Vibe Intern Magazine Dec 2012

SPECIAL EDITION 20th ANNIVERSARY INTERN ISSUE

BUN B

Professor Trill Chops & Screws The Classroom

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TJ Mizell & DMC

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The DJs Take Their Spin On The New Generation Hip-Hop Versus The Old Generation Hip-Hop

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VIBE. COM

Events That Changed The Face Of Hip-Hop

DEC. 2012 INTERN ISSUE

DOLEY BERNAYS NELLZ BAND AID KING MARCUS WILLIAMS

THE KILL 13.13.13

EDITOR IN CHIEF

Desire Thompson

SPEAK EASY Loyalty "Women, especially black women have the most loyalty for their men. We deal with what we sign up for and then some."

(Nicole McGloster: Tweet on December 12, 2012)

MANAGING EDITOR Nicole Brown

In order for a relationship to work, there needs to be one focus and what's that focus? Her. She's already there, she's waiting for you to come aboard. Fellas when you wake up in the morning you should look at yourself in the mirror and say 'Fuck you, fuck your hopes and dreams, fuck everything you thought this life was gonna bring you." Now let's go out there and try to make this bitch happy."

(Chris Rock HBO Special 2008)

MUSIC EDITOR Jasmine Aspinall

STYLE EDITOR Rachel François

COPY EDITOR Camille Augstin

"If you don't stick to your values when you're being tested... they're not values! They're hobbies."

(Jon Stewart-The Daily Show with Jon Stewart) I never asked for nothin I don't demand of myself/ Honesty, loyalty, friends and then wealth/ Death before dishonor and I tell you what else/ I tighten my belt 'fore I beg for help

(Jay-Z-’ Justify My Thug’)

From The Vault If you take all of the past five years of gangsta rap records, there's no way that those records are indicative of the lifestyle that those people lead everyday. Every last one of them niggas has cried in the last five years about something. A'ight? And if it ain't in your record, you ain't keepin' it real, you know what I'm sayin'? To me, that whole keepin' it real concept is hypocritical bullshit.

Will Smith (Told to Mike Sager- September 1998)

ART DIRECTOR Ashleigh Gray

Editor’s Pick Mike Yi aka Mikey Fresh "God bless my soul, before I put my foot down and begin to stroll/ And to the drama I built, and all unfinished beef/ You will soon be killed, put us together/ It’s like mixin vodka and milk” ( Havoc, ‘Survivial of the Fittest’ Mobb Deep)

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CoNteNts Then & Now

Features 14 Hip Hop Trill Nation Names have been drawn and grills have been polished. Who reigns supreme in Hip Hop’s first trill Nation?

16 Before There Was You, There Was Me Comparisons between artists can be flattering and offensive:can you tell who’s the real ‘party starter’ or ‘bad boy?’

17 The List: 20 Under 20 Y.O

For the past 20 years, Hip Hop has evolved, take a look at twenty people, places, and things that helped changed the genre

43 Time Travel: Hip Hop’s Golden Age Revisited Head back into time to the Golden age of Hip Hop with people who lived it

CONTENTS Intern Edition: The Then & Now Issue 23 e Message: Tj Mizell and DMC Nicole Brown sits down with DMC and Tj Mizell, the son of the late Jam Master Jay to break down definitions of Old School, New School, and Andre 3000 being a ‘God MC’

38 Hip Hop Infiltrates the Education System Bun B, the Underground King drops knowledge on Hip Hop in the classroom and why it’s more than just learning old tunes

50 Props Girl Groups

Happy 20th Birthday VIBE! Congratulations on two decades of greatness.We can't wait for 40!

From The Interns

CONTENTS (Cont.)

37 Boomshots

Di Genre whe Loss Over the past ten years, Reggae has had amazing highs and shattering lows. Desire Thompson covers how the genre has lived on through international buzz and sampling.

20 NEXT Doley Bernays NTaJ Nellz Marcus Williams BANDAIDKING

30 FASHION

CONCRETE CATWALK The girls from around the way have always been the trendsetters. We take it back and celebrate the urban pavements that birthed the original concrete roses of street style.

11 START

A Look into a DJ’s Soundcloud: When R&B met Dance With R&B blending with the hottest music out, Camille Augstin check out how R&B fell into a trance.

13 How My Music Taste has Changed: Mad Libs Edition From Britney to Warren G, see how the editors’ music tastes have drastically changed over the years.

15In the Words of a Former VIBE Intern Datwon Thomas is the VIBE office’s sensei. He relfects on his days as a little Hip Hopper.

20 Questions

49Knicks Tape Anyone?

Check out what has the internet buzzing with our breakdown of the new New York Knicks.

Editor’s Letter Hip-Hop is genre and language that will always surprise me. Working on this INTERN magazine really showed me how much I never realized about a genre I rep so hard about. We live in this heavy hip hop cultured world, but wenever take the time to look back -not in a nostalgic way-but in a knowledgeable sense. Do we acknowledge the work that it takes to make a classic hip hop record? Are we living right in a world where we’re going to refer to every decade ‘the best’ after it’s over? These are questions that we all know the answer to but never speak up about. With our version of VIBE we answered these questions without even knowing it. From “Hip-Hop is in Session” with Bun B, to uncovering a DJ’s passion in a riddim-whining genre with our Boomshots story, the magazine we put together shows all of this and more. We managed to keep it trill with Trill Nation, played a couple of matching games with today’s top artists, and even compiled a list of the Top 20 Things under 20 Years Old (which wasn’t as easy as we thought..prepare to debate) I’m so happy that we picked this theme because it gave us the opportunity to step outside of our comfort zones, display our personalities, and still stay true to the VIBE vision. We hope you enjoy!

Inspiration usually stems from something that you hold to a high standard. My inspiration was the 10th annivesary editon of VIBE with ‘urban legends’ Tupac and Biggie. I always thought, “How in the wolrd did they fit two decades worth of culture into a magazine?”

Little did I know that I would be doing the same thing.

My edition is anything but limited- it’s torn, worn, and been in a couple of attics but still manages to inspire me every step of the way.

Peace and Love ,

Urban legends indeed. (Sept 2003)

Desire Thompson

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About the team Nicole Brown MANAGiNG eDitor Nickname: Nikki Asbury Park bred, Brooklyn livin' Went to a women's college but most of my friends are guys 1 inch away from being an official 'little person' Suffer from "Middle Child Syndrome" Avid beer drinker Never goes a day without listening to J. Cole and Beyonce Never without a book on the subway Dreams of being on a soap opera

Jasmine Aspinall

MuSic eDitor

Hi All! As awkward as it is to write a bio I'm gonna try my hardest to make it short and sweet. Born in Queens and raised in Brooklyn (yes, like the LL song) I've always had a passion for writing. So much so that I graduated with an English degree from Stony Brook University. Through this internship and the making of this project I've learned a lot about the magazine world and all the hard work that goes into producing solid work. It's been an awesome journey and I'm looking forward to all the open doors VIBE has opened up for me. Cheers!

Rachel Francois Style eDitor Stomping Grounds: I live in and love Harlem, NY but I rep my Bahston (Boston) hometown sport teams all day Fresh Code: Every morning I ask myself what would Michael Jackson, Audrey Hepburn and The Fresh Prince wear if there were one person Ah-Ha Moment: I knew this is the kind of work I wanted to do when I was exploring the socio-political significance of Jay-Z's "30 Something" track in light of Max Weber's concept of class and status and didn't want my research to end Motto: If a song lyric could sum me up it'd be "All Black Everything"

Camille Augstin

copy eDitor

So I definitely learned that putting a magazine together is not all that it is cracked up to be….just kidding! Of course it takes MANY hours and tapping into the creative side you never knew you had which I certainly learned through the VIBE internship as well as participating in the assembling of the intern magazine. It is a process that I will forever cherish especially seeing everyone’s drive to make the best product they can, helping me to even tap into my creative side. I’m a lover of books and I definitely drew from various authors as inspiration for my work. After all what else would I do on the stupid and long F train ride, twiddle my thumbs and smile?! Nonetheless, I’m grateful for this opportunity and couldn’t have asked for a better team.

Ashleigh Gray Art Director Favorite drink: Whiskey Sour Favorite musician: Amy Winehouse Hidden talent: I can sing Style icon: Gwen Stefani Zodiac sign: Capricorn Favorite color: Black From: South Plainfield, NJ Alma Mater: Temple University Favorite Food: Cheeseburger

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START When DANCE Met R&B:

A Look into a DJ’s SoundCloud

Although the dance genre has been present! for decades, it really gained a wave of attention once DJs like David Guetta teamed up! with artists like Akon and Usher in recent! years.Certain sounds or lyrics over bass-heavy and synthesized productions! seeks a few old school or new school! voices to bring the track to life, looking to! hip hop and R&B for the extra kick. As DJ! Codes balances gigs and making hits in the! studio, he reminisces on when he first! began DJing, the genres that matter the! most to him when producing house music,! and his initial thoughts on R&B artists!doing dance tracks. Travel!with him from!the club to VIBE HQ. !!It!s dark, hands are in the air, bass is shattering"

the hollowness inside dancing bodies, and DJ" Codes has reached the maximum turnt up level."

SouthSide patrons can’t control their limbs" once Codes switches tracks, sounds, vibes and" mixes. Now the lights are on, dancing bodies" regain control, and SouthSide patrons go home" to re-energize for tomorrow’s activities. There" was no limit to what Codes spun from Bob" Marley over a Disco-esque beat to pop stylized" melodies mixed with “Eye Of The Tiger.” You" could hear the music coming through the doors" as you waited outside on the frigid Winter" evening waiting to come in, but once you walk

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in, bass-waves cover your body like the goosedown blanket you wished you had while waiting outside. """At the age of 15, Codes was introduced to" DJing when his cousin took him to a rave. He" wasn’t supposed to be there, Codes says, but" after he heard all the types of music being" played and how effortlessly the DJ looked" spinning jungle, house, and “a little #ip$#op,”" the precocious Cody knew this was the career" he wanted to pursue. """Now it’s light out, the sun is shining through" dusty windows made possible by NYC’s polluted air, and Codes is kicking back after a" weekend (and some weekdays) of Djing. Probably one of the rare times Codes is not in the" studio or DJing (or walking his dog at the park)" he begins to talk about his plan for productiondomination in 2013. “My goal for next year is" to get a record on the radio,” he says.

Like some dance music DJs, Codes samples a" lot of #ip$#op and R&B and other common" genres in dance, throwing his own sound on" hardcore to desensitized instrumentals, but he" looks to those old school artists to bring their" voices into the new school through his production. Those being the two dominant forces in" his music, Codes isn’t afraid to dabble in a lit-

tle disco but ultimately, the 29-year-old wants" to be known as a jack-of-all-trades when it" comes to producing. “I want to be able to be" known that I can do #ip$#op, dance music, trap" music, be able to scratch and mix well, do it" all%& """On the topic of dance -- or EDM -- Codes" managed to find a sub-genre to place his music" under. House music best describes his sound as" Codes explained EDM’s sub-genres make it" complicated for everyone else. Now as the" genre is rapidly expanding, he thinks it’s “watered down already” and will continue to become oversaturated the more popular it gets."""

