‘Hip Hop’ Responds To 21 Savage

Dear Saint Laurent Don – Hip Hop has spoken…..

Since you reached out to us, please let me respond back in the same manner. I understand your anger with my generation of hip hop, I do, and I believe that your generation is holding down this current form of rap music right now but my brother there are some things we should discuss and since you reached out to us specifically, here goes.

Since you reached out to us, please let me respond back in the same manner. I understand your anger with my generation of hip hop, I do, and I believe that your generation is holding down this current form of rap music right now but my brother there are some things we should discuss and since you reached out to us specifically, here goes.

You started your recent diatribe like every other recent diatribe in regard to the previous generation by calling us “old niggas,” so of course every dialogue you have with us or in regard to us from this point on isn’t going to be filled with “fatherly advice”. Direct.disrespect garners more disrespect in any era. You respect us then we respect you.

“Our generation, like yours, was hated by many but never by it’s own”

Your generation was handed a billion dollar baby and most of those currently in the top ten don’t even know what it was like nor do you seem to even care about this gift you’ve been handed nor the craft or art it took us to even get hip hop to this stage of the game, and that in a big part is our fault for not being more favourable and fatherly to our future counterparts when you showed up.

We don’t respect ya’ll because ya’ll don’t respect us – period. It’s no secret that my generation was built on bars, metaphors, and ridiculous drum tracks but there was so much more that you never saw and never will. There wasn’t a lot of money back then, this art was built on creativity and a need to have a voice to speak to a government and world that had left us for dead and did not give a fuck about us.

That’s why we don’t wanna call ya’ll “hip hop”, because hip hop was a culture, a way of life that spoke to those in power and demanded that the world hear our side and our stories. Hip hop helped us communicate and unify people from Alaska to Korea and before the money it saved a lot of black and brown lives that needed an outlet.

Our generation, like yours, was hated by many but never by it’s own. It was hated by the oppressors who where angry that we found a way to get the message of our bondage and ill treatment out to the world. Hip hop started as something so powerful and beautiful and then something happened, and that is why your generation is here and rich and why my generation can no longer be respected on the same levels and receives crumbs.

The oppressors realized if they owned and controlled the major labels,the urban radio and the music distribution, they would be able to influence and control the people again. This started happening in the early 1990s and it has been an horrific and downward spiral for the culture of hip hop ever since my brother and now your arrival on the scene, (and many others like you) has sped up this deterioration process.

You guys knew there was no way you could out-rap the previous generation, but instead of protecting and nurturing this precious culture handed to you by your forefathers, you dumbed. You took the bread and butter of the early hip-hop pioneers and made it sound like an inaudible, drug induced zombie-fest with production standards that resemble the composition level of a 2 year-old playing with a musical toy.

The only way we can put things right, and bring hip hop through this impasse, is for the BG’s and the OG’s to collaborate more and open roads for everybody. Hip-hop has always had multiple genres and multiple streams of income and outlets for creativity and growth, not just a bloodlust for money and drugs. This was and still is our voice to the world, not just a road to the bank. We want hop-hop to live and her having babies is cool as long as they know and respect who their fathers and grandfathers are and know their history. Recognise our gift to you and instil this same ethic in future generations.

By reaching out you may be the one new rapper that can reunite the spark that got all of us here. By reaching out and venting you made your anger heard worldwide my brother and guess what? that’s exactly how hip hop got us all here! use your platform to leave something positive for the next generation so there is no rift and the real hip hop can continue. For that you can be forever remembered and this music (the real part of it) can last forever.


