Now last year...I called 2008 the year of "switch hustles". So, that can only mean that 2009 is the year of "either the shine or grind". I prefer shining AND grinding.
After I just brought in the New Years in Memphis at the Level 2 Club in the VIP section (and trust me...I will NEVER stand in the regular line ever again). But after I gave the club owner my Bluff City Daialogue CD, he looked at it like "Man, that's a tight cover." But, he never played a track though. This won't be how it is this year. But I don't hate...lol.
I spoke to DJ Kenny Kaign and the Bluff City Daialogue 2 is coming plus some more projects. Also...I got some projects with MidiMarc (shouts out mane...let's get it homey), J-Snizzy (my young nigga is bumpin'), Olde Soul (a possible 12 "inch and more) and On1Ne (my West Coast folk...on every project). Plus, a whole lot of secret projects, production and random verses. So, musically...I will have a lot going on and I will execute!
Enjoy the new year...toast to the mans...and peep the motto.
-L’Daialogue
I think I have accomplished ALOT of things this years and I have more things to come in 2010. But, I just wanted to have a little rundown of my year.
January 2009-December 2009:
January 2009: I didn’t actually have a computer during the first month of the year so I didn’t really get to do too much music out during that month.
February 2009: MiZUnderstatistic finally finished the track that became “Marielaveau (Go Hard)” for the underground collective-known as Tygah Woods (consisting of Mr. J’ai, J-Dubble, DJ Mike Swift, D. Francis, Blaze The Verbal Chemist, Slangston Hughes and Rusty Lowdown).
The 7-man collective recorded and released the single to radio with a wide-spread response in that region (hence the Soundscan above). Here’s a portion of an interview with me & MiZUnderstatistic:
Transcribed interview by: M. Notceb
MiZUnderstatistic: "Marielaveau actually started as just your regular beat. Nothing more nothing less. L'Daialogue was the one who came up with the idea of throwing Tygah Woods in the mix."
L'Daialogue: "Well, Mr. J'ai and J-Dubble are fam anyway...so, I definitely wanted to get them in the 'yo again. But, then they started telling me about the new click Tygah Woods and the members. I was like 'I want to see if they want to get down on this music tip."
MiZUnderstatistic: "Once L'Daialogue gave me what he wanted...I started building the track with these loud thumping drums. Also, I had to have the melody to seem Creole-feeling but not necessarily Creole-sounding...if that makes sense."
L'Daialogue: "Mane, I was just thinking: Blaze, Francis and Slangston has to feel this. J'ai and Dubble are certified beasts..it was just like I wanted to get that good old feeling we always have with the music that we do together."
MiZUnderstatistic: Then, I added this swing to the beat that really made the track what it was. After the bassline, it had a strong essence. All it needed was the emcees."
L'Daialogue: "Yep, just like MiZUnder said...the emcees came through on this one. I needed a hard name to describe the track and all I could think of was the voodoo priestess named Marie Laveau from New Orleans. Not that we practice voodoo but it defintely had that homegrown feel that showed New Orleans and Memphis in the same breath."
March 2009: After producing some more outside tracks, Midi Marc and I began formulating what would become the InDAIpendent EP. Now, Midi Marc was throwing me all types of tracks that were certified bangers. So, for the majority of March…I was in an out of studios recording those tracks.
April 2009: I got my first show of the year at Club Rio in Palm Springs, CA (via the homey On 1Ne aka Playa Beez). Me, Olde Soul, Mellowhype, B-Webb, ACCTAFUL and the rest of the clan travelled out to the desert for that show which turned out really good.
Also, I finally leaked a remix track I did with MIDI Marc off of the Project Pat album “Real Recognize Real” entitled “Keep It Hood” featuring myself and South Carolina emcee Fat Rat da Czar. Stupid street record mane. Also, I finally got sucked into the world of Twitter(www.twitter.com/ldaialogue). Networking at it’s finest!
May 2009: This is the month that I actually came up with the title of the EP that is now called InDAIpendent. I was initially going to name it “Calisthenics” because of how I felt it wasn’t a stretch how I was speaking on real street issues and other outside issues that the game seems to say you can’t dually speak on. But, I settled with InDAIpendent. I clubbed in Beverly Hills with the GMC homeys and one in particular ended up getting in a “twitter beef” with P. Diddy (*cough* FoxxFiles lol *cough*).
I also was on the Qui Roll Inc release “Keep N It Real” (which can be purchased on: http://cdbaby.com/cd/quirollinc) on the track “Up N Cali”, produced by Avalanchi. Hot track mane! Also DJ MiZUnderstatistic & myself released a mixtape entitled “Bluff City History: Memphis Underground Clazziks Vol. 1” which was a mix of all of the underground tracks I grew up listening to. This tape did really well in regards to downloads. Then, I got into some preliminary promo with the Bluff City Daialogue 2 mixtape.
June 2009: Bluff City Daialogue 2 dropped….killed the streets of Memphis! Hundreds of units moved in the streets courtesy of DJ Kenny Kaign. Plus, I dropped a track with a Drake feature entitled “So Much 2 Obtain” that used a sample from Drake’s ‘So Far Gone” mixtape track entitled “The Calm”. Spoke on some real Memphis-ish mane.
I also did a remix to Tyler Woods (not Tiger Woods) 9th Wonder assisted single “Prove Myself” and that remix did real numbers. Woooooo!!!! I hope you caught that download because that probably did international numbers for real. My homeboy L.E.G.A.C.Y did a mixtape together DJ MiZUnderstatistic called “Suicide Watch: The Memphis Edition”, which came on the heels of his album “Suicide Music” that was produced by Khrysis. I had a few tracks on that tape that was pretty cool seeing that it kept along with the theme of the suicide watch and all. Scary yet hard mane.
July 2009: Off of the mere sight of Oddisee’s instrumental album, “Odd Summer”…I went into the studio and created a 4-track EP that took the internet by storm (with permission from Oddisee of course). Then, unbeknownst to L.E.G.A.C.Y…I wrote a letter to the Justus League. No, not a written letter. I just wrote a track to the Justus League that got kudos from DJ Flash when he came to Los Angeles. Definite yay!
August 2009: I started off August rocking on iMegatron x hailmegatron.net presents: iMegatron Mixtape by my close blogger friend Hailmegatron (www.hailmegatron.net) who has been a supporter since day one. Also, Crumwell (formally known as “Crummy”) finally dropped the ever-elusive “Seven Summers” album (you can purchase here: http://tiny.cc/XYenW ) which I had the only feature on the whole album. I was flattered and I bumped that whole disc (including my track off the LP, “Before the Summertime Burn”) which will be getting broke out again this Summer 2010.