And what is watering down dance music?

“There’s ignorant production that’s going" around where it’s so cheesed out or bad or terrible,” says Codes. However, he doesn’t believe people will get tired of this genre which"will only get bigger and bigger and can’t see it"going back underground like it was 10 years"ago. """As dance does indeed grow among listeners" and record labels, various artists surfed the" wave to international status by hopping on a" track. From Kelly Rowland, Ne-Yo, Jennifer" Hudson as well as other artists, R&B saw a few" of their big names sharing their talents with a

A DJ’s Sound Cloud (cont.) different audience. The relationship between a DJ and an artist will give way to a masterpiece of sounds and eventually turn into a hit, so are R&B artists striking gold on dance based! tracks? Codes think it"s “rad” that these artists! are embracing dance but he wasn’t always a! fan of the dance/R&B period. !!!“I was a little bitter about that,” says Codes on!the subject of R&B artists making their way to!the dance scene. Nothing against the rhythm! and blues singers, but a few songs sounded! forced and “terrible” to his musically trained! ears. One song in particular being David Guetta! and Akon’s “Sexy Bitch.” !!!“I just slapped my head like what is this?” says!Codes who added “Sexy Bitch” was the wrong!song to start off this movement. Instead of getting overtly upset Codes looked at the song as!“I can make something way cooler than that.”!Indeed this is what Codes put into action as he!teamed up with mega DJ A-Trak for their infectious melody “Misunderstanding.” Like ATrak, who spins a lot of #ip$#op records or! influences in his production, Codes also looks! to the genre to provoke a type of feeling on the! track, taking classic #ip$#op tracks like Heavy D’s “Now That We Found Love” and putting a Codes stamp on it. “A lot of that classic stuff is important and there’s something that clicked in all those areas and if you can take something of! that that made people feel some way and put it! in you song, then it will bring that groove into! your record.” !!!Also bringing in R&B to his music, Codes said!growing up listening to it and soul as well as!disco really serves as a blueprint or outline! when he picks his samples. That feeling that!

Codes mentioned is one of the magic ingredients to a hit record. In terms of who he would! like to work with, Codes said most R&B! singers he loves and would be interested in pro-

ducing a track for have passed away. “If I! could do a record with Aaliyah that would be! my all time favorite thing.” Another artist he! said would be ideal is Miguel. !!!When it comes to R&B in 2012, Miguel is one!of the go to guys for either a slow jam or a just!overall feel good record. So he would be perfect for a dance track right? Wrong. In an interview with Billboard!"#$#%&'(, Miguel described his!presence in the music world as part of a new!wave of R&B artists looking to make it a powerful genre once again and “less concerned!with singles that nod to EDM.” Codes, unaware of Miguel’s statement, made a remix of!his “All I Want Is You” track which debuted in!2010. “That was one of the first tracks I!remixed and gave away for free,” says Codes.!“I really dug that song but I don’t hear too!much of what he’s done now that I like.”

When asked if he is an R&B artist he would

like to make a house track with, Codes said “sure but it sounds like he doesn’t want to (laughs).” If he does have the chance to persuade Miguel that there is no harm in creating a! house music track, Codes said, “I would probably show him my remix and he will probably! hate it, but maybe I can work on a legit R&B! record that’s not a dance record to him.”!

Today, Codes definitely sees dance music in a! different light as something that represents a! growing movement that is around to stay,! whether it becomes oversaturated or not. With!

R&B artist working with dance DJs and others! choosing not to for the simple fact that it"s not! conducive to their style of music, Codes said!

“To each its own but nowadays limiting yourself to not doing things is shooting your own! self in the foot.”

-By Camille Augustin

I just slapped my head like what is this? I can make something way cooler than that.

- DJ Codes on David Guetta’s ‘Sexy Bitch’ 12

How My Music Taste Has Changed....

Edition With time comes evolution. Babies turn into adults, leaves turn from green to brown, and music introduces a new sound -- or genre -- everyday. If you are a lover of music, then you don't limit yourself to just one genre. As a result, us interns took a look back on how our taste for music evolved, noticing a shift in between certain genres. Depicted in our Mad Libs version, see how we evolved musically through the times.

My first album was

Baby One More Time,

It was the

(Ashleigh)

jam, and so was

Brandy's 'Angel In Disguise but (Nicole)

EDM, Indie Pop (Desire) Blues and Reggae.

now that I’m older, listen to a lot of rather than

My first concert was Scream Tour 3, and I thought it was the most amazing thing ever .

(Jasmine)

so was

DMX,

because he was epitome of a sensitive hood

mofo. In rotation was always The Cool +My Way.

(Rachel)

(Desire)

Back in M.S, my favs were

Missy Elliott, NSYNC and (Rachel)

Avril Lavigne.

(Camille) (Camille)

The top five songs to describe high school

(Ashleigh)

would be The-Dream- "Falsetto", Kanye West -"Flashing Lights" Rihanna- "Umbrella", (Ashleigh)

Kelis -"Milkshake", MIA- "Paper Planes" But then I noticed my

change in music in 2001,when teen pop died. At the end of the day (Desire)

though I’m still waiting on that State Property album!

(Rachel)

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Inauguration: Trill Nation Rising from the ghettos of the Deep South, trap music has reverberated in !ip-!op for over 20 years. With" booty bangers coming out of the strip club and onto the charts, trap music is at an all time high, making 2012 the" trillest year of them all. Paying homage to those that laid the pimpin’, let’s take a look at what this nation would" be in the first installment of Trill Nation. -By Jasmine Aspinall Before we begin, please raise your double cups to the national anthem ,“Diamond in the Back” by Curtis Mayfield. Chuuch!

Founding Fathers UGK, Lil Boosie, Z-Ro, DJ Screw Where would the nation of trill be without these four founding fathers? DJ Screw, responsible for ‘chopped and screwed’ beats made you feel as if you fell in a $350 cup of that purple potion. The Underground Kingz (RIP Pimp C) were responsible for making pimping look so easy, giving us tracks like “Pocket Full of Stones” and appearing on the classic Jay-Z cut “Big Pimpin.”

Executive Branch: Commander in Chief T.I.

First Lady Rihanna The Roc Nation princess is on top of the world.

The queen has sold millions of records and provided an extensive repertoire of club bangers, including!

"Pour It Up" the most ratchet of her songs to date.!

Now, the once innocent, green#eyed Bajan beauty rolls up that funky stuff on the regular and is blowing! $’s (in both ways) more than ever. Mrs. First Lady! can’t help being ratchet and we love her even more for it.

The President of our nation has to keep it G in the streets and a well-suited man in his executive seat.

In this case, T.I. is without a doubt the man for the job. Along with his hustlas spirit and need to protect, TIP is never one to shy away from truly holding it down. Because of this TIP we salute you.

Vice President Too $hort Is it possible to not listen to a Too Short record and not want to get crunk?

Known for his low riding and X-rated tracks like the gritty track “Freaky Tales,” Short has inspired similar records like Lil Wayne’s “Dick Pleaser.”

Short has never deviated from his trapping roots and brings his West Coast swag to the Trap House. What’s his favorite word?!

Department of Homeland Security A$AP Mob

Chief of Medicine Juicy J In any nation someone has to take on that difficult responsibility of regulating the use (and abuse) of drugs. Juicy,! fond of “getting trippy and then some,” has never passed up on! taking a bong rip or popping a few little white pills here and! there. Juicy’s drug repertoire of drug use is extensive enough to grant him the responsibility of ensuring we always stay turnt up.

No nation is safe from terrorist attacks and having a solid group of members to protect the nation is mandatory. The Mob will take action against the predicted zombie apocalypse in 2013 with questionable tactics and overzealous attacks but we’re not asking any questions.

Department of Agriculture Wiz Khalifa Because Wiz is so particular in the type of weed he puts in his lungs, he can practice those same values in dealing with the nations crops and food safety.

We’re sure that the Wiz’s harvesting skills are top notch and we don’t mind having a few farms around to keep us all high in the sky.

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Before There Was You, There Was Me Instructions: Sharpen your No. 2 pencils and find the modern match to some of recent history’s trailblazers in paving paths for their successors. -Rachel François

Bobby Brown

A

1. He is R&B’s bad boy who dominates the stage with fancy footwork.

Despite constant press attention, he (and his on/off again boo) let peeps know it’s nobody’s business because it’s simply his prerogative

T-Pain 2. Rappers enlist this southern dread-locked, voice enhanced crooner to lend an R&B-esque edge to certified street bangers. If he’s a gentleman, he’ll buy you a drank before he turns off the lights

B

Prince 3. A true definition of an artist, his creative aura is a metaphor on boundary-pushing levels. Does purple rain create pink matter?

C

B2K

4. Ensemble-coordinating boy band sensation sings anthems about their eminent puppy love to SCREAMing teeny boppers

Mystical

D

5. Head bustin’ energy vocals that get pole athletes shaking, desirably with no hands

DMX

E

6. His message is always loud and clear, emphasis on loud. His barking delivery intensifies his hood tale from the bottom to the top

Diddy 7. The moniker has switched up over the years but he told us that he won’t stop because he can’t stop. And [more than] ten years later he’s still on top. Take that, take that!

F G

Answer Key 1.(B)Chris Brown 2.(e) Future 3.(F) Frank Ocean 4. (D)Mindless Behavior 5. (G) waka Flocka Flame 6.(C) Meek Mill 7. (A) Diddy

In the Words of a Former VIBE Intern...

By Rachel François Datwon Thomas, once intern and now executive editor! proves that a passionate hustle and unyielding humility! reaps much reward. The VIBE veteran takes some time! out to share his wildest (waking up in Ashford & Simpson’s living room) and most sobering moments (being! sonned by a staff member) and the rhythm that keeps h"m! pushing along.

VI!":#What is one of your fondest memories?

D: I interned [at VIBE] from ‘96 to ‘97, it was a different kind of internship.!I didn’t get it through school or anything like that I just! showed up and stayed. One of the most fondest moments was I think it! was ‘96, Mariah Carey had or she may even still have a foundation [Camp Mariah] where she would send kids to upstate New York and! they would have a camp experience up there. She enlisted the Fugees!to come up there and chill with the kids. We had to take buses up there! and I get up there and I’m just as astounded as the kids are. I get to! chill with Lauryn Hill on the bus for a minute. When we got there I’m! chilling# shooting hoops with Wyclef and you got to remember they’re! on fire, so you know just to be chilling with them like that and then to! actually interact with the kids. They were looking at me, and I’m an intern, like you got the life right now.

