “Daniel Caesar is a musician from Toronto that I just met tonight — Black,” he continues. “I got jealous. I didn’t know John had other Black friends.” “What the f*ck was that?” Caesar is heard saying off-camera. “What I said?” Chappelle responds. “Did I offend you?” “Yeah,” Caesar reveals. Dave Chappelle Details The Night R. Kelly Confronted Him With His Goons John Mayer then steps in to handle damage control, getting both parties to agree that they were drunk. “Oh my God, if I fistfight tonight I’m going to be furious,” Chappelle continues to joke, ignoring Caesar’s obvious gripe. “Dave,” Mayer continues, “People just saw for a minute what happens when you speak freely, and there’s alcohol in your hand, and you’re working free association, and you accidentally say something that trips someone’s feelings up.” “The wrong word is ‘accidentally,'” Chappelle interjects, double-downing on his initial joke. Dave Chappelle & Jon Stewart Talk Politics Unusual (Video) “Of course it’s an accident, but you have to clean it up. It’s a three-second clean-up,” Mayer continues. “No!” Chappelle says. “The guy is working on for the first time on social media,” Mayer says, “I don’t want to speak for you.” Chappelle then attempts to silence Mayer and speak toward the camera while addressing Caesar, who is still off camera: “Before this broadcast started, me and this brother sat at a piano. He played expertly, beautifully, I had never met him before. And I knew for a fact that I was in the presence of not just someone that was good, but someone that was great. But the fact that I offended you as a comedian…” Dave Chappelle Has A Serious Conversation About Living A Happy Life (Video) “I’m being sensitive,” Caesar says. “Correct,” Chappelle agrees. Mayer is heard in the background still attempting to steer the conversation, saying “I don’t think that’s true.” “I’m trying to think about this,” Caesar says. “Maybe I am being sensitive.” Chappelle countered, “Daniel, I thought about it. You are.” At the very end of the video, viewers see Caesar and Chappelle making up for the camera. Daniel Caesar Has The Makings Of A Great Modern-Day Soul Singer. Just Watch (Video) Notably, this is not the first time Chappelle has made remarks about members of the LGBTIQ+ community. On his first two Netflix specials, The Age Of Spin and Deep In The Heart Of Texas, Chappelle made jokes aimed toward both transgender and gay people within his act. At the time of those specials, The Guardian‘s Brian Logan analyzed the comedy of Dave Chappelle and Ricky Gervais, especially as it pertains to the LGBTIQ+ community. “[Dave] Chappelle spends substantial time across the two shows joking about gay and transgender people, usually from the perspective of a bemused straight man who finds those other identities inherently amusing,” wrote the author, who does not agree that comedians have license to say whatever they want under the auspices of “jokes.” Dave Chappelle & Kendrick Lamar Have A Deep Conversation Between 2 Masters At Work As the line between what’s funny and what’s offensive is shifting, Dave Chappelle and Daniel Caesar’s exchange may have shown some of that evolution in real-time.
Next year, The Fresh Prince of Bel-Air turns 30 years old. It’s been nearly three decades since Will Smith introduced America to a fictionalized version of himself, playing a West Philadelphia-native who gets relocated to Bel Air, California to stay out of trouble and live with his extended family. During the show’s six-season run, audiences laughed, cried, and fell in love with characters like Alfonso Ribeiro’s “Carlton Banks,” and James Avery as “Uncle Phil.” Although it is now 2019, the sitcom’s influence, humor, and style still bleed throughout most mass media. However, one fan-made film begs the question: If The Fresh Prince of Bel-Air were to debut in today’s climate, how would that feel? Sun Squared Media steps up to the plate to answer, as writer, director, and cinematographer Morgan Cooper, along with actor Jerry Madison who plays “Will Smith,” re-imagines the sitcom as a gritty, mature comedy-drama simply titled Bel-Air. DJ Jazzy Jeff & The Fresh Prince’s Vintage Freestyle Is An MC & DJ Hallmark (Audio) Cinematic music choice aside, this Bel-Air re-imagining captures a direction and tone similar to FX’ Atlanta. After a scuffle on the basketball court, “Will” gets caught with a gun by the local police, and is sent to live in Bel Air with his “Uncle Phil” to clean up and stay out of trouble. Viewers are given a glimpse of newness as “Will’s” character stands outside the mansion gates, coolly wearing a “What Would Meek Do?” hoodie. We’re introduced to all sorts of drama, showing scenes with “Carlton,” a supportive “Aunt Vivian,” and a slick “Jazz,” who meets our main character at a record store. Fan-made film or not, a gritty Bel-Air reboot might have something we’ve needed for a long time.