September 2009: I got a top-notch feature on DJ Cannon Banyon and Midi Marc’s Good Ass Remix Pt. 2. Very good mixtape mane. Plus, I released (unofficially) the very first mixtape on my dudes, Tygah Woods. I felt the world needed to know what was up mane.
October 2009: I had a double-whammie this month. Actually, a triple-whammie. First, I dropped the Simple Soul Joint with my little homey, J-Snizzy. Beautiful music. Plus, off the strength of the first one…Oddisee dropped Odd Autumn and I bless ‘em with Odd Daialogue 2. A underground classic and the downloads numbers was in the hundreds. Plus, I started pushing the first single off of the InDAIpendent EP to DJ’s and blogs alike. So far I have been getting great reviews from the single...
November 2009: Okay…so, I started getting some more InDAIpendent-related interviews and I dropped a few buzz singles. The first one entitled “My Game Shows” is still floating around off the strength of the 9th Wonder intro and his call for someone to sample the 25,000 Dollar Pyramid theme. MiZUnderstatistic took to the call and the rest is history. Plus…Midi Marc had this crazy idea to expand out buzz output by dropping these beat tapes. I, as always, love pub in all forms. Then, he hits me up and tells me that this MJ mixtape that he worked on hit 12,000 downloads. I was like wow! Then, he told me about this other tape, a Biggie tribute and he threw the single “Da’ Shape Of Ya” on both tapes. Almost 30,000 downloads mane. Wow! Oh, and I did a promo video in front of Universal Records for the InDAIpendent project and ended up getting kicked off the premises by security…lol. I guess.
December 2009: I finally hooked up Kenny Kaign for the final tape, Bluff City Daialogue 3. It’s a great tape in my opinion and culminates a 2-year relationship with my mans in this mixtape thang. The downloads gave me a lot of motivation as they do with all of my projects. I also was featured on Hailmegatron’s latest mixtape: Rise of The Fallen. I actually gave him an exclusive song “The Streets Fight” and it fit in very well. I liked that whole tape actually.
I also recorded another 2Deep record called Brothaz Of Tha’ Struggle 2 coming in 2010. I actually flew out to Memphis to track out those records and ended up recording another project along with it. The vault is getting packed lol.
So, 2009 was very much a transition year for me. I focused on my music and as a result started to see some of this hard work began to play off. 2008 was the year of “switch hustles”. 2009 was the year of “shining and grinding”. Now, 2010 is the year of payoffs!!! I’m speaking these things into existence now. Watch for me AND get the name correct: L’Daialogue DiCaprio.
Holla whenever,
L’Daialogue
P.S. Part 2 is going to be for the year's links...so if you did miss out, you can hit up all of the downloads in one place. Let's get it!
I was reading an article off of KevinNottingham.com entitled "Instrumental Albums Are NOT Free Beats!" This has (and still is ) a touchy subject in Hip-Hop seeing that as many artists that borrowing and outright stealing these hit records today.
As I read through the comments, KevinNottingham contibutor Justin mentioned me as one of the artists that are doing it right. The comment is below:
I think it is ok for an artist to use an instrumental album if it is done the right way. If you get permisson from the producer or you make it clear the production was originally on the instrumental album, I think it’s alright. It isn’t right when an artist promotes their project as if they producer worked with them specifically, that’s just like stealing. Sometimes with instrumental albums, it just seems like the beats deserve someone spitting on them. I think Exile’s Radio is a perfect example. I didn’t think that it worked well on it’s own, an emcee getting on those beats would’ve been better. Apparently now Exile is gonna do a remix projet doing just that. Another good example is L’Daialogue rocking over Oddisee’s instrumental ep’s. I prefer those over the original but L’Daia makes it clear that these were off Oddisee’s EP’s and to support those. I believe he reached out to Oddisee too, I’m not sure though.
So, with that being said...there are a lot of different opinion on this issue. I would like you to actually read the original article at this link: http://kevinnottingham.com/2009/12/20/instrumental-albums-are-not-free-beats/. Then, I would like you to take a look at letter of sorts below to get another perspective of the issue and judge for yourself.
Producers deserve respect for their hard work but sometimes another voice can be helpful (I stress 'sometimes') for both parties. Then again, a lot of these wack guys make it that much harder for the game in general. So, we're back to square one again. So, check out both views and judge for yourself.
-L'Daialogue
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L'Daialogue's view:
Dear Kevin Nottingham,
Hello again. This is L’Daialogue DiCaprio and I am an emcee from Memphis, Tennessee that has been a frequent contributor to your site and an avid reader also.
I read the piece “Instrumental Albums Are NOT Free Beats!” and I wanted to add my 2 cents to the discussion.
As the article said, I believe agree with people not taking beats of producers (established and non-established) and releasing them as a legitimate collaboration. For example: I also hate people that take 9th Wonder’s beats and throw that infamous “produced by 9th Wonder”-tag on the track. More often than not we find out that said emcee did not even bother to hit up 9th to say “make me hot, P!” They just took P’s pots and pans and did the cooking themselves. I am guilty of this, too.
Earlier this year, 9th’s artist Tyler Woods had a track called “Prove Myself” and I made an UNOFFICIAL remix of the song and leaked it out to a few different websites and blogs. The purpose of this was more to get the track circulating in circles that he may (or may not) have gotten that press without an emcee on the track. Plus, I felt like it was a hot song.
Did I let people know that this track was an UNOFFICIAL remix? Yes. It was up to the people that listened to the track to post it on their sites. I NEVER pressed up physical copies and as far as know it never went pass the internet (to my knowledge). But, I have gotten positive reviews from the song because they liked the different angle I took with the track and have gone on to support 9th Wonder, Tyler Woods and JAMLA because of this.
Another producer that gets this treatment (unfairly might I add) is the producer J. Dilla. Half of these new tracks coming out (and that goes for everybody major, independent or otherwise) did not have a “living” J. Dilla stamp of approval. As much as I kick it with DJ Houseshoes in Los Angeles, this could never happen. He would kick me out of Fat Beats for trying to pass of a tape of J. Dilla production and I respect him for that. It’s thousands of people from Detroit to Los Angeles to Amsterdam that police’s Dilla beats. But, you have had people like Charles Hamilton tried to pass off his entire project (that was internet-based but could have eventually went retail) as a project produced by J. Dilla and that is beyond wrong. That is “if I see you at the show, I’ma kill you on site” wrong. But, I digress.