What is one of your most awkward encounters?

D: [Outbursts of laughs] It was someone that was the head of our digital department. He really like tested me because he knew I was from the street, not a hood dude but from the hood and I still had my little! ways about me. He wanted to test me to see if I could handle. I was! working and he was like ‘can you pass me that pen, like now?!’ I felt like the ‘Da wanted to come out. But I was like I’m in a professional! environment and you got to eat some of that sometimes. I realized why

he was doing that because certain people were going to test you and try to see if you were willing to throw it all away in spite of your ego. He got me right, I would call that a tune-up.

When was there a time you gave a VIBE intern a gold star for his/her grind?

D:#We had so many good ones. I would say on this run, it’s probably!

Keenan [Higgins]. He wanted Va$thie for his cover. He was the E-I-C! for his intern mag. I saw how he was going for it. It was working and!it wasn’t working and he reached out to me and was like I’m going to! need you to help me make this happen. All I did was put a word out!but he did everything. He made sure every connection was made for it.!I just saw everything he wanted to accomplish and it just reminded me of the kind of hustle I had when I was coming up.

What was $ip%$op to you in 1993 and what is it to you now?

D:Whenever I hear ‘93, I think of “93 till infinity, kill all that whack! shit.” That’s a rhyme from Souls of Mischief of the Hieroglyphics! crew. That time just represented about getting respect from the mainstream about it being more than just music but culture that can actually! make a lot of money and move your heart at the same time. I was just! ecstatic to see a magazine like VIBE come into existence. We had the!

Source and that was strictly Hip$Hop but VIBE covered urban culture! on such a huge scale, it made it big. I just loved that ‘93 had so many forms of %ip$%op that you could go to.!I think now we can have that same thing, if you look, but back then you!didn’t have to look because it was there. So many different people!coming now, you really have to compartmentalize and put in different!places and put it in different places.

Skills or Swag?

Skills all day! Because skills can determine your swag.

3 Unforgettable

VIBE Moments

On VIBE Parties: It always felt like a movie. I was meeting!

Salt-N-Pepa, all these different people and!

I ended up getting crazy drunk and I woke! up in Ashford and Simpson’s living room,! &nd I’m just looking around and all the! photos like well Ashford & Simpson must! live here or this must be their gallery or I’m still dreaming.

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On Meeting Method Man:

'!()*)*+)(!*)),"-.!/),012!/&-!

31(!,0)!3"(4,!,"*)!&,!5'67!"-!,0)!

133"8)9!'!:&4!;<4,!:1(="-.!&-2!0)! :&4!>"=)!?>11=!&,!,0"4!2<2)!0)@4!

1A)(!0)()!:1(="-.#!B@&>>!1A)(!0)()!

C>&B"-.!,(B"-.!,1!*)),!*)!+<,!0)!

1A)(!0)()!:1(="-.#!,0&,@4!(".0,9@!'! :&4!>"=)!:1:#!1=!'@*!:1(="-.9

His 1st Byline: The first time seeing my name in print! and it wasn’t even for anything I wrote; it! was the intern section. I had been an intern for 8 months and every issue I was! like I hope they put me in. I never submitted my name but I was just a little too! shy.!They actually put me in. It was the!

Tupac issue when he passed away, the one! he’s looking up and he has the bandana! on. That’s like the most iconic one and!my name is in there and I still have it.

20 In light of VIBE’s 20th Anniversary, we decided to compile a list of people, items, and fun things that have impacted the identity of HipHop Culture. All under 20 years old, this will make you laugh, cry, punch something, or anxious about the future of your favorite genre. Take a look at some items that are the same age (or younger) as Chief Keef.

20 Fruity Loops (15) What some producers deem as “a tool for point and click! producers,” FL Studio, or Fruity Loops has given Hip"Hop! some of its biggest hits over the past few years.

Sometimes the robotic tone and lack of drums gives people reason to criticize the tool, but when you have! producers like Hit Boy, Ninth Wonder, B01-1DA, and Jah#il!Beats creating for megastars like Chris Brown, Jay-Z,!$%&'(%!)'*!+,-(!.&)/01!23(!)45,%('2!&/!&'6)#&*7!

Under 20 Y.O.

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19

The Virtual DJ (9)

Raunchy Femcees (20)

For many millennials today, they don’t know much about a phonograph, let alone a mixer. But in 2003, the world was introduced to The Virtual DJ, a range of audio and video mixing Female emcees broke down software that got the party started at your college frat party. barriers in the !ip"!op genre, speaking for themselves instead of Anyone who had decent music taste can create mixes by just #their male counterparts doing all the# selecting a single song. talking for them, or about them. Before Lil Kim, there was Texan vixen Choice and for a brief#$%$&'(#!)*)+)#,!%&-#*.(/#+((.(01&2 (railblazing to say the least, these female rappers made it easier# for this generation’s wave of naughty rappers (Nicki Minaj, Azealia# Banks, Iggy Azalea, Angel Haze and more) to carry the torch for# the next generation of “femcees.” The list goes on and continues# to grow... if they#can all learn to get along.

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16

Elliott Wilson’s At Home Mixtapes(7) Twitter Account (5) While some people still enjoy calling up their While it isn’t known when Mr. G.O.A.T. of# Hip"Hop Journalism started his infamous# Twitter account @ElliottWilson,#it’s safe to#say that the journalist has given the twitterverse the easiest way to get the latest info on your favorite rap stars.

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local bootlegger for the latest albums and Ty Boogie Blends, now you can get your favorite Dom Kennedy or Riff Raff mixtape from the comfort of your smartphone. Sites like Live Mixtapes and DatPiff have given unknowns their audience and not to mention promos for days!

15 Freestyle Notes (via Blackberry, iPhone, Andriod) (4) At first, there was a pen and pad- now there’s the nifty Note App for rappers to spit their freestyles. Rappers like Drake and Wiz Khalifah spit bars from their phones, and peg them as freestyles.

Creating a mess of the definition of a freestyle, let’s hope this trend dies young.

14 Smack DVD’s (9) The vision of creating a raw and unseen world of !ip"!op# generated from the minds of Troy “Smack” Mitchell and# Eric Beasley and onto hoods everywhere. SMACK (Streets Music Art Culture and Knowledge) wasn’t just a# hood DVD, but displayed raw unedited freestyles and raps# that made rap history. Underground rap freestyles from# Jae Millz, Gucci Mane, Papoose, Cory Gunz, and Maino solidified their street status and lyrical ability. Now that SMACK has a bigger#presence via YouTube (with over 75 million views) you can be sure to catch the next generation of underground#3455&3-)

13 Neo Soul (16) Neo-Soul: While many artists are hesitant to confine their# music to this sub-genre of R&B, its impact was felt in the# 90's.#Led by "pioneers" Erykah Badu, D'Angelo and# Maxwell, the smooth sounds inspired by classic soul music# was a nice break from its grunge and gangster rap counterparts.

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12 Hype Williams (18) Thanks to the takeover of reality shows, we seldom see a dope music# video grace our television screens.#Hype Williams8 visuals are synonymous with some of the greatest jams of the past 20 years. Distorted# view and split tracking shots are his signature stamps on some of the# greatest videos of all time. See Missy's "The Rain" and Kanye's "Golddigger" among others for proof.

10 The Shop (6) Usher’s ‘Confessions’ and Adele’s ‘21’ (8/2) Usher and Adele have both danced the lines of !ip" !op. With praise from artists all over, Adele was the biggest#artist in 2011 with her sophmore effort, 21.

Usher also noticed his new fan base in 2004 when he released Confessions.Both albums are the last two albums to hit#diamond status in the past 12 years.

The aftermath of Ice Cube’s Barbershop!stroked a sequel, a failed series, many remakes (Beautyshop, Nana’s) and the short lived MTV series The Shop. The Shop!was a reality show from producer-to-the-stars#Cory Rooney (Beyonc6, Britney Spears, Michael Jackson) that focused#on his barber shop in Jamaica, Queens. Every episode made fun#of/praised the craziest events in Hip"Hop with various artists coming by to#show love.

Busta Rhymes, Fat Joe, Keyshia Cole and a tattoo free#Breezy chopped it up with the barbers and showed the mainstream a little#known gem in black culture.

Hot 97’s Summer Jam (18)

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7t's the premiere Hip"Hop music festival that brings out the game's hottest artists and antics. Since 1994, Summer# Jam, sponsored by New York's radio station Hot 97#FM has been the platform for iconic musical greats like (/& Wu-Tang Clan,The Notorious B.I.G. and even special guest Michael Jackson to throngs of Hip"Hop and R&B aficionados in its East Ruthersford, NJ stadium location.But just like Hip"Hop, it's never just about the music. The# Summer Jam stage has been the scene of ignited rap battle beefs between heavy weights such as Nas and Jay-Z# and other parodying of boastful rapper bravado. Whether you're catching the fest for its musical line"up or to see who is Hip"Hop's next antagonist,#Summer Jam continues to be a mainstay in the Hip"Hop fold.

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8

NBA Live (17)

Before the infamous NBA 2K franchise, there was EA’s NBA Live. One of the first video games to feature actual NBA teams and in its likeliness, the game not only had your favorite teams but killer soundtracks. NBA Live released its first soundtrack in 2000, featuring George# Clinton,#Naughty by Nature, and Rahzel. Throughout the# game’s run, other artists have graced the console like# Fabolous, Llyod Banks, Lupe Fiasco, and Talib Kweli.

Live set the bar for including !ip"!op on your favorite#video games.

106 & Park (12)

Nardwar (4) The art of interviewing has changed with the Human Serviette. With heavy research and good laughs, Nardwar questions artists with the history of the rap game, while surprising them every time. Keep rockin in the free world!

Melina Matsoukas’ use of bright colors and# fashion foward visuals proved her stance in# the music videos of the 2000’s.#Some of#her notable videos include Ludacris’#“Money Maker”, Solange’s “I Decided”,#and# Rihanna’s “You Da One.”#Melina’s gift#of revamping artists and video models#/&:5&1 show a little more creativity to the ;&'3&)#

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It all started as the !ip"!op version as ‘TRL’ but soon#created its own identity in popular culture. With no-table DJ’s catching mainstream success (DJ Enuff,#DJ Prostyle) it was also the only show in the mid"2000’s playing music videos.#106 also gave us Free,#AJ, Freestyle Friday, questionable Throwbacks on#Thursday’s, and Terrance J.

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Melina (6)

3

7

6 Nike Foams (15) Thank the curiosity of former Magic player Anfernee ‘Penny’ Hardaway for Nike Foamposite Sneakers. The first Foamposite shoe was catered to Penny-blue to match his uniform and the rest is history. Rappers like Nas, Wale, and Joe Budden have all expressed an obsession for Nike’s flagship shoe in their rhymes. While the thirst is insane for Jordans, it’s just as real for the Foams.

