The Classic Album by AZ, “Doe or Die”, Turns 15 – Nas Reunion?

AZ Reveals Details Of Exclusive: The Visualiza says he may be reworking classics like “Rather Unique” with Pete Rock, and if Dr. Dre and Kanye West answered December’s call.

He’s the proprietor of a digital music marketplace, WavyTUNES (Hey-AZ.com), an impressive actor (Belly, and the recently released-to-DVD film Envy), and unquestionably one of the most proficient lyricists in Hip Hop history, and now AZ is celebrating his legacy in the entertainment field with a special commemorative 15th anniversary edition of his classic debut album, Doe Or Die.

Due 15 years to the day of its original’s release, on October 10th, the anniversary edition of Do Or Die is shaping up to be a “Rather Unique” offering unlike any previous re-release of an artist’s defining work.

On Monday (August 23rd) AZ spoke to HipHopDX, and in the quick Q&A below The Visualiza breaks down just what fans will be getting in this special edition of one of the ‘90s most important Hip Hop albums.

HipHopDX: First off, tell me about this 15th anniversary special edition of Doe Or Die.

AZ: I just wanted to give back to the peoples that been holding me down for 15 years, [and also] just to keep the AZ brand alive. With so much going on in the Hip Hop game, [and] it becoming a hustle, I just wanna keep the name alive, keep the brand alive, keep the Doe Or Die alive, ya know.

DX: You own the masters of the album?

AZ: Doe Or Die, I don’t own the masters. But I always owned all my publishing… But, I’m in the process of getting [those] masters right there [too]. That’s the only album that I’m fighting [for] right now. But by me owning the publishing I can do what I want with it, as far as [for] the Doe Or Die: 15th Anniversary [Edition]. What we’re doing is, I’m trying to get a few of the same people that produced certain tracks [on the original] and get a different track for [each of those songs] and re-spit it.

DX: Oh okay, so you’re gonna remix some of the original songs?

AZ: Right. True indeed.

DX: With just new beats, or new beats and new verses?

AZ: New beats, and a new verse here and a new verse there. And I’ma probably put three or four [completely] new songs on the whole thing.

DX: Can you let it loose of who you’re holla’n at to do some of them remixes…?

AZ: I got Buckwild [from] Diggin’ In The Crates, one of the originators, [and who produced “Ho Happy Jackie”]. I got D/R Period. [He] did a lot of M.O.P.’s joints, [and also produced “Mo Money, Mo Murder ‘Homicide’”]… Pete Rock, he’s about to hopefully do “Rather Unique” over right now. I’m waiting for his call as we speak. I got [Lil] Fame [from M.O.P.]. You know Fame been under the [DJ Premier production] umbrella, so he’s doing his thing… Statik Selektah, he’s in the mix hardbody. He did some scratches on one of the joints, “Feel My Pain” , that I released in June. Actually, that particular song gon’ be on the [Doe or Die: 15th Anniversary Edition] as well. And…Frank Duke, which is the producer of “Feel My Pain,” he did a couple of 50 [Cent] joints and so forth. Baby Paul, [who produced “The Essence” featuring Nas on Aziatic and “Bedtime Story” on A.W.O.L.]. So, I’m just trying to keep it in-house at the end of the day.


DX:
So you’re saying the tracklisting would be like the original album plus this like bonus album of remixes and new songs and stuff?

AZ: Well, what it would be is I’ll take like the best 6 [songs] off of Doe Or Die and remix [those], and then add, like I said, four other [new] joints too it – just to give ‘em something new. I didn’t wanna do the whole Doe Or Die album [over], but I picked the best ones, from “Sugar Hill” to “Gimme Yours,” “Rather Unique,” “Ho Happy Jackie,” the [title-track]. And then added the rest [of the] brand new songs, just to give the new fans of today a taste of what’s going on.

DX: I gotta ask, you gonna add any like lost tracks from that era that didn’t make the original Doe Or Die tracklist?

AZ: That’s an idea. ‘Cause I’m wrapping everything up as of right now, but that’s a good idea. ‘Cause there was like two or three songs that didn’t make the album. I’m just trying to see if it didn’t make it then, should I put it on there now even though it’s lost tracks. But, that’s not even up to me to decide, I’ll let the people that I deal with, let them hear it and get their opinion.