I have put out many projects this past year and the one that I truly stepped out on a limb in this sense with is the Odd Daialogue tapes. These EP’s are derived from D.C. producer Oddisee’s “Odd Autumn” and “Odd Autumn” beat tapes. They were all straight instrumental projects and free on the internet for download.
As soon as I finished these EP’s, I hit up Oddisee. I let him know that I dug his projects and he replied (via email): “Dope sh-- homie, Glad to see artist digging the project enough to do something to it! Appreciate it and keep grinding!” So, I didn’t see it as a problem like I said on the intro of “Odd Daialogue 2”: Promotion goes both ways. People in my circles are going to get put on to Oddisee’s music/movement and vice versa. My intent was not to steal Oddisee’s music.
I understand that emcees CANNOT mislead the general public into believing that they have collaborated with producers that (a.) they don’t know, (b.) they could never ever in a million years afford the beat (i.e. Dre, Neptunes, 9th Wonder, Primo etc.) or (c.) the producer is deceased (i.e. J-Dilla). Mixtapes are a whole different ballgame in that regard. Mixtapes have many producers’ beats on them but emcees are not SUPPOSED to be shopping those beats as retail projects.
In the case of say of rapper/producer Kinfolk Kia Shine, he got paid because a prominent artist (Lil’ Wayne) rapped over an instrumental he produced. Then, another artist (Drake) sampled the mixtape song that Kia gave to Wayne for his lead single (Best I Ever Had). Kia Shine was even quoted as saying the check that he would be getting from that song would be “the best he’s ever had”.
So, there are so many dimensions to this discussion because what happens if the said producer’s instrumental get the emcee a bigger break in the form of a record deal? That’s bad, right? But, what if a track used by an unknown emcee could give some producer a BIGGER break? I don’t think that many independent producers would turn down an opportunity like Kia Shine had.
In conclusion, I respect all producers because I understand their struggles but this is not just a cut and dry discussion. For the emcees in the world, it should be a discussion of an old-school sort of etiquette about other people’s instrumentals. DON’T USE OTHER PEOPLE’S BEATS WITHOUT PERMISSION. But, to the producers in the world (especially the non-established beatsmiths), I wouldn’t put out too many beat tapes with so many hungry emcees looking for sonic landscapes to craft their rhymes over. Courtesy can only go so far when you have instrumental sets floating on these blogs and websites. So, the happy medium is for emcees to try to reach out to producers (email, phone or whatever) and producers to be more selective in the beats that they let out. Otherwise, the circle WILL continue and you will have more articles like these.
-L’Daialogue
p.s. InDAIpendent EP is coming! Produced entirely by MIDI Marc and I do have the okay from the producer to release the project lol.
Yeah...I guess all that "Kia Shine was lying about having something to do with that Drake song"-stuff is reallyDEAD, huh? Well, check out the description under the jump and check out that other producer that was (and probably still is) denial. Lol.
-L'Daialogue
p.s. See ya in Jan, Kia!!! Lol. M-Town in 2000-Tennessee!!!!
Grammy-nominated producer/songwriter Kia Shine and singer/songwriter Michael Tolcher recently stopped by BMI’s Atlanta office to collaborate and make good use of the BMI Atlanta Writer Room. Pictured are Tolcher, BMI’s Byron Wright, Shine, and BMI’s David Claassen.
“Basically I did a record for Lil Wayne called "Do It For The Boy", which was on The Leak mixtape back in October. My dude DJ Absolute & Enuff was spinning the joint in NY. I gave Wayne the joint back in March of ‘08 and I had yet to hear the completed version until Absolute hit me. Actually, he was in the office with my man Daralle Jones at Atlantic. He wanted buy the song from me to use for Jahiem. I tried to contact Young Money to get paid for the original track before I made a move, but couldn’t get anyone to hit me back.
Producer note, as a producer, it‘s tough with mixtapes these days. Artist will rap on a 2 track version of a beat & hook you put on a beat CD to shop and the next thing you know your beat is on the radio. It’s really impossible for Wayne to do a mixtape track, because if the song is a hit, it’s going to touch radio. That’s why whenever I produce or perform on a record I immediately send it to my guy, Maani, on the publishing side to handle all the paperwork, etc.
I get a call from Absolute and he's like, "Yo, you sold the song to Drake." I’m like who's Drake??? Absolute sent me the joint in January and I’m like...wooooow! Drake sampled the melody, some of the words, cadence, etc. So because I had already registered the original record, my business was in order. I sent in the Drake record and let my legal team handle it from there. We were able to settle at 25% of the "Best I Ever Had" publishing. It's a blessing, but the moral of the story is to "follow up to get your dollars up" and always be prepared and on top of your business. People should really read my discography and they would understand that this in no surprise. They will respect my mind and my grind soon enough.”
Here are all 3 parts of the Memphis Made Me songs off of the Bluff City Daialogue mixtapes. Plus an added bonus...the Unofficial Story of MemphisRap video.
The official video from my favorite Grammy-nominated duo Nic and Tay. Man, I am so proud of them for even being nominated. This is a win for Hip-Hop, I believe.
The Negro in me is like, "Aye mane...we need more of them thangs mane!!!" But, truefully...I know this will not be the last nomination by any means at all.
My boy Midi Marc from South Cak- got alot fo exposure and has come along wayover the years! His production style is insane and he is very creative! The first cd that was handed to me from him was the Jay-Z- American Gangster (DOWN SOUTH MIX) Shit was fire (I STILL Have it after all this time lol) and he had me hooked on what he brings to the table in this industry! Being that he is down south- we still chopped it up thru email to get this interview poppin!LETS GO!!!
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RHHJ: Let our Junkies know who you are & where you're from!
MidiMarc: Whatup Junkies! I'm MIDIMarc I'm a producer from Hopkins, SC right outside of Columbia, SC. I represent Angry Chimp Music Group and Official Block Banga Marketing and Promotion
RHHJ:Congrats on winning the Beat Battle Award at the 2009 SMES Awards In Myrtle Beach, SC!! what are your thoughts on that big win?
MidiMarc: First things first I have to thank DJ Cannon Banyon. Originally I didn't want to attend the battle. He wanted me to be in it, paid the fees and brought me down to the beach. Thanks to my partner in crime I'm reaping these benefits I have a shinny new championship belt. I always have fun at beat battles whether I win or lose. I get on stage, press play on the cd player and dance to my creation. I love letting the crowd know that I love what I make and stand by my work. I also enjoy networking with the artist and other producers that come out. I could tell that a lot of the attendees hadn't been to a beatbattle and I think I was able to give them a good time and a lot to remember me by.