ATL’S Takeover(9) The south’s takeover of mainstream !ip"!op began arguably in# the mid"2000’s with the introduction# of Lil Jon and Crunk Music.#Today,# the south has a huge roster of# artists including Future, Gucci# Mane, T.I, Waka Flocka and new# kid Tinidad James.

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Yo! MTV Raps (20) This pioneer show was the first of its kind on MTV. Hosted by Doctor Dre, Fab 5 Freddy and Ed Lover, Yo! is one of the networks highest rated shows to this day.

1 The Remix (20) The Remix is something music lovers either get really excited about, or really mad at. While the original definition of a ‘remix’ has origins in Reggae culture from the late 60’s, an R&B remix with features from Hip"Hop artists didn’t gain notoriety until the 90’s. Remixes like Mary J. Bilges’ 9Real# Love9 feat. The Notorious B.I.G. and Mariah Carey’s 9Honey9 featuring The Lox. This creative combo#of two genres gave artists a bigger audience and classics for the culture.

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NEXT Doley Bernays: Bronx, New York What We Say: With the incessant fad of strip club anthems and tracks made for shaking your salt shaker the struggle for a rapper to stand out has become a scarce reality. The Bronx, NY native Doley Bernays is unwavering in his attempt to stray away from the pack. His mixtape, “Wrong Turn Into Yesterday,” which boasts over 3,000 downloads on DatPiff.com is Bernays’ testament to the frustration that seeps through the lives of those in the inner city. The standout track “Sober and Somber” is accompanied by penetrating visuals that’s sure to make anyone twist in their seat. While showing off his knack for storytelling Bernays translates the coldness taking up residency in his heart. As he stands in front of a screen playing images of the brutality during the civil rights movement he unapologetically burns the American flag.

But Bernays, whose moniker comes from the “father of public relations” Edward Bernays, is above being a gimmick.

And instead of falling prey to the “set up for failure” realities of his community, Doley refuses to give up sitting down.

What He Says: [Speaking about ‘Sober and Somber’ video] When we made the hook from when we heard the beat and it was like ‘if God don’t let me into heaven I’m holding a line up” and it’s like I’m living in hell and I’m saying we living in hell. That’s why we really burned the flag it wasn’t trying to do a publicity stunt. It’s like we’re living in America and we’re showing you basically why we burned the flag with all the imagery.

We’re showing you all the wrongs that people have done in the country, you feel me?

Where I’m from no one really cared about shit that was going on.

Exceptional NEXT Artists

In the words of Music Editor John Kennedy, a NEXT embodies something special like the music, th!"r presence or in other

words they need to be “exceptional.” Check out our list of past exceptional artists..and some who “fell short.”

2001 Alicia Keys T.I Fabolous

2002 B2K

2004

John Legend The Game Pitbull

2007

Corrine Ba"#!y Rae! Curren$y Danity Kane

2008 Kid Cudi Drake B.o.B

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NTaj: Atlanta, Ga. What We Say: Teen pop’s eclectic comeback! has showed us that frosted tips are out and colorful presences physically and musically are in.!

Case in point -NTaJ, made up of three friends!

Nikiee (N), Shataya (Ta), and Joy (J). The! teenage gal pals give a new flavor on the typical!

R&B girl group. NTaJ’s latest single, "Yellow!

Brick Road" a ballad that showcases their voices! and their rap skills, tells a tale of an uncertain! love. Currently playing clubs and fashion shows, the girls are trying to catch not only their fellow! teenybo##ers- but the older crowd too.!Comparisons to Tiny’s former girl group are no surprise to them-!their jersey look is very similar to the! get$ups the women of the A used to wear. NTaJ! got their start ironically working as backup! dancers for another girl group NEON LOVE, a! duo also based out of the A.!With positive! melodies of love and friendships, the new era of teen pop has found their good girls.

What They Say: “One of our biggest influences is Xscape,” says main vocalist Nikiee. “They’re one of our favorite girl groups.” “I knew something was different about them,” says Justice Overall, their manager. “We started doing their demos and we’ve just been working and doing shows- I think these ladies have a style that’s all their own.”

BandAidKing What we say:!In a city like Atlanta, where! trap music and your favorite party records! resonate, other genres are sprouting out of! the peach state. “My biggest problem is! getting on board with "ip#"op and not! mashing them together but making it part! of the culture,” says 24-year-old electronic!

DJ BandAidKing (formerly known as WestHos) who hails from East Atlanta - an area! where "ip#"op heads and dance junkies! often reside. “When [they] wanna go party! at night I want to not only think of the "ip#! "op clubs, but also the EDM/music clubs! too - increase their familiarity with it.” Born! in England and raised in Atlanta, the Georgia State alumnus wants to spark a fire in! electronic music past Moreland Avenue.

His latest mix entitled “Aggressive” is just! that, with small theatrical blends of!

Looney’s “Autopitch” and MSTRKFT’s “VuVuVu” he puts his own special touch by inputting his own breaks and synth filled.

Some of his biggest influences are known DJ’s like J.U.S.T.I.C.E., Kaskade, and Calvin Harris, but one of his biggest influences stems from a little tune from one of

the pioneers of electronic music. “Growing up in England, I listened to a lot of KraftWerk and I remember hearing one of their songs as a child, called ‘Autobon’ and I didn't know what instruments they were using, granted at the time I wasn't musically inclined, but that’s when it struck me.”

The 1974 track “Autobon” painted a picture of driving with moog bass and synths that are commonly used in the genre today. “I realized that electronic! music was something I can enjoy, the possibilities are endless, I can do anything, and you can actually make music.

What He Says: “BandAidKing is a reference to my mother, I was given the name! as a child, she would always call me that

and it made me prideful because it made me believe I could never get hurt. It also refers to the music and me being a ‘stitcher’ “ he explains. “The whole idea is that I can put different tunes together and I could create more complex mixes. I guess you can just call it a patcher in a sense.”

2010 Miguel Ester Dean 21

Childish Gambino!

Brig K.R.I.T

2011 J. Cole Kendrick Lamar

Mindless Behavior

Nellz: Plainf!"ld, New Jersey What We Say: Nellz is a master juggler as the Plainfield, NJ rapper isn’t your typical 22-year-old. Strip away the occasional partying and normal 20-something shenanigans and you have a young man that’s a full time father of 3-year-old, Anyiah. “My situation is just different,” sa$% Nellz. “So day in and day out when I! wake up and when I go to sleep that’s who I’m responsible for.”!

But Nellz isn’t gearing up for anyone’s pity party as his resounding! attitude ensures his music speaks for itself. “My craft is already respectable,” says Nellz, “but I just want to expand my reach and solidify my legacy.” At the somber age of 15 the determined rapper released his first full-length mixtape “Cased Up,” a reflection of street influences infused with the desire to never falter from what he knows. His official album “3 Eyes Open,” set to drop at the top of 2013, Nellz taps into his introspective nature to find the real truth.

What He Says:I was in the 10th grade when I put out "Cased Up." I've drastically changed. I’m a whole different person.

I’m still me at the end of the day but it’s the different phases. My whole life it was just me and my mother. My brother was in the streets and obviously him being in the streets I was in the streets too. You know how some people say that an artist paints a picture? Some people paint the picture for what they want it to be and some people paint the picture for what it is. I always big myself in making it my responsibility to paint the picture for what it actually was.

Marcus Williams: Bklyn, NY What We Say:$As a young African#American male the cards are! stacked against you from the day you were born. Your career outlooks are! to either be a rapper, a dropout or a complete failure at whatever it is you! do. And it’s that same reason why 22-year-old painter Marcus Williams’ unrelenting passion is a breath of fresh air. Williams, who studied audio engineering, grew up like any other kid from Brooklyn. But what made a greater! impact in his art was his appreciation for the gritty street art and his constant visits to the MOMA as a kid, which resounds clearly through his artwork. Williams’ use of street elements such as spray paint and higher end! materials like krink (a new form of ink paint that drips much like spray paint)! evokes his keen eye for interpreting his reality through art. Citing some of! his heroes as Basquait and Picasso, the Brooklyn native began painting as! a way to transcend and break down the most complex ideas into tiny fragments. Similar to his piece “Sex Cells,” a wooden mask from Sudan a friend! happened to stumble upon, Williams shows his ability to interpret the misconception of Africans as hypersexual in nature. On the mask Williams! presents cells and DNA joining the ideology that sex is more than an act but! the basic humanness in all of us. This type of depth is what sets him apart! from the diaspora that plague African#American men today.

What He Says: I want to reach the believers. I’m surprised that a lot of young people are resonating to my work. I have some young collectors from 22 to 30 and those people have been buying my work. I make it for whoever gets it, whoever understands it. There are some people who don’t but they will eventually. But it’s okay because I know back in the day when Basquiat and those guys, people didn’t understand their stuff and they didn’t really appreciate them until [they] died. But I don’t want that same thing. I want people to appreciate my work and me while I’m living.

Falling Short

Not everyone can live up to the hype. Here are some artists who fell short of their success.

2001 Olivia Nivea Christina Milian

2005

2008

2010

2011

Pretty Ricky B5

Teyana Taylor Rocko

Jay Sean Yung LA

Kreyshawn 22

Hip-Hop Legend & Rising DJ Mix Opinions At The Scratch Academy

S

By Nicole Brown

tepping into Manhattan’s Scratch Academy

is like diving head first into a melting pot. As I sit in the lobby anxiously awaiting rap legend DMC and friend TJ Mizell, I take in all of its ingredients. Next to me is a young white kid, no more than 12-years-old, prepping for a practice session on the turntables. At the reception desk sit two twenty-something DJs cracking jokes and answering phones.

The walls are covered in graffiti and articles chronicling the Academy’s rise since its 2002 inception by the late DJ Jam Master Jay. In the far room, a group of wannabee party rockers gather around their instructor as he scratches on top of records. His audience includes a spectrum of colors, ages and backgrounds.

They are enthralled by his effortless transition between tracks and the intricate scratching to top it off.

As I attempt to join the crowd, the group disperses to their own set of turntables, hoping to imitate what they just heard. Somehow 20 or so amateurs tirelessly scratching is music to my ears. In essence, this room is Hip-Hop; a blending of all things past and present that brings people together.

TJ Mizell, the late Jam Master Jay’s son, has followed in his father’s footstep by choosing a career in music.

He’s a constant presence at Scratch, teaching classes and ensuring that its legacy stays alive. DMC is a frequent visitor, often giving lectures and answering questions - including today. As the three of us make our way to a quiet office, I can’t help but notice the father-son camaraderie between the two. You can already tell that music is a part of their regular conversation.