DX: Well you mentioned some of the new remixes you’re trying to get, [but are] you gonna put the Erick Sermon remix of “Gimme Yours” [from ‘95] on there? ‘Cause that shit was too smooth.

AZ: Yeah, that should make it ‘cause that wasn’t even on [the original] album. You absolutely right, man. You about to get an executive producer credit.

DX: [Laughs] And that dope-ass remix of “Sugar Hill” that was on my cassette back in ’95 but I don’t know if it was on like all the vinyl and all the CDs and stuff.

AZ: Which one was on the cassette?


DX: The L.E.S. remix. It was like the last track [on there].

AZ: Oh yeah, yeah, yeah, yeah. Ayo, here’s some ill shit that you could – You helping me catch the flashback, actually before Miss Jones even sung “Sugar Hill,” Faith Evans sung it first. I think I got the copy of Faith Evans singing the “Sugar Hill” before Miss Jones did it. That might be crazy. I might gotta throw that one on there [too].

DX: [And I understand] you’re just gonna be putting this [15th Anniversary Edition] on like iTunes – no physical CDs?

AZ: No physical. I don’t think I wanna do that, because I’m really gearing up towards [the physical release of] Doe Or Die 2. But I just definitely wanted to give back for all those that held me down on this long [journey to Doe Or Die 2].

DX: [And] just to clarify, “I’m Ill” , “Feel My Pain” and “Nothing Move” will all be on this anniversary edition of Doe Or Die?

AZ: True indeed, yes sir.

DX: And…with regards to “Feel My Pain,” I wanted to ask you about the “finding out your friends ain’t shit” part in the second verse: what was illuminated for you about whom? [Laughs]

AZ: [Laughs] I mean, you know, you go through so much [and it seems like] so many people got your back, but at the end of the day they gotta have they own back. And [that’s] understandable to an extent, but it’s supposed to be each one teach one… But, you find out as you grow older that it’s every man for hisself. And that’s definitely what I figured out through [this] life…which is not a bad thing, you gotta step up to the plate.

DX: And also on that track you mentioned [that you] “puffed blunts with Big in the flesh.” Were you just referring to the video shoot for the Jay-Z joint [“Dead Presidents”] or were there other times that you – ?

AZ: [Notorious B.I.G.] from Brooklyn, I’m from Brooklyn, [so] I ran into Big a couple of times. I went on his stomping grounds [and] politicked with him, saw him in clubs [and] politicked, saw him in studios [and] politicked.

DX: How come a Biggie/AZ joint never materialized? That woulda been crazy.

AZ: I know, but you know it was early. When I sit back and think about it I’m like, damn, Big only released two albums. [Ready To Die] came out in ’94 and he passed [in] ’97. And within that [time] he went through a whole lotta shit. So, I’m sure if he was still around it woulda popped off. But, everybody was formulating they camps back then, and them was the days: me and Nas was together there, Wu-Tang [Clan] was over there, Biggie was doing his thing, and Jay-Z [was] trying to be a part [with] what he was doing, and it was just everybody was really trying to plant they flag around that time… But, ya know, so much shit start taking place it was like…chaotic.

DX: So I guess enough with the nostalgia, when we finally getting that sequel to Doe Or Die?

AZ: Listen, I’m trying to look for the right [label] home as we speak. I ain’t really figured out [an official release date yet], but I’m recording. And I know by next year it gotta come out no ifs ands buts or suppose. So that’s why I had to put out this Doe Or Die [15th Anniversary Edition], just to keep the fire warm for the ending of two-ten. Then top of the year we’ll figure it out. The album’ll be done [by then].

DX: Back in December you gave me an all-star wish list of collaborators you wanted to work with for Doe Or Die 2: Dr. Dre, Kanye West, etc. So who actually came through to help you make history again?

AZ: Well, I mean, it’s not done all the way, [but] of course Kanye [West] didn’t make it to the table, nor [Dr.] Dre. They trying to get they own shit off the ground; they working on they own joints [right now]. [But], the door’s still open. That’s why I said I can wait till next year. ‘Cause I’m sure after they get they rocks off and all that – And you know, I’ma stay putting out some music, ‘cause that’s what I do… [But] I’m sure they gonna come to the table. If not both, one of them’ll come to the table.

DX: I hope Kanye comes thru, that would be crazy.

AZ: Yessir.

DX: Now you mentioned Pete Rock is doing a remix of “Rather Unique” for [the] anniversary edition of Doe Or Die, but is he gonna do like a “Rather Unique Part 2” for Doe Or Die 2?