RHHJ: What artists have you worked with?
MidiMarc: In South Carolina I've worked with some of everyone (Fat Rat Da Czar, Dan Johns, Marly Mar, Hollywood and KO, Preach just to name a few) I work with artist near and far from my home state all the way to Australia and Canada.
RHHJ: If you can produce for any artist you want, who would it be?
MidiMarc: Thats a hard question..wow. Right now its a tie between Nas and Project Pat
RHHJ: What are your influences when u are in the lab creating and producing?
MidiMarc: I grew up listening to a lot of soul and gospel as well as all types of hip hop music. I pull inspiration from my favorite artist and especially my favorite producers
RHHJ: What new projects are you working on now?
MidiMarc: I'm always working with independent artist throughout the country. Right now i'm working on 3 EP's. 1 with L'Daialogue from Memphis, TN; 1 with Big Hodge and 1 with Boondak Syndicate both from Columbia, SC. Me and DJ Cannon Banyon recently dropped "Good Ass Remix Pt 2" and I'm also working on a Michael Jackson tribute. All this while trying to make some placements on major projects. I stay busy..haha
RHHJ: Who is your favorite Producer of all time?
MidiMarc: Hands down my favorite producer is The RZA. Wu-Tang Forever is the reason I decided to make beats and make it my career.
RHHJ: What are ur views on production, do you perfer the analog sound of live instraments, sampling, and/or digital production?
MidiMarc: Right now I'm utilizing my setup which is basic (a laptop and a keyboard) but an ideal setup for me would combine all of those elements. Thats why I'm such a fan of people like The RZA, Dr. Dre, and Timbaland...they are masters of sound..and their instrument IS sound
RHHJ: Describe your producing style in ONE word.
MidiMarc: Versatile
RHHJ: How can artists and other industry players reach out to you?
MidiMarc: Yall can feel free to hit me at midimarc@gmail.com. I could run down the list of all the sites i'm on..but you can simply google midimarc and find out everything you need to know.
What's up world? I have been honored to work with the Worldwide DJ Kenny Kaign for 3 original mixtapes representing my city in a way that I think truly sets me apart from all of the emcees in my region. I never came on these tapes trying to be something that I'm not. Also, I never claimed to be the one and only representive out of Memphis, Tennessee. I just did me.
I am Memphis and this is how I see it. Good and bad.
I want to thank all of the producers that have contributed to all 3 tapes (MiZUnderstatistic, J-Snizzy, MIDIMarc,J-Mack, DJ Mike Swift, Lyrikill and O.T.)
The trilogy is NOW complete.
I have included the first 2 original tapes into so you can have the complete collection.
Thanks for listening and please know that more good music is coming VERY soon.
-L'Daialogue
p.s. InDAIpendent EP is coming soon!!!!! Produced ENTIRELY by MIDIMarc!!!!!
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BLUFF CITY DAIALOGUE 3 TRACKLISTING:
1. Allegiances and Alliances: Chances and Stances 2. Memphis Made Me Pt. 2 3. Da’ Shape Of Ya’ (PROD BY MIDI MARC) 4. On 2 Da’ Next 1 (PROD BY J-MACK) 5. Almost There 6. Never Be Me feat. High Ruler King Cane (2Deep) 7. Dump Truck Freestyle 8. Freshstrated (PROD BY J-SNIZZY) 9. Gymnastics (PROD BY DJ MIKE SWIFT) 10. So Much 2 Obtain feat. Drake 11. Sumwhere In Tha’ Middletro 12. Water Cycle 13. Havin Thangs Freestyle 14. New Hate 15. A Freak Of Nature 16. We All Different 17. That Pure 18. Outro (4 Those Other Guys) 19. Memphis Made Me Pt.3 (The Final Made)
If there's one thing I love its being interviewed. When you're working with a quality host/blogger/journalist, they always come with good questions and put you in a comfortable setting with the direction they set. I was really able to let loose..it was like chillin at a cousins house talkin about music. Take A Listen...
*note these are my favorite 50 songs of the last year, DO NOT hit me up on your emo "my song should be on here" foolishness as you are welcome to make your own list...thanks
p.s. no songs by or featuring me are included on here
50. 360 Degreez-Wyzdom 360 & Prospek 49. You Wanna Be Like Me-10 Finger Orchestra 48. We Ballin-Konfo & TNC Boys 47. Unorthodox-M. Harris 46. Pushin & Progressin-D. Francis 45. Back In the Day Song-Know One 44. Motivate-MC Jay 43. Fly-Blaze the Verbal Chemist 42. Sickest-Phat Word & Quest 41. Slow Down-Elespee, Mercure, Prospek 40. Mission Statement-Twen Bumbs 39. Mr. BNHH-Wes B 38. If I'm Wrong-Spitraw f/ Blitzz 37. The Call Out-DJ MC Microphone 36. Initial Komplikations-TheSeKondElement 35. One Man Army-Dee-1 34. All I Ever Wanted-Impulss 33. Wyz Words-Swell & Wyzdom 360 32. Times Up-Know One & Quickie Mart 31. Amazing Day-Lyriqs tha Lyraciss 30. Rampage-Caligula & Elespee of GPC 29. Grassroots-Truth Universal 28. Let It Go-Mr. Jai, J-Dubble, Mike Swift 27. End of Days-Caligula 26. Queens-Dee-1 25. Radio Loud-The I.C.U. 24. Im The Shit-Monsta Beats 23. Marie Laveau-Tygah Woods ft. L'Daialogue 22. The Light-Mercure 21. Man In My City-TNC Boys 20. God's Violence-Caligula & Brooklyn Zu 19. I Stay Ready-Lil Dee & Fiend 18. Regrets-Mister Wayne 17. Gettin That Gwop-Sess-45 16. Rebirth-Dee-1 15. Work-Truth Universal 14. Stuck-Nesby Phips 13. City Cop-Floopyhead & G-Eazy 12. Destitute-D.O.N. 11. Baby-Brasco (Prod. by Nesby Phips) 10. Fall Back-Slangston Hughes 9. This is the Life-Slangston Hughes & Blaze the Verbal Chemist 8. Brand New Day-D.O.N. 7. Pressure Cooker-Impulss 6. Guess Who's Comin to Dinner-Natee 5. Shame-The I.C.U. 4. Fuck Yeah-Tygah Woods 3. Serve & Protect-Truth Universal 2. Plastation Cost More Than A Choppa-A Rapper Named Bilah 1. NOLA-A Levy
P.S. Skipp Coon & Mr. Nick's Women Revolution & Tennis Shoes is my fav album of the year (bar none) the Jackson homies are honorary N.O. reps but not included in this list
Yessir...the last one is almost here. The last one you ask? Bluff City Daialogue 3!!!! The last one of the trilogy mane.
