Saturday, June 30, 2018
Thursday, June 28, 2018
OUTSiDE THE LINES x @lilbossy_elise #3
Six years after releasing his album Life Is Good, talented lyricist and Hip-Hop legend Nas released his eleventh studio album, NASIR, on June 15. Being a part of Kanye West’s seven-track, executively produced album roster, it follows the release of Pusha T’s Daytona, West’s ye, and West and Kid Cudi’s collaborative album Kids See Ghost. An album listening party took place on June 14, 2018 under the Queensboro Bridge. NASIRtouches on current cultural topics such as police brutality, poverty, and political injustice. With his unique storytelling flow and social awareness, Nas creates a metaphorical masterpiece that can be globally relatable.
“Not for Radio,” featuring singer 070 Shake from G.O.O.D Music and hip-hop mogul Puff Diddy, discusses white supremacists fearing black excellence and pride that should be embraced in the black community. It is about the discomfort of the black community glorifying their godliness, referencing the history of ancient Black Egyptians and “Kemet,” meaning black land, proving that we’ve always been of royalty. In the chorus, 070 Shakes sings “I think they scared of us,” illustrating intimidation of black power.
Nas speaks on certain events and inventions, stating that “glocks were created for murder enhancement,” more than likely referring to the growth of black men and women being killed by police officers, as well as the recent school shootings and overall number of African-Americans being murdered. Also, “Abe Lincoln did not free the slaves” refers to the aftermath of the Emancipation Proclamation and how slavery was still going on and could imply that segregation is currently happening, just not as obvious, as it can be seen as “hidden” in politics.
“Cops Shot The Kid,” which samples “Children’s Story” by Slick Rick, one of Nas’ major influences, goes in depth about police brutality, how innocent black children get bullied and abused by police, and the unfair court system. The song starts off with a sample from Richard Pryor’s 1971 stand-up album, Craps (After Hours), discussing the discrimination cops show towards black children who are not causing trouble. Using this sample proves that Pryor’s story is currently relevant.
“Won't be satisfied 'til we all die/Tell me, who do we call to report crime/If 9-1-1 doin' the drive-by?” explains how those who are supposed to protect us, are the ones killing us. It shows a lack of trust in those who are supposed to stop violence and not cause it.
“White Label” touches on the “lavish” life and feeling like one can have anything and anybody they want, whether it’s high-fashion labels, models, or dining at fancy restaurants.
“Bonjour” featuring The World Famous Tony Williams is about the beauty and fascination of women and dating them. French phrases add to the romantic feel of the song, all while also discussing the crack epidemic, violence, and other struggles that were prevalent in ‘80’s New York neighborhoods.
“Everything” featuring The-Dream touches on individuality, but also the thoughts of wanting to be more “accepting” in society due to people’s judgements. “Don’t you let that face go waterfall/’Til they learn to love you, scars and all.”
OUTSiDE THE LINES x @lilbossy_elise #2
Jay Rock’s music is consumed by his struggles; he wrestles with the granular details of street life and gangbanging. His clear-eyed accounts of surviving in the California ghettos are far from glamorous. “Struggle” is an operative word in the retelling of his story. When asked why he was the first artist to get signed by Top Dawg CEO Anthony Tiffith, he responded, “Me and him, we come from the same neighborhood; we come from the same struggle,” therein lying an unspoken bond. On the opener to his 2015 album, 90059, he rapped, “The struggle is real/You gotta do what you got to just to get over the hill,” over and over. In a bit of irony, Rock is the least heralded member of the Top Dawg crew, despite being the cornerstone upon which the empire was built. He toiled and fought and stumbled so those that followed could win Pulitzers. Redemption, his battle-tested and watchful third album, bears those bruises with pride, the way a soldier might be proud of their service record. All Jay Rock albums champion survival, but after a near-death experience, he finds new power in persistence.
In 2016, Jay Rock was involved in a debilitating, near-fatal motorcycle crash that left him with a broken leg and a cracked pelvis. He was flipped off his bike doing wheelies the same night he was supposed to attend the Grammys with Kendrick Lamar. The experience was humbling for the Watts rapper, who now has screws holding his body together. In the interim, he became uninspired and depressed, trapped in a death spiral. On Redemption’s “The Bloodiest,” he presents the accident as karma for years of robbing and dealing, the universe taking from him just as he took from others: “Flipped off that bitch, milly rockin’ the wheel/Two hundred thousand in the bank, straight to hospital bills.” Redemption, co-executive produced by Kendrick and TDE President Dave Free, is about Rock getting a second chance at life, a new opportunity to show his pedigree, and about seeking a sort of absolution. The album traces his path from hood survivalist to indie darling of modest means to TDE dark horse and crash survivor, in search of even greater heights.
Rock is obsessed with winning at any cost, even if simply by association. “I’m just part of a winning family, call me Marlon Jackson,” he raps on “Broke +-.” Over the course of the album, he comes to recognize something: if cheating death is its own victory, then navigating life’s challenges can present little triumphs, too. In his raps, Jay Rock can come off as a reclusive hard-liner with a remarkable storyteller’s acumen and an internal logic that always feels sound. Few gangsta rappers are better at illustrating just how limited their options were and how undaunted they had to be to overcome them.