AZ: Uh, we not sure. Pete gave me a couple of tracks, [and] Pete been giving me a couple of [more] tracks as of lately. It’s a few of them we’re feeling, so it’s just a matter of recording and seeing what comes out… I know he’s gonna make the album, guaranteed.

DX: And the other original collaborators from the first Doe Or Die, Buckwild, D/R Period, you said they’re doing remixes for the anniversary edition, have they given you anything for the sequel?

AZ: I got beats from everybody, so I’m recording. As soon as I get this [anniversary edition out] and I sit back with my team and we start picking songs and piecing things together – But everybody you named I got music from.

DX: Let me throw [out] a couple more names: L.E.S., did you link back with him?

AZ: L.E.S., yeah, he’s given me some tracks. I’m trying to get [DJ Premier] on board [as well]… He’s been on the road lately [with] Rock The Bells and things of that nature, so I’m waiting for him to slow down and hopefully I get a track or two from him.

DX: And we did an interview with Baby Paul not too long ago and I understand he’s on board for Do Or Die 2?

AZ: Yeah, Baby Paul’s there. He’s a ride or die [dude for me]. He’s been doing a lot of things with [my label] Quiet Money… I recorded a couple of tracks for Doe Or Die 2 with him so far, and he’s actually remixing the [title-track from the original Do Or Die for the anniversary edition].

DX: So um, you know I gotta ask, [Laughs], [since Baby Paul’s working with you], “The Essence Part 2” coming soon?

AZ: Listen, I’m waiting for Nasir Jones to finish the tour he’s on right now. I went to one of his shows [last month] out here in Brooklyn [at] The Waterfront, just to check him out ‘cause I know he been on the road – and I been traveling, doing a couple of shows myself. It was good to see him. I didn’t really wanna talk about music at that particular time ‘cause it was just good to see my brother. I ain’t seen him in awhile… So, like I said, once he get off tour we can try to figure it out. For the love of the game I’m waiting for that. Not for anything else, but for the love of the game.

DX: Yeah, that’s why everybody is so excited about this project. I mean, everything we post up – an audio clip, or a news piece – about this, the commentary is just like…people are so amped about this.

AZ: I’m hoping everything go according to plan.

DX: I’m just surprised to see so much ’95 nostalgia [right about now]. I just did a retrospective on Big L’s first album with Lord Finesse, and I just interviewed Das Efx a couple weeks ago talking about Hold It Down. [And] it’s surprising that even the younger cats are into this; they’re appreciating and respecting 15 years later.

AZ: That’s the roots though. When you get something from the roots, all this was a part of what was planted. So, you gotta trace the roots and go back. Not to take nothing from Hip Hop now, but that’s when Hip Hop was Hip Hop. It was many voices, a lot of different characteristics, and…it was a beautiful thing back then. It meant something, a whole lot.

DX: But, like you noted on “Nothing Move”: “I ain’t old school yet.” [Laughs]

AZ: Not yet. No, not at all, not yet. 

Source: HipHopDX

Are you looking forward to AZ and Nas on the same song again?  Leave a comment and let us know.

Going Home Five Years After Katrina

No “Home Sweet Home” Five Years After Katrina

Posted by Matt Pascarella on August 26, 2010

Matt Pascarella and I encountered Patricia Thomas while she was breaking into a home at the Lafitte Housing Project in New Orleans. It was her own home. Nevertheless, if caught, she’d end up in the slammer. So would we. Matt was my producer for the film, Big Easy to Big Empty, and he encouraged my worst habits. I’d worked for the New Orleans Housing Authority years back and knew they wanted the poor black folk out of these pretty townhouses near the French Quarter. Katrina was an excuse for ethnic cleansing, American style. Matt and I skipped cuffs on this shoot, but were charged later by Homeland Security (see below). While I recorded the story of hidden evils on film, Matt gathered a story which no camera can capture. Here it is. — Greg Palast


Matt Pascarella writes:
Four years ago, on the one-year anniversary of Hurricane Katrina, I sat with Patricia Thomas. Greg Palast and I had just helped her break into her home in the Lafitte Projects. She had been locked out for a year. She showed us her former home, her belongings scattered everywhere, and wrestled out endless stories of post-Katrina life: how she struggled to find shelter over the last year, how they came and put bars on her doors and windows and locked her out, how it was “man made.”