BLAKFACE – “Humble Pie PT. 1”

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Sincere & Logik are duo Blakface, presenting the music video for “Humble Pie, Pt. 1”, a single from Bamboozled, their new album featuring Planet Asia, Illa J, Poetik Force & Oh. Directed by the Bishop and produced by $in, “Humble Pie, Pt. 1” is part of a two-part series. Sincere representing South Bend, Indiana and Logik hailing from West Covina, California, the duo are cousins, and each are emcees and producers in their own right. Blakface has collaborated with Planet Asia (stream “Less Talking”), Illa J (stream “Slow Down”), Guilty Simpson (stream “On The Edge”). “The meaning of Humble Pie is basically to just humble yourself,” $in says about the song. “Sometimes people forget to appreciate the little around them. Everybody needs a slice of humble pie, it’s like food for thought, something fulfilling to the soul. The inspiration was more so on Logik’s end. I created the beat and Logik made the hook. I named the beat ‘Humble Pie’ and Logik just went off of that. We just have a chemistry where he can put in words what I felt in the beat.” Bamboozled is out now on iTunes and Spotify.

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Prince Ak – Clarity

Brick City’s Prince Ak is back with a track that perfectly balances the old school elements with contemporary flavour.

If there was any justice in the world this would be a couple of million views deep by now. At least the real heads will get their moment of “clarity”.


Brooklyn emcee K.Gaines presents “Opulence”, the first single from Ticket To Elsewhere, his forthcoming collaboration EP with Los Angeles-based producer Maxwell Benson dropping December on Priority/Capitol Records. Ras Kass, Lyric Jones, Phaze4K, Leo Coltrane and Sebastian Marciano are set to appear on Ticket To Elsewhere, the first of five EPs K.Gaines plans to drop in 2018, each of which will be a collaboration with a producer from a different region of the US. Maxwell Benson has worked with Too Short (stream “19,999”), Rapper Big Pooh and Sadat X (stream “Sadat X Is Back”), and gives Ticket To Elsewhere its West Coast focus. Gaines’ last album was Rumspringa: The Wildman Chronicles (Spotify) and starred in the short film Kung Fu Bum (Youtube) which was showcased at several film festivals. Los Angeles visual artist Reef Kills provided Ticket To Elsewhere‘s cover art. The artwork for each EP in the series, once juxtaposed with each other, will form a more intricate visual piece with all the purpose and intention of a map which can lead you to hidden prizes around the country. “I was listening to a lot of Tribe Called Quest when I made this track,” Benson says about the new single. “I was really geeking out over their use of basslines and wanted to make my own version of that. Getting in the studio with Gaines is always an exciting venture. He has a secret method and ritual that has to happen before he lays all his vocals that only those that work with him know about.” Regarding “Opulence” Gaines says simply,”Either you are with it or not. If you don’t get it then it wasn’t meant for you. If you get it …welcome to Ticket To Elsewhere.”

‘American Gangster’ Series Prequel In Development

A prequel series to Ridley Scott’s 2007 ‘American Gangster” is currently in development stages according to Chris Brancato, the co-creator of the Netflix hit, Narco’s.

“It’s Harlem, the 1960s, a gangster named Bumpy Johnson was very close friends with Malcom X, so the show is about the collision of the criminal underworld and the civil rights movement. It’s an opportunity to examine some of the things that are going on racially right now, but through the prism of the past.”

The series is set five years before the events of the Ridley Scott film starring Denzel Washington and Russell Crowe.

Source: ‘Screen Daily

5 Rappers Who Got Better With Age

Age is just a social construct for these Hip Hop legends. – Here are 5 emcees whose lyrical skills have aged like fine wine.

ag rapper ditc


Andre the Giant aka AG has been dropping jewels since the early 90s and just like the rest of the people on this list, the standard hasn’t dipped since day one. I’ve watched over time how Andre has evolved to an almost effortless style of rhyming. He possesses the kind of confident flow that can only be developed over many years of honing his craft. In addition to his solo projects, Andre has also featured on countless guest spots were the “South Bronx Animal” routinely outshines other artists on the track.  A few highlights for me from recent years are, “All Real“, “South Bronx” and “These Rappers Under The Hex”. I’ve also got to mention “Walk With Me“. That track is absolutely sublime! No question, AG is your favourite-rappers- favourite.

“You not on my level, no matter how many times I tell you – (you not)
I Never get old – (I’m hot).
I never get cold , this the story that never been told – so lucky me.
I’m the prototype, they study me.”