And since DJ Kenny Kaign has given me the green light and I have a little time before the InDAIpendent EP drop....check out some of these exclusive leaks from the Bluff City 3 tape until Monday when the full tape drops.
The MemphisMadeMe Pt. 2 track is the second part of the original "jackin' beats"-esque Memphis based classic that continues his take on classic old school Memphis beats.
A Freak Of Nature and On 2 Da' Next 1 are also tracks that are vastly different having one being inspired by Phonte of Little Brother and the other from Gucci Mane. Kinda makes you wanna listen now, huh?
And Gangsta Boo just dropped a mixtape with DJ Drama a couple of weeks ago entitled "Rumors". Now, this isn't the first time that a Three 6 Mafia member has been charged with robbery as we have seen with Koopsta Knicca a few years back.
OLIVE BRANCH, Miss. - This is Lola Mitchell, but Mid-Southerner's might recognize her by her stage name Gangsta Boo.
Olive Branch Police say last July this man 28 year old Marcus Curtis armed with a gun went into this Olive Branch Dollar General. Police say Curtis forced employees to help bag the stores cash then demanding them to the ground in the process committing felony armed robbery.
Major Tim Presley with the Olive Branch Police Department says, "We did receive tips from some citizens the gun that he used was kind of unique that helped solve the crime."
Through a lengthy investigation by olive branch a warrant was issued for Curtis who was arrested this week.
Major Presley says, "Marcus Curtis is in the DeSoto County jail under a $100,000 bond."
While investigators won't comment on Lola "Gangsta Boo" Mitchell's role in the hold up, they say the 30 year old rapper also played a major role in the robbery.
Gangsta Boo a former member of Memphis based rap group 3 6 Mafia turned herself into authorities Tuesday and was released on a $100,000 bond. Now the self proclaimed gangsta is being charged with conspiracy to commit the crime of armed robbery.
Major Presley says, "A felony crime it does carry substantial time."
Here's the video:
And here's ex-Three 6 Mafia member Koopsta Knicca's video:
And just for some irony Koopsta Knicca's-"Robbers:
Pic Above: Wilmington resident and musician Nicolay was nominated for a Best Urban/Alternative Performance Grammy for his group The Foreign Exchange's song "Daykeeper."
A modest home in a neighborhood near where College Road turns into Interstate 40 isn't where you might expect a Grammy nominee to live.
But that's exactly where Nicolay - the independent Dutch producer and musician who helps create the sound for R&B/hip-hop group The Foreign Exchange - received the news last week that he and vocalist Phonte, of Raleigh, had been nominated for a Best Urban/Alternative Performance Grammy for their song “Daykeeper.”
“We've just been going nuts for the last week, man,” Nicolay said, sitting in his living room with his wife, Aimee Flint, who serves as The Foreign Exchange's “director of operations,” handling business dealings, promotion and a million other things.
For a do-it-yourself artist with little industry backing, the nomination was unexpected, to be sure. Still, from here on out he will be, at the very least, Grammy-nominated producer Nicolay, a designation that could have a deep impact on his career in terms of exposure, projects he's offered and artists he gets to work with.
“That's what we're really looking forward to,” said Nicolay, 35. “I've done this long enough that I know it's not necessarily going to be a financial boost or anything like that. But that's never what we've really been interested in anyway. We've always reached our niche fairly successfully, but outside of that, man, it's just hard to get outside of that glass ceiling.”
A trained musician who lived in Utrecht, The Netherlands, before moving to Wilmington in 2006 to be with Flint, Nicolay (born Matthijs Rook) is a well-respected producer known for compelling beats and a dynamic, genre-mixing production style. His home studio, decked out with a huge Beatles poster (a Neil Young DVD sits nearby), shows off his musical dedication. During a photo shoot, the tall, thin Nicolay, who sports a pair of small hoop earrings, a plaid shirt, cool jeans and orange-striped Pumas, fiddles around on bass while surrounded by an acoustic guitar, keyboards, a mixing board and loads of musical equipment.
The song “Daykeeper,” from the Foreign Exchange's 2008 album “Leave It All Behind” (distributed by the indie label Hard Boiled Records), is a trippy, swirly, sexy masterpiece, featuring the male-female dynamic of Phonte and guest vocalist Muhsinah, as well as spine-tingling production by Nicolay.
To take home a Grammy, The Foreign Exchange will have to prevail over bigger names - like India.Arie and her song “Pearls” with Dobet Gnahore - and those with industry backing, like Robert Glasper and Bilal (Nicolay calls them “cats that I personally admire”), whose song “All Matter” was done for the famed Blue Note label.
The other nominees in the Best Urban/Alternative Performance category are “Blend” by Tonex and another indie collaboration, “A Tale Of Two,” by Nicolay's friends Eric Roberson, Ben O'Neill and Michelle Thompson.
Aside from his work with The Foreign Exchange - which played three dozen or so shows around the country this year, including gigs at The Roxy in Hollywood, which their cult status helped sell out - Nicolay is a prolific solo artist. His most recent album, the expansive, mostly instrumental “City Lights Vol. 2: Shibuya,” inspired by a mind-blowing trip to Japan, has earned positive reviews, notably on the Web site AllMusic.com.
Nicolay, Flint and Phonte will fly out to Los Angeles next month, where the Grammys are set to be held Jan. 31, and they're invited to all the official parties and dinners. They even get a nominee medal.
“If we win, it's nothing short of a revolution. It's a victory for all independent artists. It means you can't just put money on the table (and win),” Nicolay said. “But we have a saying in Holland, ‘Don't sell the hide before you shoot the bear.' ”
Congrats to Nic and Tay (cuzzo) for finally getting a Grammy nod (which is neither here nor there because their music was already tight...so this only means the world is catching up)for the track "Daykeeper" off of their 2nd LP, Leave It All Behind.
But yessir.....this is a good look mane!!! Indeed, it is.
Check out the write-up off of Nic's site and we'll see in Feb. 2010 what the business is...and see if these nods turn into awards.
We are proud and humbled to announce that "Daykeeper", the first single taken from The Foreign Exchange's sophomore album, Leave It All Behind, has been nominated for a Grammy award! "Daykeeper" (feat. Muhsinah) is nominated in the category "Best Urban/Alternative Performance". The Grammy winners will be announced on January 31st, 2010. For more information and to see who we are up against, visit www.grammy.com.