I picked up a photo of her at Mardi Gras, taken a few years earlier, and compared it to what she looked like now. In the picture her hair was longer, her face younger, her smile deeper. Now her arms were wasted and thin, her eyes sunken into her face, and her bottom front teeth were gone. On most days, she told me, she wore her dead mother’s dentures, but today she had forgotten to put them in. Her own teeth broke off when escaping the rising waters. She had fallen face first onto the concrete slab that was her front porch. The very spot where we were sitting was where it had happened. Over my left shoulder, running the length of the building, was a scar, a stain from the water line.

August in Louisiana is unbearably hot for a Northern boy. Beads of sweat poured from my face, down my neck. Patricia went inside, found an old roll of paper towels in a kitchen cabinet and brought me one. The quilted paper had a kitschy design — a giant heart with words that said, “Home Sweet Home.”

I looked at her and wondered how this could happen in my country.

A few weeks before, I was in Mexico City with Palast covering the Presidential Election. A presidency had been stolen. People were on the streets screaming “Vota por Vota, Casilla por Casilla!” Count the votes! “Vote by Vote, box by box!” I had seen the aftermath of a massacre in a small village outside Mexico City. I had seen people from all over the country rise up in anger taking to the streets. I had seen the Zapatistas march and Subcomandante Marcos himself flanked by young women acting as a protective barrier. I had seen the house where Trotsky was stabbed in the back of the head with an ice pick.

When I finally left Mexico City, I remember being deeply confused. The kind of confusion that tears at the soul and has the ability to completely dismantle any preconceived notions of how to view the world. I was inspired to see so many people fighting for democracy, and yet a deep depression sunk in as the plane took off. I knew their efforts would not matter. I had seen the American ‘consultants’, the DC hacks, in the offices of the ruling party and I knew it was over.

Now, here I was — back home in the United States — outside a decimated house near the levees, trying to understand why a New Orleans native, Brod Bagert, was calling a friend who worked with the fire department. Brod was asking his old friend what the number “5” below the giant orange spray-painted X on the front of the house meant. But Brod already knew what it meant.

Here I was watching Brod, one year later, trying to convince himself that what had happened to his neighbors didn’t actually happen. After many long days of hearing countless horrifying stories and walking through miles of destruction, I now stood next to a grown man who was desperately trying to lie to himself simply because the alternative was too painful. I couldn’t hold back the tears. It was the first, and only, time in my professional life that I had to walk away from an interview. I hid out behind a smashed up, rotted out BMW and cried.

After a few minutes I returned to Brod. He hung up the phone, looked at Palast and me, and slowly choked, “Five people died here.”

He finally gave in to what had happened here: the sprayed “9-16″ above that X meant that those five bodies had been left to decompose for nearly 19 days before being discovered by rescue crews.

Brod rubbed his eyes and we went inside the house. His fathomless sadness hardened into anger. We walked through a sand dune littered with toys into what was once the living room. I tried not to imagine the mom and dad and kids as water crushed them against the ceiling; as they clawed for one more breath.

Brod took us down the street to his home, that is, the sticks that were left of his home. He was breathing hard, he was shaking. “Old ladies watched the water come up to their nose, over their eyes and they drowned in houses just like this, in this neighborhood, because of reckless negligence that is unanswered for.”

I think back now, to those words, spoken four years ago and wonder if it will ever be answered.

We then met Stephen Smith. He worked at the Marriott hotel, but had no car and no way to get out when the Mayor said to get out. Stephen pulled a dozen neighbors to a bridge over the rising water for four days as helicopters whirled overhead. Four days in the humid sun. No food. An old man gave his grandchildren his only bottle of water; then the old man died of dehydration. Stephen now works in a grocery store in Houston where FEMA ultimately dumped him. His kids live in Baton Rouge.

The next day Palast and I drove up to Baton Rouge to confront the company that was contracted to come up with an evacuation plan for the City of New Orleans. They had refused all of our interview requests, so we showed up at their offices to request a copy of the plan in person. We were quickly thrown out, they threatened to call security. They knew what we knew: There was no plan.