One of the highlights of J.I.D.’s late 2018 DiCaprio 2 album is “Off da Zoinkys.” The Christo-produced song calls for sobriety, while focusing simply on dope deliveries and substantial bars. “Y’all ni**as need to lay off the drugs, some of y’all need to lay off the dope /My ni**as gettin’ it straight off the boat / Pure cut, put it straight to your nose / I ain’t nosy, but I know what I know / Mr. Know-It-All, ‘Oh here he go’ / I’m the G.O.A.T,, I never go with the flow,” begins the Dreamville lyricist in the first verse. Later in the double-rhyming display, J.I.D. looks within to make a call for clarity. “I’ma go ahead and lay off the Xans, I’ma fall back sippin’ the lean / I gotta make sure my vision is clear, oh God, no, it’s not what it seems / Six, five, four, one, two, three .45 tote, you know me / You don’t want smoke, so what it’s gon’ be? / Gotta watch what you say when you lookin’ at me / Lookin’ at God, lookin’ for leaders, lookin’ for keys / Look at the pain in your eyes, ni**a, look where we been / Look at our wins, look at our sins, and look at our skin / I’ve been on a frenzy binge try’na get me a Benz / And then your fuzzy-ass dance wanna f*ck up the ends / Oh God, no, where are my friends? / Lord forgive me, yeah, I need to repent / Mind blurred, need to lay off the drugs, yeah God, they ain’t prayin’ enough / Ni**as dyin’, we ain’t sayin’ enough.” Beyond just sobriety, the song calls for more awareness and less dumbed-down self-indulgence. J.I.D. & Mereba Look Out For One Another On A Soulful Soiree The just-released video is an extension of the song’s premise. J.I.D. makes a few subtle cameos in the background of a video, as well as on a remixed peanut-butter label. However, the main character enjoys his substances from the minute his day starts. He shows what living can look like when you’re on a trip or in a daze. The video is nicely choreographed and captures the spirit of a song that’s informed without being preachy, and smart without compromising its bounce. More notably, the video nods to Robert Altman’s 1973 The Long Goodbye film, starring Elliott Gould. It was an adaptation of Raymond Chandler’s novel of the same name. Just as this character does, the film’s protagonist (“Phillip Marlowe”) sits with his cat and watches a party of beautiful women from his window. In the music video, J.I.D. is enjoying that gathering. J.I.D & J. Cole Are Out To Prove Dreamville Is The Most Lyrical Crew In Hip-HopDiCaprio 2 includes appearances by Method Man, Joey Bada$$, J. Cole, 6LACK, A$AP Ferg, Ella Mai, and BJ The Chicago Kid. He also recently appeared in the video single for Boogie’s “Soho.”
In just a few hours (January 18), Season 1 of Trigger Warning With Killer Mike will be available. One of the most consistent Hip-Hop artists of the last decade and a leading activist within the culture takes his charisma, his ability to ask hard questions, and his courage to television, by way of Netflix. The Atlanta, Georgia rapper-turned-businessman born Michael Render co-created the series, and admits that he spent the last 10 years refining it into something worthy of his standards.