What can we say about Ace? When it comes to rap longevity, Ace is the Masta, (pun intended). With a solid career spanning 3 decades and counting, Ace isn’t showing any negative signs of high mileage. Just compare some of his early work like “Slaughterhouse” and “Master Ace Incorporated” to later material like “Disposable Arts, A&Es and you can clearly hear the progression in lyrical mastery. Ace may have just recently reached the half century milestone, but his skills are sharper than ever. Often named as the man who birthed Eminem‘s flow, Masta Ace is a very dangerous emcee. Rappers who bring him in for guest features are almost guaranteed to be out-shined.

“Y’all dudes are similar to cinema
Trained actors like Brad and Jennifer
But yo I got a flow like Angelina
And I’m a king like Billie Jean, promoter Don and Regina
We’ve been doin this as long as y’all been alive
So little boys keep your mouth shut when the men arrive”

Masta Ace


I had to add Daniel Dumile aka MF DOOM to this list for the simple fact that there probably isn’t another rapper in history whose popularity has increased year after year for the past 20 years. DOOM started out in the late 80s as Zev Love X in the group KMD, a 3 man outfit which he founded with his younger brother DJ Subroc and MC Rodan, who was later replaced by Onyx the Birthstone Kid. The group had some moderate success but disbanded soon after the death of Subroc in 1993. Zev Love X took a 4 year hiatus before re-emerging in 1997 under his new title MF DOOM (all caps). It was from that moment, when DOOM donned the iron mask that his artistic creativity skyrocketed. The rhymes he spits are just bananas (in a good way) and completely immersive to the point that you just want to keep digging out more. Doom also comes with a plethora of alter egos, Viktor Vaughn, King Geedorah, Metal Fingers. Then there’s the collaborative projects that merge the Doom persona with the stage names of other hip hop veterans, Madvillain, Danger Doom, MF Grimm, JJ Doom, NehruvianDoom, MA Doom, to name a few. This never ending conveyor belt of limitless reincarnations was a genius move from old metal face. I can’t see his brand wavering any time soon. Just remember to use “all caps” when you spell the mans name.

“His own way was strange but it matters not
Tuned into a frequency tone that shattered rock
Hold it down like Shatner do Spock
Rapper jocks need to put a sock their chatterbox
The block got light of IOC stock
Folks gather round, it’s no joke like “Knock, knock”



I’ve been a die hard Geto Boys fan since 88 when Face was still transitioning from DJ Akshun to his Scarface persona. One thing is for sure, he immediately stood out as the raw talent of the crew. Willie D brought the laugh out loud humour, Bushwick brought the horror-core element, but Face painted vivid street level stories like no other. He was the glue that brought it all together. Since then Face has forged a hip hop legacy that is unsurpassed. When kids name drop rappers like T.I. as the king of the south – or anyone else for that matter – I have to chuckle. Face is cut from the same cloth as Tupac, deep masterful storytelling that pierces your soul. I didn’t think it was possible for him to recapture the same emotionally charged lyricism shown in tracks like “I Seen a Man Die” and “Now I Feel Ya”  but his astounding appearance on the DJ Khaled project with Nas has to be heard to be believed. You will quite literally shiver and the chills will stay with you…..Trust me. His catalogue speaks for itself. As far as I am concerned Brad Jordan is the G.O.A.T. Nothing more to be said.

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“And if I cry two tears for her
That will be the most that I would give to her
She left me stranded in my nightmares
Taking pictures of my memories she right there
Twisting on the blade in my heart, deep
Always on my mind so I can’t sleep
She used to tell me she was all mine
Now the only way I see the broad is online”



Edo G is a rap veteran whose carrier underwent an extraordinary transformation. Starting out in the late 80s with crews like F.T.I. and Da Bulldog’s, Edo forged a lane for himself early on in the game. I first caught wind of Ed in 1993. His Roxbury 02119 album was like the soundtrack to my youth. As memorable as Edo’s early work was, I would be lying if I said it was anything extraordinary among his golden era piers. Some golden moments but nothing that would compel fans to edit their top 5 emcees lists. However, fast forward a couple of decades and it’s as if  Edo morphed in to a completely different animal. His lyrical content became more punchy and witty, and his overall rhyme style more technically interwoven and polished. The 2009 collaborative album with Masta Ace was a bar raiser and the same standard Edo displayed on that project is showing no signs of diminishing any time soon. His more recent album material is testament of that. Salute.