We drove out to the town of Baker. There, we surreptitiously passed through a security checkpoint before funneling into a massive FEMA trailer park. Here we met Pamela Lewis who told us her story of escaping the flood. Despite having MS, she pushed a boat with her 86-year-old mother, other relatives and neighbors through the streets of New Orleans. When she got to a bridge, armed men yelled at her, called her a nigger, and commanded her to turn around. They didn’t want a boat full of black people coming into their neighborhood. She then managed to make it to the Superdome where she was sprayed down by hoses, tossed on a bus, and then told to pay a fare and get off. She had no idea where she was.

We finished filming. Pamela stood in front of the car next to her trailer, and I locked eyes with her. I put the car in reverse and backed out, leaving her there, alone, not knowing what she was going to do with her life.

We drove back to New Orleans, passing an Exxon Oil Refinery — the only thing near Pamela’s trailer park. Several weeks later, at the request of Exxon, Homeland Security would file a criminal complaint against me and Palast under the anti-terrorism PATRIOT Act for filming “critical infrastructure.” The only thing critical about that refinery was the pollution it was spewing near what had become a refugee camp.

Five years have gone by and it is rare if a week passes that I don’t think of New Orleans. Nearly two thousand people lost their lives. An entire city was decimated. People were killed by the very police officers who were supposed to be protecting them. Hundreds of thousands lost their homes and livelihoods. To this day there are some still living in FEMA trailers. Patricia died a few years back in a horrible car accident; Lafitte, her home, has since been demolished.

My job was to go, to report, and then go home. My job was to leave Patricia, Pamela, Brod and countless others whom I had encountered, behind — to place them in a compartment in my mind, and to move on to the next story. Yet I never quite managed to do that with New Orleans. Maybe it was easier for me to cope in places like Mexico, but New Orleans was America. It happened in my country. All of the people I met in New Orleans — their images, their words — have, over the years, crystallized into a vivid sense of disenchantment with the romantic narrative of America I was taught as a child.

I sit here now, thumb through my old notebook that is labeled in black marker “NOLA” and find the paper towel Patricia gave me. It still reads, next to that big, faded heart, “Home Sweet Home.”

*********

Matt Pascarella produced the Greg Palast investigation, Big Easy to Big Empty: The Untold Story of the Drowning of New Orleans.

Pascarella is currently a journalist with the Palast Investigative Fund which is offering the film as download FREE of charge during this week of commemoration. Or, for a donation, receive the DVD signed by Palast.

The Palast Fund requests your tax-deductible donations. We are returning to New Orleans to finish the investigation we started.

Source:  www.GregPalast.com

How do YOU feel about it?  Leave a comment and let us know.

[New Music] The Underdog – Quanstar [Review & Download]

[The Underdog]Vowing that he’s “the greatest fucking emcee to never be signed,” Quanstar is back with his fourth volume of unsigned music. Regrettably I missed the first three and only recently got introduced to his music, but the self-titled single off his new “Underdog” album drifted into my inbox and impressed me enough to get a spin on my weekly podcast. It’s amazing how many talented rappers are putting their albums straight out to the public, for free or for a small donation fee, and just bypassing the conventional “get a deal, record an album and get it into stores nationwide” model altogether – but I digress. Suffice it to say Quan’s rap on the above intro and on that single suggest a polished rapper that 10-15 years ago would have been hungrily snapped up by an indie imprint until bid on by a major label. Q found an ideal analogy for his career in the NFL:

“I’m the underdog y’all, Kurt Warner of rap
Payroll ain’t even close to the salary cap!
Maybe I’m wantin too much, you shouldn’t bother me
Do it my way, still make a million dollars
While most cats that are noted for playin this label game
After everybody’s cut, our bank accounts look the same
So niggaz get fame, and people call they name in the mall
That’s just more folks to know how you fall
See if I’MA go down I’ma GO givin my all
Rockin a couple hundred people yellin YES YES Y’ALL”

View the entire album review at RapReviews.com

Download now and leave a comment and let us know what you think.


[New Music] The Wiz Kids – Financial Aid 2 [Free Download]

The Wiz Kids hit another one out of the park with Financial Aid 2 hosted by DJ Benzi.  They’ve managed to combine “New Age Hip Hop” with the classic mentality of raw beats and rhymes.  The future hold that they are gaining on Hip Hops future direction is very apparent on this project.  This is feel good music that will appeal to the old culture heads as well as the new school fans.   Download the mixtape now, listen, and give us your feedback on it.

http://1.bp.blogspot.com/_OX4k4tPp2Ik/THXMBGEtizI/AAAAAAAAASw/GUfnqChhj_U/s1600/wizkidsmixtapecover.jpg

DOWNLOAD

Leave feed back on Financial Aid 2 by clicking here.