We'd like to extend our heartfelt thanks to everyone that has supported The Foreign Exchange family, and we hope that this serves as proof that you CAN succeed on your own terms. God bless.
Crumwell’s long-awaited Seven Summers project is here. The LIMITED edition, innovative project consists of 15+ tracks produced from a single song. Unlike anything you have heard before, each track triggers a certain emotion and story. What started as just one song, ended up expanding to a monumental and innovative project. Features a track by L'Daialogue.
As ThaOvaground.com is exploring many different avenues in the arts...I came across a cool article on HipHopDx.com featuring my homegirl, Tiffany and her sketch comedy troupe, Slow Children Crossing in Los Angeles.
I haven't seen them live yet (don't kill me Tiff...it's work that's been holding me back lol) but they have been collectively tearing down the comedy circuit in Los Angeles. I have been keeping up with the shows via YouTube so I haven't missed out as bad I think.
So, check them out and I will come to the next show Tiff...lol. I got you.
Word to Rakim, this comedy troupe may make you laugh but they ain’t no joke. Raised on Eddie Murphy, Lucille Ball, Richard Pryor and various Saturday Night Live comics, the group is now likened to comedic giants like The Kids in the Hall and In Living Color. Formed in 2006, Destini Meshak, Brett Butler, Alem Sapp, Saudia Rashed and Tiffany Thomas traveled from various points in the nation to Los Angeles and created Slow Children Crossing.
Since then, the group has become stronger, more united and their presence has grown also. Not only have they done well in the sketch comedy world, but each member has also gotten recognition for solo work in independent and commercial work through television and film. Now, the group is working on a variety of projects. Aside from touring sketch comedy festivals, there are also talks of a reality show and much more film work in the future.
Unafraid to talk about comedy and its complex nature, the group’s multi-faceted members sat down to speak with HipHopDX about life in Los Angeles and why it isn’t all glitz and glamour. They also shed light on how comedy has been therapeutic and how being versatile has allowed them to stand out.
HipHopDX: What strikes me as impressive is the fact that you’re all so skilled in different fields. That seems to lend itself or lend more depth to your shows. How do you feel being talented in various areas has allowed your comedy to shine more? What elements from those other elements do you bring to your sketch work?
Saudia: I would say for myself, coming from a dance background, I think that I bring the physical comedy because it’s natural to me. I think that can sometimes be hard for comedians and people who are getting into sketch and improv. They think it’s more about delivering jokes or delivering lines. For me, I’ve added the natural ability of being a dancer. Bringing that to the table has really made me think of comedy more as an experience. It’s not about delivering jokes or lines; it’s how you are as a person, your physicality and the natural essence that you bring to it.
Alem: Adding on to what Saudia said, it’s a really good thing when you run out of material. [Laughs] It’s a good thing to remember and figure out a way to add variety. A lot of times, we’re all writing the sketches and there’s always topical humor, situational humor, whatever…But sometimes, when you’re writing a lot, you get to the point where you go, “How are we rounding out this show? How many O.J. [Simpson] jokes can you have? How many Kanye West interruptions of Taylor Swift can you have?” We’re five different writers so what happens is we’ll jump in and write something. But, if you’re going topical, everybody’s going to find the same thing. But, then all of a sudden you go, “Well, we have enough of this. How do we round this out?” For me, it helps to go, “What is it that sets me apart from the others?” Generally, it’s something that you can fall back on and use to round out the show and give the audience member a better variety. I haven’t checked the Guinness World Records but I don’t think people laugh for 50 minutes straight, non-stop. So, what happens is you want the full experience, which is what I think we are as a group. We are the full experience of laughter, enjoyment, art and thought provocation all at the same time. So, when you need to think about what area isn’t getting fed, just think about the element that you bring to the group that sets you apart and that will fill it out.
DX: You all bring these different elements yet sketch comedy is an art form in itself. What’s the most fulfilling aspect of this art form for you all?
Tiffany: For myself, I think it’s from the planning to the execution of the sketch and the audience reaction. There’s nothing better than having an idea, bringing it to the group, maybe getting it tweaked here and there and rehearsing for God knows how many weeks, doing the show and having the audience roar. It is absolutely organic and the process of the group is just so much fun. That audience reacting in that way and then you go to Montreal and it’s even louder there. Then, you’ll go to Texas and they’ll laugh at different parts that they didn’t laugh at in L.A. and the whole experience is the best part of the art form.
Alem: I think that’s true for all of us but I would liken it to home schooling versus boarding school versus college. The other art forms that we’ve all done, for instance film making, it’s generally such a collaborative thing. But, as an actor, you are only in one facet of it. I think sketch, everything is comprised in one house. Therefore, we are able to home school and then send it out to college, the audience being the college. Then, it comes back to us in the reaction. Tiffany made a good point in noting that after the show…After we’ve raised this child, we watch the child go out into the world. The sketch starts from one or two people. Then you go in and you work it out, you hammer it out and that’s like the early childhood years. Then it gets to the point that it can walk and you’re rehearsing. Then, it’s driving at 16 years old, the sketch and next thing you know, it’s time to send it out to college. You don’t know what’s going to happen. You don’t know if what you’ve been doing for all these years or weeks in rehearsal, whether or not it means anything to these people. Then, all of a sudden it comes back to you in this form of adulation, laughter and tears and sometimes people are mad. Anger is good, too. So, I think everything else I’ve done, I’ve always been housed in one part of that experience. I’ve just been a hired gun that does what I do and I get a chance to partake with others but never do you get it in one place. I think that’s what’s good for me.
DX: On your site, it says “If you’re the type to laugh at funerals, then this is the show for you.” You also said in your answers that your comedy can make people mad or make people cry. Has comedy been therapeutic for you all? How?
Alem: It’s gotten me through a lot. We’ve all been through a lot in the last two years and each person could tell their own story but we’ve all been through a lot. It’s sort of funny to watch the lives we’ve evolved into and the laughter gets you through it.
Saudia: Also, speaking about it being therapeutic, the evolution of us as a group…When we met two and a half years ago, most of us didn’t know each other from Jack. We were going through hard times in our lives that I would say for the most part were somewhat difficult. That was a point for us where, not knowing each other as well, the comedy may have been a little more superficial. It was things about other people and didn’t relate to us personally. It was things that we saw from afar. What I like about us as a group now, a lot of sketch comedy groups come and go and in that sense, you don’t have a haven to explore emotional things, maybe dark things but dark things that can be funny, with a group of people that you feel safe with, that you could go out on a limb with and they won’t laugh at you, or maybe they will laugh at you but they’ll still support you. The thing that I like about this group now is that we’ve evolved from that to where we are now. Now we feel like we can literally jump off a cliff with something, as long as it’s funny. It can be dark and emotional, as long as it’s funny and we’re going to support each other and find the funny in it. I think when you first meet someone, you’re not willing to explore that side but now that we’ve been together for so long and we know each other personally and professionally. It’s easier to go there and venture even further. A lot of people are scared to explore that and reach back to where it’s funny. Now, I think we’re at a point where we can do that. For us, I think that’s emotionally rewarding.