Like Run-DMC was for their predecessors, Mizell, a DJ of today’s generation, is always putting his close friend on to today’s rookies. And DMC knows his stuff. Names like Jay Electronica, Hopsin and even Joey Bada$$ come up as the two pose for photos. “You gotta listen to Joey, D!” exclaims TJ. “If you put on his

music right now, you would think it’s something from 1985/1986!” DMC hilariously chants the young MC’s name as the camera flashes. He can’t wait to go home and listen to 1999.

The concept of “old school” versus “new school” is a never-ending discussion in our culture. Like any other musical genre, we’ve seen the music, fashion and lifestyle evolve. In fact, it evolves so much that it can be hard at times to distinguish between the two.

The only way to make sense of this is to talk to polar opposites: a presumably king of the old school – DMC -- and a leader of the new school -- Mizell.

VIBE: How do you define the term “old school?”

DMC: Most people think old school is a time period.

But it isn’t a time period. Just because all that good stuff happened at that time, they like to consider the old school a time period. The old school is a consciousness. It’s a way of presenting and demonstrating your - I don’t even know if this is a word “Hip- Hopness.” Whether it’s a DJ producing or the videos or the graffiti, old school is how you present your “Hip-Hopness”…like rock and roll has classic rock. When you say classic rock, classic is the same thing as old school. It doesn’t mean old, it means better than everything that comes after it for eternity. You got classic rock artists like Led Zeppelin, The Beatles, James Brown, Marvin Gaye and they play what’s called a classic rock station, 97, KISS, all of those stations fade away. And if you notice, classic rock stations have been here since Rock N’ Roll has begun. So old school is just a way of presenting and demonstrating your art. In my neighborhood, RunDMC was Hollis, right up the block was LL, Linden Boulevard was Q-Tip, we’re all from the same place, but we all were different. We had a different presentation. That’s what old school is.

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TJ: Pretty much the same goes with me. I see old school more so as a consciousness, but also a way of being in the style. Everyone’s rocking shells again, everybody’s rocking the skinny jeans, everybody’s rocking the Gazelles and the gold chains and it’s a fad that’s coming back and it’s a fad that people are believing in again and that’s why I think of it more as a way of being and a lifestyle.

DMC: Well, there are so many new artists right now that you know when you hear them and until you find out where they’re from and how old they are you would swear that they were old school artists. When I hear this new dude Hopsin, when I first heard Jay Electronica, Andre 3000. Even though he’s Outkast I’m talking about Andre 3000’s presentation - he never spit a wack verse. That’s old school. Andre is like the new God MC. He’s like Rakim was. He changes things every time he speaks so it’s definitely a feeling.

In what ways has the term been misused?

DMC: I don’t think it has been misused. I just think it’s been misinterpreted…Kids will hear Afrika Bambaataa’s “Planet Rock” with the electronic sound.

Grandfathers, fathers, sons will say: “I first heard that when I was eight years old, that’s old school!”

But a kid now will hear “Planet Rock” and go “what’s that?” Like I was just talking today - I played Jeru the Damaja and the kid would go “Yo, who’s that?! Who is he? Where is this from?” And I go, “This record right here is old school” and they’ll go “What do you mean? This record came out 25 years ago and the kid will be like wow and he’ll wait a little while and I finish speaking to him and the kid will be like “Can I get that old school Jeru the Damaja?” It transformed him from thinking old school from 25 years ago, but then it became positive where he identified the old school as a state.

I remember I went to the NFL Super Bowl and a mother came to take a picture with me and her little daughter was probably 15 or 16 years old. She was like “Mommy, mommy let me get mine!” and the mother looked at her like “What do you know about Run-DMC and shit?” and she said like a term of respect: “I know my old school!” I also think that people, especially in my generation, will be like “Yo,

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remember that old school Nas track?” There’s no old school Nas track bro (laughs) I’m just, like, wow.

Back when Run-DMC was at its peak of success, Hip-Hop was still this new and radical idea. How does it feel decades later to have your music considered “old?”

DMC: When they say it to me, they’re coming from the points of impact or when the initial success was first happening. So when I hear it, it doesn’t make me feel old, but it makes me realize like “We did that when?!” Fans are like “Man, I remember when I first watched ‘My Adidas’ on MTV when they used to play videos.” It makes you realize that we did a lot of this stuff a long time. I think the problem with that is when someone says it like that it encourages us to stay creative. It encourages us to keep representing that one thing that we did. If they’re still talking about it now it must still be good. The realization is it’s 2012 and “Raising Hell” came out in ’86?! That was a long time ago (laughs).

“Old school is just a way of presenting and demonstrating your art.”

What was considered “old school” when you were a kid?

DMC: Marvin Gaye, Temptations - Motown! My generation was Motown. So I guess when you really look at it, the old school to this new generation is Motown. But also, they overlook one thing. When you look at what Smokey Robinson was writing and The Temptations, those songs are so timeless. So if you gonna call me old school, it’s a category I don’t mind being in. Some of the comments I see from kids online is “Man, I wish I was alive back then!” I remember I was at a radio station and the kid was an intern there and he was like 18 years old and I did my interview and he looked at me and said, “Man, I wish I was in your era” and I said why. He said it just sounds so creative and fun.

TJ: My mom in the car blasting Motown. Not even all Motown. I just remember the “Just The Touch of Love” song? Michael Jackson…

What is “new school?”

DMC: New school is old school.

What I mean by that; new school is old school because old school is like the new school that is creative. The mashing of all the styles over the last couple of years and then putting your own twist on it to make it be that new thing. When I heard Jay Electronica, what brought me to him was the music he raps over, his subject matter, the way he puts together his lyrics. But his voice is old school because you can understand everything he’s saying and he don’t sound like he’s from New Orleans. When you label something - like when they labeled gangster rap- it was kind of over. NWA came out with “Motherfuck the Police,” “Bitch Betta Have My Money,” all that stuff because that was successful, everybody started doing it and then it died away. I think all old school - whether it’s Motown, classic rock or Hip-Hop - was based on sound, creativity and emotions.

When Lupe Fiasco started talking about the economics and politics they stopped playing it on the radio…why? Because he was sounding too old school.

He’s a young dude talking about grown-up stuff.

When we made those records, what I say at 48 years old, I been saying since I was 12. The typical MC was 12-22 years old…Now coming up with the so called “conscious rap,” economics, history and politics, right away people will say, ‘Oh that’s old school.’ But if you come out making records like Waka Flocka and 2 Chainz, they embrace you as being this new artist.

And I’m finding out a lot of these new dudes are old.

Do you agree with DMC’s thoughts on “conscious rappers” today?

TJ: It’s not that we don’t give them attention, but the radio doesn’t give them attention. They’re not getting put on the giant shows with Jay-Z and all these guys.

They’re getting kind of pushed to the back and you can go find their stuff and download their music on the Internet if you want to.

DMC: And you know what’s crazy about that? It’s

the same thing with the old school! Before these rappers was on records, our Internet was the cassette tape. Back then, most of the hip hop was disco hip hop and that was a little older. “Rapper’s Delight” was disco Hip-Hop. It was us rhyming about things we wish we had. There was a generation of young people talking about things relevant to young people.

And that’s what was empowering. The problem with Hip-Hop now is you got dudes 25-50 years old and we don’t have that exciting impact that old school had. Old school was young people with a creative and mature presentation. We made a record about sex. We made a record about bitches and hoes, but we sat down as young kids, 19 and 20 years old; how we gonna talk creatively about this girl that sucks off everybody and sleeps with all the guys? And we made a record called “Mary, Mary” and you had to figure out what we were talking about. The older dudes now just make a record, “Bitch suck a dick!

Bitch suck a dick!” and they’ll put it out and it’ll fly!

And that’s the difference. It’s like fashion - when it’s old, it’s new.

I was with his father and his father taught me a lot.

But now just being with him, it’s like being with his father all over again. He’ll say come watch this video, come listen to this DJ. Here’s the type of music that’s going down. When we first came out, Queens was soft. Brooklyn, Harlem, Manhattan was hip hop.

When we first came out, Flash, Melle Mel and them - they was like this (turns back away).Continued on pg.29 26

Dating Into

Dating life has changed over the past two decades but the game remains the same. See what New York Post’s Jozen Cummings and Atlanta’s Sex Therapist Dr. Tiffanie Davis Henry have to say about the game of love

Q: With the growth of Online Dating, does it make it easier for men and women to date?

J.C: That has made it easier to meet people. I don’t know if dating those people has become easier, I

think that is still somewhat static. When you didn’t have the internet In your everyday life, you were still just meeting people face to face ,in order for you to date someone you still needed to have all those things to have an attraction to them, you have to history with them, you have to make time for them, you have to go out with one another, I don’t think that its that easier than it used to be, it may be relative to each person’s life, I think that that can be difficult or easy as each person makes it out to be. Certainly you’ll see the personality change online, maybe they’re a bit more conservative, maybe you’re a little more dry online, or maybe just livelier online, those kinds of things are only natural. When we’re talking about who we are and what you look like, things like that, it doesn’t really benefit you at all, To quote a emcee who says it best “There’s no future when you frontin”

Q: But doesn’t it make it harder for people to trust each other?

T.H: I say this about relationships: Once you have to start snoop-

ing around, you already don’t trust the person so weather you’re in a relationship or about to be in a relationship, if you have to sneak and snoop around, and explore things that aren’t necessarily your business, then there’s no trust. However, trust is something that’s earned not given. I don’t think people go into a relationship with the idea of “ guilty until proven innocent “ but at the same time you have to work towards it. I think sometimes I think people want to trust, especially in relationships. People don’t jump into relationships to break up or just to get divorced, they get into it to be happy, and they want to find their life partner. At the same time, if you had a history of bad relationships, bad breakups, and history of boyfriends cheating then you’re coming into the relationship a little jaded. You may be more prone to seek out more information to find out as much information about the potential suitor as you can. Just so you don’t get hurt again.

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Yesteryear

Q: Who’s more aggressive with dating: Men or Women?

J.C: I would have to

give that to the women.

I definitely feel like it has evolved and that evolution has been something that has something that you see more and more in women. Going out there, getting what they want, not accepting the traditional genders roles or the appearance, and I see this being a good thing.

We have to get over this idea that one gender knows more than the other, or rather that women don’t know what they want until men tell them. Women know what they want. We need to try to get rid of the double standards and when I say that I mean women can’t ask men on a date, or women can’t approach men, or that women can’t have casual sex with a man because they simply wanted to have fun and enjoy themselves.

Q: Are blind dates/traditional dating a good idea then?

T.H: I think it’s a great idea. It's people that

know and love you that wants to set you up on dates. One, living in a city like Atlanta, everything is so spread out, it’s all huge. People aren’t who they say they are. I love when people you know send you out on dates because it has been embedded. There’s someone else that knows this person, that knows your character, knows if they work, if they have a significant other on the side etc., I think it’s great. They ease any conflict or tension you may have and it leaves you to just concentrate on the relationship.