Wyclef Jean Reportedly Ineligible To Run For President of Haiti

Wyclef Jean Reportedly Ineligible To Run For President of HaitiUPDATE: Wyclef says that he has not given up hope yet. The announcement may postpone to this weekend.

Although earlier today Wyclef Jean told the Associated Press that he had a positive meeting with the current President of Haiti, authorities in the Caribbean country made a decision to deny his run for President. Yesterday, the former Fugees member was reportedly in hiding, awaiting this Friday’s decision on eligibility.

Wyclef was not included on the list that was released today, which contains the candidates that meet the legal requirements to run in the November election. According to a council official who spoke with Reuters, Jean’s candidacy did not meet several legal requirements. The announcement will formally be stated Friday (August 20) to the public.

HipHopDX will keep you updated. (August 19)

UPDATE: Late the morning on August 20, Wyclef Jean tweeted the following message, indicating that he still was awaiting a formal verdict.

We await the decision of the Electoral Council,To see if I made the list as a Candidate. As it is written So Shall it be Done!

Source: HipHopDX


How do YOU feel about Wyclef running for President of Haiti.  Leave a comment and let us know.

Happy Birthday KRS-ONE

Happy Birthday KRS.  We salute you!

Lawrence Parker (born August 20, 1965), better known by his stage name KRS-One is an American MC and producer. Over his career, he has been known by several pseudonyms including “Kris Parker,” “The Blastmaster,” “The Teacha,” and “The Philosopher.” At the 2008 BET Awards, KRS-One was the recipient of the Lifetime Achievement Award for all his work and effort towards the Stop the Violence Movement as well as the overall pioneering of hip-hop music and culture and he is also known for his hit song MC’s Act Like They Don’t Know.

How do YOU feel about KRS?  Leave a comment and let us know.

Biz Markie, Spittin’ the Truth to the Youth

The Biz never sleeps and while he may have been out of hip-hop’s spotlight for some years, the legendary MC, DJ and beat box artist has kept plenty busy. After scoring his biggest hit with “Just a Friend,” off of his 1989 sophomore album (The Biz Never Sleeps), Markie dropped three more solo albums. Even though his last solo effort, Weekend Warrior, dropped back in 2003, the veteran has been DJin’ prestigious parties and making television appearances on Nickelodeon’s hit kids show, Yo Gabba Gabba. On the hip-hop friendly program, he hosts “Biz’s Beat of the Day” segment, where he instructs kids on the art of beat boxing. How’s that for relevance?

XXLMag.com got a chance to sit down with the diabolical one to discuss his future plans and why, even after over 20 years in the game, still, nobody beats the Biz.

XXLMag.com: Tell us about Yo Gabba Gabba. How did your involvement in the show come about?

Biz: I know the creator of the show and he initially wanted me to do the dance of the day, but due to a back injury I couldn’t, so instead I created “Biz’s Beat of the Day” to teach the kids how to beat box. We did that for the pilot and the response was overwhelming, so I became a part of the show.

XXLMag.com: Do you think the art of beat boxing is still being relevant in the game, because from the mainstream standpoint, it seemed to have faded out?

Biz: In the mainstream, it may seem to have faded out, but it is still very prevalent in the underground scene and overseas, so people are still doing it. The problem is that it is no longer on the front page like rap is, so it makes it seem obsolete, when in fact it’s still very much a part of the culture just like being a DJ.

XXLMag.com: Do you think your role in Yo Gabba Gabba can spark a renewed interest in the art of beat boxing?

Biz: The thing about kids is they recognize what’s real. I am really just doing the show for the essence, nothing really complicated just to teach the little ones how to do it. As far as for the older generation, if you grew up on hip-hop and you are 30 plus, not even 30, let’s say 25, then you know all about the art of beat boxing because it’s very much a part of the culture. I think that people feel like it’s a lost art because the media doesn’t really give a lot of recognition for it anymore. But like I said it’s still very much alive, if you go over to Hong Kong or somewhere like that, you will see it kicking because they are in love with the hip-hop as a culture. That is something I think that we in America lack, is respect for hip-hop as a whole.

XXLMag.com: You go out on tour with the show and do Yo Gabba Gabba Live in different cities, how is it to actually perform for a crowd full of kids versus older hip-hop heads?