“We tried, and it became better and better with each version,” he tells Ambrosia ForHeads‘ founder Reggie Williams while in New York City last night (January 16). “From our hypothesis of what [Trigger Warning] could be, from our first demo version that we did [years ago until] now, it became better each time. So again, when you sit down and say to me, ‘it’s the most dangerous show on television,’ I’m almost overwhelmed because that’s what I wanted to do. But 10 years ago, I couldn’t have promised you it would’ve been the same show. I wasn’t the same Michael. One of my best friends in the world wasn’t a white guy who’s the best producer/rapper in the world. I wasn’t forced to be in a culture that mixed me with everyone. I had to grow. And because I grew, I came with a product that was better.” A decade ago, Killer Mike and El-P had not yet crossed paths to make the acclaimed R.A.P. Music and subsequently form Run The Jewels. One of the most successful artists to ever come from under OutKast’s wing and the Dungeon Family was enjoying an impressive level of independent success.
Trigger Warning is the latest component in a 20-year-career that keeps reaching new highs. He describes the series to AFH TV as “If anarchists got to set the status-quo.” Mike, who was honored by the Georgia State Senate in 2017, continues, “[Trigger Warning is] about educating yourself individually, freeing yourself of the [selfish] mentality, and really individually taking in the world. It’s about understanding that the only potential we have is infinite. And because your potential is infinite, you don’t have to accept boxed-in [ideas]. You don’t have to accept ‘these are the two polar opposite arguments that we have and allowing for cluttered confusion in the middle.’ Noam Chomsky talks about it [as] you’re given two viewpoints and just this wide array of arguments in the middle. You don’t have to do it; you can come up with these same arguments that we have in the barbershop.” He points to a popular meme online. “‘If you can lead a gang, you can lead a business.’ We took it, and we applied it in the real world, and the results are what you’ll see.”
However, in doing things like sleeping on a bench, attempting to exclusively spend his money at Black businesses, and help launch a Crip-backed cola company, Mike says things went differently than expected. “The episodes didn’t turn out as I thought they would. I thought I was going in to tear [televangelist] Creflo [Dollar] down [and] destroy the mega-church, kill the image of ‘white Jesus.’ But Creflo isn’t as big of a problem as the real church; the real church is the Catholic Church.” Mike says he saw bigger forces at play. “The Catholic Church has essentially spread a Westernized version of Christianity the world over. So they’ve taken ‘white Jesus’ everywhere. They’ve taken ‘white Jesus’ and candy and Bibles and Western politics [across the globe]. So we have to start saying to our self, ‘Are we really in this to change the game for real? Or are we selective?’ So [Trigger Warning] forced me to have to deal with some of my bigotry and prejudices.”
Similarly, Mike discusses what he took from making an episode where he produced educational videos which use adult entertainment as a way of better engaging viewers, and which featured same sex intercourse. “I’m a guy; I like women. So I was not as progressive when it came to homosexuality years ago. I grew. I had two gay uncles who were great to me. I grew up understanding that gay people are here. So when given the opportunity to make pornography, it was important to us that we made all kinds of pornography. [Laughs] Something for everyone. That was me having to face my own prejudices. Now, I didn’t stick around for any of the porno scenes, but I made sure I hired a sex-positive therapist who was a Black woman to come and oversee and make sure it was all-the-way-around good for all people, no matter what [type of sex] they like.” Mike enjoys his comfort zone being challenged. “It forced me, though. That’s what good television does, and I want to make good TV.”
Mike wants his viewers to feel the same way. He hopes that Trigger Warning opens minds and boxes in a this-or-that world. “[People] are stuck with the narratives they’re being told. If CNN and Fox [News] formulate an opinion, and they give it to you on Monday, by Friday your friends are gonna be on either side of that opinion. They’re gonna say the same trigger words. If you say ‘Bernie Sanders,’ they say ‘socialist.’” After talking about the man he calls his “O.G.” who happens to be a Vermont US Senator, Mike continues, “I think people are given opinions…you’re never allowed to step out of a box, or there’s a tertiary thing—a third way of looking at [things]. You aren’t allowed to stand up and play chess and look [down] at the board. You have to play from your side. I think that’s how you lose.”