By Desire Thompson

Q: Are blind dates/traditional dating a good idea then?

J.C: People want to do that real thing, real dating,

they want to really go out, they want to go out on a real date. They just don’t want to have a Skype date, unless they really feel like they absolutely have to. I think that the Internet is fairly new to a lot of people but I also think we have to adjust.

Q: Here’s a scenario: A group of guys are discussing women and how “good guys” don’t have a chance. Women want to have the drama so they go for the bad guy. Any thoughts?

T.H: : I think that’s bullshit. If you continu-

ously pick the same type of person and you have said “I know this person is bad for me, this is my type but it never goes anywhere- you have to start looking in the mirror at that point. Dr. Drew Pinsky talks about a person’s ‘picker” being off, for people like them if they begin to say “Oh, yeah I like her, she’s my type.” You need to go the other way. People that are your type really aren’t your type. His picker is definitely off. If someone seems to be your type, and you had a history of bad relationships with that personyour type is wrong. Your type is actually the opposite of what you think your type is.

Follow Jozen Cummings & Dr. Tiffanie Davis Henry: @jozenc @AskDrTiffanie

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They considered themselves the old school because they were the real. So me and Run first came out, Melle Mel, Afrika Bambaataa, Cold Crush, all of them before said who the hell is these new school fools from Queens? And they said it wasn’t just what y’all was saying, it was the way y’all was saying it.

TJ: And it’s still happening nowadays. The 25-30 year old artists and MC ‘s- they run the industry pretty much. They don’t give room for the new cats to come in.

DMC: When you look at the typical new school philosophy, you get in, you dominate, and take everything out of the industry you can and then you get out. We was like “bring EPMD, bring Eric B. and Rakim” because you know why? We wasn’t afraid because everyone was different. Everybody was so creative that there was a lane for them…When Ja Rule came along, he was making records for J-Lo. Ja Rule was like the black Justin Timberlake - he was a pop star. But the minute the people started saying you make girl records he started making gangster records.

TJ: He should’ve kept doing what he was doing.

DMC: I told Hammer, too! I said Hammer, when they said you danced too much and your pants is too big, you should’ve put on bigger pants because you’re different!

TJ, as a DJ, what do you take from the “old school?”

TJ: Just being here at the Scratch Academy and having influences like my father, a lot of old school DJ’s. I use turntableism to my advantage.

I DJ in a world where everything is kind of based off electronic music.

I love house music, I love Dubstep. I’m DJing and producing a lot of trap music now that comes from the whole Dirty South, but we’re using electronic influences as well with the structure, the breakdowns and the rises and the way the song comes in, just the emotions you get from that. But there’s a lot of DJ’s now that are just going up there. They have their sets made, they’re using controllers and laptops straight up. And I feel like the turntables for the Dj are such a staple. I’m still up there scratching. I’m still taking samples and cutting stuff up.

Who’s your favorite DJ right now?

TJ: A-Trak is one of my favorites. He’s the one that goes to all the festivals, plays the trap, house dub and cuts everything himself.

What are your thoughts on DJ’s like Drama and Khaled who are more like A&R’s?

TJ: I feel like that’s a whole other lane. That’s that whole mixtape DJ they find artists, they’re more like Diddys. They’re entrepreneurs. That’s cool too, that’s dope, but I kind of wish there was another name for that.

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Holiday Gift Guide Unsure of what to get for the guy or girl in your life?

We zero in on the gifts that won’t force your loved ones to put on their best poker face!

By Ashleigh Gray

Style Editor Rachel François says:

Box DVD Set

Fur Vest Perfume

Style Editor Rachel François says: For him: Hey Mr. Nice Watch. Nothing says grown and sexy than some wrist candy. A dude with a watch means he has places ACG Boots to be (he got that ambition) and I don’t mean chillin’ on the stoop with the homies at all hours of the day. Don’t believe just watch.

For her: Girlfriends, Fresh Prince of Bel Air, The Martin Lawrence Show, yes! A box DVD set of her favorite show demonstrates that you're paying attenUgg Boots tion and we love when you pay attention to detail, it Tori Burch Sunglasses means we’re a mother effin factor! Endless cuddling sessions can be enjoyed between the two of you while enjoying a lazy weekend together on the couch.

NCAA Football 13

Stussy Jersey

Cufflinks

Seiko Watch

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Danny Brown sports bra Adidas leather skirt H&M leopard shirt EQUIPMENT sneakers NIKE AIR JORDAN IIIs necklace VINTAGE CHANEL MEDALLION

CONCR CATW

Street Be

Stylist: Creative Director: Jasmine Aspinall

Annisa Smith jersey worn as dress ADIDAS BROOKLYN NETS SWINGMAN bracelets AMIRITA SINGH boots STELLA McCARTNEY earrings and turban STYLISTâ&#x20AC;&#x2122;S OWN

RETE WALK

egets Style

Rachel Francois Photographer: Keenan Higgins

Annisa jumpsuit ZARA blazer THEORY boots H&M x VERSACE scarf STYLIST’S OWN ring ELMA BLINT “BrookeLyn” hoop earrings and banded ring H&M bag LOUIS VUITTON watch MICHAEL KORS

Danny denim shirt AMERICAN EAGLE OUTFITTERS jeans TAVERNITTI boots DR. MARTENS boxers LUCKY BRAND sunglasses MOSLEY TRIBES handkerchief STYLIST’S OWN

Danny double slit skirt URBAN OUTFITTERS sweater H&M leather gloves PATRICIA FIELD wide brim hat CLUB MONACO sneakers NIKE “DUNK SKY HI”

Annisa pants DOLCE & GABBANA shirt MADEWELL velvet bow-tie AMERICAN APPAREL boots TIMBERLAND knit beanie NEW YORK YANKEES jewelry STYLIST’S OWN

Danny hoodie DOHA skirt HELMUT LANG pumps NINE WEST denim jacket LEVI’S

Boomshots A Look Into The ‘Disapperance’ of Reggae

By Desire Thompson “This happens everytime,” says party goer Amber Willams. It’s a typical Saturday night in the Bronx at Aura nightclub. “What kind of reggae place doesn’t even play the damn music?” It’s Reggae Saturday and the latest G.O.O.D. fam track “The Morning” blares from the speakersthe third time that night. The 21-year-old student isn’t the only one asking questions about the popularity of the genre.

In the early 2000’s Reggae’s mainstream status was its highest. Artists like Beenie Man, Vybz Kartel, female siren Lady Saw dominated the clubs with their hits while Sean Paul steered the ship of the reggae wave.

After major success in the states, each artist kept their momentum going in Jamaica and beyond. In an interview with Dutch website PandoraTv.com in 2009, Sean Paul expressed his emotions of pushing his music outside of the genre. “I’ve been blessed to travel the world,” Paul explained.

“I’ve been blessed to go to Egypt, Europe, Ethiopia, etc. We feel the world and we give to the world [the music] brings love and unity.”

Another artist who believes that Reggae hasn’t been forgotten is DJ Sona Vabos. The UK DJ received much attention on the

web with the release of his mix of Mighty Dub Katz’ (Fatboy Slim) “Magic Carpet Ride” in October.

His hard riddims and infectious Caribbean sound was a small role of the impact of sampling the genre. “Yes!,” resounds the DJ. “The impact of reggae culture on electronic music cannot be underestimated. Pretty much every genre of dance music you can think of has a big injection of reggae in its DNA.” Vabos, inspired by UK legend David Rodigan and Major Lazer creators Diplo & Switch believes his version was a natural progression. “Dub culture in particular, and the use of techniques such as playing the mixing desk and the musical use of delays and reverbs is a massive inspiration for many dance producers.”

The interest in sampling reggae goes a few steps back to the first days of Hip-Hop. From Afu Ra’s sample of Barrington Levy’s Minibus (On the Telephone), to Beyonce sampling Major Lazer/Vybz collabo, “Pon de Floor,” Vabos agrees that although the genre reigns, and that the need for it will never go away. “I guess when you boil it right down, it’s all about drums, big basslines and dancing!”

Reggae Reviews

Dipping off the Bar Bounce Riddim, Gully god Mavado shuns away the haters and lives his life to the fullest.

Dancehall is back in full effect on this waste line whining track

The new album from Matisyahu Continues to deliver a unique sound to the reggae community.

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Hip-Hop Is In Session Bun B. Discusses the Transition from Rap Impresario To Professor Du Jour in Hip-Hop’s Classroom Invasion

S

chool was never cool back in the day. Something forced upon us as children in an effort to expand our minds in preparation for the real world. For many, our classroom is a replica of Ferris Bueller’s Day Off as the teacher mundanely takes attendance. We’re caught in a daze, fiercely texting or slipping out the door for a “bathroom break.” When high school graduation rolls along, we think things are on the up and up. For once, what we want to learn is a choice; education on our own terms.

Unfortunately, old habits die hard and creep their way back into the lecture hall. After a night of party rocking, we’re half way asleep, taking what we pass off as “notes” and convincing ourselves that it can be made up for later.

In recent years, Hip-Hop has thankfully saved the day. Finally, a culture of misfits and upstanding academics somehow merge together to spark a new generation of education enthusiasts. Like music inspires and ignites discussion amongst friends, it now does the same between teacher and student.

Songs like “F*ck Tha Police”

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By Nicole Brown

and “Fight The Power” are a tool instead of a threat. The business of Jay-Z is a model for future business executives.

Discussing Beyonce’s worldwide takeover is the preferred alternative to the agonizing “Greek Mythology” or “Colonial History” general requirement courses.

In recent years, Hip-Hop focused courses have popped up all over the country, including Texas’ Rice University. Bun B., “the big southern rap impresario,” can add “member of academia” to his rap sheet. Who ever thought that the larger than life presence would go from Jay-Z’s “Big Pimpin” yacht to a classroom made up of 250 students? Whether out of a genuine interest or curiosity, he alongside TU’s Dr. Anthony Pinn

have managed to gather enough eager minds to talk religion and the culture. “They’re very hand in hand…We teach HipHop and religion as different forms of expression. We understand that rap and Hip-Hop as a culture came from out of the ghetto. We show how music and religion are similar because since the beginning of time People have used music to express themselves. And they’ve both changed,” explains Bun, who’s music education was no more than a choir class in elementary school.

While many can argue that Hip-Hop is the most popular art form today, one still wonders what someone not interested in the culture could gain.

(Continued On Page 41)

The VIBE Spot Part Deux

The VIBE Interns were excited to catch the first annual V-MIX concert series at the Best Buy Theater.

Presented by AEG, Boost Mobile, and Big Frame, the crowd enjoyed performances by G.O.O.D music affiliate Pusha T, DJ A-Trak, and A$AP Rocky with the A$AP Mob. With a special opening from Funk Master Flex, the show was ‘wait for it….legendary!’ With these different acts together the crowd was just as diverse as you can imagine. Check out some of the flicks below.