Biz: [Laughs] The funny thing is, I was reading a review of the show on the Internet and someone had asked why I was beat boxing so slow and tried to diss me. I had to respond and tell them, “Look, dummy, I’m beat boxing for little kids.” I can’t get up there and do something complex with kids.

XXLMag.com: Looking back, did you ever think that you’d be entertaining kids at this point in your career?

Biz: Honestly, everything I have always done has been for the kids, whether it was [in my songs] “Pickin’ Boogers” or “Toilet Stool Rap,” I just wanted it to be funny and relevant. With that being said, it’s not really a stretch for me because we are the ones teaching them and they look up to us, so it’s only right that I do what I do to keep them entertained.

XXLMag.com: Will you do another solo album?

Biz: You know, I have been thinking about releasing an album. If I do, it will be for my own satisfaction and for my fans. The good thing about where I am in my career is that I don’t have a label rushing me to put out something that I don’t want to put out because of a deadline. The way it is now, I can take my time and really put out a quality product that the fans will enjoy. To me, that is a must, because that means I am doing it for the art and not because I have to do it.

XXLMag.com: If you do a new album who would you like to collaborate with?

Biz: No, features aren’t really my thing. Every album I have released pretty much has been all me. If I do add any features, it would be with my friends like Slick Rick and Dana Dane. I would have all them together and I am doing the beat box or me and Doug E. Fresh doing the beats with Big Daddy Kane, something like that would be more of my thing. I am not one of those artists that will run out and jump on a track with someone just because their hot right now, all of my features will feature artists who are 30 and older.

XXLMag.com: Being that you have been in the game for over 20 years, what is your opinion on the current state of hip-hop?

Biz: I think that hip-hop now is more corporate; with that being said it’s more commercial. People may get mad at me, but I like artists like Soulja Boy and other people that are coming out and making their own type of music and not following the trend. I like Rick Ross and cats like that because it’s keeping hip-hop alive. So many people want to talk about old school and new school, but really the mission should be to be as creative as you can to keep hip-hop alive.

XXLMag.com: Do you think that the increase in illegal music downloads and the decrease in album sales will lead to hip-hop returning to its artistic roots?

Biz: I think now it’s no longer in the hands of the greedy and it’s back in the hands of hip-hoppers now, because you have the MySpace and places like that which allow people to put out their own records.

XXLMag.com: Is that a good thing or bad thing, because now it’s easier for any Joe Blow to call themselves a rapper and gather fame?

Biz: You know what, you can have as many people as you want to put out music, but it still comes down to only the strong will survive. People don’t realize how much radio and video control what people buy, but I am glad that there are some real MCs out there that keep doing their thing regardless. Look at artists like Mos Def, Talib Kweli and Jay Electronica that are making great songs, but the radio won’t play them and I don’t know why. —Tiffany Hamilton

Source: XXLMag

Biz is obviously a legend.  Do you think there is enough schooling the youth about the legends and origin of Hip Hop?  Leave a comment and let us know.

New Music By Duckdown Veteran Ruste Juxx

Duckdown veteran Ruste Juxx is back at it again with a new project. This mixtape follows the phenomenal, yet overly slept on “The Exxecution” where he teamed up with the ill producer, Marco Polo. This new project [ Adamantine ] seems to be even more raw beats and raw rhymes as you can hear from the first single “U Know What Crime It Iz”. This Crown Heights (Brooklyn) native stays true to himself as he delivers the Ruste Juxx that all his old fans know and love as he continues to bring on new fans by the masses.


Ruste Juxx – U Know What Crime It Iz

What do you think about Ruste Juxx and his new track? Leave a comment and let us know.

Swizz Beats Finds A New Home

Swizz Beatz has a new home to help facilitate the release of his next project. The multitasking producer/rapper recently signed a deal with Everest Entertainment and Atlantic/Warner Records.

“I couldn’t ask to be in a better place right now,” Swizzy said in a statement. “Both Everest and the Atlantic/Warner team have been great and I’m looking forward to sharing this project with true fans of good music.”

The hitmaker plans to release his upcoming solo project, tentatively titled The Perception of Greatness, with his new label. His last release, One Man Band Man, was with his former label, Universal Motown.

Source: XXLMag

How do you feel about Swizz Beats?  Leave a comment and let us know.