“Yo, honesty astonish or admonish me
Ma modesty is a prophecy on odyssey
You wanna be swear like you solemnly
My mob will cause havoc like prodigy”

Edo G

Can You Name Any More? Leave A Comment Below ⇓

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J Dilla video footage reveals Nas was to assist on Biggie’s savage 2Pac diss record

In a 2008 interview with XXL’s now defunct sister magazine, King, Nas reveals that Biggie approached him to team up on 2Pac.

“Yeah, he called me. He said, “Let’s get together”. He said that everyone was a little nervous about it, but he was calling me about getting busy.”

When pressed further about why the collaboration didn’t materialise, Nas put it down to hectic work schedule.

Getting me and Big in the same room wasn’t easy. I had just dropped my record, and my schedule was crazy. Biggie was in Miami recording Life After Death. It was just timing. We were supposed to get together and talk more, so who knows what would have happened.

Pac may be gone and Biggie is no longer around to confirm Nas’s claim but it seems the story holds some weight. It all comes down to a beat that Busta Rhymes purchased from J Dilla. The beat in question was the infamous, “The Ugliest” featuring The Notorious B.I.G, who laid down a savage verse dissing Tupac.


Some interesting amateur J Dilla video footage surfaced recently in which Dilla claims that Biggie wasn’t the only rapper scheduled to appear on the track. According to Dilla, Nas was also lined up to drop a verse but it never materialised.



The infamous track was supposed to be on Busta’s 1996 debut album “The Coming”, but due to Biggie’s shots at Pac, Busta removed it to avoid beef with Pac. Puffy tried to buy the beat from Busta but he didn’t want to sell it.  The track initially turned up as an unofficial leak on various mix tapes before the days of video streaming but now we have youtube.

Sources: Nas Interview / King Magazine 


Beneficence Reveals Heavyweight Line-up For His Seventh Album

It was back in May when Beneficence took to Instagram to announce he was working on a new project which will be entirely produced by Confidence, the Boston beatsmith who has a solid history of churning out bangers for the Ill Adrenaline label.

Beneficence recently put out an update and from the sound of it, things seem to be progressing very nicely indeed. Already 80 percent through the recording of what will be his seventh album, it looks like we are on for a late January 2018 release, but there’s still a possibility that Christmas might come early for the fans.

Confirmed guest spots so far include, Keith Murray, Masta Ace, EL Da Sensei & DJ Kaos, Ras Kass, Phantasm (of The Dwellas), Melinda Camille, Lord Tariq, Wordsworth and Truth Enola….Stay tuned.

Rage Is Back And She’s Colder Than Ever!!!

Compton vet Mc Eiht dropped his thirteenth studio album back in June. Which Way Iz West is a part collaborative album with long time Gang Starr super producer DJ Premier. The album features guest appearances from WC, B-Real, Bumpy Knuckles, Kurupt, Xzibit, Outlawz and Compton’s Most Wanted members. The WC feature was the first to get the video treatment upon release but now we have arguably the best guest spot performance so far from non other than the original Death Row N’Mate herself, The Lady Of Rage.

The lyrical murderer has never sounded so good over this Brenk Sinatra beat that’s cut up to perfection by Preemo. “Heart Cold” is a very fitting title because Rage is cold as fuck with the word flows!

SPECIAL ED: No Longer “The Youngest In Charge” But Always Special

If I asked you to name the most underrated rapper of all time who would you answer? What about the most underrated album of all time? I used to hesitate at this question, not anymore. Not since I found “Youngest In Charge”, by Special Ed.