Photo Credit: Karl Ferguson

What’s The Word On The Street?

You can always tell what period of Hip-Hop someone comes from the slang they use. We try to bring the ole’ heads into the 21st Century with these modern day synonmyns for some of Hip-Hop’s outdated vocabulary. badonkadonk, adj. / buh dunk

uh dunk / a large posterior; gluteus maximus of ample fatty tissues 2012 Syn. cakes, see also donkey, ass shots

‘bout it, ‘bout it, modif. /bāut it

bāut it / - committed to the cause or lifestyle 2012 Syn. about that life

chedda, n. / ‘ched-duh / - money,

usually in reference to large sums of currency 2012 Syn. stacks, racks, bandz, see also dough, bread, guap, mula

jiggy, adj. / jig gēē/-

denote appeal or attractiveness 2012 Syn. swag, see also flee, flexin’

Hip-Hop In Class This question is swiftly answered by Bun, whose “distinguished lecturer” role has made him the cool guy on campus: “I think it’s just people wanting to understand the culture. Hip hop as an art form is a legitimate art form. It’s as legitimate as any other. And there are people that want to be well versed in all forms of art. This is an opportunity for people to understand Hip-Hop as a culture and also understanding HipHop in its origins and reasons for being here.”

He continues, “They have the perspective of our culture.

If you look at the people that created Hip-Hop, the environment that they lived in, the people they learned fromthere’s a whole history.

This wasn’t something that just kind of popped up out of nowhere. It’s important that people be educated on the

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diss n. /dis/ - shunning a person’s character with slanderous judgement, inconspicuously or blatantly 2012 Syn. shade hood rat, n. / hud raht / - having no moral standards, oblivious to social mores and etiquette 2012 Syn. ratchet

rump shaking, v. / rump shak-in / - gestures and maneuvers of the aforementioned large posterior 2012 Syn. twerk, pop that word up, modif. / wurd up / - acknowledgement of shared understanding 2012 Syn. truu, true story; see also chuuch, preach, amen

crunk, adj. / kreŋk / - origins in the American south, used to describe energy levels of extreme proportions, demonstrated by excitedly pumping arms and jerking heads esp. those with locks create spectacular imagery 2012 Syn. turnt-up, see also wildin’ out knockin da boots, v. / noc-ken de bootz / sexual intercourse 2012 Syn. getting cheeks, skins, see also smashin

off the chain, modif. /awf da chāne / delightfully out of control 2012 Syn. poppin, epic

you go girl, modif. / yu go gurl / - an encouraging exclamatory lauded toward an ambitious, successful and independent woman 2012 Syn. bad bitch

(Continued From Page 38)

process.” In fact, his journey to the classroom started in his hood, Houston, TX. The Houston Enriches Rice University Project, or HERE, brings together the culture of the city with academia- a culture Bun B. plays a huge role in. After visiting Pinn’s class and realizing there was room for growth, together they show youth that religion and hip hop are more similar than society thinks.

For Bun, teaching also provides the opportunity to show him in a different light. “To open up people’s views and people’s ideas and preconceived notions about what Hip-Hop is,” says Bun, “I turned everything people thought they knew about Hip-Hop and turned it upside down.” Teaching Hip-Hop in the classroom is the same as showing someone from the inner city jazz or ballet. It’s

appreciating the world around you and people who aren’t just like you. It doesn’t mean that they can’t communicate in ways that you can appreciate.

Bun admits that he is lucky to have students who haven’t prejudged him as your typical “money, cash and hoes” rapper, one of his many reservations before starting the new gig. “Dr. Pinn is the most genius professor of color at Rice University. I didn’t want that reputation on campus. I didn’t want to misinform young minds. I wanted to make sure that I could balance that with my musical career so that it wouldn’t be left hanging and result in mediocre or lackluster performances.” Like any other class, there is a syllabus and exams. Every student must be well-read and informed and well read.

As we enter 2013, the

college bubble continues to expand with not only classes on Hip-Hop, but its figures as well, something Bun doesn’t object to: “As long as they’re people that positively reflects the culture and reflects t the point of what the class is. I’m not really here to judge anyone lesson plan or syllabus.

If you teach a course about Jay-Z, you can’t just go into his songs or lyrics without going into his life. You can’t talk about certain songs or concepts without talking about people that in luenced those ideas. It's too many different Hip-Hop culture references in his songs for them not to do some kind of history about Hip-Hop so people understand the references.“ We can only hope that Rice University along with others will continue to embrace the Hip-Hop infiltration in 2013 and beyond.

By Camille Augustin

B

eats, rhymes, poetry, stories, style, and a community. Hip-Hop gathered all forms of emotion to street credibility since its birth to present day.

Whether you were rapping with your friends on their parents’ stoop or rocking the scene on Yo MTV Raps, Hip-Hop found its way into the music realm, holding down a genre that needed no introduction.

Take a trip down memory lane with a few Hip-Hop fans who recall their beloved music’s Golden Age and where it has gone wrong in 2012.

“Hip-Hop had kids who then had babies. I don’t understand what the babies are saying but I still understand it I still get it, you’re still family,” says Karina Smith. The 40-year-old from Harlem, USA grew up on Hip-Hop, from summer games at Rucker Park to watching rap battles in the Blackburn Center at Howard University. Smith bust a few of her written rhymes from her HU days too: “Sucker MCs are always flaking, they are making I am taking, all I want is your cooperation so I could rock and devastate the nation.”

Once she caught her breath from laughing at her recollection, Smith remembered summers in NYC when she would leave her Polo Grounds Projects apartment to watch the basketball games at Holcombe. “It was great growing up because when the Rucker game was over DJs always had their equipment out and it became a big party. It was all about tapping the Con ED poles. You would get somebody who had the key to the poles to hook your DJ equip-

ment up. There were these giant radios and whoever had the biggest radio they had all the respect in the world.” When asked to describe Hip-Hop today? “I think it has lost its way,” she said, reminiscing on the days when rappers perfected the art of storytelling.

Just a few examples she listed rapidly included KRSOne, the Last Poets, and BDP. “The artistry of Hip-Hop is gone, the message is gone, it’s not about a message anymore.” Agreeing with Smith, Chardee Dawson said storytelling is one of the fundamental elements of Hip-Hop. “There was a story being told not just crap being thrown over beats and today there is a lot of crap being thrown over beats.” Quickly remembering one of her top favorite songs, Chardee describes Biggie Smalls’ “The Warning” as if it was just released that day. “From the beginning to the end I loved it because it told a whole story but it flowed over the beat. The beat was hot, the lyrics were hot and he said things that made you go ‘oh damn!’

Although she said his songs were indeed violent, his flow or way of telling his story became infectious to Dawson. But from having to look up what does “banz a make her dance” mean to Chief Keef ’s rise to fame to developing a distaste for Nicki Minaj’s image, the 44-year-old hopes the genre will leave the “ignorant phase” it is in now and get back to conscious-driven lyrics. Dawson also included that the ability to freestyle is gone. She mentioned KRS-One and Rakim, saying these guys are “real Hip-Hop.”

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O

n rappers today: “These guys can’t even hold a candle to them.” Given her dislike for the Barbie, she doesn’t see a true female emcee in the near future of rap, but on the optimistic side, Dawson thinks Wale and J. Cole present that ability to perfect the art of storytelling again.

Another element of Hip-Hop she desires is bringing listeners into the song as she remembered the lyrics to “Sucker MC’s” by Run-D.M.C. “I loved it! From beginning to end it kept you engaged and you never have to guess about the words.” Traveling to Hollis Park in Queens, NY, this Cambria Heights native remembered the HipHop trio’s shows there. Now a mural of the fallen DJ Jam Master Jay is etched across the street.

“Run-D.M.C.” was her first HipHop album. As a means of expressing herself, not only did Dawson listen to rap, she made her own too. “The Taste of Love Crew” she says her rap duo’s name was, laughing as she took a trip down memory lane. Mickey was her female partner in lyricism as the two ladies rapped about anything from men to school. With a few neighborhood producers, the girls performed their tracks at talent shows or simply in the hallways between classes, with her name jacket on, asymmetrical haircut, and the hat turned to the back of course. To Dawson, Hip-Hop provided an outlet for expression and relief, “a way for you to relate what you’ve been through and you use it to heal,” she says. Agreeing with Dawson, Brian Dunkin feels that Hip-Hop gave the Black community and its young people, an avenue to voice their opinions and to be heard.

“They couldn’t be heard through the Motown type of set because if you couldn’t sing it wasn’t going to happen for you,” he says. “In Hip-Hop if you had decent background music and a good cadence in your delivery you 45

could get some fans and get a little following and be able to tell your story.”

Growing up in Bedford-Stuyvesant, Brooklyn, Dunkin’s interaction with Hip-Hop was both sheltered but still ever present as he stepped foot outside his house on Herkimer Street.

He was sheltered in the sense that his parents refused to play it in the house and also protected him from the streets by placing curfews and steering his head in the books instead of behind the cage of a NYPD car. His parents’ household was a Jazz fest, a 40s and 50s hub of Lena Horne with the Motown flavors of The Supremes, The Temptations, The Chi-Lites, even some James Brown (who he saw in concert at the Brevoort Theatre).

At that time, Dunkin’s friends were heavily influenced by Hip-Hop, not to mention a certain rapper who lived straight up the block.

“Biggie Smalls was in the same neighborhood but I didn’t know about him until later. When realized I was like, ‘really he was right around the corner!?’” Given his parents’ strict rules, Dunkin was unable to experience Biggie’s rap battles in the flesh, but his friends made sure to fill him in, no doubt. The “hub” of rap culture for him growing up was Fulton Street and Nostrand Avenue where he lost a couple of those friends to the street life or some ended up behind bars. Giving props to his father, the 59-year-old was glad he steered him in the right direction and kept him out of trouble. To fast-forward to present day, Dunkin believes Hip-Hop has come a long way since its birth in the Bronx, NY, being more diverse.

“It’s not just inner city Black kids, it’s more involved in other cultures, other parts of the country. It’s not just the Bronx anymore.” Since reciting word for word from any Kurtis Blow song with his friends to being an avid fan of the Last Poets and Rakim “the lyrical architect,” he expressed that since Hip-

Hop’s Golden Age of talking about the struggle of African-Americans trying to make it in this world to now violence being played on the radio and television, he disconnected himself from what he used to know and love once it got “gangster” and moved away from simply feel good music. Now he doesn’t listen to much radio and if it is rap, he plays Heavy D, LL Cool J, and other old school rappers, maybe a little Snoop Doggy Dogg before he became Snoop Lion.