On “For What It’s Worth,” Rock runs scenarios through his mind as a small-time rapper still hustling on the side. His decisions are carefully considered and well reasoned for someone stuck in a no-win situation: “I can’t have my babies walkin’ around in projects/While I’m on my bunk stressin’ through the process/I’d rather be a prospect, you know, God-like/But for now, many Tec’s: This is my life.” He surveys the Nickerson Gardens projects he grew up in on “ES Tales” with crisp, cold chronicling. On “OSOM,” J.Coledraws him into an even more introspective place: remembering his rocky rise with marked insight (“This system’ll give it to you when you gettin’ to it”). It took all those wounds to make him this formidable. Rarely has his writing about struggle been this painless in its execution, even as he expands his range. Celebration is a means of surviving, too, and there are a few songs on Redemptionthat revel in self-medicating as a way to escape, namely “Tap Out” and “Rotation 112th,” in turn producing some of the most ambitious and enjoyable music in his catalog.
Jay Rock’s Redemption was forced to compete with albums from rap legends upon release: a comeback from Nas entirely produced by Kanye West after a six-year hiatus and a surprise project from JAY-Zand Beyoncé. This record could easily be swept away by event albums and the conversations surrounding them. But the Jay Rock story amounts to more than a first-week sales total or a chart slot; his legacy brings to mind a Jay lyric from Everything Is Love: “Over here we measure success by how many people successful next to you.” In the “WIN” video, there’s a scene where the entire TDE roster is at Jay Rock’s back, standing with him. Listening to Redemption, it’s clear Rock knows exactly what he’s accomplished. Their wins were born of his struggle.
Wednesday, June 27, 2018
OUTSiDE THE LINES x @lilbossy_elise
The FLY GOD has returned!
After closing out last year with his Hitler Wears Hermes 5mixtape,
Westside Gunn spent the first half of 2018 teaming up with Mr. Green on a quickstrike EP, celebrating “Easter Gunday” for the third year in a row,
rocking Coachella and getting lifted with Conway and Alchemist.
Now, after months of teasing its release, WSG is back with the highly-anticipated follow-up to his FLY GOD debut,
Now, after months of teasing its release, WSG is back with the highly-anticipated follow-up to his FLY GOD debut,
Supreme Blientele AKA Chris Benoit AKA God is the Greatest.
“They wondered could I make an album better/equivalent to FLYGOD and I answered simply ‘this album is a masterpiece,’”
“They wondered could I make an album better/equivalent to FLYGOD and I answered simply ‘this album is a masterpiece,’”
Gunn said on Instagram. “Every beat, rhyme, feature is stellar. As a true fan of hip hop and my love for art,
I can honestly say this will prove that I’m a legend. I’ve never claimed to be the best lyricist but I make some of the best music and influence the best in the game. This what the culture needed.”
Locked in at 17 tracks, the album with three titles (yes, three) is absolutely stacked with features from Conway, Jadakiss, eLZhi, Anderson .Paak, Busta Rhymes, Roc Marciano, Benny, and CRIMEapple,
Locked in at 17 tracks, the album with three titles (yes, three) is absolutely stacked with features from Conway, Jadakiss, eLZhi, Anderson .Paak, Busta Rhymes, Roc Marciano, Benny, and CRIMEapple,
over seriously banging production from Alchemist, Daringer, Statik Selektah, Pete Rock, Harry Fraud, 9th Wonder, and more.
Take a second to go over that tracklist. Crazy, right?
Press play on Supreme Blientele below and be sure to add the album on your preferred streaming platform. Unlike previous Griselda releases, this one is up everywhere.
“Big Homie Arn”
“GOD$ Don’t Bleed” f. Jadakiss & Benny (prod. Daringer)
“Dean Malenko” (prod. Daringer)
“Brutus” f. Benny & Conway (prod. Pete Rock)
“Amherst Station” (prod. Daringer)
“RVD” f. Keisha Plum (prod. Daringer)
“Elizabeth” (prod. Alchemist)
“Mean Gene” (prod. Alchemist)
“StefflonDon” (prod. SADHU Gold & Hesh)
“Sabu” (prod. SADHU Gold)
“Brossface Brippler” f. Benny & Busta Rhymes (prod. Alchemist)
“Spanish Jesus” f. Crime Apple (prod. Harry Fraud)
“The Steiners” f. eLZhi (prod. Pete Rock)
“Ric Martel” f. Roc Marciano (prod. Roc Marciano)
“WESTSIDE” (prod. Statik Selektah)
“Wrestlemania 20” f. Anderson Paak (prod. 9th Wonder)
“AA Outro” (prod. Harry Fraud)
Take a second to go over that tracklist. Crazy, right?
Press play on Supreme Blientele below and be sure to add the album on your preferred streaming platform. Unlike previous Griselda releases, this one is up everywhere.
Tuesday, June 26, 2018
Monday, June 25, 2018
Wednesday, June 20, 2018
Tuesday, June 19, 2018
BlaccBoiJuice - "YAS"
BlaccBoiJuice juice is a talented rapper from Nashville. He has a bunch of good songs on soundcloud and he recently launched his imprint via blaccboijuice.com His latest offering "YAS" is definitely a banger! Check it out and make sure to visit blaccboijuice.com
Monday, June 18, 2018
Sunday, June 17, 2018
New dope videos from F. l.E.E.
F. l.E.E. is known for having powers of the wind because of Cabo Verde he can also take out chemtrails as seen in other videos Madvillainy schizo it is he comes in peace from his own martial art he fused Baji Quan Muay Thai and Xin Yi a Muslim Chinese art
Saturday, June 16, 2018
Thursday, June 14, 2018
Tuesday, June 12, 2018
Monday, June 11, 2018
Saturday, June 9, 2018
Thursday, June 7, 2018
Wednesday, June 6, 2018
Tuesday, June 5, 2018
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