The little known Cosby Show guest is of Jamaican descent, an apparent unique touch on his music, a fruit fallen off the HipHop apple tree: Brooklyn, or as the natives call it “The Bush. You can catch the bustle of NYC in the background of his music videos, another reason why I like him so much. This man was sixteen years old at the time of recording his first album, Youngest In Charge. He couldn’t even drive a car, yet he was driving some of the purest hip hop of the era to the ears of his listeners through the vehicle of choice…….the microphone. As I write this at sixteen, he makes me wonder what I’ve done with my sixteen years thus far.

I just implied Special Ed was the most skilled rapper of all time. I meant it. Every time I hear one of his songs, I get lost in anything I am doing. I forget that I’m even listening to music. Transfixed by his endless metaphors, similes, and downright rhythm and flow. It sounds like authentic free style, taking me on a ride and then dropping me off at the doorstep of the real HipHop residence. Every time his last verse comes to an end, even though I knew it was coming, I just sit there in shock and am almost upset that it’s over.

We are all familiar with “I Got it Made.” But take for instance his song “The Mission” to catch a glimpse of the talent flowing off the tongue of the sixteen year old. The song begins with a nasty cut up of Salt ‘n Peppa – a group deserving an accolade all their own. The homemade beat is the kind that when it comes on, you just break out in rhythm. It only gets better, Ed captures his lyrics in a net of, (again), metaphors and similes. And it’s not like those lines are completely disconnected, just being spat into a microphone, but those lines are part of a story. He literally goes on a mission to Japan, hunting down a pirate copy of his music. As he goes on, the rhyme feels endless, it has everything you could ask for.

Rewind. How about those metaphors and similes again? If you couldn’t tell, this might be my favorite part of HipHop because it highlights the creativity and skill required in commanding language and word play. All the essential ingredients that make a real emcee. When it comes to true emcees, Special Ed is like the Michael Jordan of HipHop. Don’t believe me? When you’re done reading this, go and listen to the album right through.

Now let’s talk about his rhyme scheme for a second. I can’t name anyone who has done it better. Special Ed took cross rhyming to another level. (For those who don’t know, cross rhyming is, put simply, when an artist rhymes the final syllable of one line with a middle syllable of the next. This allows him to take us on those complete stories all while maintaining his pattern and getting new words to rhyme with. For example, “And I make all the money from the rhymes I invent / So it really doesn’t matter, how much I spent, because, yo / I make fresh rhymes, daily.”) Maybe it’s the innocence of his rhymes that really gets me, “And when my dishes got dirty I got Cascade. When the weather was hot, I got a spot in the shade.” Who wouldn’t love a kid rapping about the dishes?

“Special Ed got caught in the crossfire between the slapstick rhymes of Slick Rick and the serious tones of Public Enemy and NWA.”

So then what happened to Edward Archer? After his follow up album “Legal” in 1990, Ed would surface here and there. He joined the Brooklyn super group “Crooklyn Dodgers” with  Masta Ace and Buckshot to record a couple of Spike Lee movie soundtrack joints. He even turned up for an unaccredited 2 second clip in the 1992 movie “Juice”. But it wasn’t until 1995 that he would make a significant return to hip hop, when he released his third studio album “Revelations”. I think by this time hip hop had already shifted a couple of gears. Many huge game changing albums had been and gone, raising the bar to new heights. It all comes down to timing. By the time “Youngest In Charge” was released 1989, HipHop was already in a transition period. It was moving away from the innocence and happiness of Kurtis Blow and Biz Markie and quickly on the move towards a much needed call to action and representation of the hardships of black life in America. Special Ed got caught in the crossfire between the slapstick rhymes of Slick Rick and the serious tones of Public Enemy and NWA. I often wonder how different things might have been had Special Ed came along a few years earlier. Despite this Ed’s debut  still managed to shift over 500 thousand units.

The next time someone asks you for the most underrated rapper of all time, play them a song off “Youngest In Charge” or “Legal“. Just make sure you don’t go hitting play when you’re in a place you don’t want to start pulling out moves you never thought you had in your bag, because that’s the magic of Special Ed. Caught in crossfire or not, this man is one that goes way too unrecognized and must be thanked for his contributions to HipHop culture.

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