LAST WEEK’S FREAKY PEN PALS
Akomplice writes:
Slightly Autistic-
Liked the Iron chef reference yet Illuminati Blues and Ziggy’s Interstellar are still some of my favorites (not sure if they’re even on the album) but as ive stated I will be waiting for the whole album as well.
Peace
I was hoping someone would catch that long ass Iron Chef tirade… the wife makes me watch that stuff…
The good homie Flow-Joe had this to say:
I like your term slightly autistic, and I think I’ll start using it. It describes me so perfectly. I am terrible anti-social in so many situations. Especially when I don’t know folks. Too many times in classes or first starting a job or something, I would sit alone in my own world and not even bother to interact with other people.
I thought that I came up with the term “slightly autistic”. Then I googled it… Now I’m afraid that I might get busted by the RIAA.
Jenae wrote:
im only on the first paragraph but i had to come back to your comments and tell you when you said you wanted to type monkey a bunch of times i giggled and clapped my hands alot like a 5 year old. im also prolonging my enjoyment, because i saw the first comment about anti-socialites and i have no idea what it pertains to but huzzah!!
…you can never have enough monkeys to please everyone…
Look forward to more audio auto-erotica after a short, niggardly discussion.
A NIGGER MEANS TO A NIGGER END
Nas’ next album will be titled Nigger.
His last album was supposed to be named Nigger, but he ended up changing it to Hip-Hop Is Dead, which made all of the angry southern rappers even angrier.
In case you missed all of the hullabaloo at the time, Young Jeezy, T.I. and even your mild-mannered, neighborhood Ludacris had something defensive and dismissive to say about Nas’ album title.
HHID, as it came to be known, was discussed, debated and fiercely argued all over the Internet and on public access hip-hop talk shows everywhere.
It reached a fever pitch in the weeks preceding the album’s release, but took a sharp turn when his first single astonishingly used the same Iron Butterfly sample as the lead single from his previous album. It was Mr. Jones’ latest WTF moment.
Admittedly, I’ve never been a huge Nas fan. I’ve always thought he was a sick lyricist, but aside from one record (not the one you think), I’ve never really dug an entire LP of his. I’ve always known a lot of avid Nas supporters (or Stans as I’ve seen them identified on message boards) and even the most enthusiastic of his fans have been absolutely dumbfounded by some of his career choices:
1. “Owe Me Back” – For most rappers in the burgeoning bling era, it seemed a no-brainer to link up with Timbaland to get off that “club banger” for your new record. But Timbo’s blips and Nas’ close-to-creepy sexual inferences were a misfire for most. In hindsight, this is when conscious hip-hop may have needed him most.
2. “Hate Me Now” – From the Diddy co-star to the superfluous crucifixions, this song and accompanying video only seemed to piss everybody off at the time.
3. Signing to Def Jam – Earning each other’s respect is admirable, coming together on stage is monumental, but for two rap adversaries whose attacks on each other included questioning each other’s manhood and boasting about sexual adventures with one another’s kinfolk, one making the decision to put his career in the other’s hands left many scratching their noggins.
4. “Who Killed It?” – I could definitely appreciate what he was going for here. But while the “Sam Spade” voice may have worked for emcees like DOOM or J-Zone (artists whose catalogues grant them a measure of artistic freedom), Nas’ identity has always been so closely tethered to the hood that many of his listeners didn’t know what to make of this who-killed-hip-hop crime caper.
Let’s build for a moment on Nas’ rap identity. One of the most intriguing things about the Queens-bred emcee is how he is regarded in the hip-hop pantheon. He is maybe the last mainstream survivor of hip-hop’s lyrical era. He came along right when B.I.G. was upstaging everyone by successfully making hits for the club and lyrically potent album songs. His popularity and financial success was just beginning to change the landscape of the industry.
It was now common for many rappers to have a club single and a street single. Eventually, as Internet access influenced hardcore rap fans to buy less music, the street single began to disappear and so did much of the street content. And here we are today…
Nas is the last financially viable lyricist.
His work is canonized to the point where he couldn’t re-invent himself if he wanted to. He’s already tried to appease the club-goers (see above) and he was fortunate to survive. He’s too sophisticated lyrically to do the Soulja Boy thing. So how can he make sure that this generation’s rap fans continue to buy his records?
Controversy.
Hence the title of his new LP. He’s done it again. He’s got us all talking about a record from which we haven’t heard a single beat. We’re lighting up message boards and having public-access conversations once again. He’s capitalized on the Don Imus thing and he’s got politicians threatening to gaffle $84 million from Def Jam’s parent company, Universal. The label, by the way, is behind him 100%. Why? Because it’s already proven to be a wildly successful marketing move.
And please, before you get your black-panther panties in a twist, remember these items that you didn’t holler about:
Dick Gregory’s Nigger
ODB’s Nigga Please
AS PROMISED…
Pretty decent feedback for last week’s song download… almost good enough to make me wanna sell it to you… but I promised free music, so free music you shall have.
Its called “The Mole in Your Ministry”, and… well, listen…