The episode where Mike leads Crip members to create and market a soda is especially powerful. “If you can cook crack, you can make a soda. I refuse to think that the things that we’ve learned in the streets are only limited to the streets,” he says. Killer Mike looks at his own education beyond his Morehouse College experience. “I learned how to do business selling cocaine; I didn’t go to business school. And I learned some very hard lessons, and that’s not to [glamorize] or glorify. That’s just to say I learned, very practically, you buy a $50 slab—if you try to cut it into 10 rocks, that’s gonna be too small. So the competition on the block next to you is gonna eat you up. So you better cut it to seven or eight [pieces]. [You will] make your profit quick. Turn around, buy you a $100 slab. Same thing.”
While Mike regularly lists authors, thinkers, and Civil Rights figures in his answers, he says that most of the show’s concepts are rooted in experiences we all share. “It’s all barbershop stuff. It’s stuff we’ve heard [argued] in barbershops our whole life,” he says, owning the SWAG Barbershop, which has a satellite location at the Atlanta Hawks’ Philips Arena. “It’s the workingman’s voice. I view my show as that. Everything else is too contrived, too calculated, too full of bullsh*t. No one else is really hitting the ground.” Partly-inspired by the early days of broadcast journalists like Geraldo Rivera, Mike says he doesn’t mind upsetting people with his persistence. However, he pledges to do so with his personality. “I think we needed a nice obnoxious guy. I’m gonna push the line, but I’m gonna do it with a smile. But I want us to get uncomfortable.”
While speaking to AFH TV last night, Mike also offered a promising update on his first album in more than a year. “I absolutely think El-P is the best rapper/producer in the world, ’cause I see him write his own raps, and I know he makes his own beats,” he says of his partner. “[As] for Run The Jewels 4, you can expect some kick-your-ass, punch-you-in-your-face hardcore f*cking Hip-Hop.”
In just a few hours (January 18), Season 1 of Trigger Warning With Killer Mike will be available. One of the most consistent Hip-Hop artists of the last decade and a leading activist within the culture takes his charisma, his ability to ask hard questions, and his courage to television, by way of Netflix. The Atlanta, Georgia rapper-turned-businessman born Michael Render co-created the series, and admits that he spent the last 10 years refining it into something worthy of his standards.
“We tried, and it became better and better with each version,” he tells Ambrosia ForHeads‘ founder Reggie Williams while in New York City last night (January 16). “From our hypothesis of what [Trigger Warning] could be, from our first demo version that we did [years ago until] now, it became better each time. So again, when you sit down and say to me, ‘it’s the most dangerous show on television,’ I’m almost overwhelmed because that’s what I wanted to do. But 10 years ago, I couldn’t have promised you it would’ve been the same show. I wasn’t the same Michael. One of my best friends in the world wasn’t a white guy who’s the best producer/rapper in the world. I wasn’t forced to be in a culture that mixed me with everyone. I had to grow. And because I grew, I came with a product that was better.” A decade ago, Killer Mike and El-P had not yet crossed paths to make the acclaimed R.A.P. Music and subsequently form Run The Jewels. One of the most successful artists to ever come from under OutKast’s wing and the Dungeon Family was enjoying an impressive level of independent success.
Trigger Warning is the latest component in a 20-year-career that keeps reaching new highs. He describes the series to AFH TV as “If anarchists got to set the status-quo.” Mike, who was honored by the Georgia State Senate in 2017, continues, “[Trigger Warning is] about educating yourself individually, freeing yourself of the [selfish] mentality, and really individually taking in the world. It’s about understanding that the only potential we have is infinite. And because your potential is infinite, you don’t have to accept boxed-in [ideas]. You don’t have to accept ‘these are the two polar opposite arguments that we have and allowing for cluttered confusion in the middle.’ Noam Chomsky talks about it [as] you’re given two viewpoints and just this wide array of arguments in the middle. You don’t have to do it; you can come up with these same arguments that we have in the barbershop.” He points to a popular meme online. “‘If you can lead a gang, you can lead a business.’ We took it, and we applied it in the real world, and the results are what you’ll see.”
However, in doing things like sleeping on a bench, attempting to exclusively spend his money at Black businesses, and help launch a Crip-backed cola company, Mike says things went differently than expected. “The episodes didn’t turn out as I thought they would. I thought I was going in to tear [televangelist] Creflo [Dollar] down [and] destroy the mega-church, kill the image of ‘white Jesus.’ But Creflo isn’t as big of a problem as the real church; the real church is the Catholic Church.” Mike says he saw bigger forces at play. “The Catholic Church has essentially spread a Westernized version of Christianity the world over. So they’ve taken ‘white Jesus’ everywhere. They’ve taken ‘white Jesus’ and candy and Bibles and Western politics [across the globe]. So we have to start saying to our self, ‘Are we really in this to change the game for real? Or are we selective?’ So [Trigger Warning] forced me to have to deal with some of my bigotry and prejudices.”
Similarly, Mike discusses what he took from making an episode where he produced educational videos which use adult entertainment as a way of better engaging viewers, and which featured same sex intercourse. “I’m a guy; I like women. So I was not as progressive when it came to homosexuality years ago. I grew. I had two gay uncles who were great to me. I grew up understanding that gay people are here. So when given the opportunity to make pornography, it was important to us that we made all kinds of pornography. [Laughs] Something for everyone. That was me having to face my own prejudices. Now, I didn’t stick around for any of the porno scenes, but I made sure I hired a sex-positive therapist who was a Black woman to come and oversee and make sure it was all-the-way-around good for all people, no matter what [type of sex] they like.” Mike enjoys his comfort zone being challenged. “It forced me, though. That’s what good television does, and I want to make good TV.”
Mike wants his viewers to feel the same way. He hopes that Trigger Warning opens minds and boxes in a this-or-that world. “[People] are stuck with the narratives they’re being told. If CNN and Fox [News] formulate an opinion, and they give it to you on Monday, by Friday your friends are gonna be on either side of that opinion. They’re gonna say the same trigger words. If you say ‘Bernie Sanders,’ they say ‘socialist.’” After talking about the man he calls his “O.G.” who happens to be a Vermont US Senator, Mike continues, “I think people are given opinions…you’re never allowed to step out of a box, or there’s a tertiary thing—a third way of looking at [things]. You aren’t allowed to stand up and play chess and look [down] at the board. You have to play from your side. I think that’s how you lose.”
The episode where Mike leads Crip members to create and market a soda is especially powerful. “If you can cook crack, you can make a soda. I refuse to think that the things that we’ve learned in the streets are only limited to the streets,” he says. Killer Mike looks at his own education beyond his Morehouse College experience. “I learned how to do business selling cocaine; I didn’t go to business school. And I learned some very hard lessons, and that’s not to [glamorize] or glorify. That’s just to say I learned, very practically, you buy a $50 slab—if you try to cut it into 10 rocks, that’s gonna be too small. So the competition on the block next to you is gonna eat you up. So you better cut it to seven or eight [pieces]. [You will] make your profit quick. Turn around, buy you a $100 slab. Same thing.”
While Mike regularly lists authors, thinkers, and Civil Rights figures in his answers, he says that most of the show’s concepts are rooted in experiences we all share. “It’s all barbershop stuff. It’s stuff we’ve heard [argued] in barbershops our whole life,” he says, owning the SWAG Barbershop, which has a satellite location at the Atlanta Hawks’ Philips Arena. “It’s the workingman’s voice. I view my show as that. Everything else is too contrived, too calculated, too full of bullsh*t. No one else is really hitting the ground.” Partly-inspired by the early days of broadcast journalists like Geraldo Rivera, Mike says he doesn’t mind upsetting people with his persistence. However, he pledges to do so with his personality. “I think we needed a nice obnoxious guy. I’m gonna push the line, but I’m gonna do it with a smile. But I want us to get uncomfortable.”
While speaking to AFH TV last night, Mike also offered a promising update on his first album in more than a year. “I absolutely think El-P is the best rapper/producer in the world, ’cause I see him write his own raps, and I know he makes his own beats,” he says of his partner. “[As] for Run The Jewels 4, you can expect some kick-your-ass, punch-you-in-your-face hardcore f*cking Hip-Hop.”