DX: You’ve all worked on a variety of films from independent to mainstream work. What’s the biggest difference between the two sides?
Saudia: The difference is, when you’re on a set, there’s no real sense of collaboration. You’re there to do your job. They saw you on an audition, they liked you and your preparation is all done on your own. Maybe you’re lucky enough to have a director or someone who wants to collaborate with you but basically whatever you brought to an audition, that’s what you have to bring to the table. The difference between that and independent stuff is that it’s more of an art form. You have people that want to collaborate with you and discuss what your role is and how it fits into the grand scheme of things. That’s how we are as a group, too. Those are things that in general make you a better actor and artist. Unfortunately, when you go on sets, you don’t have that luxury. You just know that you have to bring it.
Alem: I’ve made movies for a long time on both sides of it. I think the major difference for me, besides what Saudia said, because that’s definitely a prevailing factor. One thing I can think of, as well, is when you’re doing independent; it’s more like what we’re doing here. There are no rules. The boundary is there is no boundary, which you need to have sometimes, but the great thing about it is that you also evolve faster and further. You sometimes bring out stuff you didn’t know you had within yourself. The true art form is that you have to be able to bleed over and over again so that you can truly be free. That’s the healing process. In commercial work, what happens is, there are direct avenues. Maybe that’s the way it has to be for commercial films and work. There’s too much money riding on what we’re supposed to do. If we’re supposed to get this done according to contracts, everyone needs to come in, show up and there needs to be no surprises. It’s just a question of what you came to do. What are you in this art form for? There’s the commerce and the art form. If you’re in the art form to make a difference, it’s harder to make a difference in commercial work because it is so rigid but that’s not to say that you can’t. It’s just a different kind of discipline and a different kind of work. So, it’s not discouraging the process. I just think it’s a tighter gap to shoot in and you have to be willing to execute and somehow push yourself to maybe awaken somebody and say, “Look, I think this can be done differently.” Maybe you don’t get to say it but…Some of my parts in commercial films, I’ll show up for a day and there are a million people there. I’ll hang around for six hours and in the next 30 minutes, I have to walk forward and say this line 18 million times or maybe just 5. In that time, I have to say what I’m trying to say to everybody with just those words. So, it’s a different language. I really enjoy the independent way because in that freedom, it leads us to places we never knew we could go. I find them both rewarding. One makes you appreciate the other. It’s nice to show up and get a check for a commercial job, knowing it will be seen all over the world. But it’s also nice to work with friends and family and other artists that you respect and knowing that’s the time we shared and we made something together other than a baby.
DX: Correct me if I’m wrong but you’ve all traveled to Los Angeles from various parts of the country. What advice would you give potential travelers hoping to make it big out here?
Tiffany: Don’t come. [All Laughs] I say that seriously. I tell everyone if there’s absolutely nothing else in this world that you see yourself doing, then okay. L.A., unlike New York, with its hard exterior, you know you gotta work to make it there, L.A. has this pretty exterior, like everything here is pretty. It’s all pretty and it’s going to be very easy. You’re going to come and you’re going to be at a coffee shop and Steven Spielberg will see you and you’ll be discovered. That ain’t happening. It takes a lot of work. So, I say don’t come here unless you’re willing to do that work and you’re really committed to being an artist and having an artist’s lifestyle. I can speak for all of us in saying it’s a journey we’ve been on; it’s definitely not a race. We’re still on it, now. The amount of success we’ve received so far has been a blessing and it’s been wonderful but we still have a long way to go and a long way that we’re reaching for. It’s constant work for us. We meet all the time, we’re writing, meeting about business, traveling…it is a job. Unless you’re willing and ready to make that type of commitment, then there’s no need for you to come here because you’ll want to go to the beach, Robinson Avenue, chill out and hang. There’s so much to do, you can easily get distracted. But, if you’re ready for that type of commitment and ready to put that work in, then by all means, come out here. Let’s have coffee. Let’s talk.
Alem: And she’s good looking, I would have coffee with her. I also think [potential travelers] need to be really clear about what they want from this. I don’t just mean L.A. but from the business and from the art form. Separate them and be very specific. Tiffany, who’s my spiritual counselor in the group, always says, “God wants you to have what you want. You just have to be very specific in asking for it.” I think it’s very important that you know exactly what you want every day you wake up. Don’t just say, “I want to be famous.” Don’t just say, “I want to be an actor.” That’s fine. That’s the beginning but you always have to be very specific because when you come here or New York, either way, they both have their challenges, you wind up getting it like, “Okay, you’re an actor. You didn’t say whether you wanted to be a working actor.” Or, you’re famous but famous because you have a sex tape with some 65 year old music producer who shot you or whatever. The thing is, you have to be clear. Then, what makes it to where you’re really cooking with gas is if you’re specific, you can love everything. You don’t feel like anybody forced you to come here. You feel like, “I love it all.” If you wake up waiting tables, then you have to be like, “I love waiting tables.” Then you’ll have auditions and “I love auditioning.” You have to learn to love the process. I think with any sports fans out there who watched Michael Jordan in his speech for the [Basketball] Hall of Fame, he loved the process. In his speech, you could tell he loved the process of being doubted in the upper echelon of sports. He was doubted all the time. Even now, I think he misses people telling him he couldn’t do stuff. What he learned to love was you saying no and him showing you he could do it. You have to have that kind of resolve and determination in this business and probably in all businesses but especially in this world. You have to have it. Always cling to it, hold it, and wear it like a badge. Get up every morning and say, “I love that you’re going to challenge me because I’m ready.” Then you can rise from the ashes like a fiery phoenix. Sorry, I’m going on my tangent. [Laughs]
Saudia: To make it in this business, you have to be at least 10% crazy. We’re all in a business where you knowingly come into it knowing that 99% of the people in the field are unemployed. To go in a field where people are already scrambling for work, you already have to be a little bit crazy, I think. But, you use that craziness for good…It takes that sort of dedication to really survive. Nowadays, people put success in with being a celebrity but those are two different things. Like Alem said, do you want to be an actor or a working actor? How are you going to get there? A lot of people don’t think that when they move here. They just think, “I have to move here and stand outside of Paramount Studios and some producer is going to drive by and see how hot I look and put me in a movie.” That has happened to people but those people, 10 years from now, are not going to be on TV. They’re just going to be a one credit person. It takes more than that to survive. The people “on the top” have to stay there and that’s what people don’t think. They think you can relax. No. It’s an art but it’s also a business. The business side is just as important as the artistic stuff. The artistic stuff is what makes you different from everyone else. The business side is what helps you sustain yourself.