Like Dunkin, David Martin also listens to little radio play and more of the music he grew up on. Grandmaster Flash and The Furious Five stayed in rotation during his childhood, his first concert being these rapping fellows serving as a memory Martin will never forget.

Other artists he listened to were Kool Moe Dee, the Sugarhill Gang, and like the others, Kurtis Blow. But he also mixed a little funk with Parliament Funkadelic and Earth, Wind & Fire. “The Message” and “New York, NY” were a few of the songs Martin listed as serving a purpose to Hip-Hop fans. “Listen to what they are trying to tell,” the 52-year-old says. As a DJ when he was in school, Martin spun these old school records, but also threw in a little Disco or House music since that was in demand more than Hip-Hop records.

When Public Enemy appeared on the scene, Martin said that’s when the message got heavy, delivering something that everyone needed to hear.

But once Hip-Hop changed from trying to make a statement to where the content became shocking and vulgar, he strayed away. Slowly and surely, Martin thinks Hip-Hop is returning to what he, Karina Smith, Chadee Dawson, and Brian Dunkin all recollected to this day. “Hip-Hop is a soundtrack of my life,” says Karina Smith. “HipHop and I grew up together, it’s like an old friend.”

Album Reviews Solange Knowles Keeps It Honest With ‘True’ EP.

By Jasmine Aspinall

I

TRUE

t’s common knowledge that being the sibling of an incredibly famous individual is, at most times, the kiss of death. Most end up staying away from the limelight due to the immense pressure or live an extremely tumultuous life.

But Solange Knowles seems to effortlessly dodge that stigma and finds her “TRUE” voice with the release of this 7-track EP. Dev Hynes, producer and co-writer, casually plays with 80s-pop synths and beats that match beautifully with Solange’s soft spoken but penetrating vocals.

But it’s her honesty that resounds louder than any bass kick. TRUE starts off with “Losing You,” a funky ballad full of groovy placed yelps and soul claps in which Solo begs her lover, 8 times over, if their relationship is officially in the tubes. Like most women she offers up that she’s a dreamer, lover and a “Bad Girl[s]” all in one.

On the Prince-eque cut “Locked in Closets” Solange divulges that her childhoods escape was to hide in closets and dream of what real love could be.

This track along with the unapologetic track “Some Things Never Seem to Fucking Work” Solo demonstrates her

47

introspective nature. Her admission to the fact that in life something’s never work out as planned and calls for us to look within ourselves to find the answers. Solange displays her bravery in knowing when it’s time to walk away, a crucial and valuable life lesson.

These brash admissions are infused with the darkness that’s inevitable when dealing with heartbreak.“Lovers In The Parking Lot” is a solemn confession to emotional infidelities that have left her alone and regretful.

As she sings, ”Back and forth, behind and down/ When you were in and I was out/ We chasing lovers in the line of the parking lot/ And baby I love you but I was not done having my fun,” attests to the inconsistencies that sometimes rears it’s ugly head in a romantic courtship.

Through it all Solange knows she knows how to love and love hard. “Don’t Let Me Down,” indicates love is no playing matter and expects her lover to follow the same.

The immense truthfulness evoked concludes that TRUE is the most befitting title and escorts Ms. Solange from the light of just being Beyoncé’s little sister to a woman whose growth came to fruition on her own time and own terms.

M I G

L E U R&B

, a genre that people have lost faith in has been restored by Miguel’s sophomore effort “Kaleidoscope Dream.”

Released on September 25, the album contains the element s of R&B with moments of pure sexual honesty. Opening the 11 track is the widely appreciated slow jam “Adorn”, a song that was also released on Miguel’s mixtape “Art Dealer Chic Vol. 1" in February. It’s also one of the few songs on the album that caters to his mystery lady. Miguel’s album ignores the route he took with his first album “All I Want Is You” with a traditional Hip-Hop feature and big producers. With "Kaleidoscope Dream," Pimentel took full advantage of creating an identity by co-writing and producing every track. Unlike many crooners before him; R. Kelly, Prince, or even the one hitters of the 90’s like Color Me Badd and H Town, have created melodies that embody what a women wants. Miguel puts his wants and needs first in songs with the selfish tunes “P…is Mine,” “Don’t Look Back,” and “Arch & Point.”

He also shows vulnerability in “Use Me” cowritten by Elle Varner. “Use me/wanna give you control/with the lights on/ if I could just let go/ Forgive me , It’s the very first time/ That I’m nervous/ Can I trust you?"

PE DR E A M CO OS

KALE ID

By Desire Thompson

With one collaboration (Alicia Keys in “Where’s the Fun in Forever?) his sultry voice and clever uses of drum and bass,(thanks Salaam Remi) makes the album a full package and how modern R&B has evolved. After a constant message of love, lust and dominance, closing the CD is “Candles in Sun,” another track familiar to fans from the the Art Dealer Chic series.

Revamped and penned by Miguel, it questions humanity and expresses how change and peace can be brought about if we just pay attention. It's in the same boat as Marvin Gaye’s “ What’s Going On,” but at the keel of it with Robin Thicke’s "Can You Believe.” With the array of emotions, there’s no way listeners won’t imagine their own "Kaleidoscope Dream."

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Boy Stop! ‘Vicious Lies And Dangerous Rumors’

By Nicole Brown

“I’m truly one of the baddest motherfuckers to ever do it/ That did it/Gon do it again/and can’t nobody stop me.

Much like fellow ATLien Andre 3000, Big Boi continues to push the envelope two decades into an illustrious career. Taking risks is nothing new as he tackles electro sounds on “Vicious Lies and Dangerous Rumors.” With raps about everything from new age technology to puppies and old ladies (“The Thickets”), the collection may seem like a schizophrenic mess from afar.

However, Big Boi somehow manages to make sense of what he’s created. A far cry from his funkalicious debut, “Sir Lucious Left Foot: The Son of Chico Dusty,” the only running theme throughout VLDR is that our opinion doesn’t matter. He’s constantly switching up flows, giving tracks offbeat titles and collaborating with artists Hip-Hop heads have probably never heard of.

Indie pop group Phantogram are an incessant presence, appearing on three tracks. Singer Sarah Barthel’s airy vocals and Josh Carter’s haunting guitar riffs lend an out-of-this-world sound to “Objectum Sexuality,” a passionate track that finds Big Boi comparing his music to sex and the sweltering “CPU,” an ode to today’s tech-heavy industry. Those still crossing their fingers for an Outkast follow-up to “Speakerboxxx/The Love Below” will consider Sleepy Brown and Killer Mike appearances either the next best thing or another stab to the sonic heart.

Although Brown’s signature silky smooth voice on “The Thickets” is a small gem, it’s the Killer Mike and Little Dragon-assisted “Thom Pettie” that should get the single treatment next. Ascending as a drawled out beat and descending with a soulful finish, the chopped and screwed (and sort of silly) hook (“Thom Pettie that ho, ho, ho”) is Twitter hashtag worthy for the New Year. Teenagers and college kids’ ears are sure to perk up when hearing “Lines,” an emo-rap track featuring “Pretty Flaco” himself, A$AP Rocky. No stranger to out-of-left-field collabos (Lana del Rey, Florence and the Machine), A$AP raps 49

about fighting demons and haters on his climb to the top (“Lines, tell em’ read between it/trippin’ while I’m sippin/busy fightin’ all these demons/Listen while I’m spittin’ bars/Probably won’t believe it/But life is so terrific/ tell em’ kiss me if I’m dreamin’”).

Traveling to the opposite side of the spectrum, the hard-hitting “In The A” finds Big Boi and fellow ATL natives T.I. and Ludacris (whose features often stand out) go on verbal assault while paying homage to their city. The rousing horn sample and regional pride almost convinces the listener it’s the Dirty South’s equivalent of “Empire State of Mind.” Where it lacks in lyrical prowess, Vicious Lies makes up for in production value.

Frequent Big Boi collaborator Chris Carmouche once again lends his engineering expertise to mold a galactic and ominous atmosphere. More than anything, this album leaves ample room for Big Boi to be “1/2 Outkast and 1 whole himself.” We can assume his choices are an attempt to fill the space left by Andre 3000 or a simple re-introduction; either way, VLDR is spawned from an excited and creative rap genius.

#KNICKSTAPE Do You Mean Mixtape?

S O F A R T H I S S E A S O N

1. The Knicks recruited top veteran players including Jason Kidd, Raymond Felton, Ronnie Brewer and Rasheed Wallace.

2.The Knicks showed they are strong competitors when they beat the San Antonio Spurs on their own turf, 104-100.

3. Although the Brooklyn Nets have split New York into two teams the Knicks lead the â&#x20AC;&#x153;fight for NYâ&#x20AC;? as they are 2-1 against the Nets.

4. Even with a sprained left ankle Carmelo Anthony has made a significant improvement in his scoring record and has scored the most points on the team solidifying an early MVP candidacy.

No, we meant knickstape. Yes, you read that correctly. A new term coined by NYK basketball player Iman Shumpert spearheaded the #knickstape movement on Twitter this season.

Other teammates joined in as Shumpert described the term as something similar to a mixtape, just without the music.

The different elements each player brings to the team is something similar to the ingredients on a number one mixtape.

Different personalities make this team one of a kind this season, primarily given the vets who joined the squad. As the guys in orange and blue hold that number one spot, #knickstape can be read on your timeline every date a game is on (and especially if they win). A newsbreaking team this season, the Knicks power on to hopefully make it to the championship and bring it home for NY.

Did You Know?

1. Despite his constant courtside presence and #Knickstape Twitter rants, film director Spike Lee is not a partial owner of the New York Knicks.

2. The Knicks have 6 retired jersey numbers: 10 Walt Frazier, 15 Dick McGuire & Earl Monroe, 19 Willis Reed, 22 Dave DeBusschere, 24 Bill Bradley, 33 Patrick Ewing, 613 Coach Red Holtzman.

3, Phil Jackson, often called the greatest NBA coach in history, played on the 1970 and 1973 New York Knicks team.

50

PROPS

Girl Groups

R ap crews may have ruled 2012, but girl groups helped defined the past 20 years of

music. A combination of sass, killer dance moves, movie star looks and vocal prowess, ladies were definitely first.

Whether they were one hit wonders or lasting musical legends, one or two of them made their way onto our playlist. Groups like 702 and SWV were proof that power ultimately lies in the voice. En Vogueâ&#x20AC;&#x2122;s sweet harmonies and throwback style brought class 51

and poise to a decade filled with grunge, gangster rap and bubble gum pop. Destinyâ&#x20AC;&#x2122;s Child merged R&B and pop together to cement their spot as one of the greatest.

TLC and Blaque toted female rappers in their clique, proving that pretty girls can ride like big boys, too. In fact, the biggest lesson carried by girl groups is that women can succeed together and not knock each other down in a quest to the top. Peace, love and GIRL POWER!