DX: If you all had to name a definitive comedic moment or movie, what was it and how did it impact your decision to get into comedy?
Destini: As a little girl, I remember just doing comedy, not knowing that was something I wanted to do later. But, that feeling I had and growing up, everyone used to tell me, “This is something you really need to get involved in.” Now, it’s something I enjoy with all of my heart. When I get on stage, it’s my happiest moment. Growing up, we would pretend, I don’t know if you remember D.A.R.E. (Drug Abuse Resistance Education), but we would have little sketches where we were drug dealers. The D.A.R.E. guy would come in and be like, “Do you want drugs?” The kids would be like, “No! We don’t do drugs.” We used to do this just playing around. It was always something I wanted to do. Also, watching In Living Color every week where we’d see Jim Carrey and everyone on there. That helped me see this is what I want to do.
Alem: For me, I think it had to be the first time I listened to Eddie Murphy’s Delirious. I think what had happened was… I was an only child because my brother passed away early. I had to be around adults a lot. So, when they wanted to hang out, they didn’t want me to go to bed necessarily because that would mean they would have to put me to bed. So, I’d get to stay up to watch Saturday Night Live for a long time. It had a profound effect, of course, watching all the comics come through there and I used to sneak and listen to Richard Pryor records. But, I think it was galvanized for me when I met this kid and he had this record and he played it. I listened to the whole thing and thought about it. I thought Richard Pryor was just a funny guy and nobody else could do it. But, the fact that Eddie Murphy could get on stage, talk about his love for Richard Pryor and then be up there doing it, and have me mesmerized to listen to a stereo where I can’t see him, and have me laughing over and over. I could listen to him and think maybe one day, I could do this. I thought, “Maybe somebody else could do it and just maybe that could be me.” I think from then on, I often watched great performers and admired people with that sense of command. I felt like, form that moment forth, it was a possibility. I didn’t run out and I didn’t get a leather jacket and leather pants right away at seven years old. I just started thinking that this could be my thing and kept my eyes on it. Over time, it was clear that my heart belonged to one woman and it was entertainment.
Saudia: It’s so hard to narrow it down but I love Lucille Ball. When I was little, I watched I Love Lucy countless times. I know how old school that is but she’s extremely talented, especially with physical comedy. She was just overall funny. I could still watch a marathon of it now and laugh my butt off. Watching her, I always thought, “I wish I could do that. I wish I could be like her and not come off as being stupid or overdoing it.” To me, it has to be so organic and I appreciated and loved watching her doing it. Fast forwarding, another moment was when I auditioned for a short film and it was a role that was supposed to be the sexy role. I auditioned for it and they were like, “We want you to read for this other role.” That role was a comical role where this girl was crazy and obsessed. I didn’t understand why they gave it to me but then I went out, rehearsed it, went back in and everybody was just laughing. For about two years after that, they kept saying, “You should do more comedy.” I never really thought anything of it but from there, I started thinking about it more and more. So, when this opportunity to be in this sketch group came about, I decided to really go for it. So, that audition propelled me into becoming a part of this sketch group, definitely.
Tiffany: If I have to pin point a moment, I think it was seeing Whoopi Goldberg in Jumpin’ Jack Flash. That was the first time I saw an African American woman be funny in a major motion picture. I remember that sticking with me. Maybe that moment was when I was like, “Hmm.” I always thought theatrically and in terms of acting. But, in comedy, that was the first time I was like, “Wow, this black woman is really funny. People seem to like her. Wow, maybe that’s something I can do.” It was the first time I thought that’d be something I’d be able to do besides the theatre and drama. That was the first time it clicked, as a woman and in particular a black woman, that I could do that.
Mane, I look on the Twitter and I see a new mixtape from my man Mega from HAILMEGATRON.NET and he has another cool project that he's dropping to smack ya'll's heads in.
First, he has single-handedly been one of the main supporters of myself and my Ovaground SounDZ movement and he is a fierce advocate for InDAIpendent (it's coming people in a few..lol) artists like myself.
His blog, just like this tape represents his stance as a blog that supports independent artists. You hear that (wack ass blogs fill in the blank ____________)??? The unsigned people, remember!!!!
But whatever. Check out my EXCLUSIVE track on the mixtape, These Streets Fight (Track 15), produced by MiZUnderstatistic AND bump the WHOLE tape.
The independent artists have spoken and Mega is giving us the platform. Thanks mane.
Check out the write up and the links after the jump.
The wait is over! The highly anticipated hailmegatron.net mixtape Rise Of The Fallen has finally arrived! The concept of this mixtape is to feature artists who do not get enough recognition and they have fallen off of a lot of people’s radar. Well, this is their rise to show everyone what their skills are. The mixtape is split into 2 CD’s since the project had so much support there was too many tracks to fit on one CD. The mixtape is great cover to cover and I’m not saying that because I put it together. I feel that all these artists deserve a little shine and I’m here to give it to them. Also, much thanks to Lerix and Tha Bloq Association for all their time, dedication, and contributions to this mixtape.
Drake – “Best I Ever Had” Eminem – “Beautiful” Jay-Z – “D.O.A. (Death of Auto-Tune)” Kid Cudi – “Day ‘N’ Nite” Mos Def – “Casa Bey”
Do you see this mane?
2010 Grammy nominations are coming in and the lists are up. Toronto-based/Memphis-raised Young Money affiliate Drake has gotten a nod for his track "Best I Ever Had" from his mixtape (and now re-released retail album) "So Far Gone".
L'Daialogue DiCaprio- L'Daialogue DiCaprio is...an author, emcee, producer, artist, engineer and song arranger from Memphis, Tennessee. He is also the CEO of Affillieated Vischunz/ DRDP Productions and is affiliated with The GMC Collective based out of New Orleans, Louisiana. He and his cousin, High Ruler Warlord King Cane has a group called 2Deep also out of Memphis. He is also one-half of the production duo Clazzikal Clazzik with his DJ, DJ MiZUnderstatistic, which is one of his main production collaborators